The Art of Chelsea Bentley James

BMOA NEWS

2012-02-07T22:15:00.000-03:00

Trekking through Shifting Landscapes

Posted on February 6, 2012

Ryan Reynolds, Overpass

One of our current exhibits on display isShifting Landscapes, the artwork of painters Chelsea James and Ryan Reynolds. These artists examine the subtleties of their surroundings, and record the persistent changes of everyday landscapes. The pairing of their work mimics the views we see while driving from one side of town to the other- vast crop fields and rolling hills set beside quickly growing neighborhoods and shopping centers. Driving through the Valley to Los Angeles, we find ourselves lost in the quiet mountains before stumbling upon massive skyscrapers and tangled freeways.

Their styles are similar, simplified shapes and dusty, muted colors, but the differences are what make their work so powerful. Ryan Reynolds is able to make the viewer feel the movement (or lack of movement) of the congested freeways, the stuffy air and lack of natural environment. In contrast, Chelsea James allows to us to feel the stillness of the air in a distant open space, uninhabited.

While Ryan Reynolds paints on-location, setting up his easel and paints on a freeway overpass or from the side of the road, Chelsea James does not paint specific places. She takes from her memory locations she has encountered and builds them up, creating new environments – a hill from somewhere, a valley from another place, a tree or rock – from travels in Europe to the United States. Her work is a combination of memories of utopia-like locations.

Chelsea James, Flush

“Painting is a study of our existence, spirit, and environment, derived from experiences in life. I choose landscapes that evoke feeling, create situations of atmospheric mystery, and bring visual interest through interaction. I’m intrigued by subtle shifts in value, color, and texture; yet seek a personal interpretation of the landscape rather than a replication. It is not about the physical location, but rather the interpretation of the landscape, perhaps knowingly familiar to the viewer. Personality is revealed through the process of painting. Abstract remnants from my process remain visible in the final product. The hand must obey the spirit.” – Chelsea James

In his piece, “The Maze Eleven Days” Ryan Reynolds illustrates new construction. Through Reynolds’ interpretation of each day’s work we are able to view the construction in changing light. As the days move forward so does the landscape, transforming from clear blue waters to piles of metal and concrete. The unfinished construction of both the painting and the subject-matter forces the viewer to imagine the end result on their own, and allows the space to remain in a state of construction indefinitely.

Ryan Reynolds, The Maze Eleven Days

“I choose to paint the places along the periphery of public spaces – a footpath, a freeway, a park, or a street corner. I make paintings that capture the process of the visual experience. This includes the immediacy of seeing but also the changes that occur throughout the days and years that we form our collective impressions. Through the process of observation and recording, I focus on the elements of time, space, and light as seen in a changing shadow, a ship unloading cargo, a moving person, or a sky set against the more permanent objects of the build and natural environment. Urban place-based painting offers a visual way to expand our understanding of historical ecology, by opening a dialogue between human culture and the environment, and conveying a deeper understanding of the human role in transforming the landscape.” – Ryan Reynolds

Educational Supplements to this exhibit are downloadable on our Teaching ResourcesPage. For more information, contact lsherwyn@bmoa.org.

This exhibit will remain on display through March 4, 2012.

New American Paintings interview

2012-01-22T04:22:00.004-03:00

THE PERSONAL AND PERSONIFIED: PAINTING WITH CHELSEA JAMES by New American Paintings January 18, 2012, 8:15 am

Painter Chelsea James (NAP #96) captures everyday scenes that are soft and enduring. Personal nooks, quiet contemplative spaces and belongings, and everyday interiors are captured in a warm and nostalgic light. Something about her work makes me want to live in these homes and spaces she both creates and reflects upon. – More by Los Angeles Contributor, Ellen Caldwell, after the jump! Ellen Caldwell: Please tell me a little bit about your pieces featured in the recent NAP #96 issue.

