Artist Spotlight: Ernie Marjoram - Selected Paintings

Ernie Marjoram, Laguna, Oil, 36 x 48"

Ernie Marjoram returns to TAG gallery with a selection of paintings that reflect his passion for life and its pleasures. Ernie enjoys the challenge of representational art, trying to capture the illusion of three-dimensional objects and real physical places on a flat canvas. Inspired by everyday environments, architectural monuments, natural landscapes and even the food we eat.

Ernie Marjoram, Manhattan, Oil, 36 x 48"

 Marjoram’s art is based on a solid foundation of perspective drawing, dramatic lighting and appropriate color. He often paints outdoors using a limited palette of white and the primary colors; red, yellow and blue. “Working on smaller paintings outdoors with a limited palette is excellent preparation for the larger paintings done in the studio with a full color palette under more controlled conditions”.

Ernie Marjoram, Via Delle Bombarde, Oil, 8 x 6"

Marjoram’s interest in urban landscape comes from his training in architecture. As a college student, he studied architecture in Florence, Italy for a full year and often created watercolor travel sketches of the sites he visited. In 2003, Marjoram was invited to exhibit his travel sketches in a group art show in Pasadena and when they quickly sold out, a deeper interest in fine art took root. Encouraged by the positive reaction to his artwork, Marjoram began exploring painting in oils and in 2005 held his first solo exhibition Europe, Asia and the US, followed in 2007 by a second solo exhibition Bell’ Italia at the Wilshire Ebell Art Salon.

Since then, Ernie has exhibited in the California Art Club Gold Medal exhibition at the Pasadena Museum of California Art, was invited to participate in the prestigious Torrey Pines Plein Air Invitational competition and won first place in an art competition at Ironstone Vineyards. Since 2009, Marjoram has exhibited annually at TAG and this year’s exhibition: Ernie Marjoram – Selected Paintings brings together mixture of subjects drawn from the artist's recent work.

Ernie Marjoram, Truffles, Oil, 12 x 12"

The exhibition runs until May 12.

Current Exhibition: Sally Jacobs, Ernie Marjoram, Toni Reinis, Jenny Revitz Soper

Tuesday, April 17 - Saturday, May 12
Opening Reception: Saturday, April 21, 5-8 p.m.
Artist Talk: Saturday, April 28, 3 p.m.

Sally Jacobs - Sunday At The Farmers Market

Sally Jacobs, Hydrangea, Watercolor, 17 x 19"

Ernie Marjoram - Selected Paintings

Ernie Marjoram, Eye Candy, Oil, 12 x 12"

Toni Reinis - Looking But Not Seeing

Toni Reinis, LaShanda, Clay with patina and steel wool, 18 x 13 x 11"

Jenny Revitz Soper - Twisted Visions

Jenny Revitz Soper, Metal Face: Yellow, Digitally twisted photograph, 24 x 18"

Artist Spotlight: Ernie Marjoram's "Landscapes of New Mexico"

Los Angeles artist Ernie Marjoram’s current exhibition of paintings, Landscapes of New Mexico, focuses on the majestic grandeur and subtle beauty of the American southwest.

Ernie Marjoram, Ghost Ranch, Oil, 16 x 20"

On a recent visit to Santa Fe, Marjoram was awed by the massive geological formations in the area around Ghost Ranch, sometimes referred to as O’Keefe country. He found it easy to understand Georgia O’Keefe’s fascination with the bold geometric forms and varied colors of the natural landscape. “I decided to paint the same subject,” said the artist “but in my own less abstract, more realistic yet still impressionistic way.”

Ernie Marjoram, Pueblo Ghosts, Oil, 16 x 20"

Recognizing that the environment is beautiful but can be harsh, Ernie was also inspired to paint the mysterious ruins of adobe pueblos abandoned by their native builders. “As I painted, I tried to imagine who built these structures and how they lived,” Marjoram explained, “it was like looking back into history.”

