Pastoral Journey with Katy Reeve-Weesner

"Giverny", Watercoulor by KATY REEVE-WEESNER
IMAGES ARE COPYRIGHT PROTECTED

Hello All.

It is not often that one comes across a talent as exceptional and mesmerizing as Katy Reeve-Weesner's. Nor, is it an everyday occurrence, in the painting world, to languish in the quaint and pastoral English countryside that one sees in Katy Reeve-Weesner's lovely watercolours. That is, unless you are Katy Reeve-Weesner.

Yet, that is exactly what I felt as I stepped into Gallery 21 where her "Journeys in Watercolour" (Paintings) exhibit was running 11:00 a.m. - 4:00 p.m. daily. Although I knew that I was in Spanish Village Art Center located at 1770 Village Place, San Diego, California, I, nevertheless, found myself standing in the English countryside gazing at hillside villages and the black faces of fluffy sheep meandering there.

I felt transported, as if I had stepped through a time warp onto a winding country road in the Yorkshire moors, and I easily believed that I had always been there! This English born artist who now lives in San Diego, California and specializes in watercolours of English and European countrysides, had magically transported me to a land of fairy tales and "Little Bo Peep". What a lovely sorceress is Katy Reeve-Weesner...come disguised as a painter of "Journeys".

Another amazing thing about Katy is her avid dedication to sketching. It is, in her opinion, the key part, and one of the most important elements, in the creation of her paintings. Year after year, Katy fills sketchbook after sketchbook with drawings and notes from her travels. I have to admit that I was truly amazed and thrilled by the six or seven sketchbooks that were on display in a glass case during the show. Page after page of countryside scenes, Parisian cafes, people and animals beckoned the visitor through the glass. The sketches, (really, complete renderings) accompanied by flowing script, fairly tumbled from the pages and could easily stand alone as art. Katy told me that this year alone, she has already filled two sketchbooks and is working on a third! (All, by the way, filled within a three-week period). This year her sketching covers scenes in Savannah, Charleston and England. Wow! Those fingers are certainly not sitting idle. Sketching is a form of poetry all its own. And, Katy Reeve-Weesner is as poetic as they come.


"Poetry" that caught my eye at this exhibition included small miniatures where the scene flowed out of the frame of the painting and overlapped the mat board. As with "Boscastle", a 12" x 14" painting in which seagulls circle a harbor nestled in a hillside village. The gulls actually fly out of the painting onto the surrounding mat board, giving another dimension to the composition. Another piece that I admired was "Castleton", a painting depicting a lovely rural village with narrow streets and a black cat slowly traversing its course, all surrounded by rolling hills. "San Toma" gave me a glimpse of the canals of Venice where two gondolas carried passengers along the quay, and "Burnmoor Sheep" portrayed sheep in a meadow above a country village. My favorite of all in the show was, "Long Lane Sheep", (my Little Bo Peep transport) set in the Yorkshire countryside where black faced sheep mill about on a winding road, that runs through an English village reminiscent of Katy's childhood.

At the gallery, Katy explained to me that she started very young in her studies. Her great-uncle, and mentor, took her on many plein air outings with their sketchbooks well in hand. Drawing was adamant, the key to successful painting. It was everything. Later, she attended art college for five years and is a graduate of London's Central School of Art. Katy says, "it was an intense submersion", where once again drawing was adamant. Well, Katy, after meeting you and seeing your show, I'd say "mission accomplished"! As for the great-uncle ... You done him proud, Katy.



"Long Lane Sheep", Watercoulor by KATY REEVE-WEESNER
IMAGES ARE COPYRIGHT PROTECTED

Katy Reeve-Weesner, the English-born artist, lives in San Diego, California and can be contacted through her website: www.katyreeveweesner.com.


Written and posted by Cassandra Shepard, Studio 32
text and content copyrighted, 2010, all rights reserved

"The REAL Life of Mannequins" revealed at Gallery 21

"Mannequins", digital art by JANINE FREE and GUY MAYENOBE

Hello All.

A new and innovative digital art exhibit has arrived at Gallery 21 in Spanish Village Art Center located in beautiful Balboa Park. It is dubbed "The REAL Life of Mannequins". The show is being "revealed" by Janine Free and Guy Mayenobe as "a digital art exhibit on metal and paper" from September 29 - October 11, 2010. The exhibit will be open daily from 11:00 to 4:00 p.m. at 1770 Village Place, San Diego, California 92101. Opening Reception is Friday, October 1, 2010 from 6:00 to 9:00 p.m. featuring music by the jazz band, "Endangered Speciez". Janine and Guy, ever the enthusiasts, are also throwing a Closing Reception on Sunday, October 10, 2010 from 11:00 - 3:00 p.m.

