Category Archives: New Work

Master Series Residency at the Atlantic Center for the Arts

ACA

The outside wall of my workspace for the week at ACA  (Casey Matthews)

Earlier this year, I attended an artist residency for a week at the beginning of February.  I almost don’t want to share the info with you, because I want to be able to attend again next year and apparently it was super hard to be accepted.  But I will just have to roll the dice and leave it up to the universe – perhaps other artists need more help than I do?  Anyway, the retreat was a  Master Series Residency with Steve Aimone, located at the beautiful Atlantic Center for the Arts in New Smyrna Beach, which is known for hosting some of the most prominent artist-in-residence programs in the country.  I don’t know Steve on a personal level, but as a teacher, he is such a gentle soul, incredibly intelligent/knowledgable about art, and knows how to ask you the right questions in order to get you thinking about your own work, and encourage the creative juices to flow.  He specifically knows how to relate to and communicate with women on a level that most men do not. I would not describe myself as overly sensitive and/or easily offended – however most artist can be, and this nurturing environment and approach was recognized, and appreciated.  This was my first “continuing education” workshop of sorts since leaving college – and thanks to Steve the transition was an easy and humbling experience.

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I was so excited to be there that I’m pretty sure I did not even sleep 30 minutes the first night (and I looked like death the rest of the week because of it).  I also experienced a brief wave of sadness (the weird kind of sadness, because you realize you are so thankful and happy) –  as it occurred to me that I was so starved for creative companionship, advice, and connection.  I feel so creatively isolated on this small island – and it was so incredibly refreshing to be around these like-minded individuals (only abstract artists) who were so serious about becoming better artists and honing their craft. Everyone was excited to learn new things about technique, problem solving, new materials, and about themselves through their art.

There were all levels of artists represented at the residency, and it was cool to be able to openly observe everyone while they worked, how they set up their work space, incorporate such different/creative materials, resolved problems, and learn how everyone approaches their personal creative process.  Artists are such diverse creatures, and it was invigorating to listen and engage in ideas while learning and evolving myself.  Most artists, like myself, (or at least the artist I admire) are more PROCESS oriented: Connected and immersed in the process making of the work as a “system” that is  open-ended, curious, problem-solving, exploratory, innovative, individual, invested, and connected  – as opposed to (final) PRODUCT oriented.  Most artists at the retreat seemed to carefully plan or premeditate their intent with the work, or series, while I tend to approach things more intuitively and see where things take me.  This sounds odd (because most people wish they could approach art making like I do) – but I wanted to try and get away from that unplanned “intuitive” behavior that I have always relied on, in order to place limitations on myself, and attempt to create work with more of an objective, underlying grid, and goal.  Or at least balance the intuition and intention.  It was a challenge to constantly re-shift my focus on creating a successful push/pull, instead of the loose, organic circular moment I tend to gravitate toward.  I wanted to get out of my comfort zone – which is what keeps things interesting for me. (I don’t know if any of this makes sense.)  I swear I learned more about myself and creating art than I did in my 7-8 years of college.  In fact I’m not sure what I learned in college (if anything.)

It was such a luxury to be able to paint 12-14 hours a day, have all my meals taken care of, and not worry about the distractions of daily life.  The overall result were these very ‘quiet’ paintings.  Even more muted, with texture, and editing than I normally do/use –  and I love how peaceful they seem. Several of these took me awhile to resolve while considering all of the layers and shapes that were floating and sliding around, all the negative space makes me feel mysterious and sterile, yet complete (if that makes any sense.) They are not too crazy “out there” – or at first glance even appear all that different from my current work, however, the underlying structure, rules, and intention I was striving for have already become a catalyst for my new work in progress (photos come).

Lindys Wall

Casey Matthews   – Finished, framed and hung on a brick wall (four – 40×30’s).

 

CaseyMatthews_Caledonia_72x48_$5800

Casey Matthews “Caledonia” (72×48)

Anyway, I’m anxious to see how all this hard work pays off in the studio in the next few months/year.  I am my own worst critic.  I came home feeling invigorated, yet like all my old art was absolute crap, that I never knew thing about art, and wanted to paint over all the work in my studio.  I am especially anxious to tackle all the unfinished “stinkers” that I have lurking around the studio – haunting me.  I am trying to not view them as unfinished failures, but as challenges.  I need to edit more, and continue to work through the layers instead of losing all hope when something is not instantly coming together.  I also need to abandon the notion that work is ever really finished – but just cast off during important moments.

