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06.09.14 - Ripe

In The Name Of Something WonderfulThe finest Abstract paintings come from when a painter is natural. These natural tendencies enhance unexpected brush strokes which produce rare abstract paintings. It is my belief that many abstract painters will produce a major painting within a ratio of ten average paintings to one masterpiece. These masterpiece paintings are so rare due to the naturalness and explosive brush stroke that is uncontrolled. De Kooning’s work has this quality of unexpected energy and brush stroke that is so rare in many of his pieces. It could be stated that major abstract work happens when the painter is ripe enough to allow the abstract magic to come through the brush.

In the opposite spectrum, realism is wonderful in a different way to which a realistic painting shows the craftsmanship and dedication to detail to develop an advanced realistic painting.

26.08.14 - Kandinsky and Klementovich

xxHe is all pine I am apple orchard-frostKandinsky’s paintings did not feature any human figures; an exception is Sunday, Old Russia (1904), in which Kandinsky recreates a highly colourful (and fanciful) view of peasants and nobles in front of the walls of a town. Riding Couple (1907) depicts a man on horseback, holding a woman with tenderness and care as they ride past a Russian town with luminous walls across a river. The horse is muted while the leaves in the trees, the town, and the reflections in the river glisten with spots of colour and brightness. This work demonstrates the influence of pointillism in the way the depth of field is collapsed into a flat, luminescent surface. Fauvism is also apparent in these early works. Colours are used to express Kandinsky’s experience of subject matter, not to describe objective nature.

Saatchi picked one of my paintings for an online group showing of Kandinsky’s work. This collection was picked by Rebecca Wilson who is the Chief Curator and Director at the Saatchi Gallery, London, where she was the main person for the gallery’s online presence.

I’m very pleased to let you know that I have chosen your work to be featured in the Inspired by Kandinsky Collection on Saatchi Art’s homepage. You can see the collection here I’m very pleased to let you know that I have chosen your work to be featured in the Inspired by Kandinsky Collection on Saatchi Art’s homepage. You can see the collection here: My painting that was selected is entitled, He is all Pine I am apple orchard.

14.07.14 - Janis Pryor and her color truths

I am lucky enough to be having a private show with my good friend and color maverick,  Janis Pryor. It is true we both live in God’s country, among the small remote towns that speckle the foothills of the mountains. We both strangely have this love of the obscure French painter, De Stael.As strange circumstances always make the best partners in the art. Janis and I have Jim Blue joined forces to show our Abstracts together this July  26th from 4-6 at M and D playhouse,in North Conway, NH.
th from Color is the subject of my work, primarily (but not exclusively) articulated by mediums not traditionally associated with abstract work, soft pastels and oil pastels.
The truth is artists are problem solvers to one degree or another. Questions drive my work. What constitutes the boundaries of beauty? At what point can you introduce an element of dissonance that:
  • doesn’t compromise the integrity of the medium;
  • doesn’t jeopardize the success of the work without having it succumb to the sentimentality of prettiness or become unintentionally decorative?
  • How can you manifest emotion, and stir the viewer through color, without melodrama taking over?
  • Can color become a form of visual poetry and transcend the theories that define it?
Over the years, my work has been influenced by the paintings of Mark Rothko, Jules Olitski, Helen Frankenthaler, Nicolas deStael, Morris Louis, Claude Monet, Edgar Degas, the drawings of Rodin, Michelangelo, DaVinci, Gustav Klimt, and the architecture of LeCorbusier, Zaha Hadid, Frank Gehry, Robert A.M. Stern, Hugh Newell Jacobsen, and Sarah Susanka.
I’ve been making art since I was five. My formal studies began at the age of thirteen. I was accepted to the High School of Music & Art in New York City, and became an art major focusing on painting and architecture at Bennington College in Bennington, Vermont. I spent roughly thirty years helping “change the world” through professional employment in politics and media. Three years ago I returned to my first loves, the visual arts and writing. I teach “Drawing From Within” at Living From Within, the holistic health center located in Conway.

03.07.14 - Steven Hawkins Everything Theory



Steven Hawkins uses a massive single framework of physics that fully explains and links together all physical aspects of the universe in his Everything theory, which unites gravity and the quantum theory in a marriage  that humans can understand without the high IQ of Hawkins.

Stephen is still an active part of Cambridge University and retains an office at the Department for Applied Maths and Theoretical Physics. His title is now Director of Research at the Centre for Theoretical Cosmology.

