1) Tell us who you are and what you do. I grew up on the beach and have been an artist ever since. I’m a figurative artist and my work explores light, love, and appreciation. 2) When did you first become familiar with Ayn Rand and her works? When I was 19, my sister Janet—a …
“Lynia” is my first and so far only sculpture. It is dated circa 1978 maybe 1979, I would have only been 22 or 23 years old. I sculpted it at the Free Academy Psychopolis in The Hague, Holland. It was a marvelous school, no teachers! They had models everyday, all day, and they had facilities for printmaking, sculpture, and life drawing sessions. I did this as an exploration to see if I could do it. Even today, I think “wow, this is really good look at that ear!” Even more remarkable is I was never taught figure in drawing, painting, or sculpture–my 3 years of fine art at USC, didn’t teach the figure. They just left us to our own devices and played with postmodernism.
30,000 years before there was religion, before there was writing, and 33,000 years before philosophy there was visual art—the first and most important step in humankind’s evolution. With the pull and roots so deep anyone touched with the art gift feels a calling that only death can extinguish. It is a sacred calling holding the weight of humanity’s wellbeing and hope.
Icarus: How Visual Artists Such as Myself and Bryan Larsen Steal, Borrow, and Originate
The following paintings are all about the individual exploring themes of discovery, exploration, joy, contemplation, contentment, creative focus, being beautiful, pride, acceptance, giving, gratefulness, appreciation, confidence, intention, litheness, and exaltation.
Newberry discusses the influences of Vermeer, Rembrandt, and Michelangelo in his current work in progress.
As a neo-romantic artist/painter I felt terribly alone and disgusted by Duchamp’s art world. Yet, these wonderful recordings and hundreds more kept me motivated, sane, happy, and ready to take on the greatest challenge to an artist: to celebrate personal and human evolution. Thank you.
I use drawings to accomplish something specific. In John’s Sunset I prepared for taking along as it would take to fully explore the loss of my brother. If I only have 5 minutes I might only concentrate on line, shadow groups, or gesture. But whatever I am focused on it is to do or learn something new.
As soon as the first artists started painting real things like horses on two-dimensional cave walls there was a paradox that it was a lie and a truth. The advantage of being able to work with radically different color schemes gives the artist more emotional range and visual options. And it gives the viewer more to look for in the world around them.
When I am teaching workshops there is always plenty of time to compose the work, it is the set up before the rush begins. In the following tutorials I show some issues you can focus on as you are mapping out the composition of your painting.