November 20, 2014

Everyone, Meet Lindsey

Hey, there. Everyone doing well?

Lindsey Kustusch profile picI'll keep the intro short. This week we bring you a Q&A with Lindsey Kustusch. You can read her bio on her artist’s page. Lindsey's work has attracted a lot of attention in the three short weeks it's been here, and one of the first three pieces has already found a home. More are on the way.

Lindsey's been in Germany shooting photo reference for future pieces, and we expect some of that work will be possibly heading our way in the future.

Lindsey's work is a blend of the abstract and real, of soft textures and sharp lines, bold colors and subtle shades. We like it a lot, and we're proud to have her in the Gallery. 

Anyway, on with it. The questions and answers:

Why did you become a painter?

Ultimately, creating anything with my hands is what brings me the most joy in life. I like the physicality and spontaneity of applying what’s in your head to a raw physical form. I hoped I’d somehow find a career in art, but it wasn’t until long after art school and after a short career in animal welfare, did I realize painting was my ticket in. It started as a hobby and then once I realized I can actually make a living doing what I love, I found a whole new passion for the medium itself. There are endless possibilities with paint and very different directions you can take it. Unveiling those possibilities on my day-to-day continuously convinces me I’m where I’m supposed to be.

Do you have a philosophy that drives your work? 107097

These could be more “rules of the road” than philosophies I’d say, but … paint what inspires you and not what you think you’re supposed to, it’ll always show in your work. Seek inspiration through your peers, but always find your own voice. Remind yourself that most of the artists you idolize are sometimes more than twice your age, so be patient and stay focused. Remember to leave the house at least once a day. And don’t forget, you’re living the dream, so stop complaining.

You seem to switch from animals to landscapes to figures and back with no problem, and you do all equally well. Why and how?

I found early on that switching up the subject matter every other painting or so helped to keep me inspired, free-thinking and interested. Sticking to one subject for too long prevented me from taking risks necessary to grow as an artist.

Urban landscapes were the first genre of oil painting to completely blow me away and had me question everything I knew about oil as a medium, so without a doubt became the first of my challenges. I realized that once you break it down into simple geometric shapes and forms, there’s an endless freedom for personal expression in the urban environment. Hard, angular edges, sharp peaks against soft clouds, tight blocks of color stacked on top of one another; abstracting and breaking down the world as we see it into individual knife marks and brush strokes, satisfies a specific piece of the puzzle that no other subject can. Just the same as a figure or animal, but with an entirely different set of problems to solve.

By jumping back and forth, I’m able to stay fresh and forward thinking as to the overall direction I want to take my art. It helps to keep me focused and experimental. The animals allow me to use tools I would normally never use with a cityscape and the freedom to rest my eyes and get loose with the mark making. The figures depend upon a skill set required to accurately describe the human form, which is a challenge all in itself. Each of the subjects I paint serve a purpose in the creative process, and with each subject I hold a personal connection. In the end, my hope is that this will create an inspired, lifetime body of work.

What inspires you most?

That's a tough one. And I'm sure once I answer it, I'll think of something else. But overall, if I had to pinpoint what inspires me the most, it would be living in a city surrounded by creative, forward thinking people. I'm highly influenced by my surroundings, as we all are, so to be in the thick of it, and in a city that lends itself to the creative types is a constant motivator and daily inspiration.

How much do you consider the abstract elements of your work, or is that just a byproduct of your technique?

A little bit of both. I’m constantly fighting the tidiness of the painting, and where, when and what to abstract. Understanding something to the level where you can “playfully” break it down into simple shapes and colors and not create a complete mess, in my opinion, is a truly advanced skill and one that I’m continuously striving for. But I’ve come to realize with my own work, each painting is better left to reveal itself as it moves along, and there’s only so much you can push.

What kind of color palette do you prefer to work in? (Seems like you’re drawn to darker things … )

I guess I am drawn to a darker palette. There’s a richness in the darker pigments that strike a chord with me and seem to always draw my eye before a higher keyed painting. Also, I’ve always had a fear of making paint look “chalky,” and it’s very easy to do with a lighter palette. I like high contrast but lately I’m finding myself drawn more and more to those lighter, dustier, barely there colors, so who knows.

107098Why do you prefer to use palette knives and improvised painting implements?

