The Drawings

Ok, so perhaps not the most dignified picture of myself, but why not?

Hi, I see you. What I hope YOU see is the drawing behind me. I spent some time on that this evening.

Painters in Paris - Part II

More on Paris. I think I promised a post about the Louvre... we spent five days there. No, we didn't see everything. We hung out with the paintings for the most part and dabbled in the scuplture garden. We would have spent more time with the sculptures however that's where I got yelled at (see previous Paris post for details)

That's Aaron. museum hopping with him made the experience 100 times more enjoyable and educational. We see paint in very different ways so it was nice to have someone there to talk with and push me to see thing in a different light. We were able to throw around ideas about materials that may have been used as well as how paintings were approached. We also pushed each other to spend time with works that otherwise we may have simply walked by. Most of my recent education has come from him. So you all can consider this my schmaltzy valentines-related post. My husband and his paintings are wicked awesome.

Check Yo'self Befo' You Wreck Yo'self

Often times our ambitions outweigh our knowledge. This is when we hit a wall. At this point, rather than hitting reverse and slamming into it again, wasting more hours on a painting that refuses to improve, it's best to hang a U-ey go back to the drawing board, literally.

I was at odds with a painting (the one I got into a "schlep fight" with a few posts back.) There was one section in particular that I had for some reason been a complete pansy with. I avoided it, took short cuts, refused to ask for directions and naturally got lost. Then the schlepping ensued. Although some were horrified at the hours of work I'd lost, I was already happier. I had a clean slate to start over with.

Aaron (my husband/fellow painter/teacher) pulled out a stack of books and told me to get reading. So I read a about the techniques of Bouguereau and then brushed up on the bare bones of anatomy and in one day I was able to absorb the right information and apply it, thus fixing my painting. I am no longer a lost pansy.

It may seem that I'm stating the obvious but I think many of us, professionals included, can get so involved in our work that we forget to take a minute to better inform ourselves. I now greet the day in my library, so when I get to the canvas by noon, I know exactly which direction I'm heading in.

So, in closing, I want to recommend the book Traditional Oil Painting: advanced techniques and concepts from the renaissance to the present by Virgil Elliott for anyone interested in learning more about oil paintings. It discusses everything from history to materials to techniques to permanency. Take notes and when you're done check out the remainder of the series that this publisher (Watson Guptill) has released. They are some of the best I've seen.

Happy reading!

A Conversation Between Women in Power

A Conversation Between Women in Power
oil on canvas, pendents 72 x 60 inches
2009

This painting has been finished for a few months now. It will be on the website soon.

Local 11 Ten

The Opening Reception

Monday February 1st from 5-6:30 pm.

Visit the Local website for more information.

Tomorrow I will be hanging several paintings along with some new drawings at one of the best Local fine dining restaurants in Savannah, Local 11 Ten. Normally I would not exhibit in a restaurant however I believe in Local's vision. They work with local and seasonal ingredients which is better for both us and the planet. To give it a twist they add some french and italian flare to their dishes, creating a true experience for the genuine lover of food and now Art.

I'm also excited to show with Local 11 Ten because of their decor. When they opened in 2007 they worked with a Savannah based yet New York City experienced group called Rethink Design Studio. They aided in transforming an old bank from the 1950's into a contemporary and chic space. The mood of the interior is unified yet unique in every direction. Some of the surfaces include exposed brick, raw cork and natural woods. I'm looking forward to seeing my work in the space. The palette will match. The mood will match and the juxtaposition of natural materials with my industrial imagery will support the impact and message of my work.

Anyone with a sophisticated palette will leave with their intellectual appetite wholly satisfied, as well as their stomach. As I said, normally, I would show exclusively to galleries however this spot is too good to pass up. See you there.

What do I have here...

I have about half a gallon of gamsol on the floor (Scott, if you're reading this you know why...)

I have a big new brush likely has likely been poorly cleaned and may be rock hard tomorrow when I go to use it.