Chelsea James: “Bookshelf” and “Sylvia” are scenes taken from an art professors’ personal studio bookshelf. Objects were collected from the desert for their peculiar beauty, some sentimental articles and others purely for utilitarian storage. I find it fascinating what they chose to display. The sink is from the Guthrie Building in SLC, which is an artist studio space. Artists’ spaces are alive with interesting marks and traces from occupancy and resonate with the energy of creating. I thrive off of that.

EC: Yes, I love this idea of stored momentum and traces of a past owner or spirit. It’s something that Erin Payne’s works (NAP#93) really reference too. The intimate and soft domestic scenes you create are fabulous. What first led you to this subject and style?

CJ: About four years ago, I was primarily a still life painter and interiors seemed like the next natural step. It began when my husband and I were renting an apartment in Prague and I didn’t have all of my equipment to properly paint still lives, so I began to paint the interior of the apartment and I really enjoyed it. From there, I explored numerous types of spaces and naturally, my style began to evolve to a looser, more obscure approach.

EC: Your color palette is really subtle, but compelling. Does it shift depending on the subject and series, or do you usually tend to stay with the cooler colors?

CJ: When I begin a painting, I try to not to start with a particular color palette, instead allowing the colors to evolve organically on their own, especially with my landscapes. I choose colors that I naturally gravitate to, it is purely instinctual. But for a series, I will strive to maintain some kind of unity and cohesion with the color palette.

EC: Your subjects vary in one way, with your interiors and exteriors, yet your style and approach makes them feel familiar and similar…

CJ: I like the idea of exploring the imprint of life and occupancy in interior spaces. For example, shelves where people display their keepsakes, or the farewell of a dinner and the traces left behind. Working with conceptual landscapes and perceptual interiors is how I like to work, so I will continue to work on the two subjects simultaneously and hopefully come to a more loose and abstract resolve with my landscapes.

EC: You’ve lived abroad and traveled a lot. How has art you’ve seen impacted your work?

CJ: A couple of years ago, my husband and I visited the Paris Museum of Modern Art along with the Van Gogh Museum in Amsterdam. I was heavily inspired by Van Gogh’s landscape drawings; the simplicity yet and subtleties in his tonalities, and I was moved by Nicolas de Staël’s work at the Paris museum. He uses very bold areas of color to describe space in a minimalist way. After viewing these shows, I decided to change my direction as an artist: to take more risks and to stay true to myself.

— Chelsea James is represented by the Dolby Chadwick Gallery in San Francisco, CA. Ellen C. Caldwell is an LA-based art historian, editor, and writer.

Bakersfield Museum of Art - Shifting Lanscapes

2012-01-07T00:59:00.005-03:00

Shifting Landscapes

Dec 8 - March 8

BMOA paintings Dec.8-March 8

2011-11-11T21:16:00.007-03:00

Above

60" x 60"

oil on canvas

Wash

36" x 36"

oil on canvas

Still

60" x 60

oil on canvas

Season

60" x 72"

oil on canvas

Rise

12" x 12"

oil on canvas

Paragon

48" x 48"

oil on canvas

Found

12" x 12"

oil on panel

Flush

12" x 12"

oil on panel

Flurry

12" x 12"

oil on panel

Expanse

48" x 60"

oil on canvas

Basin

60" x 72"

oil on canvas

Balance

60" x 72"

oil on canvas

New American Paintings

2011-10-22T01:43:00.002-03:00

2011-10-19T16:14:00.005-03:00

Prev Next
me precious.

I came across Chelsea James like most good things, by chance in the San Francisco Gallery ……

Her large-scale paintings of mundane objects bring you in with every layer of paint. Ms. James captures a bookcase as if it is breathing. The colors vibrate off one another then slowly pool into a faded color field, only to remember you are looking at a common bookcase. There is nothing common about it.

In her landscapes the ground raises up to meet the sky and disapears. The strokes across the canvas rush to catch a fleeting moment. The “fleeting” notion, seems to echo within her use of a quote from Hippocates, “Life is short, art long, opportunity fleeting, experience treacherous, judgement difficult.”