I think it started with the fear of creating a lifeless, boring piece of art. Delicately blending pigment and lightly applying it to a canvas just wasn’t very much fun and I wasn’t very good at it, so long before I ever knew fine art would turn into a career I decided to start experimenting with the palette knife.

There was an artist in a gallery down the street from me at the time that treated his canvas like a cake. It was so satisfying to see thick, frosting like texture, bold, rich colors swirled together to form vibrant landscapes. He changed the way I looked at oil paint forever.

From there it’s just been a constant cycle of new inspiration, and new ways to experiment with achieving the end goal. When considering movement in an animal or the fog on a rainy day, soft and hard edges are crucial. Using tools that scrape the pigment across the canvas versus a brush have very different effects. Finding these effects with a constant rotation of tools is half the reason I love painting, and if the artist is inspired, so is the art she/he creates.

 What piece of art that you’ve seen recently blew your mind and why?

This past year I was able to see the Joaquin Sorolla exhibit that came through Dallas. Wow, that is the show to see. To this day I have not seen such skilled use of color up close as I have with him. It made me realize again how it important it is to try and see as much art as you can in person, because even the most precise photographs won’t do it justice.

Lindsey, who probably considers herself a Californian, spent a year living in Deep Ellum, Dallas, Texas. Call it her sabbatical.

What did you think of Dallas?

The hottest place I’d ever lived. But … besides that, overall it was inspiring. I’d say my favorite part of Dallas was Deep Ellum itself. The realness of the people who live and work there, the old warehouses and saloons nestled along the torn up gritty streets, and fact that almost every night of the week there were cafes, bars and venues playing live music was pretty incredible.

What’s the best part of being back in California?

I’d say being able to have the windows open year round. I live in Oakland, and since I’ve been back it’s varied from a pleasant 80 degrees down to maybe a warm 68 without a cloud in the sky. It’s absurd. So other than the weather being beautiful, San Francisco is one of the most inspiring cities I’ve ever lived in, so being a short 20 minute train ride away just feels right.


Weekly Updates

Not so long ago, we had one of Google’s official photographers come through and shoot the gallery. You can now, through the magic of the Internet, “walk” through the gallery. Check it out

And with that, we'll see you next week. Thanks for stopping by.

Oh, wait. Last thing. Jack says if you come in next Wednesday, Nov. 26, in your best pilgrim costume, he'll give you a 10 percent discount (excluding bronzes; no discounts on bronzes!). So ... think about it.

November 13, 2014


I wanted to open up with one of my dad’s classic off-color remarks. Instead, we’ll do it Mad-Libs style.

“We’ve been busier than a _________ (noun) in a ___________ (more colorful noun) contest.”

Share yours in the comments section below!

Anyway, we’ve been busy. I don’t know if you know this, but we had a big show last week. K. Henderson, Robert Caldwell and Paul Rhymer were in the house, and they brought the bad-ass art. Lots of it. And then while they were here, they made more.

Robert, K and Paul wondering what Paul is doing with that plaster mould.

And then, of course, there are at least four more pages in the Receiving Log.

You can always hop up to the top of the page, hover over “Artists,” and click the link for “New Works.” That is the easiest way to keep up with the new arrivals. But it does like my commentary, if that makes a difference to you.

It’s fun, after all, to talk about our new art and to make the proper introductions, when applicable.

Not sure if I got around to mentioning Nicholas Bernard, for instance. I don’t remember how we found Nicholas, but he is a colorful addition to the gallery in terms of work and personality. I mean, this is what he sent us for his artist bio pic: 


He’s been a potter for more than 30 years, and is still working toward being a master of his craft.  We might argue that he already is, but whatever keeps him motivated to evolve as an artist is fine with us. Welcome to the gallery, Nicholas.

In addition to Nicholas, a dozen of our artists have sent us new work in the last 30 days, a lot of it in the last two weeks. We received three pieces from Camille Engel, a couple from Josh George. There are three new bowls from Tim Yardic, and Claudia Patrick updated her entire portfolio for 2014. There’re two from Allison Cantrell and a new one from Todd Ford. Two from Terry Isaac. James Johnson unleashed his new abstract series last week, and Erika Pochybova sent us her first three-dimensional piece. Two new Scot Storm’s are hanging in the gallery, and there’s a cool wolf from Julie Bender you need to see.

