“My paintings are a love letter to the American West. I’m endlessly fascinated by its history, geography and wildlife.” -Andrew bolam
Opposite page, clockwise from top left: Artist Andrew Bolam at work in his studio; "Grazing in Afternoon Splendor", 48"x60", Kirk Randle; Artist Shannon Leigh at work; Kirk Randle painting on location; "Courage", 48"x48", Andrew Bolam; "Tranquil Moments", 20"x30", David Jackson
to the trading post owned by John Lorenzo Hubbell in Ganado, Ariz., exposing him to the Navajo tribe and culture––inspiring a new fascination. Accomplished painter, sculptor, illustrator and storyteller, Charles Marion Russell (Charlie Russell) also believed in gaining an intimate understanding of the land and the people. Just before his 16th birth- day, he moved to Montana where he worked various ranching jobs for 11 years. He also spent several years living with some of the Native American tribes of Montana. This experience contributed to the distinctive realism and captivating narrative that came through his portray- als of cowboys and Native Americans. Through exploratory trips, conversations with people of the land and encounters with the wildlife, they felt they could tell the real story of the West rather than a romanticized version of it. Of course, many artists contin- ue this tradition today––tak- ing trips to remote lands, camping out to wait for that
perfect shot, entrenching themselves in cowboy culture and forming relationships with tribal communities.
Continuing the Love Affair For artist Andrew Bolam, his connection and fascina- tion with the West began when he was a child grow- ing up in Northern England. “I was in love with "West- ern" movies and TV shows,” he said. “Windswept deserts, soaring mesas and snow- capped mountain peaks were just so different than the rolling green hills of Nor- thumberland. I daydreamed of cowboys and Native Americans, wolves and griz- zly bears.” Andrew’s love of the West has become the focus of his life's work in which he aims to provoke questions or propose observations of specific subject matters. For instance, his “Native Amer- ican Portrait” series exam- ines, with deep affection and respect, the first people to inhabit these lands. “These images have be- come deeply ingrained in our culture, instantly recog- nizable yet mysterious and thought provoking,” Andrew said. “Much in the same way Andy Warhol used the image of Marilyn Monroe as more than a portrait of one person but an iconic repre- sentation of pop culture, I hope to convey a powerful respect for the important place Native Americans oc- cupy in the ongoing history of this country.” For artist Kirk Randle, the varied terrain and sheer natural beauty of the West––from the majestic mountains and wildlife to the vibrant sunsets and
vative modernist, believed in, as she put it, “...creating an equivalent for what I felt about what I was looking at––not copy it.” She looked for the abstract forms she believed were inherent in nature already, often zoom- ing in on the most minute detail of an object. Celebration of Fine Art art- ist, Shannon Leigh also por- trays stories of the West in unconventional ways––see- ing it through the intersec- tion of culture and history. Inspired by the connections made between the shards of glass in classic stained glass artwork, her work uses bold lines that unite fragments of an imaginary narrative in a bold, dynamic way. “I’m portraying legends and objects of the West in the contemporary––roman- ticized lived experiences with historical references often contrasted by the cross cultural predicament that is the 21st Century, she said. “Carrying the torch of the West depicted in paint–– iron and leather, hoof and feather, motors and boots, cactus and canyons, sunsets and guitars, and through the strong jawed profiles of it’s people, I might be keeping the West a little wild.” No matter how they choose to portray the West as they see it, the common thread between all of these artists is an undeniable love for the independent spirit that pulses through the region.
Blazing New Trails While many of these artists used their firsthand experi - ences to create very realistic depictions, others threw out convention, approaching the West in dramatically differ- ent ways. One such artist was Ed Mell, an Arizona native, who became known for his striking, geometric South- western landscapes. Though he credits Maynard Dixon as a major influence on his work, Mell broke many of the rules of traditional Western art, inspiring and opening the doors for other artists to follow suit. Initially, his work wasn’t widely accepted, but Mell knew his subject matter intimately and saw an opportunity to present a new perspective––one that combined expressive realism and abstraction. O’Keeffe, another inno-
“In my paintings, I aim to empower with gusto, and touch the patina of souls that still burn for the independent spirit of the West.” -shannon leigh
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Issue 4 | Summer/Fall 2024
Issue 4 | Summer/Fall 2024
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