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2/17/2023

Cypress Creek Art Show & Sale

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You are invited to the 16th Annual
Cypress Creek Art Show and Sale


Featuring over 25 local artists
Original Oils, Acrylics, Watercolors, Collage and more


Friday, March 3rd, 5:00 – 8:00 pm
Saturday, March 4th, 10:00 – 5:00 pm


Follow the signs to the Forum @ Cypress Creek Christian Church
6823 Cypresswood Drive, Spring, TX 77379
Located between the Harris County Courthouse and the Barbara Bush Library


Please come and invite all your friends! HOPE TO SEE YOU THERE!
For Information Email:  vronstadt@yahoo.com

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8/17/2022

Tomball Art League to Host Art Show & Sale

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Please contact the Tomball Art League with any questions you may have. Email: thetomballartleague@gmail.com

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3/29/2022

Art for Ukraine

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3/23/2022

Local Artists Meet for Art Lab

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1/11/2022

Tribute to Liz Hill artist and founding Member of DaVinci Artists Gallery by Hilda Rueda

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The art world is not small but any means. We, as artists, encounter in our artistic life many people, whose art performs very well, earn awards and are successful in financial terms. But there is a very small number of artists that impact us in a manner beyond that, who imprint their legacy; artists who we admire, who we respect, from whom we want to learn. Liz was one of those for me. She had an adventuresome spirit to bend the limits of her medium, to attack the painting surface with a passion that was evident in her line, in the precise, bold and at the same time, “experimental” mark, in the dripping of her color that magically became a beautiful accident.

Liz was, and always will be my mentor, and although I never studied with her, I learnt a lot from her. Painting by her side at WAL, in different painting groups I could not stop observing her process, enjoy the bliss in it, become freer as she transformed a line into the curve of a model’s shoulder, and, with a few strokes of watercolor define the warmth of the model’s cheeks. I do not work in watercolors anymore, but her method and free expressive style was applicable to any medium. I am very grateful for having the opportunity to grow as an artist, by seeing her accomplish the most poetical and beautiful compositions.

Besides her inspiring work, I was also able to know her as a great supporter of the art community. She was a founding member of two organizations that I belong to: the Woodlands Art League and DaVinci Artist Gallery. She was part of the board and helped both organizations to grow and become a niche for amateurs and professional artists. She promoted art education and instruction in both organizations and as such she contributed to the betterment of the community at large.

As a person I had the pleasure of sharing with her, art shows and events and being regaled with her encouragement and wit, her wise comments and suggestions that have made my art a much more pleasurable endeavor and my life as an artist a much better experience.

The art world will miss her dripping watercolors and her unique line. I will miss her wisdom, her boldness and her inspiring spirit.

Thank you, Liz.
​
By Hilda Rueda. www.hruedart.com

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1/21/2020

Participating Space for FotoFest Biennial March 8th, 2020

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“The Eighteenth International FotoFest Biennial 2020, will be held March 8–April 19, 2020. The central program of the citywide festival, AFRICAN COSMOLOGIES—Photography, Time, and the Other, will focus on artists of Africa and its diaspora. Over 100 independent museums, art galleries, non-profit art centers, and corporate spaces will participate in the FotoFest Biennial 2020 by presenting photographic work and photography-centered events during the festival’s six weeks. These Participating Spaces are important aspects of the city-wide festival.” *
DaVinci Artists Gallery of Tomball
is proud to announce they will be one of the Participating Spaces in FotoFest Biennial 2020.

Diasporas: African-American Migration to Tomball, Texas, a small German settlement
​During the mid-1800s, The Houston and Texas Railroad
ran near the Tomball area on its way from Houston, Cypress, and Hempstead towards Navasota. Joseph Lakey, one of many African-Americans working for the railroad, took note of the lush farmland around the small settlement of Peck (later becoming the town of Tomball). 