All that and we’re not even talking about the pieces from the show.

Holiday Season

Ladies and gentlemen, I’m obligated by the Accords of Retail Businesses to point out that the holiday season is upon us. This year, we’re making a pledge. Though you may see bows and holly out in front of our shop, you’ll not see it on the inside. Nor will you hear any of yesteryear’s crooners serenading you with the sounds of the season.

At Lovetts, we’ll be pretending it’s just any old normal time of the year.

That said, we have a lot of really great pieces of original art that will serve nicely as gifts. We have men’s and women’s jewelry from the likes of Steve Yellowhorse, John Knotts  and Jody Lyle


Award Season

Just in case you guys ever doubt the artistic mastery hanging on the walls here at Lovetts, we sometimes like to remind you that it’s not just Jack and me that think they’re awesome. For instance, Camille Engel has been racking up the international awards this year.

 "2014 Best Wildlife" - International Guild of Realism: 

Camille Engel, wins "Best Wildlife" award in the 9th Annual International Guild of Realism Exhibition for her 24” x 36” oil painting on linen of a swimming pigeon guillemot, Floating Between Two Worlds. This year's exhibition is hosted by Robert Lange Studios in Charleston, SC (voted Best Art Gallery in Charleston from 2010 to 2013.) 

Seventy International Artists and 75 paintings were chosen for this exhibition from over 350 juried member entries. Around 40 of the artists with their guests were in attendance including artists from Sweden, Iceland, Canada and Norway. The Exhibition hangs from November 7 through November 28, 2014.


 “I am thrilled my English Bulldog, Who's a Good Girl?, was accepted into the 54th Annual Exhibition of the Society of Animal Artists, and chosen for the 2014-2015 "Fiftieth Annual Art and the Animal" National Museum Tour,” says Camille.

The Society of Animal Artists and its annual touring exhibition, Art and the Animal, represent the very best animal art being produced in the world today. The SoAA is regarded world-wide as the most prestigious artist membership organization dedicated to the theme of animals in art.


Next week, we’ll have an interview with Lindsey Kustusch, another artist new to the Lovetts family. I would’ve had the interview for you this week, but Lindsey’s been in Germany shooting reference for her next round of paintings. I’m willing to cut her some slack.

Here's a piece of hers to hold you over.


See you next week!

October 30, 2014

Employee of the Month


 (This is a sequel of sorts to last year's Lovetts Halloween Special. If you'd like to read that one first, go ahead and click the link. Employee of the Month will be here when you get back.)


I had that moment of wondering what the sound was, where the hell was I, what time is it, before my brain caught up. Even still, I sat up in the middle of the bed waiting for some kind of prompt.

The phone vibrated against the floor. It seemed to shake the bed. I snaked my arm between the bedside table, groping around, thinking spiders.

I found it. Jack. It was also 3:15 in the morning. I thumbed it on.

“What’s up?”

“The alarm went off at the gallery. Can you go over there?”


“The Farm’s security guys have already checked out the space, and there’s no one there anymore.”

The anymore had a weight to it. Moreso than if it were said by someone who didn’t work at a place with our particular inventory.

It had been a year since the incident with Juan Medina's Blind Angel. The gallery where I work is … special. I won't call it haunted, but when paintings hang there, something happens to them. They have access to something else. Or maybe somewhere else. Last Halloween, I watched a gentleman (okay, he was kind of an ass) climb into a painting and never return. And there were screams. Lots of screams. I still had nightmares about it.

There had been many late night gallery visitors since that night, and I didn't really feel sorry for any of them. And they usually made appointments, which was more convenient.

I realized Jack was still talking. “They said front door was shattered, and they boarded it up already, but they can’t tell if anything was stolen. Just go in and look around. Check the video recorder, too. Might need to delete something.”

“Okay. I’ll call you after.”

I sat there a moment, contemplating going back to sleep. The bed was warm and the windows weren’t broken.

I sighed, stood up, and started looking around in the dark for pants.


Twenty minutes later I pulled into the parking lot.

A police officer stood talking to the shopping center security guy by a black-and-white cruiser, lights spinning blue and red shadows across the parking lot. The guy leaned against his truck, arms flailing in storytelling mode. I pulled in next to them, nodded through the window and got out. It was warmer than it should've been in late October, but leaves still rustled in a light breeze. At least it smelled like Fall.

