Yin and Yang, 10×30, Oil on Linen

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"Aspen Copse" 10×30 inches

If I were a theologian I would argue that opposites only exist in relation to each other.  One might argue that without polar opposites or seemingly contrary forces neither element would exist.  It is only through this interdependence that life has any meaning at all…for even life has it's opposite.  Theoretically even if such a paradox did exist, one would be unable to describe or identify such a condition.  

Since I am an artist, not necessarily a "deep thinker" I'm compelled to relate the ideas of Yin and Yang to the visual world.  All paintings use the ideas of contrary forces, for what is a painting but an interpretation of objects (or the lack thereof) being influenced by light (or the lack thereof.) 

This painting is born from an idea of trying to balance opposites.  It uses nearly equal quantities of light and dark.  It employs colors that are near polar opposites (partly neutralized for harmonic effect.) The trees themselves seem to be each other's antithesis; one group being bright, full round and colorful; the other being dark, sharp and devoid of color.  Even the inclines (the interfaces between the sky/mountain and the mountain shadow/highlighted mountain) are reflections of each other along a horizontal axis.  The composition is also an exercise in opposing forces, similar to a balance scale holding and weighing the elements portrayed.  

This painting was done on Belgian linen, which will last 500 years (so I'm told…I don't plan on finding out ;))  It was done using many of the techniques made popular by the Barbazon Tonalists.  Most notably are the techniques of glazing, scumbbling and employing the additive properties of pigments.  This is achieved by applying semi-transparent layers successively thus creating a stained-glass effect.  In essence when the light passes through these layers it augments the effect that the light has on the refracted particles of paint and medium.  Think of it like passing through millions of little prisms.  A light is so much brighter when you surround it with refracting surfaces, the same is true here. 

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About Winegarfineart

“Creating moods that are often romantic and thought provoking, Simon Winegar’s tonalist landscapes are meant to provide collectors with a view of the world that runs counter to some of the more negative versions of it that are found in today’s culture. Sometimes it seems like we live in an ugly, unforgiving world,” says Winegar. “So the point of what I do is to attempt to beautify the world. I want to create a mood that moves the viewer.” American Art Collector, March 2008

Simon Winegar was born in Utah in 1979 and grew up in the suburbs of Salt Lake City. Believing to be an artist since birth, some of his first memories are of Crayola crayons and Watercolor paints. “Not a Christmas went by that we kids didn’t get a new set of watercolor paints and pad of construction paper. My mother, though not a professional artist herself, is really the one who planted the seeds of art in our minds at a very young age. I also owe some of my early beginnings to my older brother Seth. We spent much of our free time drawing and painting, since he was older, he was always a little more advanced than I was. I learned a lot from him, as he learned from others. His road to becoming an artist helped me understand art processes, as much through his mistakes as through his successes.” Simon also feels that he owes much of his education to personal study and workshop classes. “I read a lot. I think finding great art books, and applying what they teach, can be one of the greatest tools at an artist’s disposal. It enables an artist to ponder and review over and over again the fundamentals and philosophies of art. What better way to excel than by standing on the shoulders of the giants that have gone before us?”

Since entering the market in 2000, Winegar’s work became at once respected and honored. He has been featured in many magazines, books and art venues that have shown his work in a light of professionalism and quality. His work shows in some of the most respected galleries in the United States and has been seen in almost a dozen one-man-shows to date. Winegar’s art has also adorned the walls of the Springville Art Museum, The Museum of Church History and Art and the International Museum of Contemporary Masters of Fine Art.

While known mostly as a landscape painter, Winegar doesn’t limit himself to this subject alone. He can be seen painting figure, still life, seascape, and historic works of art--anything that inspires him. “There is so much to learn and explore in the world, I don’t see why anyone would limit themselves artistically without a good reason. I think it is important to try new things and always be growing as an artist. Without this continual stimulation and growth, the artistic mind becomes stagnant.”