I am lucky enough to have one of my paintings in Steven’s officeEver at Cambridge. In secret I hope that some of his smarts comes to me through osmosis since he has one of my paintings. Tai Lopaz has a wonderful series of lectures called “The Grand Theory of Everything.” It is wonderful to see how osmosis, science, art and pod casting all work together in harmony.




18.06.14 - Ghost House by Frost and Klementovich


Ghost house highGhost House by Frost

I dwell in a lonely house I know
That vanished many a summer ago,
And left no trace but the cellar walls,
And a cellar in which the daylight falls,
And the purple-stemmed wild raspberries grow.

O’er ruined fences the grape-vines shield
The woods come back to the mowing field;
The orchard tree has grown one copse
Of new wood and old where the woodpecker chops;
The footpath down to the well is healed.

I dwell with a strangely aching heart
In that vanished abode there far apart
On that disused and forgotten road
That has no dust-bath now for the toad.
Night comes; the black bats tumble and dart;

The whippoorwill is coming to shout
And hush and cluck and flutter about:
I hear him begin far enough away
Full many a time to say his say
Before he arrives to say it out.

It is under the small, dim, summer star.
I know not who these mute folk are
Who share the unlit place with me—
Those stones out under the low-limbed tree
Doubtless bear names that the mosses mar.

They are tireless folk, but slow and sad,
Though two, close-keeping, are lass and lad,—
With none among them that ever sings,
And yet, in view of how many things,
As sweet companions as might be had.

The woods come back to the mowing field high

28.05.14 - James Wyeth a legend among lobster, ocean, and sand in Maine

Who knew that James Wyeth, son of realist painter Andrew Wyeth and grandson of illustrator N.C. Wyeth lives in the Rockland Maine area? What an interesting find. James was one of the major painter’s downtown in NYC with Warhol and Basquiat. James had his first one-man exhibition at Knoedler Gallery in 1966 at the age of 20. During his friendship with Warhol, the two shopped for antiques and taxidermy specimens together, attended art exhibition and gallery openings, discussed popular culture, and exchanged ideas. Warhol would often visit­ Wyeth’s farm in Chadds Ford, Pennsylvania. The three painters were ahead of their time and helped forged a new era in painting during the 60’s and 70’s.

Jana from the Carver Hill Gallery, in Rockland, Maine, has some fascinating history of the Wyeth family. She is also expansive in her curating skills as gallery owner of the Carver. Jana is a natural art historian and is a great supporter of modern art work in the area. I am so fortunate to have Jana showing my Birch series of paintings from the New England Expressionism group.

download (2)


download (1)

16.05.14 - Commanding a museum

Always leave foot prints on Mars sm


When a painting commands a museum, meaning people stop before the painting in awe, I wonder what is happening to the atmosphere that commands a room full of visitors to admire a painting? The brush stroke, the energy of the work, the colors lying on top of the others colors, these are some of the conditions  for people to admire a paintings. It is really a mystery, perhaps that is why visitors go to museums, the mystery. The logical reasons disappear and the enjoyment of painting prevails.

Which lead us into a similar thought process, why does a certain mountain commands a sky? Why is this so? Does the size of the mountain, death rate of climbers, or folklore captivate the onlookers towards certain mountains. The similarities of paintings to mountains is a thought process worth exploring.

10.05.14 - Anais Nin and a state of floating



Anais Nin’s Dairy has a fanatastic quote I wrote below. I must admit, that I don’t understand all of if,

yet it sounds so wonderful.OLYMPUS DIGITAL CAMERA

There comes from our obstinacy in maintaining that
paradise is a garden. The psychoanalysts have added
to the confusion by interpreting the gloating dreams
as a flight into space. The mystic is the only one
who knows that all states of ecstasy are a
state of floating in an ambiance more heavy than
I say., but do not repeat it to anyone who is
not ripe enough to receive it. Paradise is at the
bottom of the sea. and I can also prove to you that
angels are ships. They have no wings but large sails
which they unfold noiselessly at night to cross
eternity. ” Anais nin.

05.05.14 - New England Expressionism and Robert Frost titles of Birch paintings.

xOne could do worse

This is a group of artists exploring edge detection in the Colonial states. The last great artwork showing a movement  here in New England was the cut up snake on the Flag during the Revolution. Join or Die. Join, or Die” was a well-known political cartoon, created Benjamin Franklin and first published in his Pennsylvania Gazette on May 9, 1754. It is time for another strong New England art evolution.More details.

