Silas Thompson

"It is an incalculable added pleasure to any one's sum of happiness if he or she grows to know, even slightly and imperfectly, how to read and enjoy the wonder-book of nature."

-T. Roosevelt 

Silas grew up in the Sawtooth National Forest in Idaho where he and his father would go backpacking for weeks at a time. The power and the immensity of the northwest had no small effect on shaping his life to this day, which is evident in the landscapes he chooses to paint.

“The combination of the fierceness and purity of nature draws me to it.”

The time spent wandering through aspen groves, alpine regions, and boulder fields is what piqued Silas's desire to paint wild spaces. When confined to the magnitude and complexity of the wonders of nature, inspiration is everywhere. Viewing the wilderness of the mountain west from the road side and National Parks is a powerful experience in itself, one that many are privileged to experience. But to be immersed in the wilderness away from humanity for extended periods of time, takes a level of skill, grit, passion and humble respect for the wilderness- thats the place Silas's paintings speak from. 

“I hope that my works will evoke memories and respect of the nature that surrounds us, but that in my endeavor to create illusions of solidity, time, and emotion it will inspire those who view it to seek it out, venture into the wild, not let it pass them by.”

Silas recognizes each artist's unique style is partly theirs and partly every other artist who has been before them. Everyone benefits, from the people who teach them their trade and skill. Silas tries to allow his style to be defined by a focus on unique compositions often using exaggeration of major or minor relationships of subjects. He finds creativity in the freedom he has as the artist to rearrange elements of nature within the confines of truth, and surface variety through unconventional applications and tools. 

“What I long to achieve in painting is a conversation. Not a lecture and not gibberish, but give and take. I want to bring the viewer only so far. Like a good mountain guide. I want to show them things that they have not seen and then let the viewer enjoy a conclusion. It is a fine line that exists between rendering and abstraction. I prefer to toe that line, losing edges yet maintaining integrity.”

Silas has an Associate’s Degree in art, however, his art career has been largely propelled through the conventional opportunity of apprenticeship with two professional artists who were incredibly giving and supportive in their education practices. Silas believes, while not uniquely of him, that persistence and determination are some of the most important aspects of his artistic process; more so than skill, education, or genius. 

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Silas's Artistic Process

Silas often starts with a sketchbook or small studies to work through compositional options and variations. He tries to work equally in his studio and on location, but sometimes life doesn't allow and he finds himself in the studio more. Silas prefers to work at larger scales and seeks primarily large linked masses in his compositions. 

“I will often begin with a very abstracted linked mass and then treat it somewhat like a block of clay where I begin carving and subtracting instead of line drawing or additive work. I like to save this work for the end where it will not be covered up.”

Silas tries to let his work mirror the work that the eye does, intentionally directing the eye with areas of focus and areas of abstraction. He believes abstraction is oftentimes closer to truth of in person experience for the viewer. To finish a piece he will often distract himself with other paintings or other elements of life in order to return with fresh eyes. He has learned that fresh eyes on a painting in progress is one of the most important elements of his process. To get the great variety in texture in his work he will use brushes, knives, trowels, fingers, bare canvas or any utensils he can sneak out of the kitchen or garden to create variety on the canvas. 

Julie T. Chapman

“... We patronize them for their incompleteness, for their tragic fate for having taken form so far below ourselves. And therein do we err. For the animal shall not be measured by man...”

- Henry Beston

Julie finds inspiration wherever there are horses and wildlife. As a resident of Montana she is fortunate to have an abundance of both in her surroundings and enjoys traveling to seek out new sources of inspiration. Her passion for wildlife started as a kid. Julie recalls wanting to BE Mowgli from Rudyard Kipling’s “The Jungle Book.” Her youthful excitement and passion for animals is still very much alive as she expresses the feeling of wanting to understand, observe and get inside the lives of other animals as much as possible. 

“Current research and my own experiences show us animals are far more aware and intelligent than humans have traditionally believed; animals are brethren, with different ways of experiencing and understanding the world, and I am fascinated by their forms, beauty, behaviors.”