“To finish a picture? What nonsense!  To finish it means to be through with it, to kill it, to rid it of its soul!”    -Picasso

I am spoiled in the fact that things/creativity normally come fairly easily to me.  But I also know that I get bored with things that I feel like I have really conquered/accomplished – and that is when a shift in the work usually occurs for me.  It is my (new) intention to incorporate more areas of discomfort or discord – to engage the viewer more – both in a good and bad way. Even if something irritates you that is better than being glossed over as a “purdy picture that matches the sofa.”  I don’t really want to create such safe, pretty, obviously feminine art – but work that has more dimension and soul.  We will see if I can do these things.

Now that I have been back tackling the “ghosts” of unfinished work, I do miss the connection with other artists, but this “alone time” has forced me to explore this new phase of growth in my process on my own terms.  I have been spring cleaning in a sense, and already revisiting old work.  Here are a few “problem children” that had been sitting around the studio and I have taken the time to (mostly) resolve after coming home.  Either I am just tired of working on them, or they have become some of my favorites – none the less, they have been released from the nest:

 

CaseyMatthews_ValorOfPallor_30x40_$1980

Casey Matthews   “Valor of Pallor”    (30×40)

 

CaseyMatthews_ThirdEye_30x30_$1400

Casey Matthews “Third Eye” (30×30)

 

CaseyMatthews_ProximityToTheOcean_40x30_$1980

Casey Matthews “Proximity to the Ocean” (40×30)

 

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Clarity and Perspective

I have learned a tremendous amount about life this past year. Some in business, some in personal. (You will be given the opportunity to view some lovely new work while to are reading my preach long drawn out revelations)

Casey Matthews "Don't Arouse Suspicion" 30x24x3 (2016)

Casey Matthews            “Don’t Arouse Suspicion”            30x24x3            (2016)

I’m not normally a competitive person, however these past few years have been so good to me – I am in a competition with myself to push ahead even further this year.   Artists don’t really talk about money much – so I have no idea where I fall among my peers, but my main goal is to keep creating (what I consider) good quality work that I am proud of – and still hope I still get paid.  I realize I’m not cutting edge, or solving the world problems.  Art is considered a luxury item, and most of my work is considered more “decorative” which some frown upon – but I don’t care.  I’m having a blast, and I’m thankful for every second of it. I love it when people tell me my work makes them happy, brightens a space, or they frequently discover new things in my work…

Casey Matthews "Overactive Imagination" 30x24x3 (2016)

Casey Matthews              “Overactive Imagination”              30x24x3               (2016)

Shedding negativity is so amaze-balls!  Last year I ended a few professional relationships with people who are toxic, stagnant, negative, and holding me back.  I don’t like it when people repeatedly waste my time, are late, or no-shows, avoid me, repeatedly don’t return email or phone calls.  I don’t like it when people are unprofessional, constantly ask for discounts, are dishonest about prices, sales,  where my art is (or isn’t,) and/or where my money is.   I was starting to feel like a gangsta in a shakedown.  Why can’t people just be mature, honest individuals?  It is sooo much easier to be a person of integrity – you don’t have to keep up with as much stuff (lies).  So – after I ended said “toxic” relationships with energy vampires  –  a HUGE weight was lifted off me and I felt this awe-inspiring surge enter my creative being.   (Perhaps I was channeling my dead Mother?) So when I do find people to work with that are highly respectful, thankful, and professional; who are willing to invest time and money in me, and believe in me – I cherish those relationships. Unfortunately the learning lesson can be long and painful dirt road before you find the gold.

I had someone give me some valuable clarity:   That all of your galleries will want you to be successful and succeed.  The more accomplishments, and exposure you gain, adds to your overall popularity and credibility – and everyone wins across the board.   If you have a gallery that is very competitive, trash talkin, greedy, pushy, passive aggressive, and/or territorial – those are red flags and you should consider other places/people/organizations that with nurture your career and stick with you for the long haul.