Branches up snow white trunk

New England expressionist is equivalent to an Avant Garde Yankee. These artist use  New England poetry phrases to  accompanied their art. All these forms are combined together are to entice the viewer to enter imagery of New England, while breaking through some personal way things could be looked upon. This series speaks to us using poetry as a way of abstraction. In particular Klementovich’s work is like Basquiat painting while Robert Frost speaks of plows, plums, and New England Weather.

Titles include One could do worse than being a swinger, or Branches up a snow white trunk.

04.05.14 - Conway Daily Sun article on Klementovich May 3 2014

Page 16a — THE CONWAY DAILY SUN, Saturday, May 3, 2014 Artistic Journeys Cynthia Melendy Artists to my mind are the real architects of change I always learn something new and exciting when I converse with Rebecca Klementovich. When I fi rst encountered her art, I was amazed. “What is this?” I asked myself. “What does it mean?” Over time, as I visited various galleries, I encountered her work in many different places, and had heard that she broke boundaries, was talented, and upbeat. Then, fi nally, we had a chance to sit down and talk after I had viewed her art in several different locales. She sure is talented! Upbeat! And she breaks boundaries! As an artist fulfi lling the diverse roles of Reiki master, yoga instructor and parent, Rebecca Klementovich fi nds that the power of her abstract paintings derives from the energies that surround the objects or landscapes she has chosen to paint. “Seeing energy is a subtle art and a skill that has taken me years to develop. Sometimes the energy around the objects blink with light or morph into layers of unusual colors,” she says. Her creative method is inspired by this unique way of looking at her subject matter and it is the unknown quality of this energy that is both the challenge and the reward in the act of her creation. In viewing Rebecca’s work, it is the energy that speaks clearly in that the viewer is asked to revisit emotional arenas inadequately examined or to identify emotional paths never traveled at all. The gown-clad painter has an unearthly image of herself painting on the tops of Mountains, on a snow trail, or in the foliage fi lled forests. Originally growing up in New Hampshire, now living in Bartlett, Rebecca previously lived in New York for 22 years. She received a bachelor in fi ne arts from the Fashion Institute of Technology in 1992 with additional studies at Cooper Union and the Arts Student League in New York City. She has 22 years of experience as a textile designer. For the past 15 years, Rebecca has shown in galleries, museums and charities in New York City, Brooklyn, Queens, Maine and New Hampshire. Currently, in addition to work presently shown at Canterbury Hill Studio & Gallery, and the Jackson Studio Gallery in Jackson, she is showing in Manhattan and, New Hampshire, Maine, Rhode Island, and Vermont. “Brookhill Purple Mountain,” by Rebecca Klementovich. Rebecca Klementovich in her studio. see next page THE CONWAY DAILY SUN, Saturday, May 3, 2014— Page 17a Rebecca’s career refl ects a traditional beginning of fashion design which explodes into new and fascinating avenues. Breaking boundaries, in many cases, is what art and life, is all about. That is why we continually reference the White Mountain School of Art, because in their original time frame, they introduced a landscape that many in America had not seen nor considered. They provided us with the original “framework” for the scenery of the White Mountains and the meaning of America: Artists literally framed the scenes before them as sublime, pastoral, domesticated, wild, transformed. Now in the twentieth century, artists continue to grow. That was representational art, which stayed with us in the art world until about the turn of the 20th century, when artists began to experiment with techniques of interpretation, of the objects, persons and landscapes, that we see. Artists experimented with visual expression of objects using color, new media, and illustration on multiple spatial planes illustrated on the two dimensional canvas. Recently the community had the privilege of viewing “Paintings by Robert Casper, 1928-2012,” which opened on Saturday, Feb. 1, in the Pace Gallery at Fryeburg Academy, whose studies of visual planes and brushwork with acrylic was inspired by Hans Hoffman. Other of these abstract expressions that became familiar to all of us were cubism and the work of Picasso. The fracturing of the visual planes refl ected the changes in social cohesion in the modern, industrial world. Production, once mechanized, was broken down into many small tasks, such as in the assembly line, which produced things like automobiles. Typewriters, representing writing and expression, became lines of mechanized keys which were depressed by our ten fi ngers. Even now, our production and expression has been reduced to a series of two numbers: 0 and 1, in certain orders, to digitally process information and knowledge. This is where abstract expressionism comes in. Many people are puzzled by it, and don’t know how to interpret what they are seeing. When we see a string of numbers it is not a digital creation that we can recognize without using a computer. But as humans with creative minds we can be inspired and fascinated