Of the show, Janine says, "that she and Guy have two radically different ways of unveiling mannequins". And, why not? We've all heard, "Beauty is in the eye of the beholder". Why not then, perception? Janine Free is capturing reflections that look digitally manipulated, but are not, and Guy Mayenobe creates images that look real but are fabricated". Now, I tell you, that notion alone has "captured" my attention, not to mention the images that Janine kindly e-mailed me for the show's poster bill. Grab your "glad rags", "free your minds" and "surrey on down" to "The REAL Life of Mannequins", folks! I promise you won't be bored!

On the contrary, Janine Free and Guy Mayenobe are absolutely set on "expanding your horizons" and "blowing your minds"! And, here you thought mannequins were just inanimate plastic with no REAL life of their own. Well, trust Janine and Guy to "unveil" the (shhhh-hhh) truth about mannequins!


"Olive Oil", by french artist, GUY MAYENOBE
IMAGES ARE COPYRIGHT PROTECTED


I'm back from the "REAL Life of Mannequins" opening reception, and what an experience! The art was fantastic, the music mellow and the banquet bountiful with an atmosphere reminiscent of "nights in Parisian parlors where art, wine and colorful conversation flowed into the wee hours of the dawn", or at least what I imagine it was like back then. Guests mingled and moved about the exhibit, some awed and silent, some verbally animated, but all wearing huge smiles and sparkling eyes. One simply couldn't help but smile and express wonder in this amazing show.


Well, it appears that the "truth about mannequins" is, perhaps, that there is no one "truth" which describes the mannequins that appear in this unique exhibition. True to Janine's description, she and Guy do have a totally different perception as they reveal their subjects and, therefore, an expression each their own.

Janine Free's mastery of her subject matter is based on reflected imagery and the play of light off of surfaces and glass. Everything that is seen in her photographs is actually in the scene she originally shoots. There are no "embellishments or digital additions" in Janine's images. Carefully and creatively manipulated, the many layers of images that one perceives in her photos have been exaggerated or diminished, moved forward or into the background to create the effect that she wants one to see. Janine takes only one photograph in her process, and then skillfully creates an image that gives the viewer the impression that she has superimposed several photos over top of each other. Oh, how "not so"! Clever girl, that Janine.

Guy Mayenobe enhances and transforms inanimate plastic or wooden mannequins into human like forms by blending eyes and lips from "real people" into the digital images. Sometimes the subjects looked like mannequins with human eyes and lips. Other times, when I thought the mannequin was a real person with implemented lips, it was just the opposite. The resulting photographs were mesmerizing and mind bending. I felt a kind of "hypnosis" when I stood looking at Guy's images, slightly disorientated and unable to pull my vision away from the eyes of the figures. I got a feeling of drifting, being "drawn in" to the photographs, and then of suddenly regaining awareness and shaking myself to return to a sense of reality. I kept expecting the mannequins to actually speak. Simply, mesmerizing, Guy!

I have always found it intriguing to listen to the conversations of visitors at any art exhibition. This exhibition was no different. At one point, as I sipped my glass of white wine, one visitor asked me if I knew which of the crowd were the artists. I answered, smilingly, and pointed out Janine and Guy as they spoke with the guests. They were both, winningly, humble and soft spoken enjoying their interaction with the visitors as much as the guests enjoyed meeting them. The guest that I was speaking with expressed, "I would have expected a much younger woman as the photographer, given the subject matter in the photographs". I quickly retorted, without hesitation, "Ahh, but, they are French you see",(including Guy in the description). "Their minds and spirits are forever young and fashionable"! The visitor smiled broadly, and said, "Oh, that's how they do it". I sighed a joi(full), "Yes"! We both smiled even wider, if that was possible, and turned to admire "Olive Oil" as she gazed back with a "revealing eye"!

Hold that thought...pose...thought! You know what I mean. Ever see a mannequin that wasn't posing? I guarantee Janine Free and Guy Mayenobe haven't. Strike a pose and "Vogue...Vogue...Vogue"!


Written and posted by Cassandra Shepard, Studio 32
text and content copyrighted, 2010, all rights reserved

Kathy Ruiz, "Ewe Just Gotta Spin"!

