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Illuminations: Ones to watch

Spotlighting the works of painter Peter Burega

"Maynard’s View" | Oil on Canvas | 30 x 48 inches

Illuminations: Ones to watch

Spotlighting the works of painter Bruce Everett

Written by Michele Corriel  

Michele Corriel

Other Contributions

Synchronicity A Voice in Stone Equus Ones to Watch: Artist Linda Elliott Ones to Watch: Deborah Berniklau Ones to Watch: Painter Denise Lemaster Ones to Watch: Architect Erik Peterson Ones to Watch: D. LaRue Mahlke Ones to Watch: Artist Crista Ann Ames Ones to Watch: Christopher Ries Ones to Watch: Mary Bechtol In the Studio: Richard Parish Ones to Watch: Florian Roeper Ones to Watch: Greg Kelsey Ones to Watch: Andrew Denman Ones to Watch: Sandra Pratt Ones to Watch: Jeff Williams Ones to Watch: Josh Clare Ones to Watch: Daniel Weaver Ones to Watch: Nora Naranjo-Morse Ones to Watch: Marela Zacarías Ones to Watch: Glenn Dean Illuminations: Ones to watch Illuminations: Ones to watch Ones to Watch: Artist Jinni Thomas Ones to Watch: Artist Karen Bezuidenhout Ones to Watch: Rory Egelus Ones to Watch: Ceramic Artist George McCauley Ones to Watch: Painter Rick Stevens Ones to Watch: Jon Dick Ones to Watch: Mixed-media Artist Christopher Owen Nelson Ones to Watch: Diana Tremaine Ones to Watch: Josh Elliot Ones to Watch: Doug Smith Ones to Watch: David Barrett Ones to Watch: Howard Knight Ones to Watch: Silas Thompson Ones to Watch: Kristine Allphin Ones to Watch: Chris Morel Ones to Watch: Sherry Salari Sander Ones to Watch: Alan Carr Ones to Watch: Robert Royhl Ones to Watch: Robert Seliger Ones to Watch: Karen Woods Illuminations: Ones to watch Illuminations: Ones to watch Ones to Watch: Artist Glendon Good Ones to Watch: Painter Deladier Almeida Ones to Watch: Sculptor Stephanie Revennaugh Ones to Watch: Painter Gregory Packard Ones to Watch: Randy Stromsoe Ones to Watch: Beth Loftin Ones to Watch: Dyani White Hawk Ones to Watch: David Bardwick Ones to Watch: Donna Gans Ones to Watch: Susan Jarecky Ones to Watch: Carrie Fell Ones to Watch: Rose Masterpol Ones to Watch: Bryan Peterson Ones to Watch: Terry Karson Ones to Watch: Lisa Ronay Ones to Watch: Tracy Leagjeld Perspective: Gennie DeWeese [1921-2007] Ones to Watch: Andrew Mann Ones to Watch: Bonnie Teitelbaum Illuminations: Ones to watch Perspective: Frances Senska [1914–2009] Ones to Watch: Artist Ralph Wiegmann Ones to Watch: Artchitect Candace Miller Ones to Watch: Architect George Gibson Ones to Watch: Architect Nick Deaver Ones to Watch: Sculptor Bale Creek Allen Ones to Watch: Painter Brianne Janes Ones to Watch: Danae Bennett Miller Ones to Watch: Mark Edward Adams Ones to Watch: Josh Chandler Ones to Watch: Tony Abeyta Ones to Watch: Robert Spooner Marcus Ones to Watch: Ken Andrews Ones to Watch: Michael Kessler Ones to Watch: Jim Dayton Ones to Watch: Rahnee Gladwin Ones to Watch: Geoffrey Warner Ones to Watch: Gwen Samuels Ones to Watch: Kensuke Yamada Ones to Watch: Michael Greenspan Ones to Watch: Chuck Middlekauff Illuminations: Ones to watch Illuminations: Ones to watch Ones to Watch: Sculptor Carol Alleman Ones to Watch: Artist Kathleen Dunphy Ones to Watch: Jeweler Jesse Monongye Ones to Watch: Michael Ross Ones to Watch: Furniture maker Charise Buckley Ones to Watch: Sculptor Charles Ringer Ones to Watch: David Slonim Ones to Watch: Catherine Courtenaye Ones to Watch: Ironworker Ted Docteur Ones to Watch: Evert Sodergren Ones to Watch: Jacquelyn Bischak Ones to Watch: Guilloume Ones to Watch: David Coffin Ones to Watch: Francis Di Fronzo Ones to Watch: Jeff Pugh Ones to Watch: Geoff Parker Ones to Watch: Troy Collins Ones to Watch: Dean Mabe Ones to Watch: Shelley Muzylowski Allen Illuminations: Ones to Watch Illuminations: Ones to watch Ones to Watch: Architect Tim Belton Ones to Watch: Anne Moore Ones to Watch: Painter Flavia Eckholm Ones to Watch: Clive Tyler Ones to Watch: Weaver Cheryl Samuel Ones to Watch: Painter Gavin Brooks Ones to Watch: Tracy Leagjeld Ones to Watch: Jared Sanders Ones to Watch: Shawna Moore Ones to Watch: Aleta Pippin Ones to Watch: Rene Gibson Ones to Wacth Ones to Watch: Mike Krupnick Ones to Watch: Matt Smith Ones to Watch: Stacy Robinson Ones to Watch: Dean L. Mitchell Ones to Watch: Kirsten Kainz Ones to Watch: Susan von Borstel Ones to Watch: Craig Bergsgaard Illuminations: Ones to watch Illuminations: Ones to Watch Illuminations: Ones to watch Ones to Watch: La Puerta Originals Ones to Watch: Artist David Patchen Ones to Watch: Architect Aaron Kang-Crosby of Spore Architecture Ones to Watch: Frank Marquette Ones to Watch: Architect Susan Desko Ones to Watch: Sculptor Tammy Bality Ones to Watch: Suzanne Wallace Mears Ones to Watch: Clare Walton Ones to Watch: Mike Medow Ones to Watch: Leon Loughridge Ones to Watch: Eric Cobb Ones to Watch: Greg Madeen Ones to Watch: Mary Baxter Ones to Watch: Julia Lucich Ones to Watch: Kevin and Val Pourier Ones to Watch: Marc Hanson Ones to Watch: Preston Singletary Illuminations: Ones to watch Illuminations: Ones to watch Illuminations: Ones to watch Ones to Watch: Artist Allen Garns Ones to Watch: Jill Zeidler Ones to Watch: Painter Luke Stavrowsky Ones to Watch: Bill Poss Ones to Watch: Britt Freda Ones to Watch: Painter Cesar Santos Ones to Watch: Troy Collins Ones to Watch: Bryan Christiansen Ones to Watch: Henry Jackson Ones to Watch: Simon Gudgeon Ones to Watch: Gordon McConnell Ones to Watch: Hadley Rampton Ones to Watch: Olivia Pendergast Ones to Watch: Kevin DesPlanques Ones to Watch: Jamie Kirkland Ones to Watch: Brian Scott Ones to Watch: Kyle Polzin Ones to Watch: Ben Pease Ones to Watch: Julie Gustafson Illuminations: Ones to watch Illuminations: Ones to watch Illuminations: Ones to watch Collector’s Eye: Native American folk art collector Bruce VanLandingham
October | November 2016


