Many artists, when asked how they got started, will cite a parent or teacher who encouraged them, an artist they admired—someone who guided them to their vocation. For Western oil painter Jason Lee Tako, all of these influences played a role, and he is generous in giving credit to everyone who supported him on his journey. But, when he recounts his foundations, it’s clear that his first and best inspiration was nature itself and the simple act of sketching what he saw in the woods. “Growing up in rural Minnesota, I would get up at five in the morning and
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Posts by Clover Cameron
Born to Be an Artist
“I like to live as much of what I’m going to paint as possible, so I do a wagon train every year,” says Sandpoint, Idaho-based oil painter Julie Jeppsen. She doesn’t mean that she paints a wagon train every year; she means that she organizes and directs an entire real live wagon train—and then she paints it. “We live out in the wagon, with a team of horses pulling it,” she says. “My kids are all involved in it, and so are my grandkids. It’s an experience I can have with them. Last year, on our wagon trip, we had
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A Testimony to Her Art and Her Story
Kathryn Merrill has a lot going on right now, in both her life and her art. The accomplished Oklahoma artist, who brings ranch scenes to vivid life with colored pencils and oil paints, is in a particularly vivid period of her own existence. During the past year, she married Sid, who works in the oil and gas industry, and became a stepmother to his two children. “I’ve had a huge life change,” she says. “We have four children between us. We probably moved pretty fast [on marriage] because we just felt like we had to have things in place to
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Cowboy Storyteller
“I need a wife,” laments accomplished New Mexico oil painter JaNeil Anderson. She is mostly joking; she has been happily married to her husband Walt for many years, working side by side with him on their cattle ranch beside the Gila River. But, as she notes, it’s not uncommon for the wives of male artists to take on much of the ancillary work that surrounds making and selling art: marketing, framing, accounting, and other supportive and administrative tasks. “My men artist friends all have wives,” Anderson says. “The wife does all the show entries and all the paperwork; the men
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It’s Never Too Late
Arkansas oil painter Brenda Morgan’s artistic life currently is a tale of two buffalo—or maybe three. “It’s a long, sad story,” she says with a sigh. “The painting I’m working on is actually a replacement for the Woolaroc/Women Artists of the West Invitational Exhibition in May. I had two buffalo that were going to be in it but now I’m basically repainting one of them, painting the same painting. I varnished it, the same way I varnish all my paintings; I’ve used the same varnish for years. I don’t know what happened.” The varnish, Morgan says, got “a little weird.”
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The Studio of Gladys Roldan-de-Moras
Magic can occur anywhere. Take, for instance, a busy street in San Antonio, Texas, with five lanes of traffic rushing past a bustling neighborhood of restaurants, doctors’ offices, and an upscale grocery store—where the businesses give way to residential blocks with a sleek, white, modern house that sits behind a cinderblock wall. Unlike the surrounding houses, this one doesn’t sit neatly parallel to the street; it’s at a noticeable slant, facing squarely north. To step through the gates and into the foyer is to step into another world. The rear wall, composed of 15 five-by-seven-foot windowpanes, stretches up, embracing the
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Striking Gold
Harper Henry sees gold in everyday things, both figuratively and literally. Her stylized and visually rich depictions of animals and other Western subjects, some of them set against backdrops that incorporate materials such as gold leaf, represent the creative product of someone who is continually collecting and sifting through the things of day-to-day life, as she searches for a telltale glint of something precious. She’s always on the hunt for the proverbial flash in the pan—an expression that had its origin during the Gold Rush, a formative period in the very landscapes that inspire her art. “When an artist is
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Visual Diaries
“I spent my childhood on the East Coast, but I think I grew up here,” says Western oil painter Scott Yeager. Here refers to Woodland Park, Colorado, where Yeager and his wife Marie have made their home in the shadow of Pikes Peak for the past 15 years, but he could easily be referring to the West as both specific geography and more abstract concept. He’s come of age as an artist in the sagebrush, beside the rivers, on the flanks of the mountains. He’s camped and hiked, he’s hunted and fished, and all of his experiences in nature have
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Big Vision, Big Energy
To truly appreciate a piece of Brenna Kimbro’s art, you first have to back up, way up, taking in the full scope of the thing. Then you have to get up really close, cheek to jowl, observing the fine details that comprise the entire creation. Zoom out, panning from nose to tail; zoom in, picking up the dancing of hooves, the flare of a nostril. These paintings and sculptures, many of them larger than life, are the work of an artist who clearly has no reservations about taking up space. “My tendency is to make things enormous,” Kimbro says. “I
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‘The Harder You Work, the Luckier You Get’
“It’s another day in paradise,” says sculptor and gallery owner Ken Rowe, savoring his view of Sedona, Arizona’s, snowcapped mountains. “We’ve been here 28 years now, and I never tire of it.” A self-described Arizona boy through and through, Rowe was born in Phoenix to an electrical engineer and an amateur painter—a combination Rowe credits as foundational to his art. “Growing up, without even knowing it, I had this wonderful influence of the mechanical aspect of life through my dad’s career and the artistic pursuits from my mother’s side.” Although his mother never made a career of her painting, she
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