Ernie Marjoram, Chimayo, Oil, 16 x 20"

The elegance of primitive yet functional architecture of surviving adobe structures, such as the chapel at Chimayo, also caught Ernie’s attention. Even simple details of shadows on adobe walls become the subject in this wide-ranging exhibition of oil paintings.

Ernie Marjoram, Vista de Pedernal, Oil, 16 x 20"

The exhibition runs through March 17.

Meet Ernie at the Artist Panel, Saturday March 11, 3pm

Current Exhibition: Sunae Aum, Fielden Harper, Ernie Marjoram

Tuesday, February 21st – Saturday, March 18th, 2017

Opening Reception:
Saturday, February 25th, 5-8pm

Artist Panel Discussion:
Saturday, March 11th, 3pm

Sunae Aum – Noise for the Future

Sunae Aum, Noise For the Future, Mixed media

Fielden Harper – Directions

Fielden Harper, Crossing, Acrylic on canvas, 34 x 20"

Ernie Marjoram – Landscapes of New Mexico

Ernie Marjoram, Abiquiu, Oil, 16 x 20"

Current Exhibition: Sally Jacobs, Ernie Marjoram, Jane Peterson

September 27th – October 22nd, 2016

Opening Reception: Saturday, October 1st, 5-8PM

Artist Panel: Saturday, October 8th, 3pm


Sally Jacobs – Larger than Life

Sally Jacobs, Bok Choy, Watercolor, 27 x 29"

In her latest exhibit of watercolor paintings and graphite drawings Sally Jacobs, a long time Miracle Mile resident, was inspired by the rich arrays of produce and flora found in Los Angeles’ farmers markets. Jacobs zooms in, portraying flowers, vegetables, and fruit with dramatic precision. She  transforms a vegetable we choose for nourishment or a flower for decoration by aiming higher, rendering the unique structure eye-catching and explicit, causing the viewer to catch their breath in wonder.

Jacobs uses watercolor or pencil in a unique, graduated way, masterfully capturing the minutest details of her subjects’ anatomy while staying true to the whole. She delves deep into a plant’s structure to reveal striking patterns and colors that seize one’s attention and imagination.

Jacobs is a contemporary botanical artist who has exhibited in numerous juried shows in New York and San Francisco, and at museums in New York, Minneapolis and Phoenix. She was an award winner at the Brand 37 Works on Paper exhibit and is one of the artists included in Todays Botanical Artists, a publication of well-regarded nature artists.

Ernie Marjoram – Homage to Trees

Ernie Marjoram, Backlit, Oil, 36 x 48"

As a Los Angeles artist, Ernie Marjoram lives in the city and sometimes finds himself stressed and anxious while stuck in freeway traffic. On a recent visit to the local San Bernardino Mountains Marjoram seemed to feel better, physically and emotionally when surrounded by trees. With this new series of paintings the artist has attempted to capture that feeling and bring it back to the city. “At least now I am surrounded by paintings of trees!” the artist said with a smile.

Marjoram’s art reflects his interest in representational painting techniques but upon closer inspection the images also utilize elements of abstraction. Working on canvas with traditional brushes, Marjoram also uses unconventional tools such as sea sponges, rags, string and rope to create subtle textures and random forms. Unusual angles and close cropping further enhance the sense of abstraction in some of the compositions. Working from his own photos, Marjoram moved his easel from the studio into his backyard to be able to paint in unfiltered natural light and fresh air.

“The process of creating these paintings was an enjoyable yet challenging experience. I am still exploring how to render tree forms in the futile attempt to capture the beauty of nature.”

Jane Peterson – Welcome Earthlings

Jane Peterson, Landing, Mixed media sculpture, 25 x 38 x 4.5"

Jane Peterson’s new work continues to explore the spectrum of human emotion with particular attention to anxiety, passion, fear, as well as elements of humor. Cartoon-like characters make their way through Peterson’s fanciful compositions, ranging from otherworldly creatures to abstracted human forms. Her hybrid travelers exist in an environment not entirely foreign to that of her viewers; they wander between reality and the subconscious, taking on personalities that are decidedly familiar, yet eerie.

