Art, Nature & Soul #86

We were in Key West Florida earlier this year, our third time. When we came upon this area at Fort Zachary Taylor. It was a corner where the fort and beach areas merged. What a great find. My first thoughts seeing the people swimming around and playing on the rocks was, Henry Tuke Scott, I must paint this. Later I thought Turner. We hung out, for half the day, and I took a dozen or so photo captured references, to give it the Sperry treatment, at a later time.

The scene before me was playful and romantic. A beautiful sunny day, boats saling, birds flying & boys swimming, posing & playing on the rocks, as if nothing else exists, lost in their own world. Thinking our a composition, I used about 6 of the photos to create and give direction. the beach umbrella, the palms, the sailboat & pelicans, pointed the direction to the main show and focal point. Once the compositions in my head, I’m ready to go.

My process generally begins with a complimentery color tonal splash, acrylic base coat. Sometimes I do a compositional sketch, as was the case here. Then I work very quickly, working wet in wet to block in the scene, beginning with the sky, building and moving it forward to the areas of interest. I tend towards painting in a more painterly imressionistic way as opposed to an illustrated one. The figures on the rocks suggest a posture & pose without revealing much else. That’s so you can fill in the blanks and put yourself there, as intended. More than a voyear you are now a participant and putting yourself there with those you want to be there with.

I usually take a photo of the pieces I’m wotking on to access them from another perspective. Then if I need to enhance this that or the other thing I usually do the next day or two. Most are completed wet in wet in a single sitting though. I left the figures more none descript accept for the playful joyous poses that were happening, so you the audience, can put yourself in the scene.

I went a little more primitive and post impressionist in this piece to create a more whimsicle take in which I Am, & We Are and everyones included.

Thank you, as always your questions & comments are welcome,

Richard

Boys on the Rocks 40”x30” oil

progressions

ono of my photo captures in Key West

Art, Nature & Soul #75

Over a month ago I was contacted to do a commissioned abstract. The client knew my work and gave the basic colors that he wanted to see. I set off doing what I do it the size he wanted 40”x60” vertical. I get asked to do commission work several times a year, sometimes landscape, other times figurative & every once and a while an abstract. Each are within my subject matters that I regularly paint, plus within my more contemporary & modern takes on them.

I remember my first commission, in high school. It was a portrait in pastel. When I completed it, the girl wasn’t 100% thrilled with it. She asked if I could remove the space between her two front teeth. I remember thinking, ‘I’m not an orthodontist.’ Years latter I would be called on to paint another portrait, this time in oil. The person had departed this life, so it was important. This time, it was the space between his teeth that was an important identifying feature of the persons appearance. Besides the fact that my portrait work is more stylized, meaning not being a photographic rendition. How we see ourselves isn’t always how others see us, which can make portrait work more difficult, landscapes are infinitely easier, grass is greener.

I’ve painted images from peoples vacations where they didn’t get that perfect photo so I’ll merge the photos they’ve taken into the perfect painted memory image. Sometimes they’re paintings of their favorite place, a garden, a vacation spot, or a lake home. Recently I was asked to paint someone’s vacation home in northern Wisconsin on a 5” wedge of pine that was being turned into a table and given to one of his children as a wedding anniversary gift. How fun and really pleasure to do for a variety of reasons, some of a more sentimental leaning. The abstracts are a lot of fun because if you already like what I do and my approach, it’s play time for me. I like taking photographs and breaking them down into a more contemporary abstract realistic form. I hope to get commissions doing that with someone else’s photo sometime, it’s also a lot of fun the results are so unique. One of these type artworks recently received an ‘Artistic Excellence’ award from Spotlight Magazine in April 2023 & just a month later this May, this piece was featured in ARTISTCLOSEUP an international magazine that features artist from all around the world, each so nice.

With this piece, I asked for the size, the colors & the space it would be hung in. The client gave me the info & sent photos. I went to work doing what I do layering in, the brushed, palette knifed & sgraffito-ed, mixed media extravaganza, including the hidden infinity sign & 18k gold which have become my signature, of sorts, in these type artworks.

Nearing completion, I sent an image of the piece to the client, he responded, “Interesting. I’m a little scared of the orange, but I like it.” I reassured him I could tone it down if he wanted but felt he should see it in person first & we could pick out a frame. Having now seen it in person & feeling the orange was to bold for his taste. It was decided that I’d do some adjustments & enhancement in those areas, thus making then a bit more rusty. He was hesitant to have me make the embellishments and very respectful of me and the art. I felt it was a commission and wanted it a more parallel vision tailored to his taste and went back to work. Completed, I sent an image for his review. His response was an enthusiastic, “I like it!” After its framed and hanging in his home, I’ll add that photo as well so visit again, soon.

Your questions & commissions are welcome, Richard

Ascension 40”x60” mixed media

placement in home

placement

Art, Nature & Soul #71

Hours before & during my waking moments of the morning, I’m most often painting in my head, planning an approach to something I’m working on or will soon be working on, as well as thinking about the next several pieces I intend on doing, visualizing there completion. Among them, I see interiors, buildings, people, animals, vast land & seascapes, plus abstractions nano & blown up, but reduced to design elements connected. Recently I noticed, after posting a newly completed abstract and a seascape I had done the previous year…that the language & messages were very similar, regardless of their abstract or representational leanings. It’s been a revelation to find that what my intentions are & have been reflected in my artwork, as well… as I narrow in on my abstract realistic aesthetic fusion goals.

