PAGE 5
PAGE 6
PAGE 7
PAGE 8
March 2006
Page 3
Jamie Kirkland . . . from page 1

images 0 | 1 | 2 | 3 | 4

Not all roads led to art for Jamie, however. After a small-town southern upbringing, she studied at the University of Alabama in the 70s, majoring in art. But, before she completed her studies, she gave into the constant bombardment of the “art lacks practicality” myth. Jamie left the university and moved to New York City. For several years, she worked in restaurants while pursuing a modeling career, which landed her several national magazine covers; she kept in contact with her art through occasional classes at the Art Student’s League and Parsons School of Design.

When she moved back to the South after her stint in the city, she purchased a raised, 1880’s Creole Cottage on the Gulf Coast of Florida in Pensacola's Historic Seville Square. With ambitions that exceeded her startup money, she opened a gourmet bakery. The bakery eventually transitioned to a French restaurant, aptly named Jamie’s French Restaurant. It has been rated as one of the top 100 restaurants in Florida, according to Florida Trend Magazine. The restaurant, which Jamie has since sold, is still a local and tourist favorite.

Jamie then opened a metaphysical bookstore in Gulf Breeze Florida, offering classes in Yoga, Tai Chi and meditation. After a divorce, she moved to Crestone, Colorado. Her newly found slow-pace allowed art to re-enter her life. She took up art courses at a small state college in Alamosa, Colorado. After a time, though, she realized she needed a more formal and in-depth education if art was to be her focus. She settled on the University of Utah because she was impressed with the foundation program required of all art majors.

One art degree and a blossoming art career later, Jamie has relocated to Helper and is currently preparing for a show at Winterowd Gallery in Santa Fe, New Mexico on March 31, 2006.

One of Jamie’s greatest pleasures when selling her art is the knowledge that someone is consciously choosing her work for their home. Because she seeks peace and tranquility in her own home, she appreciates that those collecting her work are going to have a chance to interact with the painting everyday and that it will be part of the tone of their life. “A painting can evoke so much joy just through its color or a happy memory associated with it,” she notes.

Jamie’s comments on art often sound like a well-edited artist statement.“I have always been moved by Iris Murdoch's description of the artistic process when she said ‘Artists dream of a silence which they must enter as some creatures return to the sea to spawn.’”

Jamie leaves complexity to her art discourse, though. Mood, color and simplicity are the trademark of Jamie’s abstract landscapes. She mixes her colors on the canvas, allowing herself to react to her surfaces and paint quality. “I am always after that elusive feeling of harmony. I know when the painting hits the right note.”

Jamie said she is probably unique as an artist, in that she enjoys the marketing and business side of art making. “I have developed a lot of skills in this area and it is pleasurable to come up with new ideas of how I can support myself with the skills I have acquired.”

She typically spends time in the morning communicating with her galleries and web designer, John McCallum. Jamie finds that having a strong website and business card is a crucial part of portraying yourself as a serious professional. She also adds that she has learned of the importance of artists keeping their galleries stocked with strong work.

Jamie likes to get into the studio by 10 to 10:30 a.m. She has had a long time meditation practice and meditates daily before getting to work. She said that meditating helps her to achieve the level of tranquility she wants for her work. Once there, she reviews the pieces in process, adding that she likes to keep six or eight paintings going at any one time so she avoids getting too attached to a single piece. “I find that attachment is the kiss of death. I am reminded of something one of my favorite teachers, John Erickson, said. ‘Every time you go into the studio it is like chasing a greased pig.’ He is so right. Any preconceived ideas about the way you think the day might go just fly out the window.”

Jamie tries to allow herself to do what she wants in the studio. But, she said this can often be a challenge because it is hard to put all of the self-talk about what she should be doing out of her head. “Sometimes that energy represses some of the spontaneous events that allow a new direction to unfold. So, I try and push that critical parent out of the studio. Every painter knows the feeling of losing contact with linear space and time and that is the type of experience I think we are all shooting for every time we show up in front of the easel. I know I am.”

She finds that music allows her the greatest release from her internal editor. Classical music is usually the first choice of the day. She said she feels like an orchestra conductor as she moves her brush across the canvas. She is also a fanatical Van Morrison fan.

She also keeps up on exhibition opportunities by subscribing to the Utah Arts Council's ArtOps, reading Artist of Utah’s ezine, and always checking out their main section for exhibition opportunities. She said that lately all of her work is going to galleries and she has not had paintings to submit to exhibitions. However, she hopes to enter more this year, saying that entering exhibitions was a crucial part of building her career.

Jamie’s biggest piece of advice for approaching painting and the studio everyday is a saying she heard from former University of Utah professor Paul Davis. He says, "You Start by Starting." Jamie has continued her studies with Davis, traveling to Teasdale from time to time to sit in on the classes he teaches. “Paul is such a wonderful teacher. My vision and world expand every time I have a class with him. That is a wonderful gift to give a student.”

Overall, Jamie says that art making is a spiritual journey. “It is a very fast way to find out who you really are because you have to listen to yourself talk and observe your decision making process for eight to ten hours a day. You learn a lot about yourself being self employed and self motivated. Can you continue to show up when work is not going well? How long can you sit in uncomfortable feelings?” She said she solves her struggle with uncomfortable feelings by just allowing them to come up, observing them, and letting them pass.

Jamie’s ultimate goal when painting is to convey to people the joy she had when creating a piece. “I aspire to convey to the viewer the transcendent pleasure I derive from the experience of painting,” she once commented.

Okay, that one is from her artist’s statement. But, add a little southern twang and it sounds like something she could have said.