For her limited edition digital pieces, Peterson always starts with drawing. The digital process and its potential to surpass and exceed the speed of thought continually amaze Peterson. Any digital mark she makes can be instantly changed, duplicated, or eliminated. In addition to digital paintings, this current body of work includes drawings on birch panels with wax/oil crayon, ink, and graphite. The wax surface is polished with a soft cloth, to create a satin finish. The surfaces of her sculptures are treated in the same way, on ceramic, wood, and metal supports.

Coming Exhibition: Carole Garland, Carol Kleinman, Ernie Marjoram

Tues. October 27th - Sat. November 21st, 2015

Opening Reception: Saturday, November 7th, 5-8 p.m.

Artist Talk: Saturday, November 14th, 3 p.m.


Carol Garland
FAR/NEAR

Carole Garland, The Archipelago, Oil on canvas, 30 x 40"

In her most recent series of land and seascapes, entitled FAR/NEAR, painter Carole Garland poetically portrays the solace found in the world’s most majestic places. From the lonesome glaciers of the Chilean archipelago, to the languor of the broad Mississippi, and the intimate woodlands of the Santa Monica Mountains, Garland beautifully captures the sentiment felt within the wilderness of locations around the globe.

Whether urban or rural, land or sea, a strong sense of atmosphere, mood, and emotion resonate through Garland’s work. As these images are a depiction of her explorations, Garland concurrently experiments with new painting methods, utilizing a palette knife to achieve impasto and layering techniques to create transparency. Playing between thick and thin application, Garland allows the paint to flow across her canvases, creating abstract forms that morph into recognizable shapes found within the far and near.

Carol Kleinman
Once Upon a Mannequin...

Carol Kleinman, Watching Them Watching Us, Single exposure photograph on canvas, 23 x 20"

Once Upon A Mannequin… explores the intersection of fantasy and reality through a series of unique photographs of reflections on store windows. With these single exposures taken in Paris, New York and L.A., Carol Kleinman examines the "lives" of mannequins, transforming inanimate objects into dynamic creatures that challenge our imagination. Do they have the capacity to think, to dream? Are we watching them… or are they watching us?

Kleinman’s work, printed on canvas, reveals realities most people do not normally notice. She says “A great deal of the impact of my work stems from the fact that my images actually existed at a specific time and place and are not creations or manipulations. Nothing I do is set up or manufactured. My goal is to offer these slices of life as a catalyst from which the viewer can go on a journey and hopefully explore deeper personal emotions.”

Ernie Marjoram
Structures

Ernie Marjoram, Bayou, Oil on canvas, 36 x 48"

Los Angeles artist Ernie Marjoram presents recent paintings of architectural subjects in an exhibition October 27th to November 21st. In cinematic compositions of sharp lines and large shapes, Marjoram seeks to document his personal vision of the ways human beings modify their environment in order to physically survive and spiritually prosper. Subject matter ranges from mysterious megalithic structures on the isolated plains of Ireland to the grand cathedrals of worship in Europe.

Influenced by the artist Edward Hopper, Ernie seeks the real and the true in depicting the built environment using dark earthy tones or bright vibrant hues to evoke emotional themes of desolation, decay, and danger, or elegance, sophistication, and grandeur. Dramatic lighting and shadow are used to further enhance the mood and allow the viewer to provide their own narrative content.

Coming Exhibition: Pam Douglas, Ernie Marjoram, Camey McGilvray

Tues. September 2 - Sat. September 27, 2014

Opening Reception: Saturday, September 6, 5-8 p.m.
Artist Talk: Saturday, September 20, 5 p.m.

The Long Thread, Pam Douglas

Pam Douglas,  The 4 Phases,  Inks on rice paper, 60 x 50 in.