On October 17, 1890, Joseph bought thirty-four acres located at 24747 and 24751 Stanolind Road (East side of present-day Tomball) from A. H. Stuebner. The family soon became members of the Salem Methodist Church located in Hufsmith, Texas.
Joseph lived the remainder of his life railroading and farming his thirty-four acres with his wife, Mary, and their nine children. The Lakey family continued to farm their land long after Joseph died in 1904. Three years after his death the Trinity & Brazos Valley Railroad would build a depot in Tomball.
 As the children grew older, the property would be divided among them. Joseph’s grandson, Hillard Lakey, began working for the Klein family in their feed store and funeral homes. As the years passed, many family members continued to work in the Klein family businesses and with the Klein family as housekeepers and nannies. Today a portion of the land still remains in the family. The Lakey family, like many other African-American families, has made an impact on their community through military service, church, and business.
The exhibit will include video interviews along with photographs from the past and pictures of the descendants of Tomball’s early African-American families. DaVinci Artists Gallery will bring their story to the FotoFest audience. 
Gallery hours: Wednesday 1:30-5; Thursday-Saturday 10-5; Fresh Art Reception March 14, 5-8. DaVinci exhibition will run March 10-April 4. For After Hours Appointments please check the website: www.davinciartistsgallery.com. 
*Reference: FotoFest Biennial 2020-AFRICAN COSMOLOGIES – Photography.

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12/24/2019

December 24th, 2019

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by Hilda Lockley Rueda 
www.hruedart.com
 
How far into your artist career did you start answering to the ever-present question, “What do you do?” with a smile
and an assertive reply “I AM AN ARTIST”? This is a query I presented to all my mentors at the beginning of my
artistic career some years ago after switching from Petroleum Engineering and International business fields.
 
I would like to revisit this question once more on behalf of all those people out there considering changing paths in life
and crossing the bridge to becoming full-time artists. To the question above, some artists said they always responded
with “I AM AN ARTIST” but most replied that they avoided the question, sidetracked it, redirected it or simply ignored
it to avoid the obnoxious looks from friends and family expecting them to have grown up and taken a “serious track.”
In the words of the artist Ben Shahn, “I believe that if it were left to artists to choose their own labels most would
choose none.”
 
Is an art career even worth pursuing? After all, only the most determined artists can sustain themselves with art-
related income. Isn’t it true that many artists have been ignored all their lives only to be recognized for their vision,
genius and creativity until much later after their deaths? We admire and revere the works of artists such as
Brunelleschi, DaVinci, Caravaggio, Van Gogh, Modigliani, Vermeer, El Greco, Rembrandt, Gaugin and other artistic
geniuses. Weren’t they for many years the outcasts or had careers marred by debt. Some, nobody knew about until
their works were found in dark monasteries, forgotten and uncared for, then studied, revived and given the value they
deserved, decades or even centuries after the artists were deceased?
 
“Starving Artist” is a cliché that has been casted by well-intentioned people to deter us from being successful and
happy. Art is, in my opinion, a very rewarding career, but it is not an easy tag to put on your head and display proudly
to those close to you. Art in our society tends to be perceived as the choice of irresponsible, unreliable people and
that of dreamers. Family pressure to stir you out of your path is often very painful and difficult to overcome.
 
Of all those artist-to-be, some who are strong and stubborn enough will pursue an art degree even at the cost of their
family disapproval. Others, like myself, will take up a different career altogether, following the advice of elders and
peers. Those who persisted and managed to go to art school enjoy tremendously the learning process and the
exhilarating sense of creating out of simple thoughts what they perceive as a reality. However when school was over,
and there were no projects to submit, no classes to attend, no teachers to please and no peers to offer support, many
art graduates found the irreconcilable truth that their creativity was drained and creating was now a painful process.
Many went into other fields just to avoid the risk of displeasing the world. Many denied they were artists choosing to
wear a different hat and label.
 
On the other hand, those of us for whom the influence of our peers, siblings, parents, teachers, guides succeeded in
rerouting our destiny, go through life carrying with ourselves mixed feelings of guilt, remorse, regret and a sense of an
unlived life, questioning who we are and what we are supposed to become, where and why we strayed. In both
cases, it is only by the tenacious and persistent tug of your “true call” that a trained but forgotten artist in the first
scenario or the hidden artist in the second, becomes a real artist.
 
Many people in the engineering, medical, science fields are returning home to what they feel is their true path: doing
art. Workshops, ateliers, art schools, continuing education classes are full of those lost artists, talented, determined,
ready to shake the shame off and create. I did it several years ago, transferring from petroleum engineering to art,
without any previous knowledge or experience and not knowing where to start, but being blindly guided by an intense
desire to do what I came here to do. I applaud those people, who like me years ago, are jumping in now, because
giving up a financially prosperous career, steady income, promotions, benefits, stability, in lieu of a profession where
nothing is certain, requires a monumental leap of faith and an unfathomable amount of perseverance and courage.
 
I can assure you, having been through it, that once on the other side, you will never regret it. The happiness of living
your true call is absolutely priceless, especially when you can experience the most exhilarating moments immersed in
your own creations and the immense possibilities that your mind will open to you in a creative career such as in the
arts.
 