Julie grew up on a small family farm in Ohio, giving her the gift of a childhood outdoors. Her free time was spent interacting with the environment around her and learning ecology and biology through her explorations of rearing tadpoles, dragonfly nymphs, caterpillars, catching butterflies and fireflies, collecting eggs warm from the chickens, climbing trees, growing vegetables in the garden, watching the wild foxes play around their den behind her house, and baling hay. As a kid she thought everyone grew up this way, and now she realizes how lucky she was. Her childhood interactions and fascination with the land around her has remained true to all the landscapes she has found herself in throughout her life thus far. Now her home is a 20 acres patch of ‘wildness’ in Montana that she gratefully shares with black bear, fox, coyote, and even cougar passing through.

Gallery Wild is proud to have Julie as a part of our team, not only because of her stunning art, but also because she shares our passion for inspiring people to protect and conserve wildlife and open spaces. She personally donates part of her income to conservation causes like The Nature Conservancy, Living with Wolves, and Working Dogs for Conservation. Supporting organizations that work to protect the land and animals that inspire her work combined with the impact of her art on collectors is a notable and effective combination of conservation efforts. 

Though art has been a part of Julie's life since she was old enough to hold a pencil, her first career endeavor led her to study computer engineering at Case Western Reserve University. Subsequently, she spent 18 years in high tech at Hewlett Packard, but the entire time she ventured through her successful engineering career she continued to create art. In 2002 she got a kick in the butt, luckily not by one of her horses, when her painting won the Art for the Parks $50,000 Grand Prize. After that it was apparent that moving to Montana from California to be immersed in the horse and wildlife culture that fed her art and becoming a full time artist was what life had in store for her next. 

An avid horse woman, Julie's equine art grabs the attention of well versed equine art collectors because of her ability to so vividly and accurately capture form, movement and personality in her work. She knows that when it comes to horse subject matter, there is no substitute for getting hands on the animal.

“It helps me understand their forms, joints, and muscles. This also informs me more generally for any hoofed mammal.” 

With predators of all kinds finding their way into Julie's work, she values her time spent watching and photographing them to learn as much as possible. She even credits part of her ability to capture the form of predators to dissecting a cat in high school biology! 

Now Julie's work is primarily either with scratchboards or paints. The two styles of Julie's art are often contrasting between the almost microscopic detail of a scratchboard and the abstract backgrounds and incomplete forms of the subjects in her paintings. Both styles are united by her uncanny ability to fragment the form of her subject in a way that is almost not noticed until the viewer realizes the piece has come alive in their mind. The fragmentation of form is an invitation to the imagination that generates creativity and sensation even within someone who is unfamiliar with the animal. This conjuring of excitement and feeling in her work was described well by Voltaire when he said “The secret to being a bore is to tell everything.” 

Julie's Process

Paintings

Julie's painting process is a stark contrast to her her scratch board work. Loose and abstract brush work, her paintings are nearly impossible to visualize in advance. Working from photographs, she will do Conte and charcoal rough sketches to get a sense of gesture and value arrangements before starting the painting. Once she chooses the size and surface she uses heavy-body acrylic paints and media (fine pumice, molding paste, marble dust, perforated metal panels ) to apply textures, and squirt on high-flow acrylics. 

“I use a wide variety of tools to manipulate all the gooey goodness: large palette knives, wall scrapers, stiff plastic dish brushes, silkscreen squeegees…”

Julie working on a Scratchboard

After the acrylic is dry, Julie will sand it either lightly by hand, or more vigorously with a palm sander, depending on what surface she is looking for. She will draw her subject with charcoal, conte, soft pastel – whatever it needs – and start her process of defining the subject with oils.

“The oil painting becomes a conversation with the piece, as I seek just the right amount of not enough. Paint is applied with brush and palette knife, and frequently manipulated or removed with rubber shapers, big wide brushes, etc.What makes this approach so difficult is that my failure rate is high (at least 50%), and it can be a challenge to decide when the piece is ‘working’ and ‘done’...it’s all so subjective!”

Scratchboard

Each scratch board starts with days or sometimes weeks in Lightroom and Photoshop working on the digital design/sketch/concept for a piece. Julie will try dozens of designs until she arrives at one that is compelling. She will then get a working sketch on tracing paper to later transfer to her board. Scratchboard is unforgiving – mistakes can’t really be fixed – so Julie has to have total confidence in where shes going before she starts incising the board.

Lovestruck | Scratchboard | 24x32

The image is carved into the scratch board using xacto knives, tattoo needles, small wire brushes – whatever will gives her the value and texture she is looking for. The time a given board requires to finish will depend on its size and the amount of white in the finished piece. “Lovestruck” for example took several weeks.