New work by Pam Douglas explores the cycle of birth and death in “The Long Thread.” This show transcends her previous paintings by adding string, twine and rope -- rough textures that contrast with silk and rice paper, expanding these large-scale works into 3-dimensions. As with her previous series, Douglas reveals her admiration for Asian art using rice paper and silk, and suspending the fabric from dowels that recall Japanese and Chinese scroll paintings. In “The Source Within” indigo strings cascade through a divide of bronze and gold on silk panels, like a source of bright energy opening into birth. This scroll-like mixed media painting is almost seven feet high. In “Four Phases,” rice paper panels progress from white to black, and red strings in groups of four continue the careful balance, creating an understated elegance, both contemplative and hopeful.

Works on Paper, Ernie Marjoram 

Ernie Marjoram, Baptistry, Graphite 7 x 5 in.

For his current exhibition, “Works on Paper,” artist Ernie Marjoram presents drawings of a range of subjects; landscapes, still life compositions and figure studies in a variety of media: watercolor, pen and ink, pencil and charcoal, etchings and digital prints.  Marjoram’s latest body of work is a transition from previous oil studies in vibrant candies and comfort foods. “For me, there is no single definition of beauty and no single approach to art,” says Marjoram.  Some images are highly rendered, while others are black and white.  “I have always experimented withdifferent graphic techniques and have become comfortable combining traditional and digital techniques,” says Marjoram.  “In the end it is all about the image, not the technique.”  While studying a range of subjects in his current series, Marjoram’s strong gestural brushstrokes and technical skill create animated characters and environments.

L.A. Boogie Woogie, Camey McGilvray

Camey McGilvray, LA Boogie Woogie, Acrylic, wood, and wire, 48 x 48 x 4 in.

In artist Camey McGilvray's latest sculpture series, abstracted forms in wood, wire and rebar are a continued concentration in her work. Using the grid as a compositional tool, McGilvray recalls mid-century Los Angeles architectural influences - referencing the landmark "Hollywood Hills House", among other urban locations, including downtown Los Angeles itself. The piece L.A.Boogie-Woogie is based on a map of L.A's downtown area and the title pays homage to Piet Mondrian's own version of Manhattan and is also the show title. McGilvray maintains a strong focus on line in her work, using rebar in free-standing works and superimposing wire on vibrant painted mixed media wall sculptures. The pulse of the city is echoed in her animated andanthropomorphic forms as wires pulsate with an energy of their own.

Coming Exhibition: Shelly Lazarus, Ernie Marjoram, Jane Peterson

November 26 - December 21, 2013

Opening Reception:
Saturday, December 7, 2013, 5-8 p.m.

Artist Talk:
Saturday, December 14, 2013, 3-4 p.m.

Shelley Lazarus, Multiples

Shelley Lazarus, Want to Buy a Bridge (detail), Watercolor and Colored Pencil, 22 x 15 in., 2013

Watercolor and mixed media artist Shelley Lazarus’ latest series looks fondly at her native city of New York, and her current homes in Los Angeles and Ventura. Lazarus’ expressive brushwork portrays sentimental moments and landscapes with a mixed media technique combining watercolor, acrylics, graphite and colored pencil. In her current show, Multiples, Lazarus made her focus on the subject of grouping. “I grew up as one of five children and I learned that we all have to form our own identity,” says Lazarus. “This show is about that dynamic - shining through as part of a group.” From iconic views of the Brooklyn Bridge and Chrysler building to Ventura seascapes and more intimate interiors, Lazarus uses the idea of multiples to explore different perspectives. Proceeds will benefit the Robert David Lazarus Pulmonary Rehabilitation unit at Cedars Sinai Hospital.

Ernie Marjoram, Eye Candy

Ernie Marjoram, Gummy Worms, Oil on Board, 12 x 12 in., 2013

Borne out of his previous food studies of decadent main courses, artist Ernie Marjoram’s current exhibition is a playful look at candies and confections in their various shapes and sizes. Marjoram’s magnified perspective provides a glimpse into a sea of truffles, salt water taffy, foil-wrapped Hershey’s Kisses and nostalgic treats. The result is a vibrant study in color, as well as detailed pattern and texture. “I have a sweet tooth the size of Texas,” says Marjoram, who said his current work was more than a natural choice. “I saw this series as an opportunity to work with fun color and transparency.” Ribbed, colorful gummy worms become studies in transparent color gradation, while cellophane candy wrappers appear as reflective abstractions. Compositions are closely cropped to emphasize line and shape, referencing traditional still life, while exploring oil painting with a contemporary approach.

