"Gator 5" 22" x 30 " Original Watercolor $2000.00 giclee $200.00 “Finding subject matter that is exclusive to your own environment may require an excursion and some exertion, but it’s well worth the effort. “ Kathleen Maling
"Gator 10" 22"x27" Original Watercolor $2,000 giclee $200
“Among the artists who have influenced my work are Max Beckmann, Romare Bearden, Eric Fischl and Alice Neel. The manner in which Edward Hopper captured, say, the way light falls on a wall is a lesson I incorporate in my work,” says John Selleck. A resident of Beverly Hills, California, Selleck received his bachelor’s and master’s degrees in fine art from the University of California, Los Angeles. He went on to teach art in Los Angeles County secondary schools for 34 years. He’s additionally authored or co-authored four art books geared to secondary school students (Davis Publications). Selleck’s Giant TV and Sleeping Figure is a winner of Collage Artists of America’s top award. The artist’s work can be found in many prestigious collections. art books TV
Room in Soft Light (mixed media, 12x9) “The idea I try to create initially is one of a believable, ordinary scene, I like when someone re- cognizes, “Oh, there’s a figure in that room.” But then as the viewer continues to look, the scene becomes quite mysterious, and maybe even haunting; it shifts into something other than what it is.”
Artist in Studio (mixed media, 12x9) “Distorted space can suggest an extreme state of mind or the normal realm of dreams.”
Bedroom in Soft Light (mixed media and collage, 12x9)
A Model in the Studio (watercolor, acrylic and collage, 9x12)
Bedroom Mirror Reflections (watercolor and collage, 12x9)
It is human nature to search for an individual connection to the landscape. My work is an investigative study in ideas of place and location, and how we as humans interact with a specific locale. I believe it is the small details, like a spill of liquid or the crackling of paint, that define a location. By these traces and residue, evidence remains of human existence and the passage of time. With my paintings, I am creating a new kind of map, a map that documents this interaction.
“When I’ve been looking at a subject for a long time, my eyes get tired and I don’t truly see it anymore. Flaws are more obvious when you look at the painting with a fresh eye. Sometimes I’ll even turn the painting upside down, which dissociates me from it so I can check for the right volume, form and dimension.”
GAME POINT JOEL 2005 Oil on canvas 24 x 18 inches
THE TEKESTE CHILDREN 1998 Oil on canvas 50 x 60 inches Private Collection
KATY'S SONG 2001 Oil on canvas 24 x 30 inches Collection of the Artist
JANICE JETER 1999 Oil on canvas 40 x 30 inches Private Collection
PORTRAIT OF THE ARTIST'S WIFE, LINDA 1982 Oil on canvas 24 x 20 inches Commitment to realism combined with a layering technique for luminous color imbues Kirk Richard’s oil paintings with beauty harmony and order.
ABREHET TEKESTE 2002 Oil on canvas 40 x 30 inches
THE SCULPTOR 2004 Oil on canvas 40 x 30 inches The Collection of the Amarillo Museum of Art
“I read poetry every day. And I read the same books over and over. Being a painter carries certain cultural responsibilities. Once you are given a voice, you should feel a responsibility not to pollute your culture, but rather to contribute something of value.”
Often his ideas cause Fantazos to immerse himself in the environment he intends to depict, “poeticizing this situation.” He’ll make notes from researching a subject, gather props and engage models. (When I spoke with him, he was in the midst of plans for his “Tupelo honey” trip, busy examining various beekeeping uniforms—and even considering creating some of his own uniforms that would be “somewhat unreal and fantastical.”) He explains, “First I have the idea; then I invite the world in.” Fantazos views painting as “a wide open gate for getting acquainted with the world with a new poetical enthusiasm.”
“Tupelo honey” A rare, ambercolored fluid, Tupelo honey is made from a gum tree that grows in northwest Florida.