Once the image is complete, Julie sprays it with multiple coats of fixative that make the surface more difficult to scratch, though it still needs to be handled with care!

Larry Moore

“No great artist ever sees things as they really are. If he did, he would cease to be an artist”. 

- Oscar Wilde

For Larry Moore, inspiration is sought, found and generated everywhere. His creativity and passions have led him beyond paints as an artist of many mediums, a published writer, teacher and life long student. 

Published in 2017, Larry’s book explains the creative processes of art and life with a conversational, humorous, and informative voice. It’s not a how to paint something to look like something book. It’s a how to think for yourself, move forward, get out of your comfort zone, get out of your own way, define your voice, refine your voice, focus on those characteristics of creating that are authentic to you and try new directions kind of book.

“I’ve learned over the years that inspiration and ideas can come from anywhere: the patterns in nature, behavior in humans, fabric stores, antique malls, abandoned buildings. Creativity is an amalgam, a compound made of two or more very different things.”

Growing up in Florida during the 60’s & 70’s on a river just two blocks from the ocean, Larry was immersed in wildlife and wild places. Any spare moment he had was spent observing, exploring and being in the wild waters and land around him. Being surrounded by islands, seabirds, fish, crazy storms and the relentless sea, which is where he spent most of his time, was impactful to say the least. His appreciation and desire to protect wild spaces was also demonstrated by his father who was the mayor of their small town. Using his leverage as the mayor, he got the state to acquire the “thousand islands” that ran behind their house as a natural preserve, keeping it free from development. 

Larry's work is very much about conservation and environmental awareness and one of the many reasons he is a part of Gallery Wild. 

“My series, Intrusion, animals in human spaces, speaks to the idea of a species being where they don’t really belong, and it’s usually us.”

Michael | 36 x 48” | Oil

New In Town | 36 x 36” | Oil

Thought provoking and incredibly visually captivating, the pieces in Larry's Intrusion series are fun, yet aim for a much deeper meaning. As humans increase in numbers and space that we take up, many species can be found on the fringes or even coexisting within human landscapes. The question of “who's invading who?” is being asked more as coyotes roam some of the biggest cities, mountain lions can be found in the suburbs, raccoons adapt to using drainage systems to travel from point A to B and abandoned or ruined structures are reclaimed by any species willing to venture in. Depending on how you look at it, who between humans and wildlife has the “right” to be there? Coexistence is, to many, still a novel concept and Larry's work can lead the mind into a much deeper exploration of human relation and understanding of wild, or lack thereof. 

Despite his fondness of Richard Diebenkorn's quote, “There is freedom in the limitations”, meaning that too many choices confuses the process, Larry has worked extensively in every medium- except egg tempera and scrimshaw. He has spent his lifetime as an artist. Formally trained in graphic design and a self taught painter, he spent 25 years in advertising and design, 30 years honing his skills as an illustrator and 15 years on the plein air circuit. A previous mural artist and college art instructor, Larry is now a highly sought after instructor of workshops and very successful fine art painter.

With a life spent in the arts, Larry has collected a lot of awards. But of them all, the one that was his loftiest goal and of which he is most proud is the gold medal at the Society of Illustrators in New York, which he received in 2005. A huge accomplishment, well earned. 

Staying connected to his passion for wildlife that started as a kid and has carried through his career as an artist, Larry contributes as much as he can afford to organizations benefitting the well being of animals, the environment- World Wildlife Fund, SPCA, Humane Society, Surfrider Foundation, you name it, hes contributed.

Larry's painting

“I start each painting with the idea of doing something I haven’t done before. A different way to start, different tools, new variations and twists on the theme. I try very hard not to repeat myself.” 

A big part of Larry's process is the act of discovery, trying new things just to see what happens, making a mess to see if he can figure out how to control it. He may start with gouache sketches based on a very specific theme, like rising seas, relationships or anxiety. Or he may have a flash of a vision and launch strait into a big piece without preliminary sketches. 

Bay of Pig | 24 x 24” | Oil

“Sometimes I start with the space and then ask what animal absolutely doesn’t belong there, sometimes it’s the other way around. I go back and forth between starting with a line drawing or a shape based block in.”

On more than a few occasions Larry has created pieces based on dreams, human condition or personal stories that are represented through allegory. One of the perks of having been an illustrator is that he knows how to make ideas happen, he isn't tied to one process.