I paint my life, as I experience it. I’m not merely an abstract painter or a land, sea or cityscape one or even a figurative one for that matter. The internal as well as the external mechanisms engage and compel me to paint my life, how I think, feel it, how I experience it and how I live it…my paintings are a diary, a catalogue and a chronology of happenings. Like the ripples on water when a rock is skipped across it, so are the echoes of life connected by atoms, not separated, but similar, the same, kinetic energy. Fractals, In mathematics, a fractal is a geometric shape containing detailed structure at arbitrarily small scales, usually having a fractal dimension strictly exceeding the topological dimension. Many fractals appear similar at various scales, as illustrated in successive magnifications of the Mandelbrot set. Life a series of patterns within patterns, within patterns onto themselves from the largest to the smallest in all things…telescopic to microscopic these patterns exist on all levels & aspects…chaos changes the patterns, thus outcomes, sometimes subtly other times not so much, as it, we all change, grow & evolve..

It’s not the first or even the second time I’ve raised and spoke about these ideas. They’re are significant and so important to me in so many ways, some I’ve illustrated now and others in the past. By design, like an artwork, our being & collective consciousness are but echoes of a single entity…life, the universe & everything. Like a Phoenix rising from ashes, so it is every time I paint, an opportunity to fly, to create anew, still the patterns & rhythms echo supremely throughout, from me to you, as one expressing our unique sameness unbridled. Hope you enjoy these 2 works and see the echo & synchronicity that occurred and that have appeared and so it goes, life.

peace, love & light Richard

‘The Prettiest Star’ 30”x30” mixed media abstract

New Day 30"x30" oil representational

Art, Nature & Soul #51

The idea comes first. Once the basic concept is in my I head though, I’m ready to paint. We painters have our favorites too. The creative process in these works, are a slow burn romance, assessing and re assessing as I add details, build & go on. Here's one of mine from last year, that was a couple months in the making of scribbles, marks & erasures. If you’re painting a person, place or thing, generally you know what they look like, so then you come up with a composition, then execute it to the best of your abilities. With my more abstract artworks, often times, at least with mine, you’re creating the image from scratch, from your imagination, a personified reality. For me, all the same design elements apply to abstract artwork as they do to representational. Most of you know I’ve been working toward merging both types into a singular expression of envisioned thought, Such is the case with “Love’s Lines, Circles, Angles & Rhymes” .

Here I took the idea from a photo of 2 people embracing in a space, created a composition and broke them down into their essential qualities, and elaborated on them. The Elements of Design are the things that as an artist I work with to create a design, or composition. The Elements are: line, shape, space, value, color and texture. The elements, or principles, of visual design include Contrast, Balance, Emphasis, Movement, White Space, Proportion, Hierarchy, Repetition, Rhythm, Pattern, Unity, and Variety. Again, with the information in front of you visually, representational work is potentially a much easier task. That said, in both disciplines, one of my concerns is that it not look static or contrived. I strive to create a seemingly spontaneous, instinctive, or intuitive yet intended , if you will, visual imagery. Intuitive painting is an opportunity to explore the inner self through the creative process in a safe, critic free environment. ... This approach to painting is focused on mindfulness, creative permission and the act of spontaneous expression., as in automatic.

In this case, after a 5 color splash painting in acrylic, including several interference colors, I sketched out the basic lines within the space & went to work with my oil paints. First blocking in various shapes in color. Once these features are in place the painting leads me as I analyze the various design elements as they begin to emerge. Each layer becomes a stream of conscious methodology of adding and subtracting from the whole and in part the mediums are the message. Adding oil paint to block in shapes, scratching through the layers and erasing as directed by the piece. After a second round with the oil paint, I begin adding line & scribbling with ebony, pencil, grease marker, & oil pastel…each giving their own aesthetic detail and sense of depth. Then enhancing the emerging mythology with 18k gold pen near completion as I add the 18k gold leaf, signing the completed piece.

These artworks evolve over time, with each medium and each layer, I leave and visit the painting, over and over again, evaluating the whole, over months until my vision is complete. I hope you’ve enjoy the journey, making part of it your own too. As always your comments & questions are most welcome.

~Richard

’Love's, Lines, Circles, Angles & Rhymes’ 40”x40” mixed media on canvas

’Love's, Lines, Circles, Angles & Rhymes 40”x40” mixed media on canvas.

Art, Nature & Soul #50

“Technique is the culmination of my vision, expressed.”
-Richard Sperry

Over a quarter century ago, probably more likely 28 years ago, I painted a portrait of a father holding his daughter. I don’t often have the opportunity to do portraits these days as I mostly paint abstracts, landscape and figurative artworks. Recently I had the opportunity to paint the the little girl from the first paintings daughter and her father, and hope to be here to do the next generation, as well.

As a young boy I was very shy and reserved, almost fearful of the world and its people. I believe in an effort to engage me in family events, I was made the camera guy. That’s right they gave me a camera in which to view the world and capture the moments of which, often times I was an insider on the outside, and thus an outsider.