Hello All,

Heads up to all of you Wool Lovers out there. "GOTTA SPIN, GOTTA SPIN ...GOTTAAAA SPIN! Hey, Gene Kelly hasn't got anything on me, or maybe I should say on, Kathy Ruiz! Kathy is one of the best-kept secrets in Spanish Village Art Center! Well, maybe not anymore. Not if I can help it. "Front and Center", Ms. Ruiz. You're about to be discovered!

Kathy Ruiz, of studio 19, dedicated mother, rancher (sheep, that is) and spinner par excellence! How's that for an intro, Kathy? You have earned it, my friend. Talk about, "You've come a long way, baby"! "No brag ... just facts"! Honored guests and visitors, "I beg to put before you, Kathy Ruiz". Okay, folks, all quips and quotes aside, let me astound you with the story of Kathy Ruiz and Irish Rose Yarns.

"How many skeins would a spinner spin, if a spinner did spin wool"? Who cares how many? It is the amazing process by which she creates the yarn that fascinates and confounds the imagination. Not only does Kathy spin, but she and her four children birth, raise and shear their own sheep and goats to harvest the magnificent wools that she processes, and then spins into these amazing natural and colorful hand dyed yarns.

"Live, from Spanish Village Art Center, it's Ms. Ruiz and Irish Rose Yarns"! I first met Kathy three years ago when she came to Spanish Village Art Center. Her daughter, Rose, had just juried into the Village with her painted feather art. Kathy accompanied Rose on her days at the Village, and immediately took to the atmosphere of our art center. Their enthusiasm for our organization and their pleasure at becoming a part of Spanish Village was apparent from the start. (Not long after, Kathy juried her yarns and spinning crafts into Spanish Village Art Center with strong encouragement from many of our members.) Kathy, Rose and the rest of the family soon became familiar faces as they settled into the pattern of the Spanish Village Art Center "quilt". (Oh, incidentally, Kathy is also an enthusiastic quilter).

On my jaunts about the Village, I noticed Kathy sitting outside the studio "carding" or actually hand sorting and separating wool from a small basket on her lap. Always friendly and open, Kathy looked up from her work when I paused, mesmerized by what she was doing. My curiosity was immediately piqued; I was intrigued and we began to chat. Kathy regaled me with the story of her "love affair" with wool which soon led me to the history of her home aka sheep ranch, the very unusual lifestyle that she and her family live, and to the discovery of Irish Rose Yarns.

Well, I'll tell you, it didn't take long for me to become a devoted buyer of Kathy's magnificent yarns and roving. As I said, I was immediately intrigued..."hooked" is a better way to describe it. I have been collecting her yarns ever since, and have quite an assortment in my yarn bin. I have been felting for over three years, and recognized the potential for Kathy's yarn in my work. The "naturals" are warm and earthy as well as iridescently white and silver. The "hand dyed yarns" are pastel to brilliant with a wonderful spectrum of colors to choose from. Although, I am a "full color" enthusiast, Kathy's natural yarns tug at the "nature" part of my creativity, and I continually gravitate to these yarns (the angora in particular). Oh! Shades of Arlen...and now there is Seamus, too. (Father and son - Angora style). Both goats (yes goats) are mixed with white and silver locks and are absolutely "fabulous"! So, extraordinarily soft and glowing! But, let me contain my enthusiasm for a moment and go back to the beginning: How Irish Rose Yarns came into existence.

The Irish Rose saga started quite simply and practically. Kathy and her family owned a sizable ranch with a lot of wild brush; and it soon became necessary to purchase two Shetland sheep to eat the brush, and, thereby, keep it under control. Simple, right? Maybe. After a period of time, Kathy needed to shear the sheep, and discovered she had a massive amount of wool fleece on her hands. Now, the problem was what to do with it! So, Kathy started to read about wool and spinning, which led to creating yarns, and then to learning to knit. So on, and so forth!

In her own words, Kathy, "was hooked"! She first dedicated herself to creating clothing and accessories for her family...whatever they needed to keep warm. Functionality first. But, then imagination took hold, and it wasn't long before her curiosity and love for the craft took complete control of her consciousness. One idea led to another until Kathy was soon shopping for more sheep.

The sheep community is friendly and supportive, and several ranchers were delighted to help Kathy learn about and acquire more sheep. At one of the ranches, a particularly friendly little "sheep" intrigued her each time she and the family visited. He would always stand at the gate whenever they came, and greet them enthusiastically. When Kathy inquired about him, she was told that he was actually an Angora goat. She was in love! The rest is history, as they say. Now she would add the lustrous soft fleece of the angoras to her repertoire of Shetland wools. Irish Rose Yarns was growing by "leaps and bounds! No pun intended.