Jeremy Bradshaw

“For those of us who portray wildlife...our decision to persist in our quest for excellence is almost always based on a love affair, a fascination with the creatures of our planet, and a need to share this feeling the best way we know how.”

- Robert Kuhn

Jeremy's artwork is an expression of his passion and admiration of wildlife and wild places. 

“It isn’t a conscious decision for me to be drawn to wilderness. It is like a calling, a deep longing. At times it feels as if I haven’t been to see a friend or loved one for too long and a moment in the company of pine trees, aspens, and unmovable boulders restores and fulfills the sense of loss.”

For Jeremy, the process of creating each sculpture is driven by that calling. Sculpting is a tangible way to share his passion, experiences and connection to wild things. He hopes that his sculptures will create a greater curiosity and desire for wildness in those who live along side it. 

Jeremy is a fine art sculptor and internationally known author. He has been fascinated with wildlife and animals since childhood. Growing up in rural California, he was surrounded by the chickens, rabbits and cows at his grandparents' farm from a young age. Working, exploring, backpacking and fly-fishing in the Sierra Nevada mountains, his natural curiosity and interest in animals and wildlife continued to grow throughout his formative years. His 20s and early 30s were in pursuit of a life filled with wilderness experiences. 

Jeremy's subsequent pursuit of falconry led him to live in many parts of the Western United States from the Oklahoma panhandle to the state of Washington, where he now resides. Jeremy's sculptures come to life because they reflect an artist's life authentically committed to the natural world.

“I try to have my pieces represent the animal well in hopes that when someone buys a piece of artwork they are drawn to, they have an increased connection to that specific animal and may take further steps towards ensuring the animal endures.”

Jeremy's dedication to raise awareness and support wildlife conservation is one of the many reasons he is a Gallery Wild artist. His patina choices bring a contemporary element to his bronze sculptures that is a fresh and modern. Paired with his attention to anatomical form and ability to capture personality and movement in bronze, he is making a welcome splash in the world of bronze artists. 

“My artwork is informed by countless hours in the field observing wildlife as I participated in the partnership of falconry with my hawks and falcons. Having been a falconer for over 25 years I have been afforded the opportunity of countless hours making field observations of raptors, other birds, and small mammals throughout the western United States. That interpersonal connection that I have with wildness is something that I try to imbue in my artwork.”

Jeremy is a self-taught bronze sculptor who's first experimentation with 3 dimensional art started when visiting a friend who is a sculptor tossed him a piece of plasteline clay. Previously he had dabbled with 2 dimensional painting and drawing, but he was naturally drawn to sculpting and his passion was quickly ignited. Jeremy did attend a small liberal arts college in southeast Alaska, but he admittedly attended more for the opportunity to experience the wilds of Alaska than for the actual educational benefit. 

Jeremy's Sculptures

Each piece begins during a daily 1-2 hour time Jeremy sets aside to sketch at a local coffee shop in the mornings. Once an idea begins to take hold, he sketches multiple aspects of the piece, helping to solidify the idea in his head before letting his hands begin creating it in clay. The next step is to create a metal armature that supports the piece and becomes the skeletal structure of the animal which is then cover with plasteline clay. After weeks of toiling over creating the animal, he takes the finished clay piece to a nearby foundry where they proceed with the Lost Wax process to create the bronze sculpture. The foundry makes a silicone mold over the clay piece and creates a wax version from that mold. That wax is then dipped in a ceramic slurry mixture multiple times creating a hard shell over the wax. The wax is melted out of the ceramic shell and moulton bronze is poured into the shell. The ceramic surface is carefully removed from the bronze.

The final step is to apply a patina to the raw bronze which is what gives the sculpture the coloring and completes the look of the piece Jeremy is after. Jeremy works with a patina artist side by side to allow her knowledge of the heat and chemicals to create his vision of the finished piece.

Jenna Von Benedikt

“Study nature, love nature, stay close to nature. It will never fail you.”

- Frank Lloyd Wright

The arts and animals have played important roles in Jenna's life and her inspiration for her painting. She is a ballroom dancer, singer and avid listener of music. The image of Jenna floating across a ballroom floor matches the essence of the meaning of her name and often the subject of her work “Little Bird.” Animals have been a part of Jenna's life since she was a kid growing up in England riding horses. When she moved to the US with her family, they of course brought their horse, he was part of the family. 