“Went ahead and boarded up the door for you,” security guy said, “but I didn’t go inside. I let Officer Jansen in.”

“Thank you,” I said, and tried to look grateful. I think I smiled, no teeth, and offered my hand to Jansen. He shook it. Solid grip that matched his posture. I figured him former military.

“You the owner?”

“No. He called me.”

“Right ...” he started, then paused. I thought he suppressed a shudder. “I did not see anyone.”

I nodded and looked past him toward the gallery. The interior lights had turned off. The orange LEDs lining the front windows made the broken pieces of glass glow like cooling embers on the gallery floor and sidewalk.

“What did they break the glass with?”

“I didn’t find anything inside. Might’ve been smashed from the outside with a bat or a rock or something. Kids, maybe.”

“Did anything look torn up?”

“Not that I could see.”

“Anything unusual?”

He realized about then I was questioning him instead of the other way around. His mouth tightened in a grimace, lips vanishing. “No.”

I nodded. “Do you need anything from me?”

Ah, yes. Paperwork. I filled in the blanks, answered the questions, thanked them both for their time, then assured them I could handle the rest.


I pulled the car around and used the back door. The light switches were up front, so I stood in the doorway, letting my eyes adjust to the dark.

106349I stepped into the gallery and paused. I smelled cigar smoke, and heard faint notes of blues seeping out of Jeff Ham’s multi-colored Mingus portrait to my left. I looked around the rectangular part of the room, noting the odd shadows cast by the moveable walls in the gallery's center. I walked further in. Orange and white light from the front windows spilled back across the floor and walls.

I heard a distinct plink of a piano key to my right and looked up at Pamela Wilson’s The Lyric of Chimerical Solace. The piano player shifted her hips, hooped skirt rustling, and looked back at me. She played another note. I turned and headed the other way, walking the perimeter of the room.

I passed Scott French’s Nighttime Stories, the one with the nude girl with a schooner on her head riding a polar bear through someone's bedroom. Did the polar bear have red on its muzzle? The girl on its back appeared to be sleeping, the small ship tucked under her arm instead of atop her head.

Dust and wind blew out of David Shingler’s palette knifed Chico Basin landscape, and I could smell the salty air from the trio of Brett Lethbridge paintings, their satin fabrics popping and snapping in the gusts. 105945

Another note from the piano echoed across the space, bouncing off the walls, and I looked back at the player. She’d stood and turned, elbows on the keys. She teased her hand across several of them and played another, eyes meeting mine. I looked away.

I kept moving, stopping in front of the door and looking at the spilled glass as the motion detector finally found me and light filled the room. The green haired child clown in Wilson’s Like Ghosts of Fish splashed water at me, and when I turned to look, winked before peering through its binoculars.

I took a deep breath. “You can come out now. The police are gone.”

I heard cardboard boxes tumble in the back of the storeroom where I had been before, and a few moments later, a tall, thin man in dirty black jeans and a stained white t-shirt, greasy hair parted to one side, stumbled out. He looked like a junkie of some sort, and I knew him, though he’d been cleaner when last we met.

“Walter. What are you doing?”

He walked toward the Piano Player, never making eye contact with me. She was where I’d last seen her, leaning against the piano, the hoops of the skirt bulging out, arms crossed under her breasts, but she was looking at me, not Walter. She arched an eyebrow. I shrugged.

“I needed to see her again.”

“I thought you had decided against that.”

“I …”

I waited.

“I changed my mind.”

I sighed, and I overdid it, so he would hear.

“Walter, you don’t get to change your mind. It’s a one-time affair.”

He turned, raced across the gallery and slammed into me, knocking me back into the wall, and held me there. I checked to make sure I hadn’t smashed into any of the paintings, then wedged my arm over and under his, pressing his chest back with my forearm.

“I changed my mind,” he hissed, face inches from mine. Up until that moment, I’d planned on talking him out of it, planned on helping the guy out. I never liked giving them over to the paintings. It made me … uncomfortable. But I’d never had a client attack me.

“Get your hands off me, Walter.” I stared him down, noting his bloodshot eyes and how his chest was heaving. All that was missing was froth coming out of his mouth. I braced my heels against the wall, and shifted my weight slightly in case he didn’t let go.

