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This is my newest completed painting. In it, I responded to many ponderings on the way we recognize one another as human animals. How we coalesce because of another’s connection to our lives. I will leave it at that, as there are so many ways to travel from those conversational/meditative starting points. Our Faces Come Because You Look For Us, 2017, watercolor, ink and pastel, 27 1/8″ x 19″, archival paper, unframed. You can view more at my shop. Enjoy.

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Tonight, The Women Who Paint will again be having a group show at the Artery/Studio 6 based around the Art Detour 29 theme The Selfie. The artists included are Charmagne Coe, Carla Keaton, Cindy Schnackel, Lucretia Torva, Marisa Hall Valdez and Randy Zucker. I had to contemplate this theme for a bit… as I am not wont to think of myself as a solo self, but rather, I am me because of all of us. Universality. When I chose the works for the show, I saw my image in the works as me as having been affected by others. And, they are of you too if you see yourself there.

The Selfie Show 
The Artery/Studio 6, 623 Indian School Road

Opening Reception:
First Friday, March 3rd, 6 – 10 pm

Art Detour Hours:
Third Friday, March 17th, 6 – 10 pm
Saturday, March 18th, 11 am – 5 pm
Sunday, March 19th, 11 am – 5 pm

A little more about Art Detour 29:

“Art Detour is expanding from two to four days in 2017, and will feature a diverse slate of activities created by local artists and art venues to celebrate the growing, vibrant Phoenix arts scene. The event is produced by Artlink Inc., in partnership with the City of Phoenix Office of Arts and Culture, Downtown Phoenix, AZ and Artlink Articipants.”

This is the recent drawing, Write the Words’ on Chapters’ Mouths. 

Last month’s Small Works Love Show at The Artery was an intimate exhibition of works by my artist group, Ladies Who Paint. This gallery is located in the heart of Phoenix. It is home to the art collective at Studio 6; there art studios are upstairs… and when you visit, do take the time to see them! This was the first of many shows to come at this location throughout 2017. Below’s picture is courtesy of MJ Deen.



Last night’s group show held a lot of excited people on a crisp Arizona winter night. {9} The Gallery presented the opening reception of Tiny Works | Tiny Dances II, featuring over 100 artists whose work is sized 12″ x 12″ or under. The show will continue till December 16th. If you missed it, come back in two weeks for Third Friday, December 16th. 1229 Grand Ave, Phoenix, Arizona 85007. I will be attending then too. My following four works are included.

When I arrived at 6 sharp, the first piece of four, Inspirit, had already sold, and so was the case with many of my fellow artists’ works. The space filled up quickly with a happy, enthusiastic crowd of art lovers and it was a good time to be with old friends and new. It’s an honor to exhibit alongside talented Arizona artists such as Sky Black, Dan Pederson, Cindy Schnackel and Onna Voellmer.  Emotionally expressive modern dances were performed by Nicole L. Olson, Elisa Cavallero and Travis Richardson at the gallery’s center. Thank you to all who came out to visit! Here are some snaps I took along the way.

This is my most recently completed painting. To me, it feels like a joyful celebration that rises up amidst a very challenging year. Swell The Life, 2016, 16 7/16″ x 13 1/8″, watercolor, ink and pastel.

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I have another painting, The Gift, that will continue showing in Herberger Gallery at Arizona Center’s Home For The Holidays exhibition through January 16th. Stop by at 455 N. 3rd Street, Suite 1200 to see this and many other Arizona artists’ works. Connie and A O Tucker have done a lovely job of curating and hanging this show for the winter season.

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The Gift, on the easel in my studio

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I have many available finished works, both paintings and drawings, in my recent catalogue and past inventory. I also have several limited edition prints which are hand signed and numbered. You can view and purchase artwork directly at my website: charmagnecoe.com. And of course, I am always very happy to answer any questions. I’m at Facebook too. Drop me a line!

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limited edition print, Crave Aurora

 

This evening I turned down the lights and said goodnight to this work in progress. Goodnight to you too.

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Here is my latest painting. The process of it almost haunted me as I swam from color to color, through tawny swirls of soil and rosy blossoms, then finally arrived at a greener palette. It seemed to me to be reflective of an innate tendency to draw toward nature, away from man made material, to be humbled and alive in a force that is greater than us, yet every bit a part of who we are. I feel we all need to go there, lost into nature places,  to remember what we cannot say with words. I still feel a lot of mystery about this work. I wonder if some day I might meet someone who knows the rest of the story. 

