Upstream People Gallery

8th Annual Landscape Juried Online International Art Exhibition

Juror's Statement | Return to Exhibition

This year's Landscape International has some very interesting and informative views of the land in several parts of the world, mostly in the United States. There are a number of outstanding photographs as well as digital works and media such as oil, pastel and acrylic. Some works are expressive and some are literal. All in all the show is quite a success. Following are a few comments about some of these special artworks.

Scott Baker of Alliance, Nebraska continues his keen eye as a notable photographer in several works including “Cottonwood Tunnel” in which rows of trees in symmetrical balance provide an inviting passageway. In “Foggy Trail” he shows another passageway with clarity in the large growth in the foreground contrasted with the haziness down the trail. He uses another framing device in his piece “Laureled Blades of Sail” showing a circularity in composition with the two tree limbs on both sides repeating the centrally located windmill as if to place a laurel wreath honoring the sails. In his “Monument” the field of vision is almost evenly spread with the typography of a mountainous region staged above a row of trees and telephone wires contrasting nature and civilization. Another rich photograph is that of “Summers Eve” capturing a wide range of light and dark hues of blues with a single star shinning bright above. Lastly, “The Fire of Stephan” shows an intense red sky, the bright yellow glow of the sun against branches and growth of nature.

Chrystal Bates of Boynton Beach, Florida paints a large panoramic view of little cottages on a hill with a snow-covered mountain that commands the background. The pointed roofs nicely complement the point atop the mountain in this work entitled “Mountain View”.

Faith Bemiss of Sedalia, Missouri in “Hidden Light” finds a most unusual formation in which a warm dark rocky terrain surrounds an area of light and bright warm golden structures. Capturing the light against the darkness is wonderfully seen herein. In the work “Storm” the deep earthiness of red rock and earth on the left are composed with the approaching storm with its blues and violets and plant growth on the right. The color tonality is definitely in full view in this piece. And in her work “To Touch the Sky” the weathered tree bends in the direction leading the eye to a small cloud in the sky.

Barbara Bjerring of Riegelsville, Pennsylvania uses oil on canvas with such facility. In “Funks Mill” many brushstrokes delve into the typography of rocks, small plant forms and branches to provide a rich orchestration of nature. In another of her works “Vermont” she shows the land covered with snow contrasted with the rough textural growth of trees along a creek. The large open foreground plays nicely against the detailed thicket of winter trees.

Tanya Bordogna of Edison, New Jersey shows another group of trees of a warm season. The rather lyrical play of thin tall trees with the light blue sunlight dancing through seems to capture the moment in her work “Magic Forest”.

Ambiya Bowo of San Francisco, California expressively paints a kind of energy depicting the city on the bay. “All The Way Market St.” seems full of activity as well as “The Race Is Set” in which the squared format and the tilt of imagery enhance the dynamics of such a busy scene.

Hugh Browning of Santa Monica, California uses the squared composition to full benefit. In “Dead Tree and Hills” the upward movement of the tree complements the upward sweep of the hills. In his piece “Falls at Yellowstone” the upper left placement of the falls plays nicely with the large hillside. “Lonely House” in its simplicity shines out as one of his best.

Phebe Burnham of El Cajon, California continues to show astuteness in several works. In “Front Row Seat” she tells of having a delight in the outdoors. In “Gold Fever at Feather River” she presents with vertical alertness several seekers of treasure with an aura of a gold hue throughout.

Thomas Canale of Midland, Michigan uses technology to his advantage. In “Between Glowing Dreams and Prayer” he manipulates the imagery of a church steeple and cross with open patterned textures and text with artistic success. In like manner he presents “Soul Treasures”.

Ray Carns of Phoenix, Arizona gives a taste of the desert. In his work “Saguaro 309” he creates an unusual treatment for textural emphasis in a silver gelatin print. The symmetrical cactus is framed on both sides. All five of his works are quite creative utilizing his special technique.

