PAULSCOTT GALLERY2014

PAULSCOTT GALLERY

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Paul Scott Gallery, Scottsdale, proudly presents its 2014 catalog featuring a strong roster of artists (some familiar and several new ones), our latest direction for the gallery and the freshest work from these gifted painters, sculptors and ceramicists.

For seven years, Paul Scott Gallery has been synonymous with an unique contemporary vision that showcases work by artists from all points in the U.S. and abroad. We have spent countless hours researching our chosen artists based on their raw talent, training, command of their chosen medium and compatibility with a variety of collectors and settings. We believe diversity is a healthy attribute of any fine art collection, and Paul Scott Gallery is positioned to aid collectors in this pursuit.

As you browse our catalog, we invite you to come down to the gallery to see the changes we have made to the space and how it reflects our redefined future.

(top) Embracing Uncertainty by Rick Stevens Quail by Mark Chatterley Vessels by Eric Boyer(bottom) Paul Scott Gallery interior

(cover) Rick Stevens • Embracing Uncertainty • 40” x 36” • oil and gold leaf

VALERIEWINTERHOLLER

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With my work, there is a meditation that brings a balance to my mind, a sense of peace and quiet focus. Each painting is a new story waiting to be written. This is when the adventure begins, not knowing the direction the work will take me, and sharing this journey with others. In many of my works, symbols are used that may be interpreted as unknown language. I enjoy the look and feel of written words that are free of any literal meaning. In these pieces, the idea is to express a lyrical form of language and line in a quiet format of color, symmetry and independent linguistics.

Valerie Winterholler has a Bachelor of Science degree in art from Southern Oregon University. She lives in Bend, Oregon.

(left, top to bottom) Acacia • 48" x 36" • acrylic on clayboardMetered Response • 36” x 48” • acrylic on clayboard

(right) Magnetic West • 48” x 36” • acrylic on clayboard

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(top to bottom) Quakies • 40" x 40" • oilVista • 40” x 40” • oil

TONIDOILNEY

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I paint what I feel about a place, rather than a replica of a scene. The abstracted landscape, in all its naïve and imperfect rendering, is what appeals to me.

I am continually interested in painting the rhythm of the rural landscape. Whether it’s by constructing buildings, planting gardens or farming the land, we impose a pattern on our world. It is this patchwork of horizontal and vertical lines that initially intrigues me. However, at some point in the creative process, the texture, color and form of the paint itself takes on a beauty of its own. The painting is no longer a representation of a scene; rather, it becomes an abstraction, my emotional and unique response to the landscape. I have long admired folk art and primitive or naïve paintings. There is a freshness and vitality in these imperfect renderings. I hope to capture this same essence in my work.

Toni Doilney grew up in Washington, D.C. She studied anthropology and art history at Northwestern University, graduating “magnum cum laude.” She went on to do graduate work in primitive art traditions at American University while later studying sculpture in Colorado and architecture and design in Utah where she lives today.

(top to bottom) Desert Architecture • 24" x 36" • oilBroken Rock • 40” x 40” • oil

Perimeter • 18” x 36” • oil

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GEOFFREYGORMAN

A broken, bent tree branch, bleached from sun and rain, makes me think of weathered bones: fingers, legs, backbone, and hip bone. Old stained strips of cloth act like bandages and clothing, hiding and holding it all together. Sculpted wax covers the frame and joints of wood. Found and lost objects assembled into curious and evocative shapes is what excites me. When I am making objects, I think of model airplanes made of balsa wood, then covered in thin transparent paper. Or I see decoys and shapes made to attract wild animals. I also think of a forest of tall, dark trees covered in moss and moisture, a silent, meditative place. I try to give people just a starting point.

Geoffrey Gorman was born in Paris and educated in Switzerland. He attended both the Maryland Institute of Art and the Boston Museum School. Today, the Santa Fe artist is recognized as one of the most gifted found item artists in the world.