“ I’ve always enjoyed hiking and exploring, especially for waterfalls, but there’s something utterly magical that happens when you come in contact with wildlife in its natural place. You suddenly remember you are the guest”

Jenna's own curiosity of the natural world has been well paired with the skills of her husband who is a great outdoorsman. He has been highly influential in helping Jenna appreciate life in the Rocky Mountains as well as in other parts of the world with their four kids. 

“Everyone feels some connection to wildlife or wild spaces and has a story to tell with it. I’ve built up countless memories and experiences with those I love whilst among it, camping, hiking, fishing etc. I want to share that with others.”

Jenna hopes to inspire people to get out into the mountains or the natural surroundings closest to them to experience something new. Through her paintings of “birds, beasts and bugs” she seeks to encourage people to notice a little more even if its a tiny bird or an insect next time they're out walking. Her work can only be a positive contribution to people being excited to experience nature and try to preserve it. People who live in all landscapes often find a connection to her work, because even in the biggest city you can pause to notice a butterfly, bee or tiny humming bird. 

“Like our lives often seem to be, hummingbirds are also fast paced and there is something beautiful in trying to capture their stillness and unique colorful qualities--moments we often take for granted or miss within our own interactions with others.”

Born and raised in a small town north of London, Jenna moved with her family to the US in 2000. She lived in California and Illinois before settling in Utah. She has a Bachelors of Fine Art from BYU, where she also had the opportunity to study abroad in Florence, Italy. Her time abroad completely immersed in all kinds of works of art every day is one of the most impactful experiences on her as an artist. Her art is highly influenced by the colors she observes in nature and the places she has been, natural or urban.

Jenna’s Paintings

Jenna typically works with oils on a flat surface, often panels, which allows her to use a variety of tools and to push, pull & blend the oils together. As a mother who's studio space is their home, its also a good way to work on durable pieces with kids around! 

“One of my first goals is to establish atmosphere, so my backgrounds involve a lot of time, layering abstract and linear design elements, subliminally suggesting the connections we make with each other and our natural world.”

Her backgrounds are stunning abstracts themselves that are carefully designed to influence the feeling and placement of the wildlife or subject she finishes the piece with. Each painting has several layers of paint with captivating patterns and textures.

“ I strive more to capture the feeling of the animal or the story it can tell.”

Her unique designs and ability to capture our imaginations has quickly made her a favorite of many collectors from all over the country.

Carrie Wild Featured in Western Art & Architecture

We are very honored to have Carrie Wild, the owner and name-sake of our gallery, featured in the April-May 2019 issue of Western Art & Architecture! Carrie’s hard work and dedication to her art and the inspiration behind it has created a great space and mission for Gallery Wild. Pick up an issue or check it out below!

Gallery Wild is growing, moving and the new space is looking great!

We are excited to announce our expansion and upcoming move to a an even bigger and better location at 80 West Broadway! After a great start and tremendous support from the community, we decided we needed more space to accommodate the great works being created by our talented artists. We will still be completely artist owned, promote contemporary wildlife art and have a working artist studio in the gallery. Thanks to the tremendous support and enthusiasm for our mission we had no choice but to expand.

We are hoping to move into the new location by late February but in the meantime we are open and welcoming guests at our current location throughout the process! We have great new works by all of our artists and will be announcing some new, exciting artists planning to join our collection soon.

Thanks again for support and stop by for a sneak peek of the new location!

Join Us at the Blacktail Gala at The National Museum of Art | February 23rd!

Gallery Wild is proud to be a sponsor of the Blacktail Gala this year at the National Museum of Wildlife Art! Join us for a fun evening of contemporary wildlife art and be part of selecting new pieces to add to the museum's collection. Its always a great evening with a wide range of art enthusiasts excited to talk, learn and enjoy the whole array of work that will be on display.

Tickets are on sale now! It usually sells out, so get yours while they're still available! 

Click here to get your tickets!

Dwight Vasel

Dwight finds his inspiration through many sources and he values places of solitude to be in the moment, quiet his mind, listen and be present with nature around him. 

“It’s all about light. Constantly being aware of light, shadows, highlights, shape and form that appear all around us at anytime, anywhere, everyday. Watching light unfold on a landscape is so important and not to be underestimated.”