I have a large painting that is now covered in angry paint smears from my hissy fit slap fight that I got into with it. All that remains of what was, is a portrait peeping through the schlep.

I will soon have a headache from the fumes.

I will soon have no brushes because I'm slowly but surely finding ways to destroy them all

.

And I will soon have a deadline that is not met because I schlepped my painting to death and set myself back who knows how many weeks because of it!!

I think I NEED a drink and some serious re-direction!!!

The World Can Wait for Studio Time

I'd like to address the working for self, being your own boss deal. It's great... on some levels. I like the control and freedom of working independently but that comes with a required self restraint, dedication and discipline. Is that all the same thing? This is especially important when the peeping heads of Facebook need to share their gossip. This is essential when the siren song of your phone blows up with every other breath. It's important no matter what the circumstances and in today's madness, one needs to be literally tied down to their work.

I generally work on a fairly rigid schedule. Office hours are defined, studio time is defined (and timed) and I usually struggle to fit in/allow myself a night off. This is how much I work. Well I just got back from Alabama, and whether it was the exhaustion of traveling or the lazy southern air that slowed my pace, I haven't done squat since I've been back. Well, I've only done half the squat that I'd like to. My routine has once again lagged with the return from a trip and there is always catching up to do which doubles the distance between me and the studio. I guess it's this way for everyone. And while I could sit here and blame the travels, the southern air, the peeping heads and the siren songs (which are singing as we speak) I can't really blame anyone but myself.

I need the ability to say "No more facebook, emails or blackberry blow-ups. No more cookies, grocery lists or peeping-tom trips to the pantry." To say "No more frustration, neggy-pants thoughts or calls from my mother*," is the freedom I'm in need of, and I'm not alone. When we have the balls to say "no more B.S. it's time to work" everything will miraculously stop, shut up and wait for one damn minute while we do exactly what we were put on this earth to do. The world can wait for studio time, we just have to let it. So now the trick is, letting it be easy... but that just sounds boring.

*Mom, I love you and do not think you're a neggy pants. I just love talking to you SO much that, well, sometimes I loose track of time.

Preachin' the Galkyd Gospel in the durty Souf

I'm in Birmingham Alabama right now and my current mission is to find the best BBQ this town has to offer. But BBQ is not what brought me here...

Gamblin Artist Colors is an oil paint and mediums company based in Portland OR. Robert Gamblin started his biz back in 1980 out of his garage, brrr. His goal in launching this business was to produce a high quality line of materials for contemporary masters (check) and also educate his fellow artists on color and the materials they use. Not only has Gamblin grown a great company, but he's also recruited a great team of Artist Representatives to help him communicate the relevant yet often overlooked details of color and oil painting. I am proud to be a part of this team of Artist Educators.

So this must be why I am in Alabama. I have four lecture-demos down and one to go. My current mission may be BBQ, but my real goal here in Bama is to reach the artists at U. of Alabama, U. of Montavello and the wonderful attendees at Forstall's Art Center. It may be pulled pork and collards tonight but tomorrow morning, I'm back in the spotlight hustling some mad Gamblin game. Click here to see Gamblin's lecture series schedule. Maybe there's one near you.

all images copyright Gamblin Artist Colors

Creative Jam Sessions

This afternoon my friend Elizabeth Rushing and I had what I like to call a creative jam session. Elizabeth is a writer. (she pronounces it E-lizabeth, emphasis on the E and I love it) Her current novel is about an oil painter. This is where I come in. During any given jam sesh I put on my guinea pig outfit and dance around the studio for her. She asks questions, takes notes and when I'm not trying to show her my latest music video obsession she writes. And, while she writes, I paint. I truly enjoy having a friend who doesn't mind my guinea pig outfit and also employs a portable "studio." I can have my studio time and enjoy and enjoy a social visit all at once. Essentially I can have my lead white and...well, not eat it too, but you get the idea. I do not often entertain an extravagant social life. I'm usually on a hermit's mission. Hide out, do mah thang and once in a blue moon come up for air and a cameo appearance at the local Diva's birthday party. So, an opportunity to kill two birds, both of whom I love, with one stone, is a joy and a relief.