106970He released my shirt, but didn’t move. “I’m seeing her,” he said, then turned and walked toward the piano player. She looked over his shoulder at me, and then offered Walter her hand. It was uncanny. She didn’t become more real, but maintained the tone and texture of the painting, and yet there was weight and substance to her limbs. The light on her did not look right.

Walter took her hand, placed one foot on the bottom frame of the painting, and stepped up. He became oil and tone and texture. His feet pressed down on the carpet, his legs displaced the hoops of her dress. She led him from the room, out of my sight.

Nice knowing you, Walter.


The next half hour I kept my head down and cleaned up the mess. When I was out of excuses not to, I walked back to the piano player.

“Is he coming back?”

She smiled again. “The paperwork has been filled out. It is in the Box.”

“And the fee?”

“Taken care of.”

Right. “Thanks?”

“Would you like to visit one of the girls?”

“I would not.”

I turned and walked away, heading up the creaky wooden ramp to the front counter. Another of Wilson’s pieces, Pink Entropy, sat on the bar. The woman sat an antique black phone back in its cradle on her lap as I approached. She looked as tired as I felt. I wondered who she’d called, then laughed. The dog next to her huffed a muffled bark at me, then licked its chops.

I opened the Box, and took out the fresh set of parchment on top. The bloody signature glistened in the yellow gallery light. The red letters, which looked as though they’d been written by a frightened third-grader, read "Walter Haversham."

I dug out the lighter we used for incense and heated up the black wax stick. I dripped a puddle on the document next to Walter’s signature, then used our wrought iron LG stamp in the wax. I blew to cool it, started to put it back in the Box.

The ramp creaked and a man strode up it. The hair stood up on the back of my neck. He was not tall, nor was he short. He was textured. His body was hung with a vintage brown suit, complete with silver watch chain hanging from pocket on a red satin vest. His shoes gleamed in the dull light, as did the thick silver rings on his fingers. A black bowler had sat crooked on his head, and tufts of dirty blond hair stuck out around his ears and neck. His skin was pale, teeth bright. He smiled at me. His eyes were an almost iridescent blue.

“I’ll take that,” he said, and held out his hand.

I looked down at the document, then at the box, and felt my face heat up. I may have gulped, but I did not shiver.

I held out the paperwork. He pinched it with thumb and forefinger on his left hand, made a production of reading the pages, then folded and creased the parchment with a practiced motion. They vanished inside his jacket.

He offered me his right hand. “I don’t believe we’ve met.”

I shook it. “I don’t believe I want to.”

He didn’t let go. The skin was smooth as an infants, but cold, the shake firm, like he could crush my bones. He said, “Nonsense. You’re my employee of the month.”


“Employee of the month.” He smiled, all teeth. “You know, that award handed out for the month's best performer? That's you. Employee of the Month."

My brain started doing math. "But we've only had … six, maybe seven this month? Aren't there warlords in Africa doing better than that?"

"It's not always about quantity, is it?"

I shut my mouth.

He reached inside his jacket with his left hand and pulled out a small silver pin, some sort of sun with a broadsword pointing down, bisecting it through the middle. He turned my right hand, which he had not yet relinquished, palm up and placed the pin in the middle of it. It was almost uncomfortably cold against my skin. He closed my fingers around it, then let go. It tingled with pain, as though I'd just hit my funny bone.

"I'm not really … comfortable with this work."

He arched an eyebrow at me, tilted his head. "Do you really believe that? Do you not think that each one of our guests gets exactly what is coming to them? Did our boy Walter not deserve his second visit?"

"That's not for me to say. I don't know about his life, what brought him here."

"Ah yes, but I do."

I stood there, eyes locked with his, afraid or unable to look away. I had nothing to say. After an uncomfortable amount of time, he nodded.

"Good! I'm glad we've come to an understanding." He fished the pocket watch out of his vest and checked the time. "I have to be off. Keep up the good work, and remember, I've got my eye on you. Let me know if you'd ever like to advance your career."

He turned and walked down the ramp, whistling to himself. I never heard any of the gallery's doors opened, but I knew I was alone in the building. I looked to examine the pin and realized it was on my shirt, though I didn't remember putting it there.

I unpinned it and left it on the counter, then locked up and went home.


Thanks for reading.

Onto this week's business...

The Wild Bunch is next Saturday, Nov. 8, 2014, from 10am-5pm. We would love it if you would attend. 


