Contact Us

Suzanne Jacquot
707 953 3373

Grant Taylor
505 930 1810

Name *

123 Street Avenue, City Town, 99999

(123) 555-6789


You can set your address, phone number, email and site description in the settings tab.
Link to read me page with more information.

GT Banner 04.jpg

Videos and Stories

DARE TO BE WILD! / Issue #2

videos & stories


This month's Issue, Rhythm----How it moves you, is devoted to ways that our own natural rhythm is reflected and essential to art that we create.   We invite you to experience how the essential nature of the different parts of the whole can be rearranged and work together to create new rhythm, a new way of seeing and being, one that enhances and enriches our expression and understanding of all of life.

A fantastic and unusual combo.  Lil Buck, the L.A. street dancer,  is free styling on the "The Dying Swan" played on a classical orchestral instrument the cello by the award-winning cellist Yo-Yo Ma. 


I never violate an inner rhythm. I loathe to force anything... I don’t know if the inner rhythm is Eastern or Western. I know it is essential for me. I listen to it and I stay with it. I have always been this way. I have regards for the inner voice.
— Lee Krasner

Discoveries of tools and materials by Abstract artists;  notice the basis each artist uses for the making of their images---- rhythm and movement----the inherent fluidity of the paint and the lyrical use of the tools as well as the movement of the whole body.    All three painters paint large, each with their own unique technique.  

Jackson Pollack changed the nature of painting by making an overall  rhythm thereby changing single point of focus to an over all point of view. He created drip painting by hovering over the image swinging his body back and forth, sweeping the paint rhythmically across the canvas.  "Most of the paint I use is a liquid, flowing kind of paint.  The brushes I used are sticks rather than brushes----the brush doesn't touch the surface of the canvas, it's just above."


Gerhard Richter pushes the edge of painting.  Using addition and subtraction of transformative color,  he builds layers of paint by pulling the paint over the surface both vertically and horizontally, with big squeegees.  His tools also include trowels and big palette scrapers.  To see more of his process: 


Pat Steir uses the properties of  gravity and liquidity of her paints, ladders and big paint brushes to make her large paintings.  She lets the brush "make the painting" by its movement and fluidity of the medium.  

Subscriber Login
Welcome, (First Name)!

Forgot? Show
Log In
Enter Member Area
My Profile Not a member? Sign up. Log Out