During Elizabeth's visit today I experienced some stutter-steps in my painting. My husband Aaron came out for a quick color lesson, which apparently gave Lizzie some entertaining banter to scribble down. What was said?... oh., perhaps Lizzie can regale you with greater accuracy than I can. I love my creative friends.

Drawings - Blow It UP

I've been plowing through my Power Series drawings. They are charcoal drawings revolving around similar, but not identical themes as the paintings. These drawings have informed my paintings, their concepts and layouts. So working simultaneously in two different mediums has proven fruitful.

Until now, the drawings have rescued the paintings whenever a rut had befallen them. Now, the roles are reversing. I'm becoming a bit antsy with the 22x30 inch frame in which I'm working. Although I have great faith in these images, a climax has yet to emerge. And whether it be film, musical, literary or any other type of composition, a climax must arise to satisfy us in the end. Thus, I turn to the paintings in the studio and decide that yes, size does matter.

So, with that said, I leave you to wonder about every possible meaning and use of the phrase

"Blow it up."

Work in Progress

Above is a snippet of a piece I'm working on right now. Yes, I know it's angry looking. Yes, I know the image quality leaves a lil something to be desired but yes, it's also better than nothing. The overall size of this piece is 4 x 6 feet. It will be the center panel of a triptych. Stay tuned for more.

Below are two snippets of a piece I have finished. It will be up on my site as soon as I have it photographed professionally. For now you'll have to settle for a flash and a hail-Mary. No, those do not belong to Mary. Rest at ease.

Painters in Paris

Ok so one of my new years resolutions is to update this blog weekly. A lot has happened since my last update so I'm going to summarize and kick off the new year with everyone, hopefully, up to date. (or at least on your way)

In October I married my now-husband, Aaron. The wedding was bliss and the honeymoon took us to Paris for three weeks. We're both painters so naturally we spent the majority of our time studying. Above you will find a cow... moo. I met this cow at the D'Orsay (I know absolutely no French and do not pretend to know any so when I butcher the spellings you'll have to forgive me) This cow was painted beautifully. We quickly became great friends. I don't have a name for him but he and the paint language creating him has some great personality. The Floor Strippers was one of our favorite paintings there along with the Degas room and then some. So many, hard to name a favorite honestly. I'll post some pages from my sketchbooks so you can see notes or drawings or maybe just some french squiggles.

Knowing such little French had me feeling a bit, whats the word, pathetic. I took Spanish in high school and was sure that I would have managed had we gone to Spain. But alas I was in Paris and all I could manage was being yelled at by guards in every museum, not for touching, leaning or acting a fool, but always because I could not respond to them in french...I shit you not. Just my luck. I met a Spaniard in the Degas room and was able to talk to him for 20 minutes or so. I was very proud, although he did most of the talking and I'm sure I made an ass out of myself at one point or another. lo siento.

My next post will be about the Louvre and the five days we spent wandering through it. This is a picture of me and Aaron (photoshopped together, hence the lack of newly-wed contact) with the Museum wayyyyyyy in the background.

Show in Lisbon, Portugal

I have some work in a group exhibition that will be opening soon in Lisbon, Portugal. I wish I could be there for the opening but alas, there is too much work to be done here and a wedding to plan.

Sketching

This is a study of Harriot. She is the inspiration and model for a drawing and a painting that I am beginning on. The image on this sketchbook page is 3 x 6 inches. The final drawing will be a variation of this on a 42 x 36 inch page.

New & Notable

The August 2009 issue of American Artist Drawing Magazine is soon to hit the news stands. When you get your copy, check out the New & Notable section in the front.

I'm exited and honored to be featured as American Artists' New & Notable artist. I hope you enjoy a glimpse into my new and growing series of drawings. I won't give away any of the details though. For those you'll have to keep your eyes peeled in upcoming issues.