When He Himself Is Covered Green, 2016, watercolor, ink and pastel, 12 3/16″ x 15 15/16″.

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Details:

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In 2010 I painted The Gift. I am thrilled that this magical painting will be included and for sale in Herberger Theater Art Gallery’s upcoming  group exhibition, Home for the Holidays. This show will be located at their Arizona Center gallery at 455 N. Third Street, Suite 1200 in Phoenix, AZ, opening reception November 18th, 6-8pm. The show runs from November 18th – January 16th.

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Below is a work in progress.

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I’ll leave you with a little drawing. Feel all there is with and within the one you love, while you have the time.

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I’ll Stay Awake to See Your Colors

 

My studio is finally getting fleshed out, and three weeks ago I began in earnest to start new works and wrap up ones I’d started on Vashon Island. Here is a miniature work I finished this week. Enjoy the detail pics too! Inspirit, 2016, 4 1/4″ x 5 1/16″, watercolor, ink and pastel.

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Below is a recent ink drawing, When They Come, My Relics. I was fascinated by its contexts so much, that I felt it should be the basis for a new painting to explore it further. Beneath it is the work in progress.

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Everyone asks me the same question: “Are you settled in yet?”. I moved from Vashon Island back to my hometown, Phoenix, in July. No, I’m not settled in. That’s the simple answer. There’s a lot to getting new rituals in place, making home a home and sinking roots. I think I’ve got a solid start though. Arizona is familiar to me in a way that is integral. I’m thankful to the family and friends who have gathered around us for a hell of a homecoming. It’s been sweet.

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As I’m finally catching my breath, I’ve been attending several local gallery openings and the Downtown Phoenix First and Third Friday Art Walks. Below are pics of {9} The Gallery and its solo exhibition by Sky Black. Heard Museum hosted ArtLink Phoenix’s 18th Annual Juried Exhibition. It was a good opportunity to view and appreciate the diverse emerging and established talents who are pushing the art envelope in Phoenix. MonOrchid is always a fave of mine… and I’m glad I could catch their First Friday show by Kris Manzanares.

I’m enjoying finding new places to run. Though I don’t run far (yet), it’s been a regular ritual for years. I find that I work out painting problems, have sudden inspirations or solve daily confusions in the meditative pace. The heat, of course, is the most taxing part of running in Phoenix, but now that it’s cooling down,  I’m hoping to make the miles stretch a little longer.

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Here is a painting I finished on Vashon. It is still available at my shopThe Carrier, 2016,
watercolor, ink and pastel, 16″ x 14″.

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Below are details from another work in progress. Started in April, wow, this one has definitely taken its time, but I’m savoring all the twists and turns in the slow process.

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To see more of what I’m up to, I’m here at Facebook, and my website/shop. That’s all for now. I should be posting more frequently, now that I’m (mostly!) done with moving boxes, hallelujah. Take care.

Happy new year to you all! I am pleased to share two new paintings, mixed media works created in watercolor, ink and pastel. They both contain very abstract qualities, characters and are… like my other paintings, very emotional.
The Final Acceptance of Precious Ones, I Am Sure, 2015, watercolor, ink and pastel, 11 3/16″ x 8 15/16″

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Diviners, 2015, watercolor, ink and pastel, 8 15/16″ x 9″
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It’s been an extremely first wet winter season in the PNW for me. Record-breaking, in fact. What an induction, let me tell you. There is always water clinging to ferns and filling the bird baths. The skies are blanketed in gray.

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Though it’s enticing to only remain cozy inside by the wood stove or behind insulatory windows, it’s important to go adventuring outside into nature and let those subtle and powerful biophilic forces rejuvenate the spirit. There are many, many ecosystems I know very little about here, having recently moved in September. So I’m educating myself as I go. Hearty duck boots (circa 1991) and fingerless mittens help me go warmly sloshing around. Even on the wettest day, I find it newly feasible to zip up my raincoat and go down to the beach. The forest trails are dense and padded down in a mulch of wet leaves and slick soil. New environments and geography inform new adaptations, both aesthetic and in the mind. This is the middle of the dark Seattle area season, no doubt about it. I’m not acclimated to it yet, but I’m letting it in and feeling.

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These….
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Slip the Rocks and Water, ink drawing

wip.2015.wouldsculptme.3Work in progress, watercolor, ink and pastel.

