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I am drawn to create images of women in quiet moments of thought and/or self refection. I have used my favorite model who can change the energy of the pose almost as easily as changing her costume. In this world where we are bombarded by news of violence, anger and hatred, I choose to paint my model in poses of stillness, contemplation and thoughtfulness; perhaps connected to nature or a tranquil, private space where no ugliness can reach her. I had been told by a gallery director that if I made angry art, my work would be more popular and I would sell more. I refuse to do that. The loose brush strokes imply an impression of a moment of stillness caught in the painting. I hope the viewer can identify with my intention of tranquility. Using oil on a cradled wood panel, the work is sturdy and ready to hang. If the collector chooses, it can be framed, but it is not necessary.
process of this painting
I am drawn to create images of women in quiet moments of thought and/or self refection. I have used my favorite model who can change the energy of the pose almost as easily as changing her costume. In this world where we are bombarded by news of violence, anger and hatred, I choose to paint my model in poses of stillness, contemplation and thoughtfulness; perhaps connected to nature or a tranquil, private space where no ugliness can reach her. I had been told by a gallery director that if I made angry art, my work would be more popular and I would sell more. I refuse to do that. The loose brush strokes imply an impression of a moment of stillness caught in the painting. I hope the viewer can identify with my intention of tranquility. Using oil on a cradled wood panel, the work is sturdy and ready to hang. If the collector chooses, it can be framed, but it is not necessary.
I am drawn to create images of women in quiet moments of thought and/or self refection. I have used my favorite model who can change the energy of the pose almost as easily as changing her costume. In this world where we are bombarded by news of violence, anger and hatred, I choose to paint my model in poses of stillness, contemplation and thoughtfulness; perhaps connected to nature or a tranquil, private space where no ugliness can reach her. I had been told by a gallery director that if I made angry art, my work would be more popular and I would sell more. I refuse to do that. The loose brush strokes imply an impression of a moment of stillness caught in the painting. I hope the viewer can identify with my intention of tranquility. Using oil on a cradled wood panel, the work is sturdy and ready to hang. If the collector chooses, it can be framed, but it is not necessary.
I am drawn to create images of women in quiet moments of thought and/or self refection. I have used my favorite model who can change the energy of the pose almost as easily as changing her costume. In this world where we are bombarded by news of violence, anger and hatred, I choose to paint my model in poses of stillness, contemplation and thoughtfulness; perhaps connected to nature or a tranquil, private space where no ugliness can reach her. I had been told by a gallery director that if I made angry art, my work would be more popular and I would sell more. I refuse to do that. The loose brush strokes imply an impression of a moment of stillness caught in the painting. I hope the viewer can identify with my intention of tranquility. Using oil on a cradled wood panel, the work is sturdy and ready to hang. If the collector chooses, it can be framed, but it is not necessary.

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Remembering When We Met Painting

Ezshwan Winding

Mexico

Painting, Oil on Wood

Size: 39.5 W x 32 H x 1.5 D in

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ABOUT THE ARTWORK

I am drawn to create images of women in quiet moments of thought and/or self refection. I have used my favorite model who can change the energy of the pose almost as easily as changing her costume. In this world where we are bombarded by news of violence, anger and hatred, I choose to paint my model in poses of stillness, contemplation and thoughtfulness; perhaps connected to nature or a tranquil, private space where no ugliness can reach her. I had been told by a gallery director that if I made angry art, my work would be more popular and I would sell more. I refuse to do that. The loose brush strokes imply an impression of a moment of stillness caught in the painting. I hope the viewer can identify with my intention of tranquility. Using oil on a cradled wood panel, the work is sturdy and ready to hang. If the collector chooses, it can be framed, but it is not necessary.

DETAILS AND DIMENSIONS
Painting:

Oil on Wood

Original:

One-of-a-kind Artwork

Size:

39.5 W x 32 H x 1.5 D in

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I strive to make art that touches people's hearts, either abstract or figurative and has spiritual meaning for me. Through my art, I hope to connect with others with beauty of harmony, color, form and energy. Dreams and mediation often give me a starting point on an image. Then comes the applications of many layers of molten beeswax, resin and pigments; each layer is heat fused into the existing surface, AT time I draw or paint on the layers and then scrape and rebuild the facade. This action is much like analyzing a dream. Layer after layer is applied, scraped, incised, fused and marked to allow the truth of the piece to speak. The revealed under layers whisper their subtle messages. I never have total control of life or encasutic painting. Like jazz, there is improvisation that can take a work to a deeper, more subconscious state that can be meditative. I allow my subconscious to take over so that the work may transform beyond the mundane and predictable. I open my senses to the experience and emotionally consent to a poetic and thrilling adventure. The fluidity of the encaustic medium is challenging, exhilarating, inspiring and exciting, making a paintings that can be looked into as well as looked at. The layered luminosity is appealingly tactile, encouraging viewers to stroke and caress the surface, discovering the sensual experience of encasutic. I have studied color and written a book on the power of color to heal, shift moods, uplift or relax us. Color and balance is paramount in my work. SOLO ART EXHIBITIONS Galeria Atelier, San Miguel de Allende, November 2009. Galaria 6 Pozos, Mexico, November 2009 Mero Arte Contemporano , San Miguel de Allende, MX, January 2009 Sol y Luna Gallery, Puerto Vallarta, MX. January 2009 Mero Arte Contemporano, San Miguel de Allende, MX. June 2006, June 2007, March 2008, Galeria LeNoir, November,San Miguel de Allende, 2005 Casa de las Artesanias de Michoacan, San Miguel de Allende,June, 2005 Carson Winding Gallery , Ashland OR. July 2004 Scarlet Palette Gallery, Jacksonville, OR. June, 2003 Artisimo Gallery, Scottsdale, AZ. December 2001, 1998, 97, 96, 95, 94, 93,92, 91 Gallery Living Colors, Ashland, OR. March 2001, May 2002 Blue Sky Gallery, Bend, OR., April 2000 Rogue Gallery, Medford OR, Nov. 1999 Grants Pass Art Museum, Grants Pass, OR. March 1999 Gallery Electra, Talent, OR. 1997, 1998, 1999 Phoenix Theater, Phoenix, AZ.

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