Ms. James continues: I paint for me, for that feeling of challenge, resolve, and completion. Oil paint is very complex, I feel as though I am at the beginning of understanding the intricacies of the medium. The possibilities are endless and I find that exciting. Being an artist enriches the way I see the world. When I paint something simple, I find that it’s infinitely complex. For example, when I am painting the landscape, I find that I notice little details that normally I would overlook, maybe the subtle value shift of colors in the clouds, or the edges and textures of the earth. My senses become more acute.

DT: Where do you get your inspiration?

CJ: I derive my inspiration from so many different sources. Art, travel, the landscape, architecture, Museums, photography, are just a few. Last year, Adam, Lulu and I drove from Amsterdam to France. I took thousands of pictures of the lush diversified landscape. This inspired me to try and paint the way that I saw the landscape, the way it made me feel. There is something very calming, infinite and alive about the trees, wind, and the landscape in general. But, I tend to gather inspiration wherever I am, and for that reason, I try to keep my eyes open.

DT: What is your process?

CJ: I sometimes begin with a loose drawing, generalizing areas with patches of color. It’s very rough; the objects are abstracted into shapes, mainly focusing on compositional elements and color relations. I then create unintentional marks to deliberately make mistakes, so that I can react, creating history and resolution in the process.

Mistakes can create beautiful moments that feel spontaneous, and free, rather than contrived. I try not to let my painting become precious. That is a dangerous thing, because then I am afraid to destroy it, to move forward. If the painting becomes dear, how can you progress without becoming tedious? It almost kills me sometimes, but when this happens, that is when I have to destroy it by making unintentional marks to free up the form. And then I go back to my painting and bring it back.

As she talks freely talks about her work she remembers a professor from college putting turpentine on a figure painting she was laboring over, while stating the importance to step back and to not commit too early in the process of a piece…

CJ: I was devastated at the time, but now that I look back, I realize that was a valuable lesson for me. It taught me to let go and have the confidence to find the form again. And usually, it is better the second time around.

DT: What draws you to your subject matter?

CJ: My landscapes and interiors seem to contrast one another, which keeps me interested. The landscapes are comprised from drawings, pictures, studies and memories, while the interiors are mostly perceptual, with only a little memory.

Rarely does a painting emerge quickly without the need to continually paint over it. It is not uncommon for me to be 80% completed with a painting and if it’s not working or I become bored, I either mess it up by throwing paint at it, or I completely paint over the surface and start over. Many of my finished works have at least a couple of paintings underneath.

I think it is important to find yourself involved in the process and not the product. The process should be alive, in motion, vulnerable. “Painting demands a certain mystery in which not everything is defined” – Degas

DT: What, if any compromises have you had to make?

CJ: It is a commitment, a time consuming investment, so you have to be very passionate. I have had to make many compromises with priorities, such as not getting a ski pass, or not going to that dinner party. I was working towards a show at Dolby Chadwick when I was pregnant and after the baby came. I had to make some very difficult compromises, like hiring help, and sleeping less.

DT: Who is your creative sounding board when you are stuck or in a loathing stage of a piece?

CJ: My husband. He is my most consistent and honest critique. When I feel stumped, or discouraged, he is the one that helps me believe in myself and he is not afraid to tell me the truth. Even though he is not a painter, he is very artistic and knowledgeable about art, and most importantly, I value his opinion.

DT: What is required of a Painter to float rather than sink in the industry?

CJ: To work hard, don’t give up and to not listen to outside negative criticism.

