Over the years, studying with such landscape painters as Gil Dellinger, Kathleen Dunphy, and Brian Blood as well as teaching workshops herself, Wilbur's approach has evolved from fairly realistic to a looser, impressionistic style.
Though he continually hones his technique and cultivates a signature style, Taylor nonetheless continues to thrive on discovery through exploration.
With his subject matter defined and his style and medium developed, Baker’s fine-art career has lately progressed from strength to strength.
Gradually, the artist found less and less satisfaction in merely “painting what I thought would sell.” That’s when he began turning back to the mostly American Indian-inspired figurative works that the East Coast gallery owner had warned him to avoid.
Cityscapes appeal to him, McClure says, because of the angles, shapes, and movement. The visual elements pose a direct contrast to pure landscapes, which, in his opinion, suggest more passive, flowing shapes.
Initially Timmons focused primarily on detailed, close-up imagery of horses’ heads and necks. Over the years her compositions developed and expanded to include the entire animal, multiple horses, and sometimes a horse and rider.
Demers continues to portray historic sailing vessels, drawing on years of experience and research—ships’ plans, historical records, maritime novels, nautical charts, photos of harbors—to assemble imagined narratives of actual historic ships.
And unlike her hyperrealistic fantasy works, the compositions in her oil paintings of animals—impeccably observed and rendered though they are—possess natural, almost organic rhythms and patterns that “make it feel like real life.”
Lambert paints both pure landscapes as well as urban scenes of the area with such gusto that an observer might think she is a native South Carolinian.
Evansen's watercolors are decidedly representational, though they embody certain abstract qualities that elicit both an aesthetic and intuitive harmony among the elements.