(top to bottom) Collaris • 7" x 17" x 14” • mixed mediaDicea Thinks He Got Away • 37” x 26” x 7” • mixed media

Lanigera • 19” x 32” x 9” • mixed media

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(top) Faea Dives Deeper • 37" x 40" x 9” • mixed media(bottom, left to right) Livens and Totara • 10” x 14” x 7” • mixed media

Leucas Leaping • 32” x 34” x 9” • mixed media

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CHARLOTTEFOUST

I choose to create non-objective paintings because I find the creative process honest and satisfying. A single mark or line on a blank surface provides a starting point for an intuitive exploration of the visual language found in abstraction. Working in mixed media: graphite, acrylic and collage, allows me to layer and rework textured surfaces - with each painting resulting in a delightful discovery of things unseen.

Charlotte Foust graduated from the University of North Carolina, Charlotte with a Bachelor Degree in Art. Early in her career, she was awarded an Emerging Artist Grant from the Arts and Science Council. Her work is widely collected in the United States and her paintings have been included in exhibits at the Mint Museum of Art, the Levine Museum of the New South, and the McColl Center for Art.

(left page) Aerial • 48” x 36” • acrylic (above) Undercurrents • 60” x 36” • acrylic (right) Calming Seas • 48” x 36” • acrylic

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DORIA FUSUNSAGLAM

I become the cloud, and can see the landscape move under me as I am swept by the wind. I feel the tension in the storm and feel the thunder. I can go anywhere and see what I want in my mind’s eye and I share the experience through paint.

Doria Fusun Saglam celebrates nature in its most elemental forms. Her paintings contain dense layers of color which give weight and substance to the subject. Her pieces are at once, spiritual and contemplative.

She was born in former Byzantium in Turkey and now lives in Australia.

(left) Tangible Depth of Quiet • 32” x 24” • acrylic (top to bottom) Wait for Me • 32” x 24” • acrylic

MIchael’s View • 28” x 39” • acrylic

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JAMESTISDALE

My work, simply stated, is a visual journal. It is easier for me to construct thoughts and expressions in a physical venue rather than by word. The work is an outward manifestation of my views toward the world around me. These expressions are highly influenced by many things, but mainly by my rural, devout upbringing in Mississippi. This in itself is a web of contradictions. I draw upon both the beauty and the ugliness of this region and its impact. For me, it has been a rich soil to cultivate, pulling both disturbing and revealing aspects of my life. The work is just a channel to better understand the world and my place within it. The historical art influences in my work range from the figurative work of the Renaissance, the kitsch work of the 1930’s and 40’s, to the innocent God-felt work of southern folk art. James Tisdale received a Masters of Fine Art degree in ceramics from the University of Georgia and a B.A. in ceramics from the University of Mississippi. He currently is the Ceramic Program Coordinator for the Austin Museum of Art in Texas.

SHERYLZACHARIA

The abstract forms and painted surfaces are influenced by my music and painting backgrounds. Pattern and form are rhythm, palette is harmony, lines and shapes are lyrical. I’m striving to make a visual poetry.

Sheryl Zacharia lives in Greenwich Village and works out of her studio in the Bronx. She recently finished an eight month residency at the Museum of Arts and Design in NYC. She is a highly sought after teacher of ceramics and has taught numerous workshops at such places as Harvard Ceramics, Kingsborough College and The Clay Art Center in Port Chester, New York.

All Eyes Were Upon Her • 14” x 23 1/2” x 11” • ceramic

Red and Black Vessel • 16” x 15” x 5” • ceramic

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KRISMANZANARES

One of the things about being a painter, for me anyway (because my studio is in my garage), is that I don’t get to leave my house to go to work every day. That means that I spend a lot of time at home. Being a mother of young children meant that my home was always full of children. Even when I only had one of them, they were everywhere.

In my paintings I create my children in places of freedom and calmness and fresh air, places where their impossible ideas become real and where they don’t need me. I put my children in places that don’t require cleaning, where you can hear the birds sing, and where no one is crying. But most importantly, I put them in places where they are able to quietly accomplish something all by themselves, completely undisturbed.

Kris Manzanares participated in graduate studies in sculpture at the Edinburgh College of Art in Scotland as well as at Arizona State University. She received her Bachelor of Arts degree in graphic design from the University of Maryland.