Casey Matthews "Put Your Game Face On" 24x24x3 (2016)

Casey Matthews             “Put Your Game Face On”              24x24x3               (2016)

I have had several people/artists reach out to me asking advice about galleries, and business advice.  For some reason I must give off this vibe that I’ve got it all under control, have a factory going in my studio,  and know everything about the art business  – but I’m not sure where that comes from.  Most of the time I feel that I’m just winging it. My strength is that I not afraid to do anything, ask any questions, ask about opportunities, and jump in and get my hands dirty. I don’t wait around for things to happen to me – I try to make them happen; yet I still try to remain humble and accommodating. It’s a weird combination.  I realize that things will not be handed to me without patience and hard work – success has to be earned, and relationships are cultivated.  You can be the best artist out there, but if nobody knows who you are – it does not really count.

I have learned the importance of having artist friends – and the need to ask questions.  Ask questions about potential galleries, art contacts, experiences, supplies, workshops, retreats, grants, etc.  Don’t just assume the grass it always greener in the gallery over the fence.  Don’t assume things about galleries (or artists) because so and so artist that you respect shows there.  Don’t assume that an artist will not share information with you (maybe they will, maybe they won’t.) Ask questions!  I have found most artists are very open and generous with their information, as long as you are thankful and respectful of their time.

Casey Matthews "Power Surge" 40x40 (2015)

Casey Matthews                      “Power Surge”                       40×40                      (2015)

Thanks to social media, I am able to observe and interact with many creative people who I would not normally meet.  I live in such a small town with very few professional artists to bounce ideas off of; so it is nice to learn how other people work, how they live their lives creatively, and with such intent.  I have been trying come out of my crusty, barbwire shell and be a little more friendly and less shy about my life.    But social media also angers me a tad because I see so many artists that can’t seem to find their own style and that they tend to copy what they deem is successful – or rather – become “heavily influenced by others.” I have not really noticed others copying me per se – but I may be too self-absorbed to see this or even care. Copy cats are sad and annoying, and the galleries that represent them are even more disappointing.

I have learned to remain fluid.  Over the course of the past year I have been looking for a new studio space.  I have been where I am for over 12 years and have outgrown the space; I really need something larger.  I have learned not to get too attached to any one place or idea.  Am I going to buy the house behind me for studio space, a condo across the street, a different condo across the street, a warehouse, rent a new space, rent a storage space and secretly work there at night, become an investor in a new warehouse/artist collective, build a studio, build a new house with a large studio, etc? Seriously, the direction changes weekly as I am dealing with flaky sellers, indecisive people or shady parties.   My point is – I’m just going to put it out in the universe and see what happens, and not become too inflexible.  Sure, the thought of cleaning and moving out of my studio that I have had for over a decade seems daunting.  Moving and confronting my crap belongings is my least favorite activity in the universe…. I just need to remain fluid and open to new ideas.                                                                                                                                                                                                                                                       I’m sure I’m going to piss off some people here but  – but one of my biggest pet peeves when people (artists) declare things.  Such as, “I am no longer taking commissions – indefinitely“, “I am permanently dropping out of the gallery circuit in order to self-represent myself”, “I am no longer using traditional art supplies,  and am strictly going digital from now on”, “I am exclusively represented by such and such gallery,” “I have found my niche, and I am going to exclusively paint dogs/pets.”  I’m not exaggerating – I literally see/read or hear such statements all the time from people.  Why? Why I ask? Why must people get so excited about their trivial change to declare such things, and with such definite adjectives ?  Why can’t they just privately go about their business, and when they eventually change their mind later (and they always do) they won’t look like such an idiot douche bag?  Social media has given us such a narcissistic platform that people think others actually give a rats-poo about their every waking moment (maybe people do care, who knows?   I don’t – I’m too busy)    Am I personally so afraid of commitment, that I hate such permanent statements?  Maybe I am constantly playing the devils advocate to believe in anything with such conviction? I’m just trying to be a realist.   I’m not that old – but I have been in the art business long enough to know that there are certain ebbs and flows with politics and/or the economy that directly affect art sales, the housing market, and businesses/galleries going under.  I think artists need to float along and constantly search for new opportunities and collaborations when other doors close.  If we declare such permanent statements (only to retract later) and/or  be come so comfortable in the status quo , it seems closed-minded to new opportunities that may present themselves down the road.  Just my two cents – take it for what it is worth.

