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Marilyn BilesPewter Wash 48”x48” Oil on Canvas Abstract Art Soothing Colors Gray Tones2001
2001
$4,600
£3,422.03
€4,012.06
CA$6,433.68
A$7,183.40
CHF 3,769.05
MX$88,655.81
NOK 47,377.46
SEK 44,330.02
DKK 29,930.64
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About the Item
Pewter Wash 48”x48” Oil on Canvas Abstract Art Soothing Colors Gray Tones
As life often does, the life of Marilyn Biles has come full circle since her life as a fashion illustration student at Moore College of art in Philadelphia. Marilyn also had the great pleasure of teaching young children’s art. She has put her heart into making sure artists have been able to be seen and heard of, by starting and curating two non-profit galleries. Inspiration comes from her inner feelings and life experiences, brings her out of her comfort zone and facilitates improvisational healing spaces that appear in and beyond the surface of her paintings. That is where change happens and by way of form and color takes her to another dimension where words cannot. The specific emotions and memories may be personal but also may be experienced by viewers who choose to contemplate the work from a place inspired by their own experiences. Mental imagery is fearlessly made visual and that imagery is merged or modified to be explicit to the viewer who then can experience it visually or intellectually. Every painting is a new research project done in the unproved present creating symbols from experiences that express herself as she contacts and is inspired by the world. Unselfconsciously, she is exposing her inner life to others whose tastes and opinions are different but nevertheless as valid as her own. Art is life and can bring beauty, insight and purpose to transform and touch everyone who views her work.
The theme of my work is thinking with my heart. The colors of the oil on canvas paintings interact in ways that keep the viewer looking for more connections and returning to points of interest to interact once again with the dialogue of the painting. In a sensitive and subtle and alive spirit of love and wholehearted integrity that the guiding principle of life awakens the depths of the secret place in ourselves.
Also shown are other available paintings by Marilyn.
The theme of my work is thinking with my heart. The colors of the oil on canvas paintings interact in ways that keep the viewer looking for more connections and returning to points of interest to interact once again with the dialogue of the painting. In a sensitive and subtle and alive spirit of love and wholehearted integrity that the guiding principal of life awakens the depths of the secret place in ourselves. As life often does, the life of Marilyn Biles has come full circle since her life as a fashion illustration student at Moore College of art in Philadelphia. Marilyn also had the great pleasure of teaching young children’s art. She has put her heart into making sure artists have been able to be seen and heard of, by starting and curating two non-profit galleries. Inspiration comes from her inner feelings and life experiences, brings her out of her comfort zone and facilitates improvisational healing spaces that appear in and beyond the surface of her paintings. That is where change happens and by way of form and color takes her to another dimension where words cannot. The specific emotions and memories may be personal but also may be experienced by viewers who choose to contemplate the work from a place inspired by their own experiences. Mental imagery is fearlessly made visual and that imagery is merged or modified to be explicit to the viewer who then can experience it visually or intellectually. Every painting is a new research project done in the unproved present creating symbols from experiences that express herself as she contacts and is inspired by the world. Unselfconsciously, she is exposing her inner life to others whose tastes and opinions are different but nevertheless as valid as her own. Art is life and can bring beauty, insight and purpose to transform and touch everyone who views her work.
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To make my paintings I have come to the realization that I use what I call the ‘Three I’s” of INFLUENCES, INTUITION. and INTENT.
