My work was recently published on the cover and inside The Journal literary magazine. My painting Vital is wrapped around the front and back cover while several other paintings from my In Our Veins series are inside. In addition, there is an interview in which I’d like to share just one of the questions because I think it’s an important one:
SS: Is there anything you can tell me about this work that someone who doesn’t have expertise might not see or appreciate?
AG: I think people need to realize this: they are much more astute when it comes to art than they give themselves credit for. True art will elicit an emotional response from someone, whether it’s a positive or negative reaction. For those that enjoy my work, they often tell me that something resonates with them. It may not be exactly what I expect the viewer to respond to, but it’s in the ballpark. There have been times when someone finds my work “dark” and therefore they are unsure of it. I would still consider that an accurate response because I deal with some tough issues in my work. Animals are beautiful, nature is beautiful, and I’m trying to create something that is beautiful but at the same time sends a message. Either way, I want to draw attention to these issues and inspire others to take action, even if it’s just small changes because every little bit helps. That’s the takeaway I hope for when anyone looks at my work, whether they have an art degree or not.
I’ve been diligently working on a new painting in my In Our Veins series. I have not decided on a name yet, but it is a representation of the connection of all life to the natural world. The first layer of paint has been roughed in and I’m currently working on the horse, adding color, depth, and detail to the muscles and veins. It is an acrylic on canvas, 20″ wide by 10″ high. View more from this series here.
I’ve recently finished three new paintings in my In Our Veins series. Two of which are from my smaller, 4″ by 4″ paintings. I was particularly interested in doing a piece on forest clear-cutting because it is the first thing that comes to mind when thinking of global warming. The smaller paintings, Inseparable and Evanescence, are in reference to the connection of all life, which is the overarching theme of this series. View the paintings online: http://amyguidry.com/clear-cut.html, http://amyguidry.com/inseparable.html, and http://amyguidry.com/evanescence.html.
This is a 30-second clip from my Artist Talk at LeMieux Galleries in New Orleans. No matter how many times I have to speak in public, it’s always terrifying. Which is why I often think that the things I don’t want to do, are probably the things that I should do. Side note: this Saturday (Sept. 24th) is the last day to catch this exhibit!
This week is the last week of my exhibit at LeMieux Galleries in New Orleans. My series, In Our Veins, is on view in the Main Gallery of LeMieux now through September 24th. You can also catch Lee Deigaard’s series, Near and Far.
I’ve had some great response to this body of work, including a feature in American Art Collector Magazine’s September 2016 issue. And Paul Bentley of the New Orleans magazine, Where Y’At, gave me a great review stating: “…Her dreamlike landscapes with animal, human, and natural forms mixing and dancing with each other create beautiful images that seem to be more than just a mere neo-surrealist tribute to Dali or O’Keefe. Her paintings create a dialogue with her obvious predecessors and influences, but they retain an original, calming, eerie, and downright intelligent attitude to them.”
More information on this exhibit can be found on LeMieux’s website.
My painting Preservation is featured on the current cover of the Denver Quarterly. Aside from being on the cover, I’m also happy to have another opportunity to get the message out regarding animal and ecological welfare. The circle of leaves was an image that came to mind before falling asleep, and I made note of it in my sketchbook. Using the leaves to replace the head (which is in keeping with some recent paintings where I use landscapes or trees in place of heads), represents the connection of all life forms. Nature is so much a part of us that I freely use trees or landscapes in place of heads or limbs, just to emphasize that connection and significance.
The small lot of land the deer stands on is in reference to our dire need to conserve wild land and forests. The natural space is shrinking due to deforestation. All the more reason to plant trees and support organizations that preserve natural habitats.
In many of my paintings, I use the eyes and facial expressions of animals to convey a sense of connection and relatability, but lately I’ve been doing the opposite and feature animals without faces or covered faces. I’ve been exploring the idea of Anonymity vs. Connection- without seeing their faces, does that make them any less personable or meaningful? And how does this apply on a global scale?
I’m honored to announce that American Art Collector Magazine has done a feature on my current exhibition at LeMieux Galleries in New Orleans. The article is in their September 2016 issue which is available on newsstands now.
As part of my current exhibition at LeMieux Galleries in New Orleans, LA, I’ll be giving an Artist Talk with photographer Lee Deigaard on September 3d. We’ll each be discussing our works- my In Our Veins series and Lee’s Near and Far series. The talk begins at 5pm (an hour before the Artwalk) and the gallery reception will follow from 6-9pm.
I was invited to create a piece for the upcoming Coaster Show at La Luz de Jesus Gallery in Los Angeles, California. The title is Origin, and it is an acrylic on cardstock, 4″ tondo. The show opens September 2nd, from 8-11pm and will remain up through October 2nd. View the painting online here: http://laluzdejesus.com/the-4th-annual-coaster-show-mark-todd/origin/.
Well, this is it. This is the last time Mother Nature will be on view to the public. It is currently on exhibit in the “Animus” exhibit in London, and afterwards will have its permanent home in London. This painting has been an important piece for me since it is the only painting I’ve done directly dealing with dairy:
Our use of animals and the environment has led to practices that could be considered a bizarre perversion of nature. From our everyday use to the most complex scientific discoveries, we have created a new world far removed from that of our original planet. Our food is no longer something we grow or find ourselves, but prepackaged, processed, and mass-produced. ‘Natural’ has become unnatural. We consider it eccentric or bohemian. We, as adults, drink what is essentially breast milk from an entirely different species, yet scoff at the idea of a woman breastfeeding her infant in public. In Mother Nature a calf is seen nursing from a human breast, calling to question our double standards- if this is bizarre, then why is it not when the roles are reversed?