“When you’re through changing, you’re through.” – Bruce Barton

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So, on a lighter note – I’m off to an artist retreat for a week.  I’m sofa king excited!  Aside from one small (two-hour) printmaking class – I have not really taken any “continuing education” classes outside of college.  This will be the first time that I will be working around other like-minded individuals for an extended period of time.  I hope to create some juicy new work, and meet some cool people! I feel like I’m going to camp – I’ve been preparing/packing for weeks!

Casey Matthews "Don't Count Your Chickens Before they Hatch) 48x60 (2016)

Casey Matthews  “Don’t Count Your Chickens Before they Hatch”  48×60  (2016)

 

Casey Matthews "You Hit the Nail on the Head" 48x60 (2016)

Casey Matthews            “You Hit the Nail on the Head”             48×60            (2016)

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Everything has already been done…

Sit & Spin

Casey Matthews    “Sit & Spin”    (32″ Round)

One of the interesting things about having a public art studio is that I get to meet all sorts of people I would not normally interact with.  By nature, I am a bit shy with people I don’t know, so this can be a difficult platform. The past 13 years of maintaining an open studio has helped me come out of my shell as I search for  words to articulate my process, and create a balanced studio practice.  I often surprise myself and learn new things about myself as I describe the work to others.         Many years ago an elderly gentleman came into my studio and looked around at my work, completely flabbergasted – at both my prices and my style of work. (which is fine – you don’t have to like all art)  He asked what else I did – meaning: “You could not possibly make a living creating this crap – what other kind of job do you have?” But I ignored his implication, and laughed.  I superficially replied “…I make lots of messes, walk my dogs, and like to drive really fast.”     On the other end of the spectrum, I also meet people that completely freak out, gush over my work, and the fact that they actually get to meet me. Those people are the best!

I had someone come in my studio the other day and looked around – although a bit out of obligation (she was already up there looking in the other art studios) She was older retiree and a novice painter herself.  She prefers to paint lovely pastoral scenes in France, and local marsh scenes plein-air.   She looked curiously at a particular painting, then asked what my inspiration was.  I rattled off my stock answer… “I am very process driven, and I rely on mood, color, energy…”  I find this intuitive process more rewarding,  challenging, and full of endless possibilities –  rather than trying to recreate a particular subject matter on my terms…    I continued, “My work is non-objective and the titles are drawn from a running diary of words or phrases that I have written down over the years while reading or listening to an audio book, movie, music, current events/news, etc.  The painting is meaningless nonsense and it is paired with a title of equivalent absurdity.”   She then started rattling off more questions in an attempt to “understand” (for lack of a better word)   “Well, no – what artists are you inspired by?” I thought about it for a minute, then reverted back to my 20 year-old college self – stating “I guess I always admired the Abstract Expressionists  – they left the most imprint on me – because they were so energetic, intuitive, and process oriented – like Willem DeKooning, Cy Twombly, Joan Mitchell and Philip Guston (early work).  And while we are at it – I love Mark Rothko, Richard Diebenkorn, and Lee Krasner…The color of Henri Matisse, and humor of Norman Rockwell (I use to stare at his work for hours as a kid). And as far as contemporary artists go – I just drool over anything Cecily Brown does,  She is a real painters painter.  She is about my age, lives in NYC, and cranks out multiple paintings at once in her huge Union Square studio.  As far as I’m concerned – she a complete rock-star making it in the art world.”

“But your work does not look like any of those artists – I just don’t get it…”

I was a bit taken back by that comment.  My 40 year-old self does not aspire to paint like other people.  I realize I did not really invent what I do, and I don’t think I’m extremely special – but when I’m in the studio, it is just me and the surface. I’m drawn to the ambiguity of abstraction, and outright contradiction. I just try to create honest work that I am proud of, and keeps me out of trouble.  I am constantly learning and experimenting.   (Sometimes I am thankful that I live in my little creative vacuum and not surrounded by to many artists – so that their work does not creep into my subconscious.)  While it is nice to sell my work and is my ultimate objective – going to work is something I do out of an innate desire to stay grounded to the universe, and maintain mental balance.     I don’t really look to other artists (past or current) for my inspiration like I did when I was a young impressionable college student trying to find my style.  I mean, thanks to social media – we have enough copy-cat artists to contend with.  But they don’t fool anyone.  They just make me feel sad for them as they can’t seem to find their own voice.