Also, TODAY (Today being Thursday, Oct. 30, 2014), Brett Lethbridge will be here from 4-6pm. Come visit!


October 23, 2014

It's Still the Pig

Interiors  003

The secret to collecting art is simple.

You have to enjoy it. You don’t need an art degree, or a fundamental understanding of the influences Italian politics and financiers upon the artists of the Renaissance. You don’t need to understand color theory. You just have to fall in love with the art.

That’s what happened to Joe and Lisa. Their names aren’t really Joe and Lisa, I’m just not going to tell you who they really are because we care about client confidentiality. But their story needs telling, because it started with a painting of a pig. This one:


Joe visited the gallery once by himself and saw James Johnson’s Free Range Pig. He liked it. We don’t like to talk about love at first sight, but … kinda.

“I went in three times,” says Joe. “There was this pig. I couldn’t believe the detail in it. I never talked to anyone about it. I felt like I was out of my element. But I kept going back to look at that piece. And then I brought Lisa to look at it, which was when we finally talked to Jack.

“As we were about to leave, he mentioned layaway, which I had no idea you could do.”

Joe and Lisa put money down on the pig. And then they began thinking about the pig in a different way. They were ready to start construction on a new office for their business. Joe imagined the pig hanging there, and couldn’t wait to get it out of layaway.

“We kept going back to visit it,” says Lisa. “And every time, Jack would get it out of the back so we could look at it.”

“I needed to pay it off so I could have it, you know?” says Joe.

Which he did. But the Pig created an itch to be scratched, so to speak.

“I was so pleased with the pig … I relate it to tattoos. People say once you get one, you want to get another one. I don’t have any tattoos, but I do buy art. I get a lot of enjoyment out of it. I want more and more. Once we had possession of it, well, it’s hard to tell someone it’s a piece of art without hanging it on the wall with other art around it.”

They started with an art budget for the office, but that changed as the construction process took longer than planned, giving them more time to choose even more art.

They began with the idea that it all had to match, but what they liked didn’t match.

“But Jack said, ‘I don’t know if you want it to match,’” says Lisa. With that in mind, they followed their instincts and interests, choosing pieces that spoke to them. Those choices colored the interior design for the rest of the office space.

Interiors  012

“The art influenced the type and quality of the furniture we bought,” says Joe. Instead of ordering from a catalogue, they had custom cubicles, made of recycled wood, burlap and steel, created locally. Almost all of the office doors are from old barns and slide open instead of swing. All of the wood is “recovered,” a fancy way of saying “reused.”

Interiors  010
Joe’s office, in particular, reflects the eclectic aesthetic of the office. His desk is tall and bean shaped, covered entirely in what appears to be airplane aluminum. There’s a lamp hanging from the ceiling by his great grandfather’s log chain. The lamp is from India. The chairs are leather and metal, pairing new and old. An enormous painting of a bullfighter by Timur Akhriev hangs perpendicular to a large flat screen HDTV. These are the motifs for the rest of the office.

The space has had a noticeable, positive effect on their employees.

“I’ve never had the opportunity to work in a building that looks this way,” says Joe. “People are happier. They are proud of their workspace. We have everything.”

Interiors  009

“It makes our employees happy,” says Lisa. “They’ll visit on the weekend, which is unusual. And if they have a relative in town, they want to bring them by to give them the tour.”

“We told our employees what we were doing along the way, but I don’t think they understood until they saw it,” says Joe. “I think everyone was shocked at how it all came together.”

“That’s where Jack and the guys at Gilley electric came in,” says Lisa. “They showed us how to make it all work."

As of now, there are more than 20 pieces of original art scattered about their offices. But do Joe and Lisa consider themselves art collectors?

“I don’t even know what that means,” says Joe. “I don’t know a lot about art. And you don’t have to. You just choose what you like.

“We try to keep it weird.”

As they’ve brought in new art, their favorites have vacillated. Lisa likes the three Brett Lethbridge pieces and their arrangement in the hall outside her office, but if pressed, she’ll tell you she likes Jeff Ham’s Woody Guthrie painting best.

“There was a lot of anticipation for that one for me,” she says.

For Joe, “It’s still the Pig.”