Joan Cimyotte of Denver, Colorado gives an enhanced view of the Colorado landscape. “In Fingers @ Arches” she presents many small parts in warm coloration in the foreground and large and cool mountains in the background. In her work “Winter Road @ Redrocks” the warm and cool repeated rhythm is quite apparent. The upward redrock formation is complemented with the diagonal roadway.

Alan R. Davis of Chillicothe, Ohio in “Barren Beauty” sees the beautiful in such a scene with its mountainous range and natural plant growth with the straight line of civilization placed in the center. Special mention is given to “Rte 138 Red Barn Hillside”, another panoramic view of a seemingly successful farm with the typical red barn. All of his works capture the magnificence of the land.

Joanne Ferrier of Orlando, Florida presents “Easter Sunrise” with the golden and bright sun just over the water. With such a rich glowing quality the title is quite apropos as well as the rising sun reflecting on the flowing waters which might be interpreted as new life in the waters of baptism.

Steve Gildea of Natick, Massachusetts uses a montage technique in his works. “Winter Pines” is one of the successful pieces in which the stepping outer shaping repeats what is often seen in the shape of pine trees.

Theresa Golden of Blaine, Washington uses the camera in mighty ways, capturing some wonderful landscapes. In “Rain Where Needed” she shows the rich atmospheric conditions of rain clouds on the left contrasted with the less active clouds on the right. The overcast is felt in the mid tones of the land. In “Rise” she finds a cross-like tree with a flying bird repeating the cross beams in its wings as it flies above - a spiritual message perhaps suggestive of rising above the cross as if resurrected. “Wheat Field” is another of her fine photographs with the cool sky contrasting the richness of the golden wheat.

David Hay of Livermore, California is creative with the new technology of hand drawing with the computer. In “Blooming Road” he shows a delightful and fantastic land with a rich green land and bright little houses in panorama.

Garth Helm of DeKalb, Illinois has some wonderful cloud formations enhanced with unusual coloration. In “Skyscape #2” the sky seems to play a very moving, wonderful and magnificent orchestration over a small mountain. The contrast concept is appealing.

Etta Jean Juge of Oviedo, Florida gives the viewer a scene of veils over a vineyard in her photograph entitled “Bridal Veil Hills”. The depth captured from the vantage point on the hill looking down emphasizes the hilly land.

F. M. Kearney of New York City, New York finds some wonderful scenes. In his photograph “That Special Place” there are violet rocks complemented with yellow and gold foliage. The little waterfall provides a nice focal point.

Unsil Kim of Rockville, Maryland presents a kind of family grouping in the work “Fairy Tale” which seems to be somewhat like the artist’s other works in that the scenery is composed of various different parts. “Glimpses of Memory” seems composed this way too.

Howard Lamel of New York, New York creates some interesting stoneware works. In “Serration” he shows a warm rusty patina in the serrated top part coupled with the dark hunter green glossy base. This contrast is striking.

Ed Lane of Wailea, Hawaii brings the big island to the viewer in “Big Island Cottage”. In this oil on canvas he uses the color palette of red-orange and blue-violet to create a bright sunny day. With the fluidity of his paint, he shows the countryside with hills and rolled hay. The subtle white buildings in a high light violet provides additional strength to the color tonality.

Mary C. (Chris) Law of Chicago has some very nice photographic pigment prints. In “Blue Hills” she captures the land in rhythm showing a rich gold to tan to umber to sienna to a greenish gray to bright blue to an off white. In “Landscape” she uses a similar rhythm in a more abstract handling. In her work “Trees” the more stark and bold black area of tree formation plays nicely against the light background. And in “Twilight” the subtle haze over the land with a central tree creates a gentle setting.

Patricia Littlefield of New Paltz, New York uses a collage technique utilizing digital manipulation in her work “Bay View”. The warm and cool counter play activates the piece. The close and distant also adds to the strength of the work.

Dave Martinez of Edinburg, Texas in “Border Town/Mexico 1” plays light and shadow in an environment of walls, rows of trees and a brick walkway with a light post. The overall “X” composition is strong with the depth of one point perspective.