Like a lot of artists, McClure’s interest in art developed early in childhood. She recalls, “When I was eight years old, I begged my dad to let me take an after-school painting class. I was shocked when I got there and found out they were painting with paint by number kits. I did not want to do that. I hate coloring inside the lines. So, the teacher allowed me to look for images to use as inspiration. In my memory, I think the first one must have been a reproduction of a Cezanne landscape. I just did what I did all on my own, but I loved mixing colors. Then my dad died, and we moved from Oklahoma to Texas. Sadly, I never really did anything else until I was in my twenties. I then took up painting again all on my own and trying to learn from other artists demonstrating their painting techniques and taking workshops. I have been painting ever since, more than forty years.” She continues, “For many years I only painted with acrylics or mixed media collage. In 2005, I also started painting with encaustic and have gone back to using oil paint again. I suppose acrylic remains my dominant medium. Mixing it up now and then keeps me on my toes and is a great way to learn. Each medium can teach you certain aspects of painting others do not. Each medium has its strengths and weaknesses depending on what you want to express. You can learn from all. I did not love watercolor because it took too much pre-planning. But I learned a lot about negative shapes and composition. I learned a lot with pastel and charcoal about making marks. By working back and forth with different media, I am growing as a painter.”
If I used only intent, I would more than likely be disappointed because my imagined intent is always elusive. I get more than I imagined by not setting too many rules about how to get there.
Using all of these factors, I can use the knowledge of formal issues that comes from viewing a lot of art and, also, from being in the studio making art all of the time. Using that comprehension of formal design as an aid to intuitively know what is the right relationship of color, mark, space, etc. is the intent. Intention is necessary to direct you to explore the former two. Intention also demands you delve more into your own reasons for making art.
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To make my paintings I have come to the realization that I use what I call the ‘Three I’s” of INFLUENCES, INTUITION. and INTENT.
Like a lot of artists, McClure’s interest in art developed early in childhood. She recalls, “When I was eight years old, I begged my dad to let me take an after-school painting class. I was shocked when I got there and found out they were painting with paint by number kits. I did not want to do that. I hate coloring inside the lines. So, the teacher allowed me to look for images to use as inspiration. In my memory, I think the first one must have been a reproduction of a Cezanne landscape. I just did what I did all on my own, but I loved mixing colors. Then my dad died, and we moved from Oklahoma to Texas. Sadly, I never really did anything else until I was in my twenties. I then took up painting again all on my own and trying to learn from other artists demonstrating their painting techniques and taking workshops. I have been painting ever since, more than forty years.” She continues, “For many years I only painted with acrylics or mixed media collage. In 2005, I also started painting with encaustic and have gone back to using oil paint again. I suppose acrylic remains my dominant medium. Mixing it up now and then keeps me on my toes and is a great way to learn. Each medium can teach you certain aspects of painting others do not. Each medium has its strengths and weaknesses depending on what you want to express. You can learn from all. I did not love watercolor because it took too much pre-planning. But I learned a lot about negative shapes and composition. I learned a lot with pastel and charcoal about making marks. By working back and forth with different media, I am growing as a painter.”
If I used only intent, I would more than likely be disappointed because my imagined intent is always elusive. I get more than I imagined by not setting too many rules about how to get there.
Using all of these factors, I can use the knowledge of formal issues that comes from viewing a lot of art and, also, from being in the studio making art all of the time. Using that comprehension of formal design as an aid to intuitively know what is the right relationship of color, mark, space, etc. is the intent. Intention is necessary to direct you to explore the former two. Intention also demands you delve more into your own reasons for making art.
2020
University of Texas, College of Pharmacy Partnership Exhibit, Tyler, TX
Beauty of Art and Medicine IV, Rogers Nursing and Health Sciences Building, Tyler Junior College, Tyler, TX
Stable, Cerulean Gallery, Dallas, TX
2019
Mississippi Art Colony Fall Travel Show, juror, Stanley Kurth
Small Works, Gallery Mack, Seattle, WA
2017
Black Tie (optional), Invitational, Adam Peck Gallery, Provincetown, Mass.
Mississippi Art Colony Fall Travel Show, David Hornung, juror, Meridian Museum of Art, Meridian, Miss., Southern Cultural Arts Center, Vicksburg, Miss., Museum of the Mississippi Delta, Greenwood, Miss.
You Name It, Cerulean Gallery, Amarillo, Texas
2016
N° 10, Invitational, Adam Peck Gallery, Provincetown, Mass.
2015
One + One, Invitational, A Gallery Art, Provincetown, Mass.
2014
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Category
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