Another favorite gay artist is Steven Walker......you can see more at www.stevenwalkerartist.com

The second painting is the most emotional piece I have seen to date!

New Painting of the day:

It is about the narrow path that we need to take with our food supply.......down with Monsanto.

I found Beth Ferguson while reading Arts for Change by Beverly Naidus......I liked that she is from Texas and works with puppets.
Beth Ferguson,

Founding director of Sol Design Lab

Beth is an ecological designer, public artist and social entrepreneur. She has an MFA from the University of Texas, Austin and a BA from Hampshire College (both in ecological design and social innovation). Beth has designed and toured with her SolarPump charging station at SXSW in Austin, TX, the Bay Area Maker Faire, Coachella festival in Indio, CA, the Roskilde festival in Denmark, Lollapalooza festival in Chicago and the San Jose Biennial in CA. Constant themes in her work include solutions to global warming and cultural change. She has co-produced community murals, the human-powered Cycle Circus, Austin's First Night mobile street theater, books such as Mapping our Common Ground and LoMap, youth view of lower Manhattan.

Another New painting

Finished ANOTHER painting today.

Andy Goldsworthy

For me looking, touching, material, place and form are all inseparable from the resulting work. It is difficult to say where one stops and another begins. Place is found by walking, direction determined by weather and season. I take the opportunity each day offers: if it is snowing, I work in snow, at leaf-fall it will be leaves; a blown over tree becomes a source of twigs and branches.

Movement, change, light growth and decay are the lifeblood of nature, the energies that I try to tap through my work. I need the shock of touch, the resistance of place, materials and weather, the earth as my source. I want to get under the surface. When I work with a leaf, rock, stick, it is not just that material itself, it is an opening into the processes of life within and around it. When I leave it, these processes continue.

The energy and space around a material are as important as the energy and the space within. The weather—rain, sun, snow, hail, calm—is that external space made visible. When I touch a rock, I am touching and working the space around it. It is not independent of its surroundings and the way it sits tells how it came to be there. In an effort to understand why that rock is there and where it is going, I must work with it in the area in which I found it.

I have become aware of raw nature is in a state of change and how that change is the key to understanding. I want my art to be sensitive and alert to changes in material, season and weather. Often I can only follow a train of thought while a particular weather condition persists. When a change comes, the idea must alter or it will, and often does, fail. I am sometimes left stranded by a change in the weather with half-understood feelings that have to travel with me until conditions are right for them to appear. All forms are to be found in nature, and there are many qualities within any material. By exploring them I hope to understand the whole. My work needs to include the loose and disordered within the nature of material as well as the tight and regular.

At its most successful, my ‘touch’ looks into the heart of nature; most days I don’t even get close. These things are all part of the transient process that I cannot understand unless my touch is also transient—only in this way can the cycle remain unbroken and the process complete. I cannot explain the importance to me of being part of the place, its seasons and changes. Fourteen years ago I made a line of stones in Morecambe Bay. It is still there, buried under the sand, unseen. All my work still exists in some form.

My approach to photograph is kept simple, almost routine. All work, good and bad, is documented. I use standard film, a standard lens and no filters. Each work grows, strays, decays—integral parts of a cycle which the photograph shows at its height, marking the moment when the work is most alive. There is an intensity about a work at its peak that I hope is expresses in the image. Process and decay are implicit.

New Painting

I thought I would post a new painting that I finished this week. It is a small part of a much larger painting that I have been working on for a year. The larger painting is about genetically modified food.

One of my favorite Gay artists Wes Hempel