My genuine thanks to Bob Bahr.

Art Calendar Magazine

Scavenger Hunt!!
Go to a magazine stand and pick up the July 2009 issue of Art Calendar and flip to page 20. You'll find a great article on Social Networking written by Renee Phillips. Section three of this article includes and interview with me and opposite section three, on page 21, there is a great reproduction of my painting "Ready for the Revolution Yesterday."

Renee is an Artists' Career Consultant, Author, Artist, and Director of Manhattan Arts International. Her article is wonderful and if you find yourself in need of more guidance I encourage you to contact her via her website http://www.renee-phillips.com.

I want to thank Renee for including me in this piece. When I first met my mentor, John Rise, I was astonished at the knowledge he was so willing to share with me. When I thanked him he said not to worry, that I could thank him by sharing my knowledge with other students and artists when I find myself in the position to do so. Thank you, Renee, for sharing your knowledge and allowing me the opportunity to share my mine. I greatly appreciate your work.

Studio Visits

My studio is open to visitors by appointment (mostly because if you just swing by on a whim I may be out eating coconut macaroons or drinking ginger beer and miss you. sad) and I've had so many wonderful visitor lately. One ent me this email the following day and I wanted to share it with you...

"Anna:

I enjoyed our visit.

I found your work compelling, authentic and significant in that I think it touches the "wisdom well" in individuals. I believe it operates at the the unconscious or subliminal level in terms of impact - a very important level."


This means a lot to me because he describes exactly the impact that I endeavor to have on my viewers. I hope others continue to share this response to my work.

OPEN STUDIO -- JUNE 19th

Left. Apocalypse, oil, 4x4 feet, by Anna Fox Ryan
Right. Her, oil, 8x10 inches, by Aaron Thompson

YOU ARE INVITED

The Scoop on Anna Fox Ryan

The South Magazine Article is out! You can read it at http://www.thesouthmag.com/gallery.asp?galleryid=122

“I don’t care if I step on people’s toes. If they leave thinking or… even better, talking to someone about the ideas that these images bring up—then I’ve done my job. Because there’s
nothing delicate about this.”
-Anna Fox Ryan quoted in The South Magazine, Laws of Nature

"'Burn, Baby, Burn' is one of Fox Ryan’s most powerful works to date."
-Elizabeth Rushing, South Magazine

Featured in The South Magazine

The South Magazine is featuring my work in their next issue (June/July). I met with the writer, Elizabeth Rushing, last week and had an awesome time talking with her (and drinking wine). I'm looking forward to getting to know her better and I can't wait to read her article. This afternoon we had the photo shoot. This is a quick shot I took during set-up with my crumby little point-and-shoot. The photographer, Kevin Banker, was a blast to work with and he captured some great images. With so many awesome people involved, it looks like it's going to be a great article and I'm really excited to read the issue. Thank you South Magazine.

FIGHT FOR THE CURE

"Burn, Baby, Burn"
oil on panel, 30x30" 2008
in memory of Dani Cage

I just got back from The Corner Door where I spoke with Mrs. Elizabeth Myers, a two time breast cancer survivor. We are going to sell this piece and are donating part of the proceeds to support research for the cure for breast cancer.
This painting was inspired by my aunt, Dani, who passed last year after battling cancer. It is the beginning of a series that continues to evolve here in the studio and I'm honored to make this donation. I hope this painting will find a strong and loving home. This piece is very close to my heart.

And to answer your question about the title... Dani, being the tough dame she was, insisted on having the song "Burn, Baby, Burn" played at the end of her funeral. She also insisted on something else. My mother, and another friend of Dani's, were forced to swear that they would stand up when the song came on and start dancing. True to form, they rocked out as they led the entire congregation out of the church dancing. She is still full of life in my eyes and I see her often enough in my dreams to know so. I miss her.