Ed Maskevich of West Olive, Michigan uses color in a strong and forceful way. “Almost Hidden” shows the rather stark white building in an environment of yellow and green. In “Morning Sunshine” he contrasts the warm of the sun in yellow and orange which plays well with the shaded part of the barn-like structure painted in blue and violet.

Joel B. McEachern of Mount Dora, Florida takes an interesting positive/negative approach in his work “Morning in Ivory”. The reflected trees with the bird on the land helps to clarify the unusual perspective.

Ramond Moen of County Kildare, Ireland uses a warm palette in his work “Will It Rain” suggesting a kind of heat over the land. The reptilean creature positioned as if looking up at the sun adds significantly to the question.

Robert Park of Tyrone, New Mexico shows his expertise in his digital watercolor masterpieces. Each of his five selections are brilliant examples of how digital manipulation can achieve great qualities. “Apache Hills, NM 9”, “Campo Vacio, NM 9”, “Cooke’s Shroud” and “Mogollons Dusting” are indeed outstanding especially in the use of light and shadow and color enhancement.

Ed Ross of Baltimore, Maryland gives the show a change of pace in “Leave” in which sailors are on shore in an environment of a street scene. The leave time is activated with the grid work of the windows of the building.

Mayda Rumberg of New York City, New York again presents a taste of the big city in “Railroad Ruin, Riverside Drive”, a photograph of what once was in contrast to the backdrop of the what is. In “Trees After Hurricane” she continues the theme of time and weather effects.

Michelle Sakhai of Old Westbury, New York again provides the gallery with richly colored works in oil. “Perfect” in its somewhat impressionistic presentation shows a small house structure centrally located amidst the voluptuous surroundings.

Glen Schofield of San Jose, California is able to use acrylic in a very talented manner. In “Monterey Sunset” he contrasts the large land structure against the small tree forms and in his work “Rocky Coast” he shows the fluidity of water and foamy waves against the dark boulders. And in “The Fishing Pier” he connects the top and bottom or sky and water with a complex pier. The contrast of the detailed geometric structure with the smooth and reflective water shows the high caliber of the artist’s abilities.

Dorothy Shepherd of Sunland, California has some rather oriental scroll-like landscapes in the exhibition. “Finding Contentment” shows a small boat surrounded by a waterfall and oriental typography. Similarly, her chinese brush watercolor “Winding Path to Hidden Beauty” repeats the theme of a kind of search for peace and harmony.

Ed Shmunes of Columbia, South Carolina has captured one of the most interesting trees in his photograph “Nara”. The horizontal emphasis with this perspective is striking.

Stephen Smith of Helena, Alabama in his work “Bath #1” has a large deep green growth of trees on the right with a row of light colored homes on the left, all on a hill with hills and homes in the background. In his other oil on panel piece “Bath #2” there is a more open space with figures playing and relaxing in a field. Both are nicely developed.

Stephen F. Swett of Belmar, New Jersey expressively represents “Lake Wallenpaupark, Sundown” with intensity. The sky seems to move like the wind with the longer brush strokes compared to the shorter “Van Gogh-like” brushwork as seen in the lake.

Robert P. Weiss of Brooklyn, New York masterfully paints the manmade structures of a bridge, buildings and a train against the smooth natural sky in "Bridge Sunset". The perspective of placing the viewer on the bridge is expansive. A wide view is also felt in his piece “Gowanus Canal”.

Norine Zapata of Sarasota, Florida is able to examine the small pink and white flowers in a field with groups of trees in the middle ground in her acrylic painting “Live Oak Fields”. “Trees in Yellow Field” is another fine work with emphasis here in the middle ground. And in her piece “Trees Stand Alone” the centrally staged set of trees hit with light and shadow she achieves a rich simplicity making it a strong painting.

Thanks to all who have been selected for a kind of uniqueness of expression.

Sincerely,

Larry Bradshaw
Curator, Professor of Art