By now, Kathy was well on the road to marketing her own yarns. She decided to dub her line, "Irish Rose" because her very Irish father always sang, "My Wild Irish Rose", when she was a girl. (Good thing, too). Starting with the naturals, Kathy soon delved further into coloring the fleece with natural and fiber reactive dyes. She sometimes uses grasses and other intriguing natural substances to achieve remarkable earthy colors. The spun yarns range from standard size and shape to creatively bumpy and twisted blends depending on the type of wool that is used.

This is "Fern" before she is sheared with a "little bit of fodder" to help the shearing "go down".

To me, the most remarkable thing about Kathy is how she processes the wool. It is an intensive labor of love, determination and resiliency. Taking into consideration the amount of work and strength it takes to shear the sheep, harvest the wool, clean and dry it, and then spin it into yarn, I am nothing less than amazed that someone the size of Kathy Ruiz can accomplish this. Of course she has plenty of help from Rose, her daughter, but, neither of them is Charles (or I should say, Charlene) Atlas! This amazing woman deserves an Oscar!! Kathy will just demur and modestly say, "I do it because I love it". "I just love it"!



Kathy and "Fern", during and after the shearing. Fern is a "bountiful harvest". She yields five whole pounds of fleece each time. Not Baaaa-aad!





BAAAA! BAAAAAAAAAAAA! Hold the bus! Arlen, my favorite little angora goat, is stuck in the fence again! Better go and give Kathy a hand! Stay tuned!


Okay, I'm back, and Arlen is none the worst for wear.  He is very inquisitive, though, which keeps Kathy on her feet.  You know how babies are (Don't laugh.  Arlen still thinks he's the baby!).  Can't wait to get my hands on more of his gossamer locks.

 As I was saying, Kathy's diligence is nothing short of miraculous.  She produces an amazing array of hand spun fiber, as well as some intriguing knits for the enthusiasts' delight.  You can see her yarns, hand knit caps and fingerless hand warmers several days a week.  She, Rose and Lily highlight the patio at Spanish Village Art Center, where they set up their display near Gallery 21.  Kathy's creations are earthy and spontaneous, but the intricately patterned knit work is, surprisingly, done by young Lily, whose stitches have the intricacy and perfection of a knitting machine.

Kathy and Rose are partners in Studio 19, and you can see their work daily at the studio.  Rose paints miniatures on the feathers from her exotic chickens, and recently has added oil and acrylic paintings to her repertoire.  Lily can often be seen and heard about the Village playing original and traditional compositions on her dulcimer.  They are a creative family, and add a great deal of color to Spanish Village Art Center. 

Kathy Ruiz' love for her family and her spinning is apparent.  She is completely connected to the earth through the outpouring of her craft, and dedication to this connection.  Her Irish Rose Yarns and her family are a testament to this dedication.  And, one must remember, always, that she does it simply because she, "...Loves it.  She just Loves it".



Written and posted by Cassandra Shepard, Studio 32
text and content copyrighted, 2010, all rights reserved

East County Art Association "Brushes" into Gallery 21

"Dances with Eagles", original oil painting, by MIKE WATSON
IMAGES ARE COPYRIGHT PROTECTED

Hello All.

If ever you've had a "brush" with art, or just wanted to pick up a brush and try your hand at painting, the East County Art Association is the organization for you. The association is hosting its 2nd annual show, a "Juried Member Appreciation" exhibition at Gallery 21 from September 9 - 13, 2010. The exhibit is open daily from 11:00 a.m. to 4:00 p.m. to all visitors to Spanish Village Art Center and Balboa Park.

This year's show was juried by Drew Bandish, a San Diego artist and educator who currently paints in watercolor and pastel. Drew earned his Bachelor of Arts in Painting and Printmaking at San Diego State University, and since 1987 has offered art classes in Adult Education and Community College continuing education programs. Of himself, Drew says," I especially enjoy the process of watercolor painting...creating exciting personal color by mingling watercolor paints on the page.

Let's see now. Who are the "artists" that make up the East County Art Association? In 1976, a small group of artists met to form an organization with goals to promote friendship and fine art appreciation in all visual media. Since then, they have become a nonprofit organization in 1986 and have grown to become one of the largest and most active visual arts organizations in the East County of San Diego.