The transition cannot be left unplanned though. There are several strategies that you can use to make the leap less
strenuous. I am listing below the ABC’s that personally helped me with a swift and smooth shift.
•Art books and guidance books such as Art and Fear by David Bayles and Ted Orland, The Artist Way by Julia
Cameron and Accelerating on the Curves by Katharine T. Carter will boost your creativity and will help you find the
courage and confidence needed for the switch.
•Be prepared. Prepare a financial plan that allows you to leave your current job without monetary distress. Assessing
your resources, expenses and savings will reduce the pressure of meeting financial obligations on top of the
transition.
•Connect. Find a mentor, willing to support you from the beginning. Look for artists whose art you admire and enquiry
on mentorships. Contact art communities, Art Leagues, and colleges where you can associate with other artists.
These groups will motivate you, and encourage you to improve and grow.
•Develop your skills by doing art daily and by registering for classes, workshops at art schools, art organizations or
individual teachers near you. On this topic, I’ve heard this wise quote from Bart Lindstrom, “Step one is to get really
good. Step two is to get out there. The better you do step one, the easier step two is.”
•Establish realistic goals both short and long term. Knowing where you want to go will help you see the opportunities
available to reach your set objectives.
 
If you are in the midst of making the decision of crossing the bridge, I would recommend you to go ahead and do it.
Start by proudly calling yourself AN ARTIST!
 
In the words of Ralph Waldo Emerson “What lies behind us and what lies before us is tiny matters compared to what
lies within us.
 
OIL PAINTERS OF AMERICA BLOG. ON ART GLOBALIZATION

Mobile Masters Make Art Instruction Accessible to Artist Anywhere
 
November 17, 2014 by Hilda Lockley Rueda ·2 Comments
 
CLAYTON J. BECK III-AN ARTIST WITH CHARACTER
FIGURE PAINTING WORKSHOP AT THE WOODLANDS ART LEAGUE, Sept. 8th-12th/14
The Woodlands Art League, www.woodlandsartleague.org , a 30+ year old, nonprofit visual art organization that
operates in the Woodlands Tx,, was visited by Clayton J. Beck III, one of America’s more acclaimed and recognized
artists. The Woodlands Art League is proud of housing more than 300 members, whose careers have been notably
carved and enhanced by the training and knowledge visiting masters have provided throughout the years. Clayton,
who was teaching his third workshop at WAL, is one of those artists who has enriched the league’s history not only by
means of his unconventional training philosophy but also with his professional advice related to the improvement of
the physical space necessary to produce better quality art, lighting, space distribution, etc. Robert Liberace, Judy
Carducci, and many other masters have pitched in to make art instruction accessible to a whole Houston community,
thus facilitating the means of progressive artistic development for all, and the cultural enhancement of the entire area.
 
Clayton, walked in with a confidence that is at the same time intimidating and reassuring. New artists were not sure
what to make of his well-worn out hat which didn’t seem necessary in this “dark cave”, as he calls the wall to wall
mirrored studio where WAL currently functions. As he introduced himself and the workshop, his eccentricities became
less eccentric and turned into logical statements. Clayton, reminded us, artists, that nothing that shows up in the
canvas is a mistake or an accident but the result of a thought we consciously or unconsciously deposit in the painting
surface and that in order for our art to improve we have to recognize what those thoughts are and change them. He
pointed out that not having a goal to strike for, at the beginning of a painting session is like getting in a car and start
driving not knowing where you are going.
All artists have at one point or another attempted to do color charts but being frustrated we dropped the chore off the
list. Clayton encouraged us all to complete them and used them. Debra Latham, one of the artist attendees, from
Kingwood, Texas, when asked about the most important thing she had learned from Clayton’s workshop, puts it this
way: “The biggest thing I learned was the importance of doing color charts. I’ve only dabbled with them a bit in the
past but never to the extent he had gone to. He had such an elaborate way of doing them that I had never seen
before. That is one thing on my near future “to-do” list”.

Is it in the light or is it in the shadow? All artists wrestled with that question while we attempted to look at the model as dispassionate as we could to avoid falling into the trap of painting eyes, mouths and hair instead of the patterns of the light and shadow, lost and found edges. We tried to take ownership of Clayton’s remarks, almost never addressed to an individual attendee but to the group in general, prompting us to put the brushes down and observe the model to
collect certain information, before we pick them up again and decide where the next brushstroke is supposed to go.
Is It In the Light? Oil on linen, 20×16, and exercise on light.