Jane Peterson, Fear of Falling

Jane Peterson, Symbiosis, Giclee', 5 x 7 in., 2013

Transitioning from her previous series Pith and Vinegar, mixed media artist Jane Peterson’s current exhibition uses characters to communicate contrasting human emotions of fear, trust, and comfort. Using current events as a reference, Peterson’s characters’ are expressive vehicles constructed from a range of two-dimensional and three-dimensional media including oil on canvas, pen and ink, and digital painting. Peterson’s figures are startlingly grotesque, yet familiar, as insects and shape-shifting human amalgams convey mixed passions and anxieties. Detailed antennae and liquid forms make reference to surrealism, while Peterson’s mixed media arrangements hold personal value to the artist. In a series of photographs, Peterson injects herself into the composition, communicating directly with her characters and the core struggle within. The bridge between real and surreal is blurred, as Peterson poses the question of what world is our own.

Cultural IllusionsNew Exhibit TAG GalleryFebruary 28 - March 24, 2012Featuring:Katie Crown, Ernie Marjoram, Juan Rosenfeldt

Opening Reception: Saturday, March 3, 2012 5-8 PM
Artist Panel: Saturday, March 10, 2012, 3 pm

Figuratively Speaking, Katie Crown


Mixing humour and noir, Katie Crown’s figurative paintings darken the sunny, saturated sea-sides of Southern California. Both her oil paintings and ceramic sculptures are characterized by a play on geometric patterns and the pathos of the human condition. Her pieces might seem the California love child of Mondrian and Alice Neel, capturing an isolated, voyeuristic beach culture, culminating in a Dis-United States of America. Crown navigates the familiar beaches of Southern California where fun in the sun actually reveals a complex and dark and entertaining social dance.

Guilty Pleasures, Ernie Marjoram


In Ernie Marjoram’s latest show, Guilty Pleasures at TAG Gallery, the Los Angeles based oil painter monumentalizes our soothing psychological yet "not-so-healthy" dishes, and examines the moment just before we bite. We zoom in on the foods we take for granted, and discover their personas, temperaments and tastes through the thick impastos of pasta, pot roasts, and yes, even cheeseburgers. We enter the landscape of our own anxieties, taking stock of the thick, fun and exuberant dishes that give us comfort in our times of emotional malaise.

Elements of Change, Juan Rosenfeldt


As if dioramas from the story of Coelho’s Alchemist, the works of Juan Rosenfeldt transform found objects of earthly time into contained experiences of eternal aesthetic contemplation. In the Elements of Change at TAG Gallery, the Venezuelan-born Rosenfeldt creates a visual correlation to Borges’ Magical Realism suffused with the surrealism of Meret Oppenheim, and Joseph Cornell. In examining the delicate balances of computer parts, butterflies, stamps and string, we discover the fragile nature of our existence and the sheer wonder of it’s fruition.

Ernie Marjoram Interview With TAG Gallery

Ernie Marjoram
Pot Roast
oil 36 x 36"

From small to monumental, is there a scale that you prefer to work in?

For my plein-aire travel paintings, the canvases have to fit in a suitcase so they are no larger than 16" x 20". In my upcoming show at TAG gallery, I will be exhibiting large-scale still lifes of food which requires bigger canvases.
Most of the works in this exhibition are 30" by 40" and have been painted in the comfort of my studio.

How often do you start a new work?

I tend to put off everything to the last possible moment, my painting included. It isn't until the exhibition deadline approaches that I finally get down to creating the art. It drives my wife crazy!

How do you decide on your palette?

To the eye, my paintings are representational so the color choices are based on reality. A pickle needs to appear green. However beneath the surface, the paintings are abstract compositions of lines and shapes and the green pickle is a combination of red, yellow and blue pigments.

