Edward Bateman

Capitol Reef Mesa no. 1

2021

Outlaw Mesa Shadows, oil on canvas 17 x 30 inches (Framed size: 18 x 31 inches), $2,900 Leslie Thomas returned to painting after working 20 years as a computer engineer. She has since studied painting under Mark Knudsen...

Battle Mountain, Nevada (2005), oil on canvas, 30x40 inches (framed size: 39 x 50 inches) Earl Jones (1937- ) is one of Utah’s best known landscape artists. As an undergraduate at the University of Utah, where he earned a BFA in 1959 and an MFA in 1962, Jones was preoccupied with the figure, studying under the tutelage of portrait painter Alvin Gittins. He then ventured from Utah to New York and the Art Students League where he took figure painting classes with Joseph Hirsch. Later Jones became heir to the landscape legacy of LeConte Stewart...

"Wendover 2" by Joseph Ostraff, oil on panel, 36 X 31 inches, $4,800. "For me, paint documents the state of things, how I feel and what is at the forefront in my thinking—maybe it’s like the soup of the day. I do not consider this process to be anything special in itself. The paintings record the daily random and absurd associations I make, which seem interesting to me after the fact. The Domestic paintings are a case in point. My wife and I have six children. Four have left home. Three are married. We are left with two children, both currently in middle school. We have about five years and they too will move out. This is on my mind. I am thinking about the layers of memories and it comes out as layers of paint. Feeling nostalgic, I think about all the noise and activity our home has absorbed. In turn, I found children’s large vinyl decals from Angry Birds...

"Wendover 3" by Joseph Ostraff, oil on panel, 36 X 31 inches, $4,800. "For me, paint documents the state of things, how I feel and what is at the forefront in my thinking—maybe it’s like the soup of the day. I do not consider this process to be anything special in itself. The paintings record the daily random and absurd associations I make, which seem interesting to me after the fact. The Domestic paintings are a case in point. My wife and I have six children. Four have left home. Three are married. We are left with two children, both currently in middle school. We have about five years and they too will move out. This is on my mind. I am thinking about the layers of memories and it comes out as layers of paint. Feeling nostalgic, I think about all the noise and activity our home has absorbed. In turn, I found children’s large vinyl decals from Angry Birds...

For those of us who live in the West, mountains are more than just landmarks; they dene a sense of home. We have memories associated with our mountains; those we grew up surrounded b...

For those of us who live in the West, mountains are more than just landmarks; they dene a sense of home. We have memories associated with our mountains; those we grew up surrounded b...

For those of us who live in the West, mountains are more than just landmarks; they dene a sense of home. We have memories associated with our mountains; those we grew up surrounded by; remembering the rst time we saw one, and the people we visited them with. This gave us all a larger sense of where we locate home. During our recent pandemic, home shrunk to the walls that surrounded us. Real experiences became mediated through computers and the Internet – but something felt lost: a living connection with things bigger than ourselves. But we kept our memories – waiting to be triggered by a photograph or reminder of the mountains that could bring back that sense of the sublime. Mountains and nature have long been places of peace and refuge. There are few emotions about places for which adequate single words exist. At the beginning of the eighteenth century, the word sublime arose to describe the feelings that the natural world can evoke in us. At home, on my kitchen table, I have been trying to capture something of that sublime in bits of plastic. Using geographical data from the Internet, I used my 3D printer to make the memories of those mountains tangible. With a small fog machine, I create atmospheres and clouds. Sunlight through a window illuminates some, while others were lit with a variety of sources including ber optic lights used for microscopy. For me, these images evoke the place I call home; and remind me that it is our memories that make a place special. At Home in the West was created as a companion to Yosemite: Seeking Sublime, which premiered at photo-eye Gallery in November 2020. In December of that year, work from that series was invited to the Art of Staying at Home; Artists in the Time of Corona exhibition at the Bibliotheca Alexandrina in Egypt, where I was the only U.S. artist from eight countries included. Additional works from that series will soon be exhibited at the Krakow Triennial in Poland and at the Earth Photo...

For those of us who live in the West, mountains are more than just landmarks; they dene a sense of home. We have memories associated with our mountains; those we grew up surrounded by; remembering the rst time we saw one, and the people we visited them with. This gave us all a larger sense of where we locate home. During our recent pandemic, home shrunk to the walls that surrounded us. Real experiences became mediated through computers and the Internet – but something felt lost: a living connection with things bigger than ourselves. But we kept our memories – waiting to be triggered by a photograph or reminder of the mountains that could bring back that sense of the sublime. Mountains and nature have long been places of peace and refuge. There are few emotions about places for which adequate single words exist. At the beginning of the eighteenth century, the word sublime arose to describe the feelings that the natural world can evoke in us. At home, on my kitchen table, I have been trying to capture something of that sublime in bits of plastic. Using geographical data from the Internet, I used my 3D printer to make the memories of those mountains tangible. With a small fog machine, I create atmospheres and clouds. Sunlight through a window illuminates some, while others were lit with a variety of sources including ber optic lights used for microscopy. For me, these images evoke the place I call home; and remind me that it is our memories that make a place special. At Home in the West was created as a companion to Yosemite: Seeking Sublime, which premiered at photo-eye Gallery in November 2020. In December of that year, work from that series was invited to the Art of Staying at Home; Artists in the Time of Corona exhibition at the Bibliotheca Alexandrina in Egypt, where I was the only U.S. artist from eight countries included. Additional works from that series will soon be exhibited at the Krakow Triennial in Poland and at the Earth Photo...