“Blurred Boundaries” Opens with Success

Michael Kessler “Aspenslate (5)” 48″ x 84″, Acrylic


This weekend, our third duo exhibition for Shawna Moore and Michael Kessler opened to great success with many paintings finding new homes before opening night! Here are a few of our “Blurred Boundaries” artist reception photos from last night, with Michael Kessler in attendance.

Thank you to both him and Shawna Moore for their incredible talent and hard work to create this gorgeous show!



The show is up for three weeks, stop by to see the pieces in person.




Shawna Moore, “Agnition,” 40″ x 30″, Encaustic

At its greatest, landscape painting is a way of representing the engagement of the mind and felt states with the infinite. We pass our days noticing what we notice, but for these two artists there is a secondary meditation and consideration that occurs when an image is created. Nature in and of itself may be enough as is a life well lived, however, there are additional aspects of experience we may tap into if we wish. 

Shawna Moore, “Blurred Boundaries — Black,” 14″ x 11″, Encaustic

Michael Kessler “Redlands” 48″ x 72″, Acrylic

Shawna Moore, “Narrow Margin,” 40″ x 50″, Encaustic

Matt Flint: Emulating the Old Masters

Matt Flint “Into the Valley” mixed media 60″ x 96″

By Veronica Vale, Fine Art Consultant

Wyoming-based artist Matt Flint truly puts the “mixed” in mixed media. Not only does Flint use different types of media to create his stunning wildlife and abstract pieces, but he also borrows from different times and cultures in art history.

For the past several years Matt Flint has been incorporating the Japanese black ink paint, Sumi-e ink, into his work. He applies this ancient East Asian medium to his wildlife work in loose, abstracted strokes, allowing the medium to drip and react naturally. In this way, he embraces the spontaneity of the process and the flow of the medium, beautifully capturing the wild essence of his subjects rather than rendering them precisely. In traditional Japanese ink wash paintings, practitioners of the Sumi-e ink medium strive to similarly capture the essence, or Ch’i, of their subjects rather than capturing a photographic likeness.

Matt Flint “Standing in Snow” mixed media 42″ x 30″

In his latest show, “Small High Valley,” here at Gallery MAR, Matt Flint incorporates mediums from both non-Western and Western traditional painting practices. In addition to traditional Japanese Sumi-e ink, Flint introduces silver leaf and walnut crystal ink media, the latter of which the artist prepares himself. The traditional old-world dye of walnut crystal ink is used to achieve a subtle deep, cool brown that hints at the days of Leonardo da Vinci and other Old Masters’ self-preparation of their own paints.

Matt Flint “Of Knowing” mixed media 60″ x 72″

Meanwhile, Flint’s latest addition of silver leaf is reminiscent of ancient art’s early use of gold leaf and gilding. The medium is prepared by pounding and processing metal with rollers until extremely thin sheets are formed. These thin leaves of metal measure around 1/250,000th of an inch and can be adhered with adhesive onto the surface of the piece, giving the work a radiant luster. While difficult to capture in photos, an in-person experience reveals how the shimmer of the silver leaf work breathes sparkling life into each new work. We hope you’ll come see for yourself the wild, dazzling work of Matt Flint’s “Small High Valley.”

Swedish Graal Technique of Glass Blowing

by Eileen Treasure, Fine Art Consultant

“Desert Vista III” by Jared Davis


In 1916, Swedish glass blowers created a new, higher level of achievement of glass blowing, known as the Swedish Graal Technique. Graal is Swedish for Grail–as in Holy Grail. This method requires two to four people working  in concert with molten glass as layers are carved, shaped, encased in clear glass and added to even more layers.

Jared and Nicole Davis, of Crawford, Colorado, recently created the “Desert Vista Series” for Gallery MAR.  Nicole explains the process this way:

“The Desert Vista” works are our newest designs. The “Desert Vista III” piece was done by using the Swedish Graal Technique which takes a minimum of four days. We blew what we call a blank which is a fairly solid post with many layers of colors which we strategically placed in a specific order.  Once the piece has cooled we sand-carved an image of a canyon through the multiple layers of colored glass.  We then reheated the piece to 1000 degrees and picked it back up on the blow pipe.