Workshops like the one offered at WAL by Clayton are valuable for artists of every level. Beginners and advance
students take pride on absorbing or recalling knowledge that will help them improve their artistic careers. Suzie
Baker, an accomplished and nationally awarded artists, who also participated in the week- long course expresses her
foremost lesson as follows:
 
During Clayton’s workshop, he mentioned several challenges as ways to break out of old ways of thinking, one
challenge was to create a painting with no more than 10 brushstrokes per model session. So, let’s do the math: 6
session, 25 min each, 10 strokes max per session, that’s 60ish strokes. The economical nature of this way or painting
required a deliberate thoughtfulness. I had to spend more time mixing the right value and color of paint, choosing the
right brush and amount of paint to load onto that brush, planning the brush stroke (angle, direction of pull and
pressure of the stroke). The challenge was as rewarding as it was nerve wracking. Now, I just need to keep it up
when Clayton isn’t watching over my left shoulder!”
Suzie Baker, www.suziebaker.com
 
“Keli in 60 Strokes or Less, 20 x 16“, Oil on Linen, 2014.
 
The week dwindled down as we attempted to recognize our own mistaken perceptions. We are determined to
eradicate all those thoughts and habits, which although feel comfortable, hinder our progress and make us repeat the
same mistakes over and over, piece after piece.
The guidance Clayton, and other masters, have provided us with, is invaluable, not only individually but as an art
community which intends to be true to its mission of promoting the visual arts, enriching the general community
through art education and offering our artists easy access to professional instruction. We believe it is possible to make
art available to all and it is through workshops with traveling masters that big groups can be reached at a reasonable
price and at convenient locations and thus the goal of art-educating all can be achieved. Isn’t this the globalization of
our art world? We genuinely so hope.
​
NOVEMBER 23, 2019
Having traveled for a while in the art world, back and forth, sometimes fast, sometimes slow, sometimes
stagnant and cold, I can attest to the feeling of being lost, sorrowful, sometimes ecstatic and confident,
sometimes drained and disengaged. Having traveled for a while pretending to be mature and serious in
my attempts to become one of the few to reach the stars, sometimes being an artist is better than being
a star. Sometimes the need for outside recognition is the need for inside recognition and that is as
difficult to have a consensus on as the outside one. Sometimes the fight is so deep that you hardly
recognize yourself.

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8/5/2017

Capturing Hispanic Heritage and Culture

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"Capturing Hispanic Heritage and Culture" painting by Jose Reyes
Jose Reyes was selected the 2017 Artist to create the piece "Capturing Hispanic Heritage and Culture" for Synchrony Hispanic Network to be auctioned during the organization's 2017 Diversity Symposium, with the collected funds to be donated to the Hispanic Scholarship Fund. Jose is honored to be able to produce a unique piece to represent the Hispanic Culture and support such an amazing cause of higher education for Hispanic youth! The Event took place recently in Washington DC. The artwork was auctioned for $3,000. 


(Thank you to Milla Callison, Elizabeth Caraballo Blanks and this institution for such a great opportunity to help others to reach their goals)

​Visit Jose Reyes webpage.

​
​

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7/13/2017

New Sidewalk Sign Donated by Bill Epps

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William B. (Bill) Epps presents the new sign he donated to the Gallery.

Thank you to Bill Epps for his donation of our new sign. Bill designed and built the A-frame sidewalk sign pictured. He even painted the front side of the sign.  We are fortunate to have core artists who give much of their time and talents to keep the Gallery running smoothly.

When you see the new sign on the sidewalk in front of the DaVinci Artists Gallery, you will know the Gallery is open. Come on in and enjoy the paintings, pottery, wooden bowls, jewelry, and more created by the DaVinci Artists. All are welcome.

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Reva Power and Vernita Hoyt paint the back side of the new sidewalk sign.
Bill Epps is a retired Architect and lives in Spring, Texas, where he continues his watercolor art and does volunteer work for his church Klein United Methodist.  He is a Signature Member of National Society of Artists and of Watercolor Art Society–Houston and has won several 1st place ribbons and a few Best Watercolor awards in local shows. Click HERE to learn more about Bill Epps.

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7/7/2017

July 8 Fresh Art: DaVinci's First POP-UP Artist is Sana Shaw

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Ukrainian artist Sana Shaw FIRST showing of art in the USA

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Just around the corner in Old Tomball you will discover fine art from 15+ local artists, one visiting artist from West Texas, and a guest POP-UP artist Sana Shaw with her unique, beautiful paintings featured in the center of the gallery for the weekend of July 7, 8, and 9. Approximately 18 of Sana Shaw's paintings are on exhibit in the gallery center.