I realize “everything has been done” but does that mean we should give up on ourselves and continue to copy or draw inspiration from the past (or present for that matter?) Or is this person just an idiot? I’m hoping it is the latter.  I’m a jaded bitter bitch about some most things – but I want to think there is still hope for the art world.

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On a different note – I just finished new batch of art.  Check out what is left on my website HERE

Here are a few of my favorites:

trio 2

Casey Matthews (2-36×24)

pair2

Casey Matthews (2-30×24)

CaseyMatthews_PowerSurge_40x40_$3000

Casey Matthews   “Power Surge”   (40×40)

 

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Small Paintings on Paper at Stellers Gallery

Stellers Gallery in Ponte Vedra Beach, FL has a bunch of my small paper paintings – just in time for the holidays.  These reasonably priced paintings are exclusively offered from Stellers Gallery – and are all the paper pieces I have remaining.  So go for it – treat yo self! Prices range from $225-$310, and they are happy to ship your purchase!  Pick out your favorite one before they are all gone.  Contact info HERE

Casey Matthews  . Small Paper Paintings  .  Stellers Gallery

Casey Matthews . Small Paper Paintings . Stellers Gallery

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Small Work, Rejection, and Adversity

small work collage

I just finished a bunch of new small work and posted it on my website.  See more HERE.  I have a love hate relationship with creating small work because sometimes it can take sooo long to complete – and somehow I cannot shrink what I am currently doing – it just does not translate the same way.  My larger work seems very thin and loose, and the smalls appear very neurotic. They are fairly intense, painterly, and much thicker. I’m constantly editing until I get it just right.  There is a bunch of paint crammed in there per square inch – so you are really getting your monies worth! I have to believe the viewer has a more intimate relationship because one has the opportunity to get up close –  I just love how these turned out…

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I ran across this the other day and wanted to share:

“Artists are some of the most driven, courageous people on the face of the earth. They deal with more day-to-day rejection in one year than most people do in a lifetime. Every day, artists face the financial challenge of living a freelance lifestyle, the disrespect of people who think they should get real jobs, and their own fear that they’ll never work again. Every day, they have to ignore the possibility that the vision they have dedicated their lives to is a pipe dream. With every role, they stretch themselves, emotionally and physically, risking criticism and judgment. With every passing year, many of them watch as the other people their age achieve the predictable milestones of normal life – the car, the family, the house, the nest egg. Why? Because artists are willing to give their entire lives to a moment – to that line, that laugh, that gesture, or that interpretation that will stir the audience’s soul. Artists are beings who have tasted life’s nectar in that crystal moment when they poured out their creative spirit and touched another’s heart. In that instant, they were as close to magic, God, and perfection as anyone could ever be. And in their own hearts, they know that to dedicate oneself to that moment is worth a thousand lifetimes.” – David Ackert

I don’t even know who that dude is, but it really hit home.  The part that struck me most was,  “watching people my age succeed, and achieve predictable (financial) milestones…”  when I just live day by day.  I admit, what I do is pretty adventurous and selfish, and I only have myself to blame when things go wrong. I guess could have chosen a more stable career – but I did not.  There were several occasions about many years ago that I could not afford to go to a friend’s wedding, or even visit my family for the holidays.  And I was so unorganized and did not really know what in the hell I was doing, and at times, my ex-husband resented me because I did not make enough money.

As of today I have been rejected twice this year so far.  I’m not going to cry or anything; I’m actually fairly amazing with rejection.  Rejection and adversity helps me to strive for better things, leave my comfort zone, set goals, and push myself harder.  I learned over the years to differentiate between personal relationships and business relationships – and when it comes to business you just can’t take things too personally.  Sure, sometimes words can sting, and actions will have consequences, but in the end – you just gotta get over it.  Sometimes that is easier said than done because (A) I am woman, and am stereotypically already preconditioned to sensitivity,  (B) I’m already on crazy meds and (C) there are a bunch of narcissistic, delusional, selfish, psychopath, whaca-doos out there in the world that I have to deal with.

Right now, I have a pit in my stomach – I’m trying to make a few important time sensitive decisions, and I’m worrying about the future even when things are going great right now. People that I rely on have been leaving me hanging this past year.  I need a new assistant.  I need a million dollars…but I’ll just settle for a new assistant.