I loved composing and yet capturing a candid moment, with the small kodak automatic, often times and mostly of family and friends, documenting a history, mine. Later I was given a polaroid and than in my early 20’s, I purchased a 35mm camera. Often times I’d draw pictures of what I had taken a photo of. Thinking the literal already existed in the photo, so the renderings were often exaggerations and if they were of people caricatured likeness’s even if in the slightest of ways. The layering and emotional aspects came later. Although even in high school I did commissioned portraits, mostly in soft pastel though. As a young adult, in my early to mid 20s, I had started painting and trying my hand at oil portraits, so I’d use my photos as references , as that’s what I had to work with at the time, and that’s how the first father & daughter portrait happened. One holiday get together, I took lots of photos, but on this occasion I used a half dozen of them as my models. The Naomi & Michael photo, was a tender moment captured on film that I took to the next level, translating it into an oil painting.

Typically, especially back then, I’d do a preliminary sketch, in vine charcoal, although now I mostly use ebony pencil. This to assure both proportion and a good composition on the canvas. The initial painting was created with a larger 1” brush and broad strokes, quickly rendering and shaping the image, outlining in key areas. As the figures were the most important part of this painting I kept the background in shadow with only the slightest of light and color illuminating it and the figures from one lamp. A quarter century or so later, I posted it on Facebook to illustrate a thought. The little girl, all grown up now, with a family of her own, who never knew the painting existed, as it was my earlier figure work, saw it and loved it. I had always intended on giving it to her at some point, as her father had passed on a decade earlier…but now was the time. So after some time, I shipped it to her, her now being out of state. Having received it and loving it, she contacted me and commissioned me to do a portrait of her husband and daughter. And so I did, capturing yet another tender moment in paint, telling her, let’s plan for next generation too, in a playful sentiment.

From crayolas & cameras, to oil paint, my style and techniques have evolved over a lifetime, as I’ve grown into my vision, yet the basic emotional content and message have remained the same. We are connected, we are loved, and we are here in this moment.

Commissions are welcome, as are any questions or comments,

Richard

Mark and Dorthea circa 2021

Michael & Naomi circa 1993ish

Art, Nature & Soul #47

About 15 years ago, My artwork was exhibited in a Chicago gallery, I was told by the gallery owner, “Some people won’t buy your artwork, if they know you’re gay.” I was doing, in part, more design orientated abstracts at the time, so I simple did a series where I put one stenciled letter in each piece, when laid out in order & together it said, “A Queer Boys Story”. I decided then, enough was enough, no more in & out or hiding!

This piece is a throwback to some of my earliest paintings, some 35 years ago. My teens were fraught with deep confusion, angst & turmoil as I struggled to come to terms with who I was. The mid 1980s in my early 20s I had finally begun to understand who I was, where I fit in & to embrace my sexuality. As I turned 20 I simple proclaimed, “I Am” & continued to play the androgynous, bi guy, for a time, before committing to the male/male scene. Much of the artwork I created then, revolved around exploring these themes & things, in a world that had barely begun to understand, muchless accept a more varied concept of human sexuality. I identify as QUEER & my pronoun is ‘Thone’.

Now as then, these themed artworks were meant to be in your face, in your mind & make you think... A way to say, I am here, so get used to it, over it. In 1962, Illinois, the state I live and grew up in, became the first state to take the archaic sodomy laws off the books. I was born in 64’. By 1982, the year I graduated from high school, HIV/Aids was at the forefront of happenings and we had a president who was doing everything possible to ignore and play it down. It was, “only effecting the homos” anyway, or so they thought. In 2020, we had a president who blindly, knowingly sacrificed hundreds of thousands of Americans to another world wide pandemic, COVID, for his own narrow minded cause….power, money & greed, while at the same time, undermining & rolling back 100s of educated/enlightened/progressive policies, including those designed to acknowledge & integrate the LGBTQ communities in the U.S.A. When your country, your world is at war with you, you fight back, art was/is my vehicle and the message is, I AM!

History is more circuitous than linear, LGBTQ people exist in every culture from the beginning of time, throughout the ebb and flow of acceptability. It’s only when person’s of the ‘ME” instead of the ‘WE’ persuasion, impose their will over human nature that persons of minority become outcast rather than embraced. When you put aside your fears & insecurities, one seeks knowledge, you receive understanding, enlightenment and begin to realize everyone/thing has a purpose and value in the world. With the devastating & brutal attacks on the LGBTQ communities across the planet swinging back around to the U.S.A., I felt compelled to assert my presence as a person who will fight the good fight for whoever is under attack by the masses. Freedom, Equal Rights & Anti Discrimination, for all & to secure for all individuals freedom from discrimination against any individual because of his or her race, color, religion, sex, national origin, ancestry, age, order of protection status, marital status, physical or mental disability, military status, sexual orientation, pregnancy, or unfavorable discharge from military service.

As mentioned above, while the theme here is one I explored in my artwork some 35 ish years ago. the execution is different in many ways. This piece was painted over a 4 month period of layering and enhancing. I utilize a variety of brushes, palette knives, pencils, paint markers, scratching tools and even tissues to achieve the desired aesthetic. Here we have lots of scribbles, marks & erasures, plus abstract & realistic elements, I began with a 4 color acrylic drip & splatter painting, then began to paint me in, a layer of ebony pencil written graffiti & symbols, oil painted some blocks of color & form, oil pastel enhanced, charcoal stick, 18K gold paint giving more line and symbol, my signature 18k gold leaf addition & then stenciled the unmistakable word QUEER. Next it was time to entitle the piece, ‘Queer AF Selfie’, ‘57 Special’, were on the table, but my original thought stuck, “Portrait of the Artist in His 50s”, 40”square mixed media on canvas was finalized with my signature.