Charmagne's turquoise

I am mostly settled into my new home art studio in Vashon, WA.  It is a bright space with just the right amount of room to maneuver several paintings at once in various states of progress.  Favorite mementos and pictures are arranged. The scanner is ready for business. Outside my window is a small Japanese Maple that keeps me company in rain or shine… mostly rain these days. It has been at least two months since I’ve been able to really dedicate time to to serious art projects during the transition from Flagstaff. For the last two weeks, I’ve tried to hit the ground running and do feel back in a flow of drawing, painting, writing poetry, correspondence and visiting regional artists and gallery spaces. Here are some samples of my recent creativity. The Seeds of Stretch Marks the Body.2015.300dpi.drawing.ccoe (2)

The Seeds of Stretch Marks the Body

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Enveloping Yet Another.2015.300dpi.drawing.ccoeEnveloping

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22817006581_187b764aba_oTwo of many paintings in progress.

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In my future are many day-trips to surrounding Seattle and Tacoma. I’ve taken a few already and found myself basking in a botanical garden, playing pinball, eating bacon on a stick, watching salmon jump at Ballard Locks and reading/viewing the thoughtfully curated “Painting Poetry” exhibit at Women Painters of Washington Gallery.

Most of the time, I’m at my house nesting and painting. Vashon is a rare gem of a place — a small island with much to uncover.  I am not even close to being used to all the gray weather and rain, but the temperatures are fairly mild and nature is exquisitely unfettered. Just the other day, I was sitting on my deck sketching quietly when suddenly the neighbor’s geese exploded in a hullabaloo of angry honking. A large bald eagle flew over them, then landed in a towering fir tree nearby. Well, no wonder, I thought.
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It’s been extremely rewarding to pursue some new palettes this month and attend to several projects. Below are two of four paintings in progress, and I’m beginning another one today… I woke up thinking of rich indigo and filigree-like white lace. I’ll see where the spark takes me.

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Having several concurrent paintings in progress affords me the ability to step back from one when I need to but also keep working on others. It’s important for me, and many other visual artists/writers, I’ve heard, to avoid developing myopia. As well, a kind of block can develop when all one’s hopes are tied to a single project — particularly one that is large and inundating. That happened to me several years ago while doing a large commission. At points, I felt completely overwhelmed; when I got to a puzzling element I would fixate on it and become mired. Time ticked away. I’d paint something that didn’t work, paint it over, then over again. Trickles of self-doubt began to form. Hitting the wall, my efforts became forced, which is anathema to my automatistic, spontaneous flow of creativity I need to create work that is truly alive, surprising and authentic. In frustration I found myself breaking away and taking out a sketchbook. I began drawing unrelated projects and it extinguished my anxiety. What emerged were some of my best drawings AND I returned to the large commission feeling rejuvenated, fueled and having fresh eyes. Time-wise too, it was crucial that I met the deadline, and thankfully I did! It was a learning curve.

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I’ve since utilized this healthy discovery in creative process and I make sure to explore art in several directions at once. Not to an overwhelming degree, but just enough so that the projects are mutually beneficial as a whole. Each venture is informing the other, whether on a conscious or subconscious level. When a piece falls flat, I don’t trouble over it as much as I used to. Instead, I usually set it aside (I will often resurrect it later) and get to painting or drawing or writing something else. One creation is happily percolating while another creation is reaching a satisfying completion. I read along the way that “art feeds art”. It’s true.

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The above painting, Windows Watch Us In, is the focus of my April art column installment, Honey Wove the Marrow, at Arcadia Magazine’s Online Sundries. In it I discuss identity, relating and a bit about fishing with my dad.

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Here is a detail from the work in progress for Essential Creatures, an exhibition honoring the pollinators of our world. It will be at West of the Moon Gallery, 14 N. San Francisco St., Flagstaff, AZ 86001. (928) 774-0465. The open reception is April 3rd, 2015, First Friday, 6-9 pm and is ongoing through April.

Honey Wove the Marrow, by Charmagne Coe
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The above work, Honey Wove the Marrow, was started back in September 2014. I worked on this for a couple of months, but I hit a wall and couldn’t go on with it. So… I let it sit for a while, worked on other projects, then returned to it just last month. What was needed came together after that long, deep breath. I’ve written more about it in my first installment of the eponymous art column, Honey Wove the Marrow, at Arcadia Magazine’s Online Sundries. Included is a story from my childhood.

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This week, I’m excited to be featured in an article in Arizona Foothills Magazine Blog. It was very thoughtfully written by Nicole Royse. Thank you! You can visit it here.