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On a more upbeat note – I have switched representation in Atlanta!  I am now with Pryor Fine Art.  If you have never been in there – it is one of the most beautiful galleries I have ever been in (NYC included) and I am so honored to be working with them.  This is one of the new paintings I dropped off last weekend (and see more HERE🙂

CaseyMatthews_Slither_30x40_$1880

I’m so excited but scared at the same time.  This is something that I had been considering for quite some time, but change is scary, especially if the status quo is not so bad.  Change is essential to grow as a person and an artist – but that does not mean it is difficult to accept – or that your actions will be without consequences.  The only think I can do is keep working and create honest, beautiful, quality art that I am proud of and hope it all works out!

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Just let go…

What I'm working on today. (30×30)

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I have had a fabulous painting week. It has been great to get back in the studio with clear mind/vision after a long vacation.  I’m such a lucky person, and every day I am so thankful that I am to be able to do what I do, feel good about the work I produce, and also get paid to do it.

Casey Matthews - Grouping of 4-24x24x3

Casey Matthews – Four-24x24x3  – Mixed media painting (coffee, acrylic, gouache, polymers, charcoal)

I just got back from a hiking the Inca Trail in Peru.  While I was away, I was not planning on answering email however, as soon as I got on the plane (I had wifi) I started getting a bunch of art related email – up until I got home three weeks later: I secured deposits for three commissions, got inquiries for five more potential gigs, developed a business relationship with a new gallery, and was in contact with three consulting firms regarding large hotel projects.  Who knew there would be so many art emergencies last month?  It has been so amazing how many good things, situations, relationships, opportunities, people have come into my life this year.  Thanks everyone!

Machu Picchu #machupicchu #perupath #incatrail

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I had so much work to do, I had to hit the ground running as soon as I got off the plane…. Then, I had a previous deadline that was cancelled on me this week  – it was one of those things that was SUCH a relief, and a huge weight has been lifted off my shoulders (mentally.) Also, a catalyst that will get the ball rolling toward ridding myself of several toxic situations/relationships that I seemed to have found myself in. Something I have been mentally struggling with for a few years, but has really come to a head these past few months. A situation that has really been holding me back… and this week I am at peace with my decision to let it go.  IT FEELS AMAZING.  I hate to admit that I am (at times) afraid of change. However I know that it is crucial to success and growth. And I have really been paying close attention to my mission and path this year. Funny how when you write down your goals and visualize them – they seem to all seems to fall into place. I’m moving forward and cutting loose of those things that are holding me back, and taking advantage of me.

And this release is sooo mentally healthy. There is no sense in having any negative energy and anger linger and cloud my creative process or  future business decisions. I try really had to be a professional person and think more like a man, rather than a sensitive female artist  (sorry ladies, but we/you tend to get your panties in a wad over trivial shit;) Not take things so personally or get hung up on insecurities. There is so much rejection and criticism in art – you just can’t get hung up on every little detail – use it and move forward. The fact of the matter is that sometimes people just need to part ways in order to grow. It is nothing personal.

I’m one of those people who has great luck when “one door closes, another door opens….”

I have had such an eventful year – past year. This time last year I was really struggling with Tennis Elbow – and that slowed down my creative output tremendously, which was pretty painful and depressing that I was so helpless. My Mother was also diagnosed (and then passed away) with lung cancer that had spread to her liver, bones, and brain – all in the course of 3-4 months. That was pretty intense. I also got a new puppy last year – and good God – that was extremely stressful as well!

So this week, I was able to let go, and clear my mind, just have so much fun experimenting, and paint for myself – and I’m ready for great things to happen.

In progress

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What I'm working on today. (30×30)

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I have been fairly prolific this week.

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New Work in the Hizzy

Casey Matthews "Sweet Dreams" (30x48)

Casey Matthews   “Sweet Dreams”   (30×48)

I just finished up a bunch of new work, and I am in absolute LOVE with these! Some lucky person will get to own one of these paintings and look at them everyday. Several new paintings went to Gregg Irby Fine Art in Atlanta.  You can also see more new work HERE – I have been a busy girl!

Casey Matthews "Makarkey" (36x48)

Casey Matthews   “Makarkey”   (36×48)

Casey Matthews  "Sea Urchin"  (36x48)

Casey Matthews “Sea Urchin” (36×48)

Casey Matthews  "Last Resort"  (36x48)

Casey Matthews “Last Resort” (36×48)

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