Happy to say that my painting On the Rise is in the current issue of Tulane University’s literary arts journal The Tulane Review. On the Rise is an acrylic on canvas, 10″ wide by 20″ high. You can view the painting on my website at this direct link: https://amyguidry.com/on-the-rise.html.
I’m excited to share this article in the new issue of VIE Magazine. Sallie Boyles interviewed me for their Animal Issue / August 2018. You can check out the article in the print edition as well as this online version: http://viemagazine.com/article/the-nature-within-2/.
Received my copies of the May 2018 Couture issue of Vie Magazine in the mail yesterday. I was excited and honored to see my painting Interconnectfeatured in there as part of a teaser article in anticipation of an upcoming interview. The Couture issue is available on newsstands now.
My painting Interconnect is featured in the May 2018 issue of Vie Magazine. It is part of their Introspections page and is a teaser to a larger article to be featured in their Animal issue coming out in August. Look for Interconnect in the Couture issue out now. And if you’re in New York, you can see Interconnect in person at Gristle Art Gallery now through May 5th.
My painting Sentience was recently featured in Art Galleries & Artists of the South Magazine as part of a spread on LeMieux Galleries in New Orleans. Sentience has also found a new home. This was the first of my “butterfly eyes” paintings. The butterflies represent life- both are beautiful, fragile, and ephemeral. Sentience is an acrylic on canvas, 6″ wide by 6″high. You can view it online here: https://amyguidry.com/sentience.html and view more “butterfly eyes” paintings from the series here: https://amyguidry.com/gallery.html.
In The Wild West, a skeletal horse and human hybrid, suggesting our practices of genetic manipulation, serves as a grim tale of foreboding. The skeleton, the horse skull, and the desert are symbols of cowboys and typical Western imagery. Television Westerns would typically portray life as good vs. bad, when in reality, the land, environment, people, and animals were all seen as a means to an end. The title refers to how the U.S., itself a part of the western hemisphere, is still taking over land, animals, and resources to this day, creating desert landscapes via clear-cutting and global warming.
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.