2011-06-03T01:48:00.002-03:00

"Bookshelf 2"

36" x 36"

Oil on panel

"Cupboard"

24" x 24"

Oil on Panel

De Saisset show

2011-04-25T02:28:00.004-03:00

LandsCApes: Glimpses of Everyday California

October 2 - December 5, 2010 and January 15 - January 28, 2011

2011-04-03T17:06:00.001-03:00

"Reprieve"

48" x 60"

Oil on canvas

"Open"

48" x 48"

Oil on canvas

2011-01-08T21:12:00.003-03:00

"Sink"

12" x 12"

oil on masonite

De Saisset Museum

2010-09-26T14:16:00.006-03:00

In a couple of days, Adam and I are headed back to SF to see Alex Kanevskys show at Dolby Chadwick, and also to swing by this landscape show that I am a part of. The Saisset Museum in Santa Clara chose a piece of mine to exhibit in their landscape show, so hopefully we will make it there in time

LandsCApes: Glimpses of Everyday California
October 2 - December 5, 2010 and
January 15 - January 28, 2011

We live in a fast-paced world where cell phones, email, Wi-Fi, and Twitter keep us constantly connected. We frequently rush through our days, focused on the tasks at hand or the desire to reach our final destination. Although we see the world around us, we often forget to really look—to notice subtle shifts in the seasons or the way new development alters a landscape. The artists in this exhibition dare to slow down, to examine their surroundings, and to give shape to the sites of everyday California.

LandsCApes: Glimpses of Everyday California assembles a diverse group of artists, who work in a variety of mediums, ranging from painting and sculpture to prints and photography. Together, the pieces in this exhibition present a multi-faceted view of California. Through the eyes of these artists, landscape becomes much more than pristine wilderness; it includes industrial sites, city views, seascapes, congested highways, and endless stretches of farmland. The works depict California's landscape as the embodiment of awe and wonder—untouched nature at its best; a product of inevitability—the forward march of growth and progress; and sometimes a site of conflict—the collision between humans and nature.

The images in this show reveal glimpses of the everyday. The artists use real sites as inspiration, often venturing no further than a short drive from home. And, in the process they call attention to the landsCApes we sometimes fail to notice.

Artists in this exhibition include Todd Hido, Yvonne Jacquette, Chelsea James, Richard Misrach, Ryan Reynolds, and Chris Sicat among others.

The Artist magazine

2010-09-20T02:51:00.002-03:00

studio visit

2010-09-20T02:49:00.001-03:00

Souvenirs of Solitude June 3rd

2010-05-24T17:13:00.001-03:00

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Dolby Chadwick Gallery

Chelsea James Souvenirs of Solitude

June 3-26, 2010 Opening Reception: June 3, 5:30-7:30 www.dolbychadwickgallery.com Chelsea James, Deep, 2010, oil on canvas, 66 x 60 Dolby Chadwick Gallery is pleased to announce Souvenirs of Solitude, an exhibition of new paintings by Chelsea James. Having only recently earned her BFA, the impressionistic quality of James’ landscapes and interiors nevertheless reveals the measured stroke of a mature and confident artist. She skillfully endows her traditional subject matter—an atypical choice for such a young age—with a sensitivity and lyricism verging on the precocious. And though James’ paintings derive from her experiences within the world, they are also intimately mediated through the artist’s own temperament and interpretative sensibilities. [My paintings are] a reflection of who I am and what I've experienced. I choose objects that evoke childhood memories, create situations of atmospheric mystery, and bring visual interest through interaction. I'm intrigued by subtle shifts in value and color; yet seek a personal interpretation of the objects rather than a replication. – Chelsea James Inspired by van Gogh’s drawings during a trip to Amsterdam, James’ abstracted renderings of San Francisco, Utah and Africa, amongst other settings, evoke the palpable atmosphere and formal unity of the Dutchman’s landscapes. This same awareness of atmosphere’s affective power is evident in James’ most recent series of interiors depicting lone industrial sinks and vast institutional hallways. Though bereft of actual human presence, half-empty bottles of soap, a folding chair, and pristinely polished floors give James’ scenes the imprint of recent occupancy. Desolation is overcome by a sense of quiet solitude and calm, a mood reinforced by James’ muted color palette and softly shifting tonalities.