She currently lives and works in Phoenix.

(top to bottom) Condor • 34” x 32” • oilFly-Fall-ing • 32” x 48” • oilHammer • 18” x 23” • oil

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(top to bottom) After the Wild Animals in East Texas • 44” x 48” • oilGirl Holding Chicken • 24” x 48” • oil

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JANESCHMIDT

Like the Abstract Expressionists, I am inspired by the act of painting. I paint in a conscious effort to connect memory and reality to imagery while exploring the edge between abstraction and representation in landscapes. My landscapes are characterized by heavy impasto, decisive brushwork, brilliant hues and invented color schemes. The energy I impose between gestural marks and playful colors becomes the soul of my work.

Jane Schmidt received a Masters of Fine Arts degree in painting from Arizona State University and a B.A. in Fine Arts and Graphic Design from the College for Creative Studies in Detroit.

(left, top to bottom) Vinal Haven 2 • 20” x 20” • oilVinal Haven 5 • 20” x 20” • oil

(right, top to bottom) Vinal Haven 18 • 12” x 12” • oilBlue Woods • 38” x 38” • oil

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MIKEMORAN

With stylistic references ranging from Giacometti to classic Etruscan urns, Mike Moran balances ancient with contemporary to create content-rich, figurative sculpture. Moran’s elongated figures are permeated with the sensation of passionate and transformative experiences of a life lived. These works evoke the recognition of a state of being, familiar and well acquainted.

Applying pigmented cement to bent steel armatures, Moran utilizes the consciously weathered metal skeleton, sometimes including additions of broken glass or clay, to transfix potent and primal images to attenuated human forms. In this manner, Moran transfuses his work with animal, mystical, and visionary content. Moran is a painter, a print-maker, and a sculptor.

The Washington artist has a M.F.A in Ceramics from the University of Puget Sound and a B.S. in painting from Eastern Montana College.

(left) Painted Dancer • 51” x 14” x 11” • ceramic(right, top to bottom) Fallen Man • 19” x 7 1/2” x 7” • ceramic

Leaning Horse • 24 1/2” x 13” x 8” • ceramic

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(top to bottom) #37 • 36” x 66” • oil#86 • 54” x 85” • oil

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MICHAELMOON

Painting is a means to create whatever comes to me. It is a creative experience which translates into a spiritual exercise - a spiritual workout as it were. It becomes a conversation with myself, which sometimes resonates immediately - other times with a struggle - but a process, however it unfolds, that hopefully is honest, real and valid.

Michael Moon is strongly influenced by El Greco’s passion, the Impressionist’s love of color and the Expressionist’s love of paint. For eight years he painted essentially in solitude. During this time he became a student of Eastern thought and meditation. It is during this time that he began to integrate Eastern philosophies into his paintings. Ultimately for him, the creative process became as important as the finished painting.

Moon continues to refine and synthesize his journey through painting. Over the last decade, he has had numerous solo and group exhibitions throughout the U.S.

(top to bottom) #49 • 72” x 60” • oil#64 • 44” x 36” • oil

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LARISAAUKON

I truly believe there is an inner “pulse” that runs through everything, mostly unseen but more often felt. I can think of no greater artistic inspiration than identifying this current and holding it in my heart long enough to translate it to canvas. I search for that perfect moment where everything falls into place inspirationally and technically. From that point on, I paint voraciously as if time is running out on me.

Larisa Aukon received intensive art training in her native Latvia. She was accepted to the prestigious Janis Rosenthal’s Secondary Art School in Riga. It is a very well-known school for gifted children. One had to pass a series of extensive academic and art exams in order to be accepted. Along with only 9 other students selected for this exclusive program, Larisa, in addition to a full academic course load, had up to 20 art-related lessons per week from the time she was 12 until she turned 18. After high school, she was accepted into the Latvian State Academy of Fine Arts in Riga from which she graduated with a master’s degree.

Today, she lives in Arizona and has become a sought after teacher.