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In Other News

Though he missed the show, he's still coming to visit. Brett Lethbridge will be here next Thursday from 4-6pm hanging out. He'll be happy to chat with you about his work or life in general. How often to you just get to hang out with an Australian-by-way-of-South Africa lawyer-turned-artist? 

Oh, we'll be here, too.

Almost Showtime


The show is just two weeks away, gang. We are stoked (that's an industry technical term). We have images for (I think) all the pieces that'll be present. Paul sent us a lot to look at and I'm not sure how much of it is actually making the trip, but there are at least two installation-size pieces that'll get your attention.

K sent out her newsletter this week, and had this to say:

November, 1988, I married my Hubby in Muskogee, OK. Our honeymoon? We spent it at an art show in Tulsa, OK.

Fast forward to Nov. 2014. How are we spending our anniversary? We'll be at an art show in Tulsa, OK.

Join us at Lovetts Gallery , 6528 E. 51st ST, Tulsa, OK 74145, in the Farm Shopping Center on November 8, 2014, 10am - 5pm. 

The show, "The Wild Bunch,"  features me, Paul Rhymer  and Robert Caldwell. The three of us will be at the gallery creating our artwork.

I think she's got it covered, pretty much. 

We'll see you next week. 

October 16, 2014

Making a List

We keep a stack of sheets on a clipboard in the backroom. Three of them, actually, but the one we’re concerned with at the moment has “Receiving” at the top.

Each sheet has a ton of little boxes, blanks for things like basic info about a piece of art, and whether or not it’s been added to our database, uploaded to the web, had its pictures formatted, etc. It’s how we keep up with our inventory.

Yes, we still use paper. There hasn’t been a more efficient solution. Yet.

Right now, there are a lot of white boxes. A ton of new work has shown up the last two weeks and we’re playing catch-up. Just looking, there is new stuff from Merlin Cohen, Jody Lyle, Ann Hanson, John Knotts, Patrick Dean Hubbell, Natalie Featherston, Dr. Stephen Wood, Jane Osti, James Bud Smith, Mark Bettis, Whitney Forsyth, Rebecca Latham and Karen Latham. That’s almost two pages of blank white boxes. Lots of work to do. No, they’re not on the website yet.

That means you’re going to be eating a whole lot of eye candy very soon.

Most of our new art comes in via shipment. Unwrapping it is not unlike the holidays. Until we actually see the art in person, we don’t actually know what we’re getting. Even better is when the artist delivers the art in person.

That happened three or four times last week.

Merlin was the first visit. He showed up with 11 pieces and told us we are officially his only gallery, which is awesome. 

He toted them in from his car and set them on our counter one by one. There were a variety of shapes and sizes, a palette of different colored stones. Some of the carvings I hadn’t seen before, and I like them a lot.

Very cool stuff.



Next year, we’re trying a couple new things. I’ve hinted about them, I think, on the book of faces and posted their dates on the newsletter, but we’re officially letting the cat out of the bag. In 2015, we’re hosting two invitational “concept” shows. The artists have already been invited and they are working on their submissions.

Next June (6/20/2015!), we’re hosting The Lollipop Guild, which is a miniatures show. That means each submission can be no smaller than 5” x 5”, no larger than 12” x 12”. We have more than 70 artists participating, some of whom we do not currently represent, so their work will be new to you.

You can imagine we’re pretty excited.

On October 24, 2015, we’ll open The Birds, which is loosely inspired by the classic film. We started off wanting to do a birds show, but I’d begun naming our events after movies. We threw those two ideas in the mental blender and the Hitchcockian theme emerged.

We’re not saying that each piece is going to have a bird in it, or that anything is going to be a scene from the film itself. It’s more of an “inspired by the film” situation, and how they’re inspired is up to the artists.

We have no idea what we’re going to get … except in one case.

Never let it be said Natalie Featherston is a procrastinator. We received her two pieces for The Birds this week, a year early, and they are awesome. I’m going to be using them to promote the show from here on out. I’ll give you a peek at one, but not both.


We’re actually hoping to give these a forever home and get some more from her, because you can never have enough Natalie paintings. Amiright?

I’d be remiss if I didn’t mention the show we have coming up in three weeks. I wouldn’t want you to forget about it. Here, again, is the pertinent info for The Wild Bunch:


Show opens at 10am and all three artists will be creating and hanging out until 5pm. 

We’ll see you in the gallery.