Chelsea James, Seventh Floor, 2010, oil on panel, 36 x 36 Chelsea James earned a BFA in Painting and Drawing from the University of Utah in 2006. During her undergraduate career, she was the recipient of numerous scholarships and awards and has since shown work at a several galleries and museums throughout Utah and California. Southwest Magazine, Salt Lake City Magazine and, most recently, Design Sponge, have praised her as a talented artist on the rise, one whose technical prowess and earnest imagination render her worthy of close attention. This will be James’ first solo show at the Dolby Chadwick Gallery.

To see more images of the show or for more information about the gallery please visit www.dolbychadwickgallery.com or send an email toinfo@dolbychadwickgallery.com.

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New work

2010-05-14T17:32:00.006-03:00

June 3rd

Dolby Chadwick

Solo Show

"Guthrie Sink"

24 x 24

Oil on panel

"Guthrie Sink 2"

24 x 24

Oil on panel

"Seventh Floor"

36 x 36

Oil on panel

"Studio B"

36 x 36

Oil on panel

"Sylvia"

36 x 36

Oil on panel

"Utility sink 2"

36 x 36

Oil on panel

"Utility Sink"

36 x 36

Oil on panel

2010-05-14T11:52:00.006-03:00

yosemite

60 x 66

"Zim"

60 x 72

"Tahoe Trees"

48 x 60

"Split 2"

60 x 66

"Split 1"

60 x 66

"retreat"

48 x 48

"Glass"

48 x 60

"Crimson Valley"

60 x 66

"Deep"

60 x 66

"Altitude"

in progress

2010-03-12T04:10:00.002-03:00

Dolby Chadwick called today and said they needed images right away of what I'm working on. I am painting on all 27 paintings simultaneously, so none of them are done yet. This way of working is good for a number of reasons; 1. It keeps it interesting, and therefore is I don't get bored, 2. the body of work seems to be more cohesive if I'm working a little on each painting every day, and 3. I find that this produces higher quality paintings because what I am learning today, I can apply to a painting I started two months ago that is lacking. So, there it is. Don't judge me, these paintings are still in need of a lot of work. I also hired someone to help with lu and the house so I can finish this monstrous show in time. So, if you don't see or hear from me within the next couple of months, I will be hibernating in the studio.

June at Dolby Chadwick

2010-02-15T15:51:00.003-03:00

I have been working like a busy little bee for my art show in June at Dolby Chadwick. My goal is to have 30 paintings ranging from 3 x 3 ft - 7 x 7 feet. These are a couple of the paintings in progress - I'm doing a collaboration of interiors and large landscapes. These are just the under paintings. In a couple of weeks, I'm painting with oils again.

inspiration wall

I work in chaos. Sometimes when I go to other artists studios and there's not a drop of paint anywhere, and it is spick and span, it boggles my mind.

Interior show finch lane July 2009

2009-08-08T03:10:00.009-03:00

"White Dresser"

Oil on Masonite

16 x 20

"Blue House Chair"

Oil on Masonite

12 x 12

"Black Chair"

Oil on Masonite

12 x 12

"Roselles Blue Chair"

Oil on Masonite

12 x 12

"My Desk"

Oil on Masonite

12 x 12

"The Judkins"

Oil on Masonite

12 x 12

"Laundry Room"

Oil on Masonite

12 x 12

"Noon at Cocolalla"

Oil on Masonite

12 x 12

"Piso 5"

Oil on Masonite

12 x 12

"Piso 7"

Oil on Masonite

12 x 12

"Piso 3"

Oil on Masonite

12 x 12

"Vanity Mirror"

Oil on Masonite

12 x 12

"Chairs in Line"

Oil on Masonite

12 x 12

"Chair at Guthrie"

Oil on Masonite

12 x 12

"Pink Bathroom"

Oil on Masonite

12 x 12

"Pink Bathroom 2 "

Oil on Masonite

12 x 12

2009-08-03T01:34:00.002-03:00

Finch lane show

2009-07-20T03:08:00.003-03:00

I'm having another art show at the end of July. Pa pa please come! Its of some new interiors I've been working on... Here's a teaser

Where: Finch Lane 1325 East 100 South 801.596.5000

What: Interior paintings by Chelsea James

When: July 31st from 6 - 8:00PM

The show will be up until September 11, but I hope you can make it to the opening and get some yummy refreshments.