As a 14 time Emmy Award winner during his years in television production, being behind a camera was nothing new to Dwight. Though moving from video to stills and people to wildlife has been a welcome adventure. His creativity and imagination naturally transferred from his Emmy winning career to his photography. Dwight has spent a lot of his life in major metropolitan areas capturing imagery of “wild humans” in their natural “urban habitat,” which translated nicely into developing his skills as a wildlife photographer. His first trip to the Jackson area and Grand Teton National Park was to prepare for a photography workshop that he was leading. Shortly thereafter he became a guide for Gallery Wild's partner company Jackson Hole Wildlife Safaris. 

“Grand Teton National Park was sensory overload for me when I arrived and I was hooked. This place was, and still is, magical! This was a place I had to be. And now my works are hanging in Gallery Wild and I couldn’t be happier.”

Dwight seeks to create an emotion with his work, and through that emotion, bring people to an awareness of the importance of preserving our lands, our wildlife and our resources. 

“Our world is changing. It’s naturally evolving just as it has over millions and millions of years from the great seas of water to the great sheets of ice...and back. Change is a reality, no matter our opinion of the cause or what label we want to put on it. Bottom line, we must be good stewards of our planet and all its resources. We must do whatever we can, with whatever we have, wherever we are...to paraphrase Theodore Roosevelt.”

Dwight strives to achieve bold emotion with his striking imagery. An image that makes someone stop in their tracks to take a look, to study, to admire. His work combines landscape with wildlife and wildlife with landscape. 

His work at Gallery Wild is printed on metal, an exciting new art medium in the photography world. Dyes are infused directly into specially coated aluminum sheets. Because the image is infused into the surface and not on it, colors are vibrant, the luminescence is breathtaking and detail and resolution are extraordinary. The type of metal used creates work that is waterproof, weatherproof, scratch resistant and can be displayed outside in the direct sunlight for years. You are no longer limited to displaying photography inside your home! 

Dwight is a self-taught photographer who has spent years utilizing professional photography publications ranging from books to journals to magazines. He studied the works of iconic photographers such as Ansel Adams, and read about them and their photography techniques. His photography exploration continues even today studying new techniques and keeping up with the latest technology. 

Dwight's process 

“My world exists through the lens of my camera. That is where I feel the wildlife. That is where I feel the landscape. Through the lens is like no other world and it’s home to me.”

His artistic process starts with a drive, a hike or a walk to look, observe and be in the moment. Sometimes he will bring camera gear, but sometimes not. 

“I’m looking for areas that offer elements for my imagery. Those elements could be big or small, textures, patterns, flora or fauna, but they all need the right light. Narrowing ones focus is so important and so I ask myself what and why? What is it about this landscape or subject that is calling me? Why do I like what I see?”

His work can take on many different attributes like the fast and furious motion in wildlife or a fleeting moment of light on a landscape. It could be a waiting game for the right elements to appear at the right moment or slow and methodical where the elements of the scene are stationary. 

The darkroom is where the real creativity happens and has always been an integral part of photography. This is where the photographer becomes the artist, creating their interpretation of the image captured in camera. Dwight fondly recalls the experience of seeing a photograph appear on a piece of photographic paper in the darkroom and believes it's an incredible experience every photographer should witness. Today’s darkroom is now one’s computer. 

“Being a darkroom artist is essential to my works, it is where I put my interpretation to my vision. So when I go to my “darkroom” to create my works, I start by putting on a pair of headphones with my favorite music streaming, open that first image and I am lost in my world of creativity and imagination for hours.”

Patricia Griffin

"Love is the answer to every question"

Partricia is inspired by hard working artists, fresh air, weather, sunlight, animal sightings, and her desire to share her love for all of it. Her heart can be felt through her words, actions and in her art. 

“I love wildlife, I love the wilderness, I love to be inspired, I love to create. This love drives me to educate and contribute to conservation.”

Patricia painting “Aurora” 96x60 - now at Gallery Wild

Growing up in North East Pennsylvania five minutes from the Delaware River, her Pop Pop would take her for walks in the woods and down to the river. There they would sit for hours waiting for animals to appear. Her experiences with bears, bobcats, coyotes, fisher cats, foxes, raccoons, opossums, porcupines, owls, eagles, grouse, woodcock and numerous other birds became the subjects of her art work starting at age 4. She followed her artistic passion and talent from a young age through school, receiving a Bachelors of Fine Art from Moore College of Art and Design. 