As always feel free to ask question or comment,

Richard R. Sperry

‘Portrait of the Artist in His 50s’ 40”x40” mixed media on canvas $57,000.00 available

DETAIL~

Art, Nature & Soul #46

Earlier this year, summer 2020, I was able to attend the MONET Exhibit at the Art Institute Chicago. Having been creating art since I was a young child & having been in the art, design & custom framing business low these 35 years past, I’ve come to understand that art is a lifelong pursuit, passion & learning experience. Currently on my larger more detailed artworks I’ve been doing more layering of color, especially in my mixed media pieces. Having got up close & studying these master works of Monet’s, I observed, that from a distance, like in a photo our eyes averages the image to their beauty, but that viewing just inches from the surface and having done some reading on the subject, discovered they are but layered amounts of pattern and paint done not, for the most part, in one sitting(alla prima), but many outdoor sessions (en plein air)and finishing up in the studio. As with all things, I’ve taken a more unconventional way of achieving my own goals, in observation and in execution, and in this case a more abstract realistic approach in my artwork, thus ‘Stairway to Heaven’ lyric is constantly playing in my head. But alas, here we are .

“If there's a bustle in your hedgerow
Don't be alarmed now
It's just a spring clean for the May queen
Yes, there are two paths you can go by
But in the long run
There's still time to change the road you're on
And it makes me wonder”

Zeppelin (Songwriters: Jimmy Page / Robert Plant)

I work from life, photos & my imagination. In this case I took 5 different photos and created the desired composition and dynamic you see here. Each of the photos had different elements I wanted to show and express, from the varied flowers, color & shapes, to the grown over path that runs through the center of the piece. From creating the composition, until its completion took about 3 weeks. It’s all about the layered in mediums and the slow build, in these type works.

In this piece I wanted both the muted undertones, as well as the bright light high key ones. I began, as always with a drip and splatter underpainting, this one in an acrylic prism violet. Then, using a brush, laid in the colors intended, taking my palette knife and blending them together, to a muted coloration, while blocking in shapes, thus creating the preliminary composition to build off of. Once achieved, several palette knives, scratching tools, brushes and tissues were used to move the the paint around to create the image of a natural flower garden. Ebony pencil & 18k gold pen were used to enhance line and give depth. Oil pastel was then used to give more texture, color & pattern, enhancing the broken color and giving the more free design elements of scribble. My trademark of 18k gold leaf was laid in at the top, in the path as light hitting the edge. Taking my palette knife and pure color straight from the tube, I moved about the canvas dropping in bright happy color, thus scratching in my signature, it was complete & posted on social media.

*Me~ Woke up about 1:30am and couldn't get back to sleep, rolled out of bed about 2:30am...had some tea, read some Vonnegut and completed this 48"x24" mixed media piece, but it needs a title, any ideas???

One of the many, many responses was from a collector of my artwork. While I had been reading Vonnegut’s ‘Bluebeard’ ( a tongue in cheek romp through the abstract expressionist movement of the 50s) earlier that morning….Chris’s sentiments reminded of another of K.V.s novels.~

Chris G.

“Visions of Vonnegut. Very cool.”

In 79’-80’ish I read 'Slapstick' it was my first Kurt Vonnegut read. I was immediately hooked. If you haven't read it, it's a futuristic tale in which all the people of the world are assigned middle names, of flowers randomly. Wilbur Daffodil-11 Swain, is the main character. Which ever flower you are, connects you to all the other like flowers, as family, so you are never alone. I'm partial to sunflowers, so that makes me Richard Sunflower-1 Sperry. What’s your flower? Are we family? Here’s where we all gather, mingle and dance, in the sun and a light breeze. After some thought a variation was settled on.

'Vonnegut's Garden' 48"x24" framed (a white traditional frame, as seen or a more contemporary clean line, black frame, its your choice) mixed media on canvas, $2400.oo. (plus a complimentary mini-me 12" square oil of your choice a $350.oo value). Message me with further questions on how this can be acquired. It can be shipped. (free mini-me of your choice with purchase of ‘Vonnegut’s Garden’ expires 12/31/2020)

preliminary underpainting, an abstract

Vonnegut’s Garden/completed

Center detail

framed in a traditional white, though a contemporary clean line black, works well too.

a more contemporary, clean line, black frame

Art, Nature & Soul #44

So it was, I had a title in my head and set out to express it, paint it…’WILD ABANDON’. I had three 36” square stretched gallery wrapped canvases ready, in which to do so. My thought was to make each panel strong enough to stand on their merit, but wanted a unifying thread. After some thought, the idea of a cardio rhythm was settled on, combined with certain universality in all things. A life in 3 parts conveyed, the first being birth through adolescents, second, the young adult through middle age & the third panel, the waning years and the heartbeat stops, to the unknown & ubiquitous nature of things.

And so it began, a drip & splatter layer of lemon yellow, followed by another in prism violet, enhanced by an interference green then blue coat, all in acrylic paint. Then I drew the cardio rhythm in and began working my oil paint palette on the canvases in an intuitive, but concise manner. Moving between the oil paint plus ebony pencil, 18k gold paint & white china marker, I added symbols, both known & unknown ones created and designed specifically for this composition. Layer upon layer, creating scribbles, marks and erasures, where needed to complete the intended dynamic, emotional impact & elements of design, such as line, direction, shape, size, texture, value, and color. Working back into the canvases & sometimes over them in both oil paint & oil pastels, over a month 1/2 or so, nearing completion, black charcoal & 18k gold leaf are added and carried through in each panel. After considerable visual re-evaluations & assessments, it was complete.