Dolby Chadwick Gallery

2009-07-16T12:15:00.002-03:00

Adam and I just got back from a small trip to San Fransisco to drop my new paintings off atDolby Chadwick Gallery. I was pretty much star struck by the artist line up and really didn't feel worthy. Some of my favorite painters show here{including Alex Kanevsky} and they are hoping to also show Anne Gale. I'm so excited. Below are some of my favorite artists showing at the gallery, I think the work is superb. Check out the website, they just added me to the list;

Click here to visit the gallery

Robert Kingston{adam and I want one of his huge pieces so bad.}

Tom Lieber

Brian Blackham

John Dipiolo

Kirsten Stolle

Alex Kanevsky

Willard Dixon

Shelly Hoyt

Kim Frohsin

Suhas Bhujbal

Emanuel Bernstone

coda show feb 27

2009-03-01T23:13:00.005-02:00

thank you for all of those who made it to my show last weekend. For those who didn't get a chance to see it, here are some images.

Justin Hackworth unexpectedly documented the night, thanks Justin! above is one of his images.

meet erin berrett, a brilliant local still life painter.

feb coda show

2009-02-26T01:18:00.013-02:00

"cranberry trees"

48 x 48

"losotho"

30 x 30

"rain is coming soon"

36 x 36

"morning mist"

34 x 34

"imire reserve"

36 x 36

"fields and trees"

48 x 48

"peaches and limes"

30 x 30

"rose colored sky"

48 x 48

"Eastern bloc"

48 x 48

"spring"

8 x 10

"the green coast"

8 x 10

"southern dawn"

8 x 10

"prague"

8 x 10

"kellogg, idaho"

8 x 10

"bleeding sky"

8 x 10

2009-01-15T19:44:00.004-02:00

mark your calendars, I'm having an art show with Wendy chidester in February. Here are the details..

coda gallery

park city, utah

feb 27 6-9 pm

and a little sneak peak of what I'm working on

new etsy store

2008-12-12T02:36:00.003-02:00

I just set up an etsy store with some prints I'm selling. Heres the link if you want to check it out;

chelseabjames.etsy.com

images and drawings for kelly

2008-09-24T18:59:00.002-03:00

2008-09-21T21:35:00.008-03:00

"Potato bread"

oil on canvas

24 x 24

"rain cluster"

oil on canvas

36 x 48

"green desert with rain"

oil on canvas

36 x 48

"bushes that look like trees"

oil on canvas

24 x 24

"purple storm"

oil on canvas

12 x 16

"vanilla sky "

oil on canvas

28 x 28

"chocolate cake"

24 x 30

oil on canvas

june work 2008

2008-07-04T18:48:00.006-03:00

portrait study

pink bread

12 x 24

large bread

24 x 24

paris collection study

6 x 6

roll study 1

8 x 10

summer sandal

8 x 10

odouls

14 x 17

sketchbook pics

2008-04-22T02:35:00.014-03:00

Below are moments chosen from my sketchbooks. Most of them are studies from other paintings. I like studying and learning the way other artists solve the complexities of nature through art.