“The wild places were my comfort zone then as now. To share a sacred moment with the viewer is my way of showing the respect and honor of my subject.”

Patricia's head and heart are truly geared towards protecting wild things and wild places and inspiring others through her art to do the same. Currently she is participating in a International traveling exhibit (UK-NYC) called “Sketch for Survival” to raise funds for conservation. She donates 10% of her income to conservation efforts including contributing to her local wildlife by supporting the Pocono Wildlife and Education and Rehabilitation Center. She is also honored to be among some of the big names in wildlife art as a Signature Member of Artist For Conservation, Vancouver,  BC.  The group is dedicated to bringing awareness to conservation with art, education, and funds. 

“The chance sighting of an animal gives me a charge that I then translate through paint.”

Patricia is engaged with wildlife in more ways than art and supportive funding and for more than the charismatic megafauna that are often her subjects. She owns and maintains a Brick Church near her home that houses one of the largest documented North Eastern summer nurseries for the Brown Bat.  Here upwards of 300 females give birth and raise their young each year. Patricia welcomes students from Penn State University and East Stroudsburg University to come and study the colony. 

Patricia’s Artistic Process

Before Patricia travels, where she often finds her inspiration, she removes all the completed work from a 30' x 40' area in her studio and fills the walls with blank canvases. While she is on the road photographing her subjects, she begins to mentally fill the canvases hanging on the wall back home with her experiences.

“There are times when the moment I see the animal in the frame the image sears into memory and the piece begins to develop.When I return to the studio I begin to paint.”

While traveling she takes thousands of photographs and plein air paints. She has painted like this since she was 19 and is always humbled by the experience, regardless of many years spent in the field brush in hand. Plein air painting is an amazing way to capture the subtleties of atmosphere and space. Setting up her easel outside to paint whats in front of her is a good way to, as Patricia puts it, “get my ass kicked by the beauty of my surroundings.”  

When she has returned from her travels she will edit the photographs she took and review them again and again. To start a new image she will pull specific ones into a folder and review them until one clicks in her mind. Then she will sketch and play with composition. Using a red or a blue she will sketch the image on a canvas and start to block it in. After this process she lets it sit for a bit so she can return with a fresh eye to see where she may need to tweak it. She puts considerable time and thought into the subject's placement on the canvas because the negative space plays a critical role to the piece's success. 

“As I paint I question my color- darker lighter cooler warmer.  I have studied color for 30 years and take pleasure out of the vibrations that are created by color placement.”

Patricia has her pallet table on rollers as well as her paint cart so she can work on multiple images at a time; sometimes 7 days a week for 8-14 hours a day and she loves every minute of it! She rises early with a cup of coffee and gets to her studio as quick as possible and locks herself into her creative space. Starting by working relentlessly on the animal's proportions and composition, once she is satisfied she will paint without reserve to bring life to the painting. 

“I view each piece as a self portrait.  It is what I see with my eyes, process in my mind, and create with my time that transfers an experience into painting. It is a self portrait of the viewer as well.  It is in their eyes, their mind that they experience the painting.  Every day bringing something new.”

When you add a Patricia Griffin painting to your collection, you can be certain it is her best work. Uniquely, Patricia gets a panel of people together to review her work. Pieces that are found to be substandard are burned to free her from failures, rejuvenate her artistic spirit, and keep only the best for collectors.

Patricia's work has been features in museums across the country. She has won numerous awards for her work and is an active member of many art associations. 

Click here to visit her Artist’s Page or come see us at Gallery Wild!

Her Schedule this Fall: 

October 30 - November 6, Goldenstein Gallery,  Sedona, AZ, Artist in Residence 

November 2 - 28, Goldenstein Gallery,  Sedona, AZ, “Women in Art”  

November 1 - 30, Brickworks Gallery Atlanta, GA. “Flora and Fauna”

November 1-4, Conde Nast Luxury Travel Fair, London Olympia, Sketch for Survival 

November 7-8, Walcot Chapel Gallery, Walcot Gate, Bath, Sketch for Survival

November 14, The Explorers Club, New York, USA, Sketch for Survival

November 15-17, Salmagundi Club, New York, USA, Sketch for Survival

November 15-18,  Plantation Wildlife Art Festival, Gathersburg, GA, Invitational Exhibiti

November 23-25, Crypt Gallery, Cathedral Close, Norwich

“Curt” Oil on Linen 20x20