Next, we gathered layers of clear glass over the design and blew it into the bottom vase which we had blown prior.  It takes at least three of us to create the final step because two of us need to keep the outer vase on center and hot so that it doesn’t crack while Jared is heating and blowing the Swedish Graal into the right shape.  Once the Graal is ready, we knock the first vase off the pipe into the gloved hands of our assistant, and Jared brings his piece over and blows it into the other vase.

The end result is to create a piece which you can look through as you would through a canyon.  It has the outer and inner layers which give it a 3 dimensional effect.”

“Desert Vista II” was created first as a prototype for “Desert Vista III.”


Jared Davis studied glass blowing in Sweden for two years. He continues to be inspired by the vast beauty of western Colorado. See all of Jared’s newest pieces at Gallery MAR, open daily 10 am to 9 pm.

A Painting to Save Bonanza Flats

“Under Their Protection” auction at Gallery MAR

In an effort to help raise more funds to Save Bonanza Flats, I am auctioning off a new original painting, entitled “Under Their Protection.” In collaboration withGallery MAR, my local gallery here in Park City, we are donating the entire proceeds of the auction to help Save Bonanza Flats. This is 1,350 acres of critical alpine wilderness that we have an opportunity to save forever. If we can raise $13 million as a community, we can help the city of Park City buy this land and protect it.
photo JP Gendron, Mars Ramp Productions
Description of the Painting: “Under Their Protection” is a new, original encaustic painting by Park City-based artist, Bridgette Meinhold. The 25×40 inch painting features the dramatic features of the Bonanza Flats property and gives the sense of what it’s like to enjoy the mountains during the winter. Meinhold’s encaustic painting features beeswax mixed with damar resin in alternating layers with milk paint to create an atmospheric, 3D effect in a 2D space. The name of the painting, refers to the three peaks in the background, which serve as guardians for those in the valley. Likewise it references our act as stewards of the land to protect the mountains in return.
“Under Their Protection”

As a resident of Brighton Estates, a neighborhood located adjacent to the Bonanza Flats property, I am deeply connected to this land. I am doing everything I can to help save this special place and keep it wild. If you are interested in purchasing this painting and helping save open space, please contact Gallery MAR. The gallery is located at 436 Main Street, Park City, UT or you can call them at 435-649-3001. The starting bid for this painting is $3,800 and opens on February 7th, 2017.


photo JP Gendron, Mars Ramp Productions, with Bonanza Flats in background
Detail of “Under Their Protection”

For more information about the effort to save the open space and to make a tax deductible donation please go to www.SaveBonanzaFlats.org.

To inquire about purchasing this painting, please contact Gallery MAR.

Palm Springs “The Modern Tour”

Albert Frey House II

My family has been visiting the Palm Springs area for decades but this February’s visit was the first time we delved into the architectural history of the area.

We hooked up with Michael Stern, a vivacious and knowledgeable tour guide who has written two architecture books and runs The Modern Tour (sometimes fourteen times a week!) from his desert home. With four other passengers, my husband and I were driven through Palm Springs proper and visited and toured through more than twenty significant properties, including the innovative Albert Frey House II (the original “tiny house” — but much cooler), which is a part of the permanent collection of the Palm Springs Art Museum. One home-owner was perusing his emails and we walked through his modern gem.

Frank Sinatra House

The highlight of the trip for me was the Frank Sinatra home, which is owned by friends of Michael Stern and available by rental for events or vacations.

Frank Sinatra’s piano-shaped pool

Sinatra initially requested designs for a Georgian-style mansion, complete with a brick facade and column. The architect architect E. Stewart Williams  was appalled. Sinatra had just made his first million and wanted to celebrate in grand style but didn’t have a clue about what Palm Springs design was all about.

However, with renderings of a house composed of long horizontal tines and non-traditional building materials, the architect Williams was able to lure Sinatra away from the idea of a Georgian house towards something more “desert appropriate”. Later, Roger Williams, Stewart’s architectural partner and brother, reflected “We’d have been ruined if we’d been forced to build Georgian in the desert.”

Though the house was only accessible to Hollywood’s elite, the rest of the world caught a glimpse of Twin Palms in Joan Crawford’s 1950 film The Damned Don’t Cry. Sinatra apparently repaid a favor he owed by permitting his house to be used in the movie, though he was insistent that only shots of the exterior could be taken. The house received additional exposure when it was photographed by renowned architectural photographer Julius Shulman. Shulman’s stunning images of Twin Palms capture the allure and simplistic grace of Williams’ design.