Euan Uglow "Beautiful Girl Lying Down"

Study from John Singer Sargent's painting "dinner at night." Sargent is one of my favorite artists and the best figure painter of all time. So, I draw little sketches to study his skills.

study from David Levine

study from a degas drawing. I was lucky enough to see the beautiful exhibit of degas drawings, paintings and sculptures in LA. After that, I immediately grew a new appreciation for degas sensitivity to line and light. This is my favorite drawing of his.

life drawing at the U of U{that shady character with the hat is me}

study from Paul oxbenougers painting "the dance"

Study from Whistler

I love fashion. It's true, everything about it is captivating. the textures, colors and especially fashion photography. I love the simplicity and the dramatic nature of the photo I drew this from. I think it was from the 30's

A drawing of my friend Kourtney above

life drawing during my second year at the U

Study from John Sargent

Life drawing at the U

Study

Study from Macdowell. Can you see what it is?

"the pathetic song"

Adam and Eve

drawing at a cafe

"la Carmencita" by Sargent

"Almina" John Sargent

"Miss Sybil Sassoon" by Sargent

Fathers day 2007, I spent the day going on a hike and drawing a colorful, textured hill top.

Study from Lipke, whom I love!

Degas

Drawing people while waiting in Delhi, India's airport.

This is my beautiful husband. I drew him while on a train in southeast Asia. Check out that stylish mullet, love it!

Random lady in Bulgaria.

Lady eating lunch in France

Life drawing at the U of U

Life drawing in Patty Kimbles lovely class at the U of U.

Also from life drawing 05

Study from Sargent

below is from an airport in Thailand with no air conditioning. It was beyond hot.

detail for interiors

2008-04-04T03:03:00.008-03:00

2008-01-16T22:21:00.001-02:00

Little Pioneer 12 x 12

Seven Sprouts 24 x 30

red chair 12 x 12

design sponge

2008-01-11T14:28:00.000-02:00

Make sure to check out this link; Design sponge just featured me as an artist to watch http://www.designspongeonline.com/2008/01/chelsea-james.html

Bobbis Painitng

2008-01-09T04:47:00.001-02:00

This painting is for Bobbis new house. Its so big, I have to drag it into my studio and paint sitting down.

2007-12-14T17:05:00.001-03:00

"Corn Meal"

24 x 24

Oil on Canvas

"Omniture Green 2" 24 x 24 Oil on Canvas

"Black Chair " 12 x 12 Oil on Board

color combos

2007-10-30T19:38:00.001-03:00

these are color combos I am choosing from for a commissioned painting. I tried to find colors that Bobby liked- lavender, blues, turquoise, you catch my drift. color theory 1 Magenta's, earthy peach with warm lavender. color theory 2 Warm blues with a tint of alizeron and gold accents. color theory 3 Sand, Sky blues and deep red. color theory 4 color theory 5

color theory 6 color theory 7 color theory 8 color theory 9 color theory 10

**** This one is my favorite. The poppy orange combo with sand, chartreuse and subdued turquoise

Modern museum of art, Paris

2007-10-06T13:42:00.002-03:00

These are some of my favorite paintings from the Modern Museum of Art in Paris.

Some new work

2007-09-22T15:52:00.001-03:00

Landscapes

"Summer Heat" 36 x 48 "High Noon" 5 x 7

Interiors

"Morning Sheets"

36 x 48

"Desk"

12 x 12

"Chairs in Line" 12 x 12

"Ironing Board" 12 x 12

Figures

"Roselle 1" 12 x 12

"Roselle 2" 18 x 18

"Dancer" 12 x 12

Still Lifes

"Bird Reflection"24 x 24

"Heinz" 12 x 18

"Cake" 5 x 7

"Red Shoe"10 x 12

new still lifes

2007-07-24T00:38:00.001-03:00

"Study for bread painting"

12 x 12

"Whole Wheat"24 x 30

"Cup of OJ" 8 x 10

"Birds in Spring" 10 x 12

New landscape paintings

2007-07-24T00:26:00.001-03:00

"Bleeding Bushes"

36 x 48

" Stormy greys"

12 x 12

"Gumdrops"

24 x 24 "Desert Sky" 24 x 30

Figure drawing workshop

2007-06-18T01:05:00.001-03:00

This is Paul. He teaches THE best figure workshop out there. After 8 days of intensive drawing and painting, I was worn out, but inspired to paint. We began with pencil drawing, then moved to a toned surface with charcoal, and slowly transitioned to oil painting. Heres the link if you want to travel to the charming town with no stop light. http://helperworkshops.com