Ukrainian artist Sana Shaw is at the DaVinci Artists Gallery with her FIRST showing of art in the USA. Join us for this FIRST POP-UP ARTIST event.

The DaVinci Artists Gallery, 315 W. Main St., Tomball, Texas. Fri-Sat  10 am - 5 pm and Sun 1 pm - 4:30 pm.
Sana Shaw
Biography


I was born and grew up in Ukraine. For a long time, I lived in Russia. Recently I traveled the world for 7 years and lived in different countries. Now I live in America. I found my new home in Houston, Texas. But wherever I have lived, creativity has always been present in my life. Creativity is my passion, my hobby and a most fascinating occupation for me. Creativity is the passion that fuels my life and my mission.

My creative work began in a design laboratory which developed drawings for dishes. This work lasted 6 years for me. My creative nature required further development; a desire to do more with life and bolster my skills. My whole family was interested in fashion. Fashion and fashion design was my childhood dream. So I organized my personal fashion studio for which I directed and worked as a fashion designer and artist. With my studio, I created my own brand of clothing called "Oxana Art". I participated in many shows,  Defile of the Yekaterinburg fashion shows pret-a porter and in other countries, television projects devoted to fashion, in many exhibitions and live modeling performances. It was a successful career in fashion and I developed my brand for many years.

In parallel, I was engaged in many kinds of art - painting furniture, painting of clothes, design of women's bags, design of curtains for home interior, painting dishes, creating paintings on various textiles, and creation of brand books for myself and for a large corporation that defined the identity through logos and other artistic designs. For about ten years, I poured all of my efforts into the development of artistic collections, Working on clothing lines for myself and for industrial use by a factory in Yekaterinburg; graphics, drawings and paintings were also included. Some of the works are posted on my personal website: http://www.oksanshaw.com .

But as the years passed and another dream arose, I began to completely devote myself to painting. Now I'm concentrating my efforts and creativity to develop a new artistic collection in my new studio in Houston, Texas.

My inspiration comes from various sources: multiple national cultures and folk art (some of which I learned in my worldy travels), the wonderful world around me, the riches of  nature, the choreography of people and animals by design or as in natural movement, poetry and prose, the many mythological developments around the world, emotions and feelings of my own and of other people, my imagination and my inner world. All of this is intertwined and smoothly flows from one state to another which creates a unique mix of creativity in my mind. That is what I try to transfer to paper, canvas and scupltural works.

In creativity, my reality is my imagination. In most cases, my works are created intuitively with the help of my imagination. When I begin a project, I often do not know exactly what I will express through my creativity when the work is finished. Awareness of the final product comes during my creation of each new piece. I find myself more and more fascinated by this mysterious process of the human imagination. My research of creativity is associated with the use of and mixing of various materials. The discovery of  new visual effects lends help to the creation of each work so that all of my artwork is different and unique.

In particular, I overlay of several layers of textured pastes, paints, inks and other media, which creates unique effects. When layers are illuminated through multiple layers and complete the upper base layer, it is at this point that I sometimes understand the direction of expression that the artwork will have. This finished surfaces appeal to the desire to touch the artwork, to stimulate sensations, exacerbate feelings, and awaken something long forgotten inside.

I think that every artist asks himself the question - what will be creativity of the future? And tries to answer this question with his own Works. I try to bring positive emotions to the world. I want my works to bring people aesthetic pleasure from the play of colors, beautiful motion of lines and stains to make life more colorful and brighter with an arousal of luminous feelings, a smile and a good mood. I am pleased when my work brings aesthetic pleasure and has a strong visual effect at a large distance and close up with extreme detail. I think many people want to consider small details, shades and highlights, flickering colors and halftones. When people find satisfaction in my artwork and creativity, I believe that a small step of my mission to give something to this world and humanity has been fulfilled.

Education:1. Sana Shaw has a Master's degree in Design from the Ural State Architecture and Art Academy. Russia, Yekaterinburg.
2. Master's degree in Graphic Arts from the Moscow University of Printing. Russia, Moscow.
3. Bachelor's degree in Printing Technology from the Lviv Poligraphic College. Ukraine. Lviv.

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​DAVINCI ARTISTS GALLERY
​​315 W. Main Street, Tomball Texas 77375   281-516-9595
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  • Art News
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