I was introduced to hands-on involvement in painting in 2013, shortly after retiring from 44 years of public service at federal, state, and municipal levels.
Soon after retiring, I realized that the self-actualization that was a derivative of my former work-a-day world had dissipated. I needed something in my life that would rekindle the sense of accomplishment and community that were part and parcel of the workplace.
Long story short - my wife, Jill, informed her exercise buddy, Jaci Muzamel, of my situation, and Jaci offered that membership in RFA might be illuminating and uplifting for me.
Jaci proved to be spot on! I had always had an appreciation for art but never had put brush to canvas. So I joined RFA and found the organization to be a one-stop-shop for all things art.
I was able to attend RFA-sponsored workshops under the tutelage of artists such as Rhonda Egan, Scott Mattlin, and Marilyn Rose.
And it so happened that at the time of my initial membership Gini Crepps was both RFA President and owner of IQ Design, which afforded the premises for extended workshops as well as a gallery for exhibiting completed works.
My mediums of choice are acrylic paint and pastel. I prefer acrylic paint (over oil) because of its drying time and the relative ease with which brushes can be cleaned.
My involvement with pastels came via a friend's referral to Auburn artist Reif Erickson. Reif was a master pastel artist I studied under concurrently with my early involvement with RFA.
I appreciated the vibrancy achievable via the pastel medium as well as the speed with which works could be completed.
My paintings are generally landscapes. Subjects are copied from reality. Often buildings (e.g., barns) are featured. In this context, I appreciate very much the work of Paul Cezanne, Vincent van Gogh, and Gene Speck. .
I do enjoy adding a whimsical touch to my landscapes when the setting affords such (a bit of comic relief goes a long way these days). The pastel titled Hoppy Holidays in Frogtown incorporated frogs celebration of Christmas within their swamp habitat.
The acrylic painting titled Other Side of the Rainbow Bridge depicted our family's four dogs frolicking as a pack amid their divine forever home.
The acrylic Amelie's Bunnies hangs within our granddaughters bedroom as a representation of her infatuation with the furry critters.
I currently do not have a website or a Facebook presence.
I can be reached by texting (916) 367-1941 or email
mkhoop@517@gmail.com
She hopes that a piece might transport you, if only for a second, to another place and time ... either in memory or imagination.
Our favorite time is when we introduce our Member of the Month. For April/May we are delighted to showcase another of our couples!
How FUN that couples share a common interest in creating art! So, here are Ed and Sally Bostley...our Couple Members of the Month!
Ed and Sally Bostley met at the Eastman School of Music in Rochester, New York. They are both French horn players so spent a lot of time together in college.
They married the day before Sally graduated. Ed was already in the U.S. Coast Guard Band in New London, Connecticut where they made their first home.
When Ed was in grade school, he loved drawing and was always the one chosen to do blackboard scenes in his classroom.
He made music his career but when he retired as Professor of Music at California State University-San Bernardino, he began watercolor painting as a hobby and talked Sally into joining him.
Sally was the proverbial child who couldn't draw a straight line but loved music and playing French horn and taught music at nearly every level from grade one through university for thirty years.
When Ed retired, he persuaded her to join him for watercolor lessons and it's been a much-loved hobby ever since.
Eds painting interests are mainly buildings and landscape scenes from his travels in Europe which he has exhibited at the Rocklin Fine Arts and WASH member shows. .
In my artistic journey, Ive always believed that artwork should not only provide answers but also pose questions.
My focus is on the unobserved parts of an image, where I intentionally create a tension between elements, ultimately drawing the viewer's eye, likely suggesting a unique story or connection in the viewer's imagination.
My process involves digitally deconstructing an original photo and reassembling it, deliberately omitting certain aspects while incorporating unlikely elements from entirely different images.
I layer textures from my image library, which includes stone, concrete, peeling paint, fabric, and surfaces that are rusted, crazed, or crumpled.
I've learned to recognize when the final image has revealed itself, signaling that it's time to prepare for the final printing process.
In recent years, my work has evolved to include elements of irony, implausibility, and a touch of mystery.
I find joy in viewers reactions when I explain how I created the montages, often revealing that there is no actual message or meaning intended.
I encourage viewers to weave their own narratives about the atmosphere, shadows, and intrigue they are seeing--interactively connecting with the art in a personal and unique way. .
Growing up in the San Francisco Peninsula, most of the earliest art that I remember creating in the 1950s was mostly sketching hot rods and custom cars. .
By 1965, I was 16, and began frequenting San Francisco's original Fillmore Auditorium concerts, and was captivated by the graphic design styles in the poster art emerging from that music scene.
My new focus and interest in graphic design was strongly supported by a mentoring art teacher, that led to being called on to design posters and flyers for school events, including the program handout for my own graduation in my senior year. .
It was 1967 and having developed a distinctive style by then, and I entered a contest to create the official emblem or 'seal' for DeAnza College in Cupertino, which would open in Fall.
My pencil and India ink design was selected, much to my surprise, considering that the font I created was definitely 'non-institutional' looking in style!
That exposure led to my being hired to create several graphic design projects prior to the Fall semester opening. .
I needed to leave college within a year to work full-time, only doing occasional traditional graphic design projects. .
My exploration of digital art began in the mid-1990s when I purchased a good scanner that came with a simple, early demo version of Photoshop.
It didn't take long for me to realize the possibilities of experimenting and manipulating scanned images. .
This cathartic moment opened a new door for me – I could synthesize moments in time that were malleable, create montages using multiple photo elements, and change atmospheric tonality in seconds.
Having a background in painting, graphics, and photography, I began creating framed art prints of my images, exhibiting and selling at outdoor art festivals in the Bay Area. .
Almost no other artists were using this technology to create art, and I was gaining recognition in several parts of the Bay Area for my atmospheric depictions of historic landmarks in the East Bay, South Bay, and the San Francisco Peninsula.
I had also begun performing digital photo restorations for clients, and I still maintain a thriving restoration business since moving to Lincoln 24 years ago..
SketchCrawls are held the 1st Thursday of each month. an informal meet-up of artists in an interesting local place. Participants bring something to draw with and something to draw on, or a camera. Sketchcrawls typically start in the morning, last about two hours and are followed by a show-and-tell lunch. locations are normally announced only a few weeks in advance, so for information, please visit our Facebook page, or add your name to our mailing list. rocklinfineart@gmail.com
on the third Thursday of each month
with the exception of August & December
Rocklin Fine Arts
P.O. Box 1194, Rocklin, CA 95677