I had posted a detail of one of the sections while I've been working on this piece. One of my Friends asked. "What's your inspiration?" This was my answer~ "Life and all it's complexities. Especially in my abstracts, layer by layer, pattern by pattern, expressing the idea of fractals, chaos, unity plus the thought that all life is connected, in these things, from the tiniest to the largest. Sometimes what looks like the sun setting is really the sun rising. For continuity, I used a monitor heartbeat as the vehicle in which to carry through the 3 images" ~me

Those who know me, know I’ve been raising Shiba Inu pups for the past 25 years. So, I went to post a photo of the pups on Shibaholics on FACEBOOOK and accidently posted along with the photo of the pups, this artwork, plus a Ganesha sculpture, I own along with it…here's the conversation that transpired between a few members~

Jenn Barber M.

What’s the artwork and that light blue piece?

Ann S.

shiba ears = heartbeat rhythm?

Ann S.

Very interesting either way tho I say maybe he will add more input

Jenn Barber M.

Yeah, that’s why I was wondering. I really like the pieces!

Ann S.

Jenn Barber M., then again Blaze could be represented by the flames like pattern in painting and could that be blue jade or amber (dog names) hmmm

Ann S.

The blue symbol

I need a nap

Image of Ganesh Poster a3 India Hindu Elephant God for Success Pri... Lord Ganesha POSTER reproduction print for home wall'

Jenn Barber M.

By the time he responds, we will have already made up our own stories. The blue thing must be a still-frozen dog treat left behind from a glacier.

Ann S.

hahahha right?!?

Richard R. Sperry

Sorry, I'm an artist. Must have all been in the file and yes, I love the stories you've created. That's what it's all about. I'm an artist and the Ganesha is a larimar sculpture I have. I love how you all created stories though. Sorry it took time to respond.

Richard R. Sperry

Ann S. & Jenn Barber m.

, you both have me laughing so hard I had tears rolling down my face....Thank You!

Jenn Barber m.

Ann, would you believe we were wrong? Lol. But I really like the painting, Richard! Enjoy your vacation.

Sheryl S.

Keep the storyline going. This is fun.

Available, contact me for further info. As always, your thoughts & comments are welcome,

Richard

WILD ABANDON, in 3 parts, each panel is a 36” square mixed media on canvas

WILD ABANDON, in 3 parts, each panel is a 36” square mixed media on canvas

Detail from 3rd panel

Framed 112”x38” and available at Proud Fox Gallery & Frame Shop

Art, Nature, & Soul #36

Things to think over and simplify: Climate Shift,

We changed the term 'Global Warming' to 'Climate Change' because, way to many folks were assuming that if it wasn't hotter where they lived, that it wasn't happening. So here's the real deal. Between the current time frame when the earth started warming, this time, and until the time in which the growing tempreture hits its peak plateau and stabilizes, the once, somewhat predictable weather patterns will now be more chaotic until the shift occurs complete, to a significant slow down, leaving the planet significantly warmer, for now i.e. ice caps melted. It's true that the earth has had natural chaotic shifts in the past, volcanic induced, ice agic, ones & even a mini ice age in Europe about 1650 and many before. I've seen, witnessed and heard from others first hand of these more current, dramatic & chaotic weather systems & patterns, just on my/ their travels and where I/they live , even more so in the past 3 years. Just a few examples are, St Augustine Florida, a place we frequeunt regularly, statiscally has hurricanes every 17 years, had ones in 2016,2017, 2018, Cape Cod, Massachusetts, also frequented, had a triple Nor’easter in 2018 and the entire cape coast had been destroyed by storms in 2016-2018 as well, our winters, here in Illinois, have been very unpredictable & especially cold for our area, with dramatic shifts for almost a decade, a friend was telling me of the chaotic shifts in rainfall, causing dangerous flash flooding throughout Texas & then you have the massive/beyond comprehension/destructive force of the drought/bushfires in Australia, 2019-2020, that have inevitably sent whole species of animal and plant into the extintion.

However, with this noted, it should also be noted that human expansion has been responsible for the extinction of 500 species since the 1900s, 60%, of all animals just since 1970s, 600 plants in the past 250 years and then there's deforestation, which is an extremely complex issue. It's Oxygen/Osmosis, so we need to address it though. Human world population was approximately 500 billion in 1500ad and 1650 billion in 1900ad, that kind of growth consumes everything in its path and emits/creates an enormous amount of waste. So while climate shifts happen naturally, it's also true that our human activities have sped this one up and will continue to do so, unless we have an intervention. Remember the hole in the ozone, we took steps & intervened with what scientists had discovered was causing it. Now in 2019 its at its record smallest since its discovery in 1982. Long story short, the majority of academics & scientists of all types/sorts agree on these issues, thus, they are who we should be listening to and those that support a fact based reality.Facts based on logic, logic is math and math logic. A CLIMATE SHIFT is happening, you are living in it, there are things we can do collectively to slow it down and perhaps even reverse some of it it’s more negative effects, but time is of the essence, there is a point of no return, for much of the life here, including the human population.

Simply, we have many of the tools at hand to accomplish the goal. The primary deficit lies with having the correct people in charge. Those who are not indifferent to, but concerned with the well being of all life here on earth.