How do you know when a work is finished?

I strive for visual harmony in work. While a painting is on my easel, I often step back, look for distracting elements then return to the easel and eliminate them. When I step back and can find no visual distractions, the painting is finished.

Have you learned any new techniques this year, or traveled to any new painting sites? Will you share what they are?

My exhibition this year is a new direction for me. After years of painting small architectural scenes ion exotic locations, I have chosen to paint simple foods in a contemporary way. My new painting site is the studio!

Ernie Marjoram
Combination Plate
oil 30 x 40"

Of all the stories your paintings might tell, which is your favorite?

Hopefully my food paintings will remind people of meals they have shared with others. For example, my grown son and I sometimes meet for dinner at a Mexican restaurant in West Hollywood. I always order the same thing, a combination plate called "Il Vagabondo" on the menu. My painting "Combination Plate" reminds me of our time together and the bond that we share over a simple meal.

Ernie Marjoram


Ernie Marjoram's exhibition opens February 28, 2012.

March 1-26, 2011 Katie Crown, Shelley Lazarus, Ernie Marjoram

 Reception: Saturday, March 12, 5-8 pm
Artist Panel: Saturday, March 19th, 3-4 pm

 Katie Crown
Beach Scenes, LA 

Katie Crown’s new work puts California figurative painting into California landscapes in her large scale, local beach scenes. Crown, who grew up in Manhattan Beach, admits to finding the parade of characters found along California’s coast an irresistible subject. “I love pattern,” she explains, “bathing suits, postures, and body shapes give me a playground of possibilities for patterns and pigments." In these paintings, diverse characters frolic within starkly geometric sand and waves, either enjoying or simply contemplating life. Yet, people are shown faceless and seemingly isolated from their surrounding activities, which adds an air of eerie ambiguity to the otherwise mirthful scenes. "Hey, it’s California, nobody connects. Alienation lives at the beach, too," says Crown.

 Shelley Lazarus
Just Desserts 

Standing in the tradition of California colorists, Shelley Lazarus explores the sweet coda of any meal: desserts. Like Hockney’s whimsical landscapes, Lazarus’ pieces in Just Desserts use saturated watercolors, acrylic, graphites and crayons to create mouth-watering creations. The dripping chocolate and luscious cakes brought back memories of her mother, “who always checked out the desserts in a restaurant before the entrees.” 

Ernie Marjoram 
Italy, en Plein Air

Marjoram brings his intricate knowledge of light, form and space into a rich exploration of the central Italian landscape. With only natural available light, he situates himself in the environment, capturing the chiaroscuro of the Italian cityscape and the expanse of the countryside, reminiscent of Pisarro and Cezanne. Having worked for Disney, and currently an instructor at the American Film Institute, he interweaves illustration and fine art, re-seeing the monuments and vistas of the Italian Renaissance. Marjoram believes “art and architecture are a part of life”, and he brings them to life in this current exhibit.

Los Angeles County Art Museum Docent Council Visits TAG Gallery

Joan Ransohoff with LACMA Docent Council

Joan Ransohoff and Grace Swanson talked about their current exhibition at TAG Gallery to members of the Los Angeles County Art Museum’s Docent Council during the group’s visit to Bergamot Station on Wednesday, March 17.

Ransohoff spoke about her experience as a plein-air painter and her creative process in the development of her new landscape and still life paintings. Inspired by her love of color, Ransohoff’s oil paintings explore the relationship between her outdoor painterly practices and indoor still life scenes, and how these two elements came together in her current show titled “Colors of Nature”.

Swanson discussed the history and development of her watercolor and acrylic paintings beginning with an early desire to focus on formal elements of color and composition to recent works on flowers and succulents in her show “Favorites”.

The paintings of Ransohoff and Swanson, along with the figurative paintings of Ernie Marjoram will continue to be on display at TAG Gallery through March 27.