The East County Art Association boasts over sixty plus members and meets on the second Monday of each month at Rancho San Diego Library. The public is invited to attend and consider membership. A diversified membership, the East County Art Association welcomes all media and levels of accomplishment which includes talented beginners as well as professionally accomplished artists. Claire Peck is current President of East County Art Association.

The 2nd Annual Juried Member Appreciation Show of the East County Art Association certainly has a wide variety of artists and media. Media entries range from pencil to pastel to acrylic, watercolor and oils. The age range of the members is from youth to a "whopping" 90 years old! In fact, one of the most amazing and revered artists in the group is 90 years old, Phebe Burnham! Phebe took 1st Place this year for her pastel drawing of "Assistant Band Leader", showing a young girl in her "bandleader" garb. That just goes to show that you are never too old to "strut your stuff"! Huh, Phebe? "You go, Girl"!!

As much as I was charmed by Phebe's 1st Place winner, I was, nonetheless, completely captured by her pastel of "Swan Lake - Here I Come", a captivating portrait of a precocious "pre-prima" ballerina, bedecked in lacy chiffon with a strand of pearls (obviously her mother's) pinned in a ring around her head, gazing at her image in the mirror. On her left wrist is a bracelet of pearls to match the "crown" of pearls in her hair. The image that one sees of the young girl is from behind poised in front of the mirror.

Immediately, I surmise that she is playing "dress up", and think, "Ah, how lovely".
But, it is the expression on her face in the mirror that stops me in my tracks. The precocious minx is very much aware of who she is and where she is going. (Hence, Phebe's title of Swan Lake - Here I Come). Standing behind Phebe's little swan is a doting mother (shown in reflection) who undoubtedly supports her daughter's dream. But, it is the child's own "vision" of affirmation and recognition, clearly portrayed in her expression, that enraptures. Looking at her, I have no doubt that some very fortunate ballet company will one day boast of this little swan's miraculous performance on the grand stage. Now, folks, I ask you, "How about that for "emotional evocation" in a painting by a 90 year old master"? I think Phebe is "Fierce", don't you?

Not to go unsaluted are the other Award Winners of this year's exhibition. They are 2nd Place Winner, Claire Peck for her watercolor, "Scoutin' Scouts", and 3rd Place Winner, Mike Watson for his oil painting, "Dances with Eagles".

Honorable Mention went to Pat Yeakey for, Seaworld Pals", mixed media, L.J. Crowe for "The Hunter", eggshell mixed media, Gale Vavva for, "A Way Out", mixed media and Elsimae Cleeton for "Arizona Storm", watercolor.

Although, he did not win an award this year, I was particularly taken with a work by Jorge Leon. His acrylic abstract, "De Projundis", meaning deeply profound, was a wonderful contrast to the realism of the other paintings in the show. A perfect mixture of bright colors and white space, this painting lured and held my attention for a long time. I have always found in my own painting that if I can turn the canvas in any direction, and find no "void" (space without meaning, movement or place), then the artwork is complete and successful. "De Projundis" gave me that sense of balance and completeness expertly rendered, and I would like to commend Jorge for its birth.

And, the praise would not be complete without a salute to Spanish Village's very own Dr. Jenny Ferrone, of studio 37, for her participation in this year's show. Jenny had two paintings accepted in the exhibition, "The Pond" at Lake Murray and "Sunflowers", both oils. "Way to go, Jenny"!

Congratulations to you all, and see you next year. In the meantime, "Brush On"!


IMAGES ARE COPYRIGHT PROTECTED

The East County Art Association may be contacted at P.O. Box 148, El Cajon, California 92022. Or, look up their webpage:http://www.eastcountyartassociation.net.


Written and posted by Cassandra Shepard, Studio 32
text and content copyrighted, 2010, all rights reserved

Now Showing: Yumi's "Symphony of Light"

"Symphony of Light", by artist YUMI
IMAGES ARE COPYRIGHT PROTECTED

Hello All,

Yumi returns to Gallery 21, in Spanish Village Art Center located in beautiful Balboa Park, for her annual exhibit. The show runs from August 18 - August 30, 2010, at 1770 Village Place and is open from 10:30 a.m. to 5:00 p.m. daily.

Already familiar with Yumi's beautiful paintings, which consummately reflect an inner part of her being and an eternal spiritual awareness, my attention is drawn immediately by the title of her new exhibit, "Symphony of Light". Taking into account her Japanese heritage and the title of this new show, I assumed there might be some connection between Yumi's new exhibit and a recent showing of the "landscape" kimono of Itchiku Kubota (also entitled "Symphony of Light") at the Timken Gallery and San Diego Museum of Art. Clearly, one should never "assume" anything about "Yumi" for her vision is, uniquely, her own.