Thanks for listening, be part of the solution, Richard

'Artemis, Stranded' 18"x14" oil by Richard Sperry (2018) This was one of the scenes after a triple Nor’easter ravaged the Cape Cod, MA coastline. In spring 2018 we visited Ptown Cape Cod Ma. It was a couple months after the triple Nor’easter but the damage was done and is still recovering. Here’s one of the fishing boats still hung up on a breaker wall.

Art, Nature & Soul #33

More important than trying to copy the world around us, is how we see, then how its expressed and conveyed in our non rep and representational forms in our artwork.

Earlier this past fall 2019, out walking one morning, I noticed the first light hitting just the top of this Maple Tree, some 15+ years ago, I noticed that this is where the color changes first happen on the leaves. It was at the point where the leaves where glowing that yellow, orange, red, punch color…or a glowing Ranier Cherry one. It occured to me to paint one version as an abstract and another as a representational interpretation. How we build up the details, or take them away will determine the translation between more design orientated and realistic paintings.

For as long as I can remember I’ve drawn as well as painted both abstract and more realistic images, seperately, then have merged them into mixed singular concept. A great many, dare I say, most people like more representational art. It’s easy to relate to, identify with and put your self into it. I get that, that said, many, many peope ask me about abstract artwork, because they don’t get it. Over the years I’ve found the most simple way to explain it and show it. For the most part, abstract work is about breaking down the design elements of what we see and the more realistic is building up those elements & the details to various degrees. Then I’ll show them, by creating a square or rectangle window, using it as a viewfinder and placing it over a section of a representational artwork. In picking a more interesting area of a painting, showing that all the same design elements apply, thus creating an abstract.

In these studies, these paintings, I specifically set forth or average the amount of detail in both, approximating them at a similar level. Neither is to broken down or built up, in detail too much, as to mis the point. Sometimes I paint on location, other times from photos, still others from my imagination. In this case all 3 apply. I began with a toned canvas, decided on a more high key lit color and went to work. Here’s the results. For the abstract translation, I painted just the upper section of the tree against the sky and for the more representaional one, the whole tree, & treeline against the sky, keeping both on the subtle line of impressionism. Here are the results.

Please feel free to comment and ask questions.

~Richard

Fall Maple Translation 1 & 2, 18”x18” each oil on canvas

Art, Nature & Soul #28

One fall the 3rd week of October, some 15 years ago, Don, myself and three of our pups, loaded up in our Dodge Grand Caravan and headed for Mount Desert Island (MDI) Maine. On a road trip you can take in the colors of fall and they were particularly vibrant this year as we drove from Illinois to Maine observing the different trees and colors of the states. We arrived in the coastal town of Bar Harbor on MDI and ”it’s so beautiful”, that’s right beautiful & I continued to say that more times than ever before over our week stay. It was solidly 55-75 degrees & perfect walking weather.

New England has always been of fascination to me. I had family out east when I was growing up. The ocean, its old world charm and history had me hooked from the beginning. Everywhere on MDI was yet another picuresque and paintable vista around every turn and so was the inspiration for this piece. A nested harbor for the lobster man of Maine. Egg Rock Light is in the distance as gulls and sea birds circle around in search of food, flanked by spits of land & coastal pines. It’s a cool day and the waters are choppy, but perfect for the fisherman as the boats come and go in search of their catch of the day. A seagull sits sentry upon the scene as the men on the docks pull up cages, small boat, still another sits fishing while a lobster scurries loose on the pier unbeknowst to all but the pup, Kai-Guy, our oldest & first Shiba Inu, knows its there and wants to play.

Its lasting impression survives in this and other such images I created and painted of the area. Where , the sea beckons me, people still make there living fishing, & lobster is served every which you can, even as fast food.

As always feel free to comment. ~Richard

Rock Lobster, 30”x24” oil (2008) NFS

Art, Nature & Soul #27

Commissions Welcome! While it would be great if everything one painted sold, it’s not the case. The truth is, if you’re a more prolific artist, you produce a lot of art. The majority of it is good, some superior and fewer pieces, are just experiments that went askew . That said, the market is satuarated with art, artists and painters trying to sell their work, especially in recent history. It seems a great many people are trying to find a more balanced lifestyle, thus, creating fills the need, that’s great and I encourage that whole heartedly. I’ve often thought about holding & teaching an art expression/therapy group. I still may, in the near future.

That said, commissioned artwork is yet another avenue of services, that I offer, as painter. From abstract to portraits and everywhere in between, even bookcovers, have been some of the requests I’ve honored upon commission. It can be more of a challenge to paint commissioned piece, as it’s, in part bridging a clients vision to mine. Although most clients know what I do and their expectations correlate to them from the start. I’ve been doing commissioned work since I was a young teenager. Some of them commercial business signs, still others pastel portraits, & even stained glass windows, are some works I’ve accomplished upon request .

This piece was commissioned by a person who had a particular vision. She lives here in the midwest & winters on the Georgia coast. The beach, ocean, & it’s abundant life, plus it’s calming effect have a great appeal to her. The sandpipers scurry and feed along the shoreline. It was with a certain color pallette and look, intended that this piece was executed and delivered to another happy collector.

as always, Your questions & comments are welcome

~Richard

‘Shoreline Beachcombers’ 24”x20” oil on canvas (Commissioned 2018)

Art, Nature & Soul #24

Blue has always been my favorite color. Those of a more color sensitive nature, will appreciate the tonal nature of this piece and the line I’m playing between abstract & representational art.