Ernie Marjoram, Joan Ransohoff, Grace Swanson: March 2-27, 2010

GRACE SWANSON “FAVORITES”
In Favorites, Grace Swanson’s watercolor and acrylic paintings draw from one of her favorite subjects – the still-life portrait. Swanson personifies still life arrangements of flowers, fruits, and animals in traditional figurative compositions in which the face or front of the object is predominant. Taking a photorealistic approach, Swanson amplifies her floral arrangements with heightened color, contrasting shadow, and dynamic scale to impart energy and express the personality, beauty, and even the mood of the object.

The title of the show also refers to show’s watercolor paintings that have received accolades from prominent members of the art world who juried Swanson’s work into national and regional competitions. Swanson states “since a juror’s choice for awards and inclusion into an exhibit is subjective, I consider my accepted paintings as among the jurors’ favorites.”

One such painting is “Tulips,” exhibited at the Watercolor USA Exhibition at the Springfield Museum of Art in 2005, which depicts a brilliant bouquet of deep-pink tulips tossed onto the painting surface. Swanson lovingly applies layer upon layer of rich glazes to the petals and leaves to create luminous transparency and meticulous verisimilitude.

ERNIE MARJORAM “FIGURES & FACES”
Known for paintings of architectural landscapes, his current exhibition Figures and Faces represents a new direction for Los Angeles artist Ernie Marjoram. The exhibition includes drawings and paintings created from live models in a variety of mediums including graphite, charcoal, pastel, watercolor and oils. “I find the human face and figure to be among the most complex subjects, and I work from life as a way to develop and test my drawing and painting skills.“

Amidst the current resurgence of artistic interest in the figure, there are many locations in LA where groups of artists have access to professional models and can draw short five to 15 minute poses and longer three hour modeling sessions. “I work in a variety of media depending on the amount of time I will have and the result I hope to achieve. Photographic accuracy, even a strong likeness are not my objectives, instead I seek to capture the natural character of my subjects while exploring the effects of light and color.”

Figures and Faces includes quickly executed color sketches as well as more finished paintings done in the studio based on preliminary drawings.

JOAN RANSOHOFF “COLORS OF NATURE”
Joan Ransohoff's colorful paintings are the result of a love of beauty and a focus on nature, trying to capture the light and changing vivid colors.
Raised in Glenview, Illinois, she studied life drawing in studio classes at Northwestern University, but not until she moved to Los Angeles in 1980 did she study plein air painting on location with the California Art Club.

"Painting outdoors changed everything," she said. "Trying to record nature as the light shifts with rapid brushstrokes, in fresh colors is very challenging, but the results can be magical."

As an artist, Ransohoff's believes nature is the best teacher.

"In California, I only have to step out my door. I don't over analyze any scene or set up. I just try to channel the inspiration I feel and hope that I can express these feelings on canvas."

This exhibit is largely a collection of landscapes depicting the California coastline from Malibu to Cambria. But it also includes scenes painted on location in Carmel and Malibu State Park, two small harbor scenes from Martha's Vineyard, painted last summer, and two large still-lifes dealing with Asian pots and jars and fruit and flowers which are recent endeavors inspired by all the rainy days.

Ernie Marjoram: An Interview

Ponte Vecchio

oil 12 x 16"
Ernie Marjoram

Inspired and influenced by renaissance masters, Ernie Marjoram explores with traditional and contemporary tools the environments, faces, and figures around him.


Do you work in more than one medium? If so, how do the two (or more) influence each other?

I work predominately in oils, but also acrylics, watercolors, pastels, charcoal, pen and ink, and graphite. I think there are a lot of similarities between them. One of the things I try to focus on is light and shadow in whatever medium I’m working in and on color.

There are different idiosyncrasies; acrylics dry fast; when I am paintings outdoors I like acrylics. Oils dry slower and I use oils in the studio much more. I like the simplicity of graphite and pencil – to just go someplace and sit and sketch. You can stick them in your pocket and you’re on your way.


Where do you your find inspiration for your works?

I try to travel a lot, when I’m in an interesting place I look for interesting views, interesting architecture. My background is in architecture so I like to draw perspectives of different environments. So I’ll go to traditional monuments as well as unrecognized places. When I’m in a new town I try to find places off the beaten path as well as postcard kind of views.