Jamie Kirkland will be exhibiting at Winterowd Fine Art 701 Canyon Road, Santa Fe, New Mexico 87501 505-438-9353 opening March 31st and will be featured in the March Issue of Southwest Arts Magazine as one of the "Artists to Watch." Her work can be viewed on her website at www.kirklandart.com.

Exhibition Review: Salt Lake City
Aaron Fritz at Wasatch Frame Shop
by Kent Rigby

"Fritz-followers" were excited to learn of Aaron Fritz’s new one man show at Wasatch Frame Shop, and were lined up and waiting on opening day for a chance to nab a new original.

Gallery owner and director Bill Barron explains: "Fritz has a tremendous following considering he’s only been painting for about three years. He sold all of his paintings at the Park City Arts Festival last summer within an hour and a half."

Fritz uses the word "inimitable" to describe his style. "I have a process of putting a painting together that is quite unique," explains Fritz, "I try and bring out strong vibrant colors of my subjects while hints of under-painting show to remind the viewer of its adjacent tones."

Fritz's paintings are contemporary impressionistic, with thick paint and deliberately evident brush strokes. There is a soft focus effect with no hard lines or edges. The overall feeling is almost dream-like. The colors are fresh and alive. Features are suggested rather than tightly rendered. The paintings are very attractive and have great visual appeal.

The subject matter is familiar and thus comforting. The paintings could almost be termed "decorative," but not in a "designer" sort of way. They maintain a "fine art" quality and have a certain "preciousness" about them.

Fritz says of his work, "I love color, design, and expression. I try to bring out the emotions I enjoy in the great outdoors where I spend much of my time. I also love deep texture. Some of my paintings are full of self-imposed imperfections. 'Snap, Crackle and Pop' I like to say. I start my process typically scraping or pouring gesso and use a fair amount of texture in my under-painting. This allows me to get the mood I'm looking for."

The gesso texture mentioned is fairly subtle and gentle, like the painting technique. The viewer has to get quite close to the surface to notice it. Because the fields of the landscapes are relatively flat and devoid of detail, the under-painting textures serve to provide greater visual interest and accentuate the suggestion of landform contours. The under painting textures are also evident in the skies, which are usually at least half of the landscape composition. The textural effect in the skies suggests of heavy, moisture-laden clouds, and hints at motion, as if the clouds are being moved by a mild breeze.

"I think every artist sits down with a blank canvas, a few paints, and creates -- and in that creation they pour a little of their soul," confides Fritz.

There is a lot of soul contained in these works. The artist's love of the natural environment comes through quite well. There is also a strong emotional content. A sense of isolation is evident in many of the pieces. Even as elements are paired or grouped together, they maintain an individual identity. This could be conceived of as a social commentary on the modern condition. Even as people are grouped together in differing levels of relationships, we as individuals remain often times essentially alone. This isolationism comes through in the paintings as a sense of melancholy, or a quiet resignation of the human condition. Even the solitary houses seem to express the feeling of existing alone.

However, this is not to say the paintings are depressing; far from it. The sense of melancholy or aloneness is outweighed by the vibrant colors and the well-proportioned compositions. The fourteen medium-sized pieces in this show stand well together and present an impressive body of work. And they are at very reasonable price points. The feeling imparted to the gallery is generally quite pleasant and the viewer is compelled to linger and reinvestigate the paintings after the initial view.

Aaron Fritz is definitely a talented and an up and coming young artist.

0 | 1 | 2 | 3 | 4

The solo exhibition of Aaron Fritz at Wasatch Frame Shop continues through May 18th. For more information, contact Bill Barron at 801.485.1353.


Alt-Venue Spotlight: Salt Lake
Wasatch Frame Shop
by Kent Rigby

Wasatch Frame Shop owner Bill Barron is a fine art photographer, art framer and ex-ski patrolman. In fact, you could say Wasatch Frame Shop was born on the ski slopes of Alta, Utah, where Barron worked on the ski patrol.

"I got the idea to start framing art and asked my boss if I could start a business in my employee housing room [at Alta]; he said yes, and became my first customer," recalls Barron. "I had to bring in equipment and materials by snow-cat. I worked at ski patrolling during the day and framing at night. It was quite an experience."

Barron's framing business grew to the point where he was able to move out of his employee housing room at Alta and secure his current 1100 East location.

"There was a hair salon in the building previously and it took six months of serious remodeling to get ready to open as a frame shop and art gallery," explains Barron. "I knew I wanted to have a gallery component to the business and liked the quality of light, the openness and the airiness of the space, and it's worked out well."

Wasatch Frame Shop opened as a full time business on Groundhog Day, 2002. The first exhibit in the gallery was a group show of artists Barron knew, primarily from Alta. "Our emphasis is on providing exhibit opportunities for emerging artists and community service related shows," says Barron. "I like the idea of being able to help artists get going and give them some support. We've also done some unique shows like having a 7-year-old exhibit next to adults. I think people of all ages should be given the opportunity to discover their passions. I'd like to do more community out-reach type of things."
continued next column





Barron's one employee, Brande LaCasse, came to the frame shop in 2003. “At Wasatch Frame Shop I have been given the opportunity to work to my full potential, which in turn, has helped to expand my knowledge in specific areas of framing such as mounting and preservation techniques. My love for framing comes not only from the satisfaction of seeing a piece of artwork transform into something incredible, but also from my personal interest in art. The atmosphere of Wasatch Frame Shop provides a sense of inspiration and freedom that allows me to explore my own levels of creativity.”

All in all, Wasatch Frame Shop is an attractive and reputable framing business and art gallery that cares a great deal about providing top quality framing and presenting quality fine art exhibits.|4|

Wasatch Frame Shop is located at 1940 South 1100 East, Salt Lake City. UT 84106. Telephone, 801.485.1353. visit their website at wasatchframeshop.com