We went out to Cape Cod, back in 2014, it had been over a decade since I had been to the ocean. Where the vast sea and sky meet, has left a lasting impression on me. I have painted both abstract and representational artworks for over a quarter century now. Typically they have been seperate entities, with an ocassional mixing of the two on the same canvas. In an effort to unify my body of work, I began trying to break down representational ideas into they’re more abstract forms, with the intention of leaving some of those representational things intact, on the canvas.

Having studied some of my most favorite artists, both living and dead, approaches to achieving they’re goals in their artworks, I set forth to create my own trademark look. The thought being , not to do what they do, but to discover what makes/made their work successful, make my work better and perhaps apply it to my own. The list of artist is to long to state here, but you may be surprised at who they are, so ask me sometime, I’m glad to share and promote them. Myself having mostly experimented and having very little formal training, found this to be a revelation of process’s.

Here is one of the early results of a more tonal concept & approach. A variety of blue and white paints, a multitude of painting tools, a complimentary color toned canvas and the inspiration that the sea & sky provided, along with the words of one of my favorite American thinkers.

“Live in the sunshine, swim the sea, drink the wild air.”
― Ralph Waldo Emerson

As always, feel free to ask question or comment,

~Richard R. Sperry

Blue Haze' 24"x24" oil on canvas in private collection

Art, Nature & Soul #20

Portrait & figurative artwork, has always appealed to me. Striving to understand both the physical, and the emotional aspects of the human form and expressing them into an artistic translation, has been an aspiration of mine. As a very shy, reserved and introverted child, I often had a camera or drawing utensil with me in, in which to observe and capture the physical psyche of a person, in an effort to understand mine and everyone elses.

From a photo snapshots, bic pen doodles & caricatures, to pen & ink cross contours, ebony pencil drawings & soft pastel portraits in high school, my interest in the human form increased. With that and my drive to understand myself and the people around me, sent me realling in all directions of artistic expression and then finally acrylic and oil painting. I experimented & explored the various genres & applications, all continuing to create and expand my base of learning, as untrained artist with alittle formal education in the arena. Art has always served as my escape, my cahtarsis and therapy.

Fusing the physical and emotional aspects of a person, in a figure or portrait can be quite a donting challenge and yet I wouldn’t have it any other way. To capture the spirit of the soul of a person, not only their appearance or expression, Is quite a thrill when it happens. While I priamarily do abstract and minamalistic, transitional scapes these days, occassionally I do a portrait or figurative piece and sometimes I receive a commission, such was the case with this piece.

‘SCOTT” 16”x20” oil on linen SOLD Commission Work

As always feel free to comment, and know I take commissions and ship.

~Richard

Art, Nature & Soul #19

Often times, people ask me, “What do you think about when you’re painting” & “What’s your inspiration?” The truth is, everything. I’m a highly sensitive and emotional person, so I tend to interalize the whole of my experiences and hopefully constructively express them, mostly as the vehicle, in the form, of my artworks. These questions are asked even more in the context of my abstract works.

Having spent years refining my drip, splatter & splash techniques, this piece emerged. What I was thinking about and it’s inspiration, was quite simple th canopy of a maple tree in fall, under a misroscope. When the blast of sunlight on it is so strong, that at a certain time, in changing colors, it glows like Hawaiian Punch against the intense array of shadowy color. Imagine a close up of the leaves and there you have it.

When I finished it, I felt it was a strong piece and posted it on Facebook. Soon after, one of my FB friends commmented,

“Just set this as my iPhone screen ;)” -ERIC P.

(about 4 years later, he added the original piece to his collection.)

Thank you collectors. I’m so grateful for people who see outside the box and trust in it.

As always, feel free to comment.

~Richard

‘Windows 1’ 24”x24” acrylic on canvas (2012)

Art, Nature & Soul #17

What is ART? More importantly who decides. Are the answers based on academics or emotive ones, is it because it's realistic or non-objective, does the fact that a painting was done in oil rather than acrylic have any weight, or perhaps it's the fact  that it was painted 'en plein air', instead of in a studio, gains us some insight.

Whether, it's highbrow/middlebrow/lowbrow, who cares. Van Gogh, Monet, Vermeer and El Greco are several visual artists, who had gone, rejected or un-recognised in their own lifetimes, someteimes both. So many others were discovered and advocated for, by persons of influence and decisiveness, within their lives, such is the case with Jackson Pollock. Personally, I know of at least three instances of persons being summoned to the court of high success. What they all had in common was the abitlity to put themselves out there, at all costs, until they gained an audience with that person or persons of influence, sometimes by happy accident. Once this happens, your in, it's art, for many this happens posthumously,  their efforts go un-recognised until some future date and sometimes never.

 What can be known for sure, is that being an artist of any sort is an uphill battle all the way. It takes an unbridled passion, discipline and fortitude.  As for me, my 'pallete' is extremely large and varied, when it comes to 'what is art'. It's an endeavor, often thoughtful, historical and relevant, to its time and speaks to the context of the creator.  It's what inspired a person to create something of a non-utilitarian purpose. A person who is merely struggling to grow as a human, as artist and make their statement about life and the world around them, as they experience it, see it.  The history of art, what it is, and who decides, is as long and complicated as the story of human history itself.  Whether you started creating at age, 1 or 101,  create in crayons, oil or other materials; are the most apt realist or most compelling minalmalist abstract artist, who decides if it's art are the people who purchase your artwork, show it, collect it, now, or in 25, 50 or 100 plus years, later.