Born in Tokyo, Japan, Yumi studied under Ukai Uchiyama, Japan's master watercolorist. While she was a student at KEIO University, Yumi illustrated children's magazines and books. After graduating with a BFA, she studied at the Academy of Arts College in San Francisco, California. Her creative and artistic credits in the U.S. span a period of years from 1985, (when she moved from Holland to San Diego, California), to 2010 and her current exhibit.

Included among these credits are a video, "The Colors of Yumi"; paintings on the cover of SEIKEI KAISHI magazine, (1994-1996); 2005, a Tokyo exhibition, "Light, Tokyo-Holland-San Diego"; awarded the Key to the city of La Mesa for her outstanding teaching contributions; 2006, wrote for ARIKA magazine in Japan; completed Public Art for the City of La Mesa and SDSU Business District; 2009, featured in "Light House magazine, Japan"; 2010, "Symphony of Light" exhibition at Gallery 21.

There, now. That is the expected, the obvious image one might have of Yumi. That is the "Yumi" on paper. What I want to share with you all is the true "essence" of Yumi. That special "something" about her. There is an integral "spiritual" quality that surrounds Yumi. One cannot be long in her presence without sensing it. Her aura exudes it, her smile confirms it and her paintings evoke it. I give to you the word that I think best describes it... "Light".

And so I come to the true nature and impetus behind Yumi's creation. Perhaps, the key to the titling of her latest exhibition is "Light"... Light, actual or subliminal. Light of day or night, light seen or imagined. Light that evokes emotion or the silence of reflection... reflection of the color spectrum or the soul. Light that nurtures and sustains. An awakening to and movement "Toward the Light". This is a recurring theme in all of Yumi's work. Her past three exhibitions have all dealt with this subject matter. "Light", "Night and Day" and "Toward the Light". All of which have brought her to the current exhibit, "Symphony of Light". Of her exhibition, Yumi says, "If you find the LIGHT from my painting to uplift your spirit, I would be happy and content".

I step into Gallery 21 and the sound of a ukulele softly strumming "Somewhere over the Rainbow", by Israel Kamakawiwo greets me. As I move among the paintings, I am made aware of the importance of light in all of Yumi's compositions. Central to the exhibit is her "Symphony of Light", a golden painting depicting a string trio of violin, cello and guitar accompanied by a pianist, and watched over by an angel of Light floating high above them all.

Moving through the exhibit, I am keenly aware of the many ways light plays a part in Yumi's vision. Light as seen in "Morning Light on the Prado", or in "Backstage 2", a lovely painting that captures an actress, beautifully coiffed with her hair piled high on her head, looking out of a window at the street scene below. Similarly intriguing is "Music Break" depicting a guitarist perched on a stool, where rays of warm golden light pour through a window, and an over sized cat lounges in the glow on a window seat. Circling back to the front of the gallery, I encounter a painting entitled, "White Swans". Looking at this mystic swirl of white and yellow light that surrounds three white swans, juxtaposed by aqua and blue-green shadows, I am captured by the movement and luminosity created by Yumi's brushstrokes and minimal use of color.

Yumi says, "The art exhibition, "Symphony of Light" is dedicated to my parents and Zazuko for their Love and Wisdom". Not a surprising sentiment coming from such a rare soul. At one point during my visit, I overheard Yumi explain to another visitor that, "My paintings are like my children...when a customer comes and asks to see my old paintings, I get very emotional". All in all, I would say a visit to "Symphony of Light" is an emotional one. It is a "tale told by a beautiful spirit, full of light and movement".

Standing in front of the painting, "Symphony of Light", one can view a quotation mounted on the wall. It goes, "Like the sound of river, Symphony fills the air with the sound of legato and staccato, blessed by the light of heaven".

I will leave you with those thoughts. (FADE TO: The dark of day as the brilliance of moonlight rises). Ask Yumi. She has a secret of Light to share with you.

"White Swans", by artist YUMI
IMAGES ARE COPYRIGHT PROTECTED

Yumi Climenson lives in La Mesa, California and is an accomplished oil painter. She may be contacted at yumiart@juno.com or through her website: www.yumi-art.com.



Written and posted by Cassandra Shepard, Studio 32
text and content copyrighted 2010, all rights reserved