A good painting quote

2007-03-28T06:50:00.000-03:00

You have to know how to use the accident, how to recognize it, how to control it. -Helen Frankenthaler

2007-02-22T01:03:00.001-03:00

I just went to NYC in the anticipation to see the "Americans in Paris" exhibition with this painting, The daughters of Edward Boit by John Singer Sargent. I thought that the exhibition was taken down and this piece sent back to its home in Boston, but to my surprise it was still there. This is THE most magnificent painting ever done. It is even more remarkable in person.

Omniture Painting

2006-12-02T23:24:00.001-03:00

This was during the process of painting this landscape. I've never painted anything this large, so it was intimidating at first. However, I soon began to embrace the size and learned different techniques of mark making along the way. Omniture commissioned me to paint a large Landscape to fit a hip, but tranquil setting. They also wanted the painting to compliment their company colors; chartreuse green and grey. "Split"

The inspiration from "Split" comes from driving through Split, Croatia and viewing the beautiful architectural designs of the landscape.

Abstract Landscapes

2006-12-02T22:46:00.001-03:00

I became inspired to paint these landscapes when I was living in Arizona for a short while. The colors and the textures of the desert made me yearn to paint. These paintings are a really nice break after painting all those still lifes. I think it helps me keep a balance. "Desert Bushels"

24"X30" "Immigration"

12"x12"

"Maricopa"

16"X20"

"Orange Blossoms"

48"x36"

Reservation

" 24"X30"

Shoes

2006-12-02T21:45:00.001-03:00

"First position"

24" X 24"

"Rosie"

16x20"

"Senorita"

16"x20"

"Spicy"

16"x20"

"Stack of shoes"

24" X 24"

"Composure"

16"x20"

"Going out for desert"

16"x20"

"Green Beads"

16"x20"

"Omniture Green"

16"x20"

"Velvet"

16"x20"

September Art show at Williams Fine Art

2006-12-02T21:03:00.001-03:00

"Spring"

24" X 24"

"Off the hook"

24" X 24"

"Patterned blooms"

24" X 24"

“Red Shoe”

24 X 30

"First position"

24" X 24"

“Green Platforms”

24 X 30

“Miss Kitten”

24 X 30

"Kimono flowers"

24" X 24"

“purple pumps”

24 X 30

“distracted”

24 X 30

“Summer Dress”

24 X 30 “Roselle’s Thermos”

24 X 30

“Red Vase”

24 X 24

"Rose reflection"

24" x 24"

The Art of Chelsea Bentley James

BMOA NEWS

Trekking through Shifting Landscapes

New American Paintings interview

Bakersfield Museum of Art - Shifting Lanscapes

BMOA paintings Dec.8-March 8

New American Paintings

De Saisset show

De Saisset Museum

LandsCApes: Glimpses of Everyday CaliforniaOctober 2 - December 5, 2010 andJanuary 15 - January 28, 2011

LandsCApes: Glimpses of Everyday California

October 2 - December 5, 2010 and

January 15 - January 28, 2011

The Artist magazine

studio visit

Souvenirs of Solitude June 3rd

New work

in progress

June at Dolby Chadwick

Interior show finch lane July 2009

Finch lane show

Dolby Chadwick Gallery

coda show feb 27

feb coda show

new etsy store

images and drawings for kelly

june work 2008

sketchbook pics

detail for interiors

design sponge

Bobbis Painitng

color combos

Modern museum of art, Paris

Some new work

new still lifes

New landscape paintings

Figure drawing workshop

A good painting quote

Omniture Painting

Abstract Landscapes

Shoes

September Art show at Williams Fine Art

LandsCApes: Glimpses of Everyday California
October 2 - December 5, 2010 and
January 15 - January 28, 2011