Presentation of Works at Pecha Kucha

I was recently invited to present my work for the inaugural Savannah Pecha Kucha night. You're asking what in the world that is. I don't blame you. Pecha Kucha is a worldwide trend of networking, idea sharing and thus, collaboration and innovation. How does this happen? Each presenter compiles 20 slides, each of which are displayed for 20 seconds (total time is 6 min 40 sec) During this time the presenter speaks about the information shown. They can format their presentation in any way, speak on any topic as long as they are appropriate and stay within their time frame. This is a great way to meet some awesome people, share ideas, get ideas and have some beer to wash it all down. These events are taking place all over the world and there are more to come in Savannah. For those who missed it, I will be presenting again as well, so keep an eye out.

Linda, 22x30" charcoal on toned paper

This pose was about 2 and a half hours and yes, she really looks that spooked.

How I stay sane?

This is my mentor, John Rise, giving a canvas stretching demo. John is the man. That black sweatshirt that I'm wearing there... I LOVE that sweatshirt.

Good times, noodle salad and conversations of the apocalypse had by all.

A shot of Apocalypse hung at Target Gallery for the nationally jurried Aftermath exhibition. I had one quick shot of it in between talking to people. At least I got something. There was a wide range of work at this show, all media, all sizes etc. Good times, noodle salad and conversations of the apocalypse had by all.

The Storm After the Storm

The Telfair Art Fair went really well. Thanks to everyone who came out and peeped the work. I learned a lot and I met a lot of really interesting people who I hope to keep in touch with in the future.

Now that it's all over, I'm back in the studio. Back to work, to paint, power and the apocalypse. I have some really heavy pieces in the works right now. The studio is literally packed full of new works and I'll be posting them soon. Keep your peepers peeled.

Cheers!

Telfair Art Fair

I'll be showing at the Telfair Art fair in Savannah GA. It's a huge juried show and tons of awards will be given out. Hope to see you all there!

Susannah 22 x 30" (shown cropped) charcoal

Susannah is a tough dame. That's my story and I'm sticking to it.

Women I've known 9 x 12" graphite

This piece is called "Women I've Known." The cough syrup is my late grandmother, the perfume was a gift from my old best friend who now lives in New York, the necklace is my sister (she has an identical one to match) the pins are from the bouquet I held at my best friend Lisa's wedding. I am the dangling ring and so is my late aunt Dani. Although my father gave me the ring, it reminds me of her. And the envelope holds what is to come.

There are other women who deserve a spot in this image, but I do not have items that lend to those relationships. Except for my mother, and I cannot wrap her up into a single object. (apologies for the picture quality)

And done

I think she's finished.

The Next Step...

In the studio I'm moving forward with my work. I am maintaining my general theme of industrialization and climate change, however, specific aspects are evolving. The figure is being introduced to explore the human condition as it is impacted by said global changes. I have posted a series of In Progress images of the figure portion thus far.

Solo Exhibition "What If?"

The Solo show "What If?" at Salon Jolie in Savannah, Georgia, opened on Friday May 30. We had an explosive turnout, including coverage by the Savannah Morning News. The show remains on display until June 26. This is just the beginning.

"Me" charcoal, 20x30"

This is what happens when I get bored at a party and decide to go home and doodle instead. Apparently pizza-bites are fabulous brain food.

"Explosion No. 7" oil on panel, 12x12"

"Explosion No. 6" oil on panel, 12x12"

"Explosion No. 5" oil on panel, 12x12"

"Explosion No. 4" oil on panel, 12x12"

"Explosion No. 3" oil on panel, 12x12"

"Women in Worship" watercolor/digital, 8.5x11"

"Explosion No. 2" oil on panel, 12x12"

"Explosion No.1" oil on panel, 12x12"

"Pride" watercolor, 12x12"

"Triptych No.1" oil on panel, 48x54

Detail of larger image, oil on panel, 16x48"

"St. Mary's Flood" oil on aluminum, 20.5x25.5"

Study, charcoal, 7x11"