(top to bottom) Bed of Irises • 18” x 24” • oilGorge • 30” x 30” • oil

Valley of the Moon • 24” x 30” • oil

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It is Good to Be Home • 48” x 36” • oil

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(top, clockwise) Success of Arriving • 15” x 51” x 1” • steelMemory • 16 1/4” x 11 1/4” • steel

Eternal Optimist I and II • 38” x 25” x 2” (each panel) • steelSource Heart • 41” x 50” x 2” • steel

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MYTCHELLMEAD

I believe it is the role of the artist to open the gap toward our highest evolution - to explore beyond known and mapped territories. This path is marked by intuition, inspiration and feeling. When moving in the abstract I exist in this realm, and hope the art I return with can help mark the way, to aim for the essence.

For the most part it is in the indefinable that my work is born - an effort to communicate passion, inspiration, rapture, restlessness. My canvas of steel introduces an entire universe of chance and coincidence. The process is unpredictable, allowing the idea or image I hold inside to release itself in surprising ways, as a new expression of feeling. Only by releasing the mind does creativity flow through, coaxing the potential from the collaboration between chance and vision.

Mytchell Mead has spent a lifetime developing his steel work. He cites an early childhood working with his father who was a skilled metal worker as his largest educational experience. Today, Mead lives and works in Central Oregon and has exhibited his work throughout the U.S.

(top to bottom) No Random Event • 51” x 40” x 2” • steelMiddle Path • 33 3/4” x 26” x 1 1/2” • steel

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KELLYLARSEN

My paintings are composed of raw, organic substances. Stone, soil and plant materials are often used for some of the pigment by grinding and mixing with oil and binders. Industrial objects are also placed onto the surface including metal, glass and paper. The colors are typically dark and muted. Decomposed, putrefied and oxidized materials, contained within Earth, inspire me. Earth gives its power to each piece since the work’s physical essence is derived from it. The Earth is something that cannot be ignored, and demands respect. Utilizing Earth’s unpredictable forces, I use the elements to decay, char, warp, and transform the pieces, bringing them to a naturally decomposed state. This perpetual process refers to the significance of death. It involves random, chaotic, and impulsive forces that are tangible, imitating the Earth’s natural processes. Kelly Larsen will receive a Masters of Fine Arts degree from the Pratt Institute in Brooklyn in 2014. He has Bachelors of Fine Arts degree from Utah Valley University.

(top to bottom) Measure of Void • 30” x 30” • mixed mediaPlacer Deposit • 30” x 30” • mixed media

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PAULTOM

“Paul Tom is a rare example of a true artist who has achieved a harmonious balance between Western firmness of purpose and Far Eastern introspection. A deep reverence to nature permeates all his paintings. A vibrant symphony of colors is transformed into an elegant dynamic unity through the masterful use of the ever-changing light. He is continuously struggling through his canvases to reveal to us the primeval essence of nature and the creative forces in life.”

Dr. Rigas Bertos Art Historian, McGill Unversity

Paul Tom was born in Montreal in 1952. He completed his primary and secondary schooling in Hong Kong. Upon his return to Canada he studied visual arts at Cégep du Vieux-Montréal and at Concordia University. Paul Tom now lives and works in Montreal.

(top to bottom) Hide and Seek • 60” x 60” • oilFire Under Shallow Waters • 60” x 120” diptych • oil

MICHAELSTEIRNAGLE

I paint people, color, abstract shapes and light. People are initially drawn to a work of art by its shapes, values and colors—not by the subject matter which is secondary. My hope is that the viewer will find pleasure in the arrangement of shapes, colors and textures of the painting as well as in its subject which emerges, disappears and re-emerges throughout the work.

Michael Steirnagle has been both a teacher of art and an illustrator. He served as an associate professor at Palomar College in San Marcos, California. As an award winning illustrator, he illustrated the book, Billy Lazroe and the King of the Sea (1997), and the book, All By Herself (1999), both published by Harcourt Brace Children’s Books.

Today, Steirnagle is hard at work in his San Diego studio.

