Carol Alleman began her sculptural artistic visions in clay; later expanding to include the lost wax casting in bronze. Her first bronze vessel, “Miracles” marked her transition into this new medium; and thus began the mystical and organic Tree of Life and Nature Vessel Series. Carol’s signature, museum-quality work encompasses highly evolved, intricate patinas and vast cut-out areas each within the ancient vessel form. The essence of infinity symbolic to the circular vessel form, while open to both receive and pour forth, is a powerful essence for her. Companion Writings accompany each bronze – sharing the inspiration of each piece as she received it and typically includes a poem. The inspiration she shares invites the viewer/reader to deeply and genuinely consider one aspect or another of the incessantly wise Voice of nature. She hopes and expects each piece to continue to speak to its caretaker, with a changing voice within each new season of their life – the writing intended as a seed which will continue to grow.
*Note: all pieces listed below are final editions. Once they’re gone, the series is sold out!
Seth Winegar has already gained a reputation as a respected artist. He has developed his own painterly style in creating tonalist landscapes of the West marked by thick brush strokes, rich glazing and muted colors. He often chooses as his subjects the landscapes he sees near his home in northern Utah. His home sits in a valley surrounded by rugged mountains and affords breath-taking views of the Great Salt Lake.
Oil on Panel
24 X 48
33 X 57 Framed
“The Grey Sky”
Oil on Panel
24 X 48
33 X 57 Framed
North and south of the town, the rural countryside unravels an abundance of nature’s subjects for this young landscape painter. The play of light and shadow, warm and cool tones, dramatic and diminutive are all detailed in his work. “I love to explore the nuances,” Winegar explains. He works with the concept of opposition, brown autumn leaves of a tree next to a green field. “Opposites exist in nature. If you don’t use opposites you are not utilizing all the possibilities of creating a good painting,” explains Winegar.
Inspired by Western and Indian life, Charles Craig did paintings characterized by detailed accuracy, gained from several years spent living with various tribes and carefully recording the details of their culture. A fifty-year resident of Colorado Springs, he was the state’s first academically trained resident artist, and his paintings reflected many aspects of his region including the Ute Indians. Friends called him “Pink Face Charlie” because his disposition and his paintings were invariably cheerful and sunny.
He settled in Colorado Springs for the next fifty years, the earliest resident artist in that resort community and one of the longest to have an active career there. Craig set up a studio in the building of Howbert’s Opera House. He supplemented his income by giving art lessons and made regular visits to the Ute reservation in Southwestern Colorado. One of those trips, in 1893, was with his friend, painter Frank Sauerwein. Craig’s Indian paintings were noted for their detailed accuracy, although many of his later works showed Barbizon influence of Tonalism. He exhibited regularly in the Antlers Hotel of Colorado Springs, but a fire there in 1895 destroyed many of his works.