by expressionism. Many expect a duck to look like a duck, except during Easter, when a duck or a bunny or an egg conjures up other meanings. Such it is with abstract expressionism: it can be launched from a scene, music, poetry, or interior thought, depending on its context. Abstract expressionism begins with what is on front of us, and keeps on going. Its abstract qualities perform very much in the manner William Burroughs, the poet, who believed that writing should achieve the partitioning of its various elements. One of the Beat literati, he invented ‘cut-up’ writing, in which he would narrate a stream of consciousness and then literally cut the paper into strips, and reconfi gure phrases, words, and fi gures of speech. He is well known for his aphorisms, or expressions, though many people don’t recognize them as being his. New England Expressionist, of which Rebecca is a member, is a group of artists exploring edge detection in the Colonial states. The last great artwork showing a political movement here in New England was the cut up snake on the Flag during the Revolution, Join or Die. “Join, or Die” was a well-known political cartoon, created by Benjamin Franklin and fi rst published in his Pennsylvania Gazette on May 9, 1754. Rebecca believes that it is time for another strong New England art evolution, centered on political ideas. Of Robert Frost, Rebecca references him on her website: the New England expressionist is equivalent to an Avant Garde Yankee. These artists use New England poetry phrases to accompany their art. All these forms are combined together to entice the viewer to enter imagery of New England, while breaking through some personal way things could be looked upon. This series speaks to us using poetry as a way of abstraction. In particular Klementovich’s work is like Basquiat painting while Robert Frost speaks of plows, plums, and New England Weather. For more about Basquiat, see the extraordinary website at the Brooklyn Museum of Art. He is a favorite of Jay-Z : www. english/home.php). Rebecca draws from the poetry of Robert Frost, who developed his own theory of poetry, which is refl ected in his verse and teaching. Frost’s goal was to use the everyday rhythm of speech in verse. He rejected the stilted patterns and rhymes of the 19th century poets. He also did not care for free verse in which there is no rhyme or meter. In one famous example, the “Mending Wall,” he used a situation of repairing a wall between two farms, a situation common to the farm life of New England, to convey an idea which he believed held true in the life of all people. Klementovich uses Frost for her titles as she feels he has embodied the New England life completely. One of Rebecca’s heroes, aside from Robert Frost, was William Burroughs, the American poet and writer born February 5, 1914, died August 2, 1997. Just this past February, the New Yorker published a Peter Schjeldahl’s review of the biography of Burroughs, The New Yorker’s “The Outlaw: The extraordinary life of William S. Burroughs,” which supplies the reader with a thorough accounting of Burroughs’s remarkable life and work in the twentieth century. His work refl ects the energy of some of the abstract expressionists, and provides Rebecca with inspiration for a large body of her work. His most well known book, “Naked Lunch,” brought to social notice themes of drug use, homosexuality, hyperbolic violence, and anti-authoritarian paranoia. This review, and the book it describes, supplies the reader with a thorough accounting of Burroughs’s remarkable life and work in the twentieth century. His work refl ects the energy of some of the abstract expressionists, and provides Rebecca with inspiration for a large body of her work. One which has been adopted by many: “Artists to my mind are the real architects of change, and not the political legislators who implement change after the fact.” Or: “Sometimes paranoia’s just having all the facts.” He also is well known for this one, though those who parrot it would be chagrined that is was the avant-garde heroine addict writer who said, “The aim of education is the knowledge, not of facts, but of values.” There are treasure troves of Burroughs’ quotes readily available online. (http://www. html#1VzKiqRmfHJ8Haex.99. Kelementovich does not create simply from her own visions, but often relies on every day scenes as a springboard for interpretation, such as that in her Route 16 series of landscapes seen along the highway. These particular scenes are among my favorites, with large brush strokes, textured paint, bold color, and familiar mountain silhouettes. Check them out on her website www.Klementovich/landscapes.route-16. Rebecca’s artistic vision is a breath of fresh air in a world that is already bracing. She is active, energetic, imaginative, and fun. She loves to work with kids, learn, and teach. Be sure to take a look at her work, and get involved with her new visions. You’ll be happy you did! Cynthia Watkins Melendy, PhD, an American historian, studies and writes about the arts, nature, gender, and their relationship over time. She teaches at the University of Massachusetts Lowell and enjoys the tranquility of the Ossipee Mountains.

This title is from Robert Frost's book, Mountain Interlude.

This title is from Robert Frost’s book, Mountain Interlude.

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