While you may 'like' or 'not-like' it, if it's in a museum the broader concensus, is that it's art. But, that's another subject. fore it ,speaks to your personel sense of aesthetics. That said, most people,  seem to rely on the leaders, for their decision making, as to whats good, what's art, and fall in line with such. So when those persons of influence, that gallery that took a risk, the art fair that juried you in, that exhibit you were allowed to participate in, that magazine that wrote an article, those individual family members, friends and persons from around the globe, decide to purchase and acquire a piece of your work, declaring it to be art. Thank them, for in the final analysis, what art is, is in fact in the eye of the beholder, so it's most important to be grateful to those who behold yours, declaring it 'ART'.

Thanks everyone; family, friends, patrons, collectors, sponsors and benifactors, for your continued support and as always feel free to comment. ~Richard

'Eye of the Beholder' 36"x36" acrylic on canvas (yr.20  ) in private collection

Art, Nature & Soul #16

I love a road trip, heading down the highway, an adventure to destinations unknown. Growing up, I remember my family driving all over the country on various trips. Mostly camping, or visiting family, although sometimes they would be to explore historical sites. As I grew older, hopping on the train, or taking off in my car seemed second nature. To this day I still get that adrenaline rush of anticipation as I turn up the music, have the camera ready and hit the road.  Life is about the journey, not the destination.

During this time frame I was taking representational subjects and breaking them down unto their abstract forms. Dripping and splattering the paint attempting  to control the chaos. Besides having a vivid color palette, which colors I applied first became crucial to the dynamic dimensional aspects conveyed. Putting the sky in last, allowed the blue to drip across the entire landscape creating layers of depth.

These artworks seemed to have a theraputic value, a cathartic aspect to them, plus they were so fun to do. As always feel free to comment.

'Meditations 8, the road trip, 22"x10" acrylic on linen, (yr. 2011) in private collection    

Art, Nature & Soul #13

Trying to engage a broader, more universal, world wide audience and have them relate to or see themselves, as participant, in my artwork has been a goal for a great many years. Whether an abstract, landscape, or figurative work, I've worked toward a person having an emotional response to the colors, textures, patterns, composition and design of a given painting. 

In the more figurative works done at this time, I eliminated any standard visual impact that could be used to judge, criticize or discriminate and gave the persons an equal basis regardless of economic status, sex, age, race, ethnicity, nationality, disability, mental illness or ability, sexual orientation, gender, gender identity/expression/dysphoria, sex characteristics, religious, creed, or individual political opinions in which to express themselves, their being, their love.

This smaller work, done utilizing a drip,  splatter, splash technique I had developed over a great many years.  Shifting from my abstract work into a more figurative piece, carving with palette knife, then using sculpting tools to create edges, add line, and so, the figures emerge embracing, with a  passionate kiss, untouched by human evaluations, identified on their own terms.

'Another Kiss' 12"x12" acrylic on canvas (2012) available 

Art, Nature & Soul #12

Inspiration comes in many forms and from many avenues. I grew up in a little one bedroom yellow house, until age 7, in a nearby suburb of Chicago. The house was set back further from the road, as compared to others in the neighborhood. Me, my mother, father, sisters, & on occassion, extended family members lived there,  when they needed a place to stay temporarily.  

Memories flood back from days gone by. An early memory being  one of the great mystery of snow. Around age 5, I had scooped up some snow and saved it in a metal & lidded minnow bucket, to save for the spring, only to find when spring had come, the snow had melted. I suppose we all have these kind of experiences, but for me, it became a realization of a few things. One being, the awe of beauty, another of the inevitability of loss and still another of emmense possibilites of learning.

This piece was painted in 2011, at the plateau in my drip & splatter fusions of abtract and representational subject matters. I'm using acrylic and interference paints here. Swirling loaded brushes of color on a substrate, allowing them to drip, then  splattering them with h2o to encourage the process, followed by carving and directing the flow with a palette knife to create the subject and story, the painting is then completed with more splattering.   

Van Gogh & Gauguin have there yellow house experience and I had mine, a duality and juxtaposition of turbulence and joy.

'Yellow House' 19.5"x15.5" acrylic on board 

Your comments and questions are welcome.  

Art, Nature & Soul #10

Cross that bridge when you get to it. About 25 years ago, I took a train trip across the  U.S. southwest, stopping at the various places along the way. We were able to schedule as many off's and on, stays as we liked. Amtrack has a route, the 'Southwest Chief', if you want to see America, its the only way to travel. Sleeper cars, lounge & dining car, plus a dome car in which to see the whole panoramic view.  We took an enormous amount of photos and video, great references for paintings and memories too.

San Francisco was one of our highlights on the epic trip, working in acrylic I tried to capture both the complexities of life there and the bridge that stands as a beacon of hope and safety for many. It's not all 'Sunshine, Lollypops & Rainbows', all the time, but it is a place where no matter what your thoughts on life are, you will find acceptance and kindred spirits.

Using a drip and splatter method of layering paint glazes and giving some line with palette knife the bridge emerges from the dark, an overcast seaside landscape to reveal safe passage, for all that seek it.

As always your questions and comments are welcome.   

"Gateway to Freedom' 24"x20" acrylic