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(top to bottom) Poolside Beauty • 24” x 30” • oilConnections • 48” x 62” • oilHeatwave • 30” x 48” • oil

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(top to bottom) Godfather of Ivory • 36” x 36” • oilMuse • 24” x 24” • oil

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Childhood Home 1 • 48” x 36” • mixed media

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DELAIRSHAKER

Similar to my ceramic works, my paintings are a blend of a variety of media: sand grains, rough surfaces made from paper and glue, threads etc. My paintings also express abstract bodily movement in rhythmic intervals that create various moods through color and form. When I think of the teachings of my father through the artistic atmosphere I was surrounded with, I feel the techniques used in my artwork defiant to any one classified conventional category. This lack of conformity is intentional to an expert as part of the message I wish to convey through art: an anticipation of new hope. I strive to make the material, shapes, textures, and colors I use able to go beyond the traditional, into a realm of what is harmoniously unfamiliar and unique.

Shaker, who now lives in Phoenix, was born in Iraq and is a graduate of the Institute of Fine Arts in Baghdad. His works are in many prominent collections throughout the world.

(top to bottom) Memories of Home • 48” x 48” • mixed mediaHome Plans • 48” x 48” • mixed media

RICKSTEVENS

My work may be seen as an open window to other realms. Its visual vocabulary has evolved from years of painting the landscape. Although I no longer consider myself a landscape painter, nature continues to be my muse. I think of nature as a continuous flow of shapes and patterns of energy that has, or more precisely is, an intelligent force. Most modern day physicists will tell us that all the forces and particles in nature are one, just different ripples on the ocean of consciousness: a Unified Field.

While acknowledging a debt to the abstract expressionists I don’t consider myself ‘of that school’. That movement tended to focus our attention upon the work as a thing in itself, identified with the art-process. While I wish to stay true to the modernist idea of process-oriented art, behind my shapes and colors on the picture surface there is always another realm, another order of meaning, however abstract that meaning may be.

Rick Stevens has a Bachelor of Fine Arts Degree from Acquinas College in Grand Rapids, Michigan. Rick also studied at the Kendall School of Design. He is a very successful painter living in Santa Fe today.

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(top to bottom) Luminous Entity • 40” x 36” • oilThe Wonder of it All • 48” x 32” • oil

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(top to bottom) Web of Relationships • 32” x 32” • oilPassing of Phenomena • 36” x 48” • oil

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(top to bottom) Lessons were Learned • 36” x 48” • oilThis is Just This • 30” x 36” • oil

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ANGIERENFRO

Angie Renfro was born in Texas. She received her B.A. in illustration from the Academy of Art College in San Francisco in 2002.

Although she now lives in Chicago, Renfro is still influenced by her Texas roots: “The land is simple, flat and sometimes bleak. There is not a lot of distraction, so there is plenty of time to think.” She loves to paint the simple things in this landscape such as birds on a wire, electrical lines intersecting the flat expanse, weeds on the side of the road or an abandoned silo. “My intent is to draw attention to these overlooked things so that their quiet, unassuming beauty can be appreciated.”

(top to bottom) Here and There • 24” x 24” • oilPeace is Soon to Follow • 36” x 48” • oil

JOSHGEORGE

Josh George has always been attracted to the urban landscape. “It holds a different kind of beauty-the decaying masonry work of time tested dwellings, the dismal skies that surround them, quilt like patterns, and shadows that cast on weathered walls displaying individual windows where people go about their routine lives.”

The people in Josh George’s paintings are engaged in static acts of everyday locality. They stroll about town hearing the urban world, but not quite listening. Everyone simply exists. “I use a barrage of materials to record these scores and a lot of fat paint knifed over torn strips of wallpaper and ugly product labels. The piece is finished with a delicate brush to define a street sign or a highlight on someone’s wine bottle.”

Josh George has been influenced by many artists, including Degas and Mary Cassat, both excellent drawers, and the Ash Can artists George Bellows, John Sloan and Robert Henri. “I love the way they documented the changing city from a street level,” says George. Contemporary artists Richard Diebenkorn and Wayne Thiebaud have also served as inspiration for Josh who appreciates the liberties they took redesigning the cityscapes to fit their own views.

He is a graduate of the Kansas City Art Institute.