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I am so, so relieved to be in a routine flow around my new art space. As a creature of habit in my immediate surroundings, change definitely unsettles me. But it is ultimately an invigorating, cathartic experience. My new studio is a shared space with other family activities. Sometimes I find myself creating in conjunction with all manner of  commotion buzzing around me. I think again (as I do so often) about childhood with my father as a jeweler. He worked out of our house. He had an intensity of persistence and focus as he built exquisite pieces of fine jewelry in a home studio, and later a converted garage. Life did not stop around him, nor did he expect it to. We were just asked to be respectful. I think about the cacophony of a day, but never felt like I was an intrusive part of his process. In fact, I was sometimes asked to assist him in arranging and stringing beads or other tasks. I loved that purposeful feeling of being at my father’s knee with all those colors, shapes and textures in my hands. I was a part of something that was being made. Many facets of life coexisted together. In some ways, now is very much like my childhood then. Part and parcel.

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I recently reread the in-your-face poem (imagine that!) by Charles Bukowski,  “Air and Light and Time and Space”, that is an affront to writers who incessantly look for the perfect conditions to evoke their productivity. It gave me pause for thought. Here are some lines:

baby, air and light and time and space
have nothing to do with it
and don’t create anything
except maybe a longer life to find
new excuses
for.

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Together Go The Elements, ink drawing

Take care and feel all that is around you.

work in progress for pollination show, by Charmagne Coe

This is a large painting I started a couple of weeks ago. It is made with layers of watercolor, ink and pastel. Look at the outline of that … is it a bird, or?? This is one of those works that gently, sort of effortlessly unfolds. Already, I can see there will be multiple characters and plot twists. I had not intended it to be themed in any direction or for a particular show, but last night, out of the blue, I realized it would be just perfect for an upcoming group exhibition which focuses on pollinators. The show will happen at West of the Moon Gallery on April 3rd, Flagstaff First Friday Art Walk. But now that I’ve written it, I’m going to forget about times and dates and all that, and think about… paint. I’m excited. Can you tell?

When Suddenly, drawing by Charmagne Coe

Here is a piece from yesterday, When Suddenly, 2015, ink drawing on tan paper.

snippet of discarded painting, by Charmagne Coe
Not everything goes as planned, of course, but often there are elements of a painting that are just right, or that contain a nudge, or a hint, be it ever so small, of something I feel good about. And so I save those. I take out the scissors and snip out what I know I’ll miss otherwise. Those are like micro inspirations. Above is one such “snippet”. I found it hanging out under some glassine. As I look at it, if feels like this is its very own painting that’s simply unfinished. We shall see.

Thanks for popping in. Thanks all for the kind comments and adding me to your reader. Take care.

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I have recently finished the new painting, Treasures, watercolor, ink and pastel, 9″ x 13 5/16″. This magical little painting can be also seen at my website, charmagnecoe.com.

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Limited edition giclée prints are available. Each is based on an original painting I created in watercolor, ink and pastel. I like to create small volumes to preserve the value of each one. They are professionally printed on 255 gsm acid free, 100% cotton rag Somerset Velvet paper (similar look and feel to watercolor paper) using Epson’s archival UltraChrome pigment inks. Each print is signed and numbered on the front. You can view them here!

When the Lines Disappear, I Am not Afraid With You revised web version

Original paintings, such as the above When the Lines Disappear, I Am Not Afraid With You are seen at my website as well.

Earlier this year, I was honored as Art and Art Deadline’s February Featured Artist. I thoroughly enjoyed participating in the interview conducted by its talented creator, Rachel Gibson. At this site you can read about artists who are pushing the boundaries of contemporary art. It is also an invaluable resource for artists looking for reputable opportunities for publication and exhibition. If you enjoy my work and feel so inclined after reading my interview, please leave a comment. Artists who receive the most comments by December 31st will be awarded AAD’s Featured Artist of 2014. Thank you!

Learn more about Featured Artist Charmagne Coe!

I started a painting last weekend. It seems to be actually creating itself very quickly. Perhaps I shall finish it by this coming weekend. Peek:

WIP by Charmagne Coe

I’ve been listening a lot to Damien Rice’s new album, My Favorite Faded Fantasy. Damien’s voice and words slice, like velvet and talons, to the bone of it all. I dare you to listen without tears. If you’ve loved and hoped, you know. Here is “I Don’t Want to Change You”.

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