I also work with figures. My next show coming up is Figures and Faces I use live models here locally in the Los Angeles area so I’m inspired by life and the people around me. I think that’s going to be a different direction. I’ve never exhibited this stuff before.


Cleo

oil 36 x 24"

Ernie Marjoram

Is that scary?

I’ve come to terms with it. It is a little scary, but I’m getting to a point where I want to put out the stuff I’ve painted just for myself and see what happens.


Whom do you make art for?

Lately I’m trying really to do it for myself. Over the years I actually got into art because I made art for architects, interior designers and situations like that – I did a lot of commercial illustration and still do. That’s kind of bread and butter. That’s allowed me to travel to places and paint for myself. Lately I’m doing more and more of painting just for myself, because of the economy and because of my own desire to explore things on my own.


Does art serve a function beyond decorating walls?

Yes, I think so, particularly for the artist. For me it’s self-expression, it’s trying to show other people the way I see the world. I try to paint in an optimistic way. I like paintings which are pleasant and happy and colorful and not necessarily threatening or making people uncomfortable. So for me it’s a way of saying something to the people I know and maybe people who don’t know me, but just see the work. So it’s trying to express my view of the world. I think for the people that buy the artwork it potentially reaffirms their own outlook on the world. If they have an optimistic character I think then they relate to work that is optimistic. If they’re edgy and have more of an attitude then I think they buy artwork that reflects their own taste. I think it serves a lot of purposes.


Is there anyone else in your family that is an artist?

My son. He is a 21-year-old junior at USC studying video game design. He’s had full run of my art studio since he was 7 years old and has taken off and gone in a whole new direction. He illustrates for the Daily Trojan on a weekly basis. He does pen and ink sketches for their editorials. He has done a number of concepts for video games. He has been an intern for USC and is very comfortable both with analogue pen and pencil as well as digital tools He does modeling in Maya, Photoshop…all that kind of stuff.


Is there a separation between your "normal" life and your artwork?

No, not really. In many ways my normal life involves artwork. I’m very fortunate that even my commercial work and my income come from art. Even though it’s for clients and it’s illustrating their projects, it’s a big part of my life. I think art is an integral part of what I do.

In addition I teach at the American Film Institute in their production design department so that’s another big component where art is a part of my normal day to day life.

Can you teach somebody to be an artist or is it an innate ability?

I think you can teach it. I think in many ways desire is more important than talent. If somebody really wants to learn, I think they can.

I’ve explained to my students that it’s a lot like learning how to read and write. If you spend as much time learning how to draw and paint as you do learning the alphabet and vocabulary and syntax and grammar and things like that, you can become a competent artist. Not everybody becomes Shakespeare, but you can get to the point where you can write something that’s pretty good.

Same thing with art. You need to go beyond the technical aspects. But, you can learn the technical aspects, absolutely. The people that want to do it, the people that really work hard are the ones that get better. Somebody that comes in that has the innate talent and already thinks they’re really good at it, sometimes they plateau.

What excites you about painting?

The challenge of it, the not knowing whether it’s going to come out right or not. I do try to push myself. One of the reasons that I paint faces and figures is because it’s not easy for me. To try to make that come out - it’s really exciting when it clicks. Sometimes it can be frustrating when it doesn’t, but I just try to say the next one’s going to be better or put it away and look at it again in six months or paint over it and see if I can improve it.


You have to evacuate your studio due to a fire, flood, or tornado coming. Along with your important papers and family photos you can only take one piece of your artwork. Which one do you take and why?

I have a painting over my piano that is a view of Florence, Italy. Florence is my second favorite place, my second home, one of my favorite places in the world. I studied there as an architecture student. My wife is from there and we get to go back every year. That particular painting has a lot of sentimental value to it. It’s a sunset over Piazza Michelangelo looking at the church.


Ernie Marjoram

Ernie Marjoram’s next exhibit at TAG Gallery opens March 2, 2010.