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(left) A Special Kind of Exit • 20” x 16” • mixed media(right, top to bottom) First Steps Towards a Framework • 48” x 36” • mixed media

A Star for Each of Us • 12” x 24” • mixed media

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Investigation into the Conduct of Outdoor Advertis • 48” x 36” • mixed media

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JEANIETOMANEK

I paint to explore the significance of ideas, memories, events, feelings, dreams and images that seem to demand my closer attention. Some of the themes I investigate come first in poems I write. Literature, folktales and myths often inspire my exploration of the feminine archetype. My figures often bear the scars and imperfections that characterize the struggle to become.

In reclaiming and reconstructing areas of the canvas, the process of painting becomes analogous to having a second chance at your life, this time a little closer to the heart’s desire.

(above) Sleepwalk • 28” x 22” • oil(right, top to bottom) I’m Dancing as Fast as I Can • 40” x 30” • oil

Self Rising • 24” x 30” • oil

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MARKCHATTERLEY

Everything is either moving away or toward nothingness. Life, death, creation and destruction – this is the world I find myself in.

I want my art to echo these thoughts, everything in a state of flux, changing and reforming–a sense of decay along with life. Nothing is permanent, and nothing stays the same.

Working from his studio in Williamston, Michigan, Mark Chatterley creates human and animal-like large scale ceramic sculptures. His works can be placed outside or indoors and need no maintenance. He uses many different surface textures for his pieces. Surfaces range from shiny metallic to a crusty texture, giving the pieces rusted or weathered appearances.

Some of the permanent collections his work is in include:

• Kresge Art Museum, Michigan State University • The Ceramic Research Center, Arizona State University • International Museum of Ceramics, Faenza, Italy • Muskegon Museum of Art, Michigan • North Carolina State University Visual Arts Center, North Carolina

One Half of Two • 82” x 12” x 12” • ceramic

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Sevens • 36” x 36” • oil

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KENROTH

I try to help people realize they are looking at a subject and all of its realities of light, but you are bound by materials and vision.

Ken Roth studied under Spanish master, Sebastian Capella, whose painting theories have had a profound influence on Roth’s work. Capella’s encouragement to simplify a painting and to seek the most fundamental shape, value and color organization has strengthened his approach to design.

Roth lives with his family and works in Oregon.

(top to bottom) Owl Moon • 12” x 12” • oilWhite Wolf • 18” x 18” • oil

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ROSALINDSHAFFER

Seeking harmony and balance in an ever changing world has led me to create sculpture and vessels with a meditative spirit and personal reflection of the human condition. Some of the pieces, particularly in the figurative and animal stoppered vessels collection, offer a humorous social commentary. Nature is a primary inspiration for my work, and I often incorporate feathers, weathered wood, leathered thonging and other textures and elements found in the natural world.

Rosalind Shaffer has a B.A. degree in painting from Syracuse University and studied in the M.F.A. program at Brooklyn College.

(left) Speechless! • 13 1/2” x 5” x 5” • raku fired glazed porcelain (top left, clockwise) Curtsy • 11” x 7” x 5” • raku fired glazed porcelain

Listen! • 9” x 5” x 5” • raku fired glazed porcelainOh! • 14” x 8” x 8” • medium-black stoneware glazed

Hope • 10 1/2” x 12” x 10” • terra cotta with underglaze

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WILLIAMBRYANT

The main concept I’m working on is the balance and weight or power of the negative space that is often overlooked in many pieces of art.

William Bryant grew up around art and began painting at an early age in Northern California. He painted realism for years before developing his more simplistic, contemporary style that uses mixed media to build engaging, heavily textured wall pieces.

Bryant is a well-known artist in the design community of Scottsdale.

No Fault of Mine • 34” x 84” overall (5 pieces) • mixed media

PAULSCOTT GALLERY7173 East Main Street • Scottsdale, Arizona 85251

Telephone 480.874.3000 paulscottgallery@qwestoffice.net

paulscottgallery.com

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Kelly Larsen • Lake Bonneville Remnant • 36” x 14” • salt and earth on wood