Archives for 2024 July-August Issue

‘I Love Beauty’

Larry Riley pulled back a bit from painting a few years ago but he didn’t pull back from creating. During COVID, when galleries were closed, he turned away from his easel and began to make classical guitars. It wasn’t the first time during his 76 years on earth that he veered from the road he was on and let his curiosity lead him. He’s taken chances—and reaped rewards—by mapping his own route. In 1982, after spending nine years taking care of people’s teeth, Riley sold his dentistry practice and turned to fine art. Later, after spending about 40 years as
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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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Changing Lanes

Wyoming sculptor and painter, J. C. Dye, says an artist needs two lifetimes: one to master the art of sculpting and painting and another to reap some rewards. As a 76-year-old who has enough experience to fill at least two lifetimes, one reward is being recognized as one of the top sculptors in the United States. He’s earning kudos for his paintings as well, something he turned to when foundries began closing, and he found himself waiting up to a year to have a sculpture cast. Dye’s years as a rancher provided with him with intimate knowledge of the cowboy
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‘There’s a Method to My Madness’

Fruit, fabric, and flexibility are three key elements in the process watercolorist Chris Krupinski uses as she creates award-winning paintings in the studio at her home in Cincinnati, Ohio. Fruits—everything from Chinese lantern plants and clementines to grapes and pears—are the focal points of her vibrantly colored paintings. Fabric—in the form of quilts—add interesting shapes and shadows, as well as texture that differs from other items in her compositions. Flexibility enters the picture as Krupinski composes her paintings. “I love the flexibility of being able to create my own designs,” she says of the still life paintings that have earned
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A Noble Pursuit

Amy Lay admits that it took her a few years to recognize the value of the art degree she earned from Eastern Oregon University in 1994. At the time, most of the faculty members were interested only in abstract art and didn’t appreciate her passion for wildlife and nature. Since those were the only subjects that interested her, Lay often felt that her instructors snubbed her. But there was one professor who encouraged her to take the time to explore and to develop her own style. Thirty years later, the style that emerged from that exploration has become the hallmark
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The Studio of Joseph McGurl

Just off Upper Cape Cod, Massachusetts, is a small stretch of land called Amrita Island, where Joseph McGurl has lived for almost 30 years. It’s also where he has his studio and paints landscapes of both the East Coast and the West Coast. That stretch of land has a history as colorful as McGurl’s paintings. In 1867, British immigrant Thomas Baxendale and his wife Esther purchased the land and built a mansion and several “cottages.” Those structures housed visiting scholars from Harvard University, who would present seminars on world peace, children’s issues, animal welfare, and other concerning topics. Today the
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Living Her Dream

At this year’s Art of the Cowgirl event in Queen Creek, Arizona, Chinese-born still life painter Yun Wei earned the title of Reserve Champion of the Quick Draw—a competition in which artists rapidly complete a painting on-site. Her winning piece features an intricately detailed leather saddle, the sort of subjects she has fallen in love with since moving to California more than a decade ago. “When I began painting Western subjects, I posed a saddle on the table, and a gallery owner told me not to do that,” Wei recalls. “She said, ‘You can put it on a trunk, or
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