Bruce Everett’s landscapes are motivated by the unexpected things he sees in the world, where everything becomes a possible painting.

“For me, the physical act of finding, composing and painting the landscape has become more than a formal and sensual activity,” he says. “To marvel at our presence in the world is the true subject.”

Painting in California since 1968, he works both outdoors and in his studio. Outside, he can capture a moment, whereas in his studio he can transform that moment into something not quite so fleeting.

“When I have to make a choice between plein air or the studio, I think of my studio as my main body of work,” he says. “I’d like the feeling of my plein air paintings to be a combination of a first glance and a memory, and my studio paintings to be a double take followed by a prolonged gaze.”

Everett paints large so viewers feel as if they can enter his work. This is a signature of his paintings, which measure at least 6 feet in length. 

His approach is studied, more considered, and he doesn’t turn his field studies into larger paintings. Instead, the beauty of plein air painting — the quickness and pure intuition used in the field — is a point of departure for Everett. “Plein air is almost like a parallel universe for me,” he says. “I don’t have to spend a month on a painting. I can spend two hours. And when I come back to the studio and I look at that work, I try to continue the attitude. As a landscape painter, I’m motivated by my surroundings more than art-world strategies.”

Raised near Chicago, Illinois, Everett spent a lot of time outside the city, where he says it was almost like a rainforest. When he started college in Nebraska, he thought he might become an illustrator, but after a couple of years, he realized it wasn’t his passion.

Over the course of his career, he has painted in a number of styles. Everett had periods as an abstract painter during graduate school at the University of Iowa and while earning his master’s degree in fine art at the University of California Santa Barbara. But by graduation, he was an up-and-coming photorealist, and he left abstraction behind. “When I worked as an abstract artist, I loved the brushwork ­— there were a lot of landscapes in those abstractions,” he says. “But I’m a realist at heart.” 

He had been painting photorealist depictions of small objects in a large format, and each painting took three years to complete. It was time consuming; he knew he needed to change direction.

This happened when he went on a trip to Sequoia National Park and painted an 8-by-12-foot close-up of water in a creek. The moment brought him back to nature. He started to paint looser, developing a style with the backgrounds smoothly brushed out, almost as loose as a plein air piece. “This new direction really set me on the path of landscape,” he says. “It allowed me to break away from the photorealism.”

Everett concentrates on the transitions from one area to another, the way the eye naturally observes the world. “The cropping of my subject is very important to me,” he says. “I want to arrive at the point where the painting stops being just a scene and becomes the impression of seeing through the artist’s eyes.” He’s interested in the mass of things, instead of the surfaces, choosing to see compositions in a more generalized way — patches, patterns, details but not objects.

“My paintings come out of a persistent, spontaneous sense of wonder and an expressive fascination with the elegance underlying the mundane,” he says.

His work is represented by the http://www.georgebillis.com/http://www.georgebillis.com/ of Culver City, California, and the Chris Winfield Gallery of Carmel-by-the-Sea, California.

"The Foothills of Simi" | Oil on Canvas | 36 x 60 inches

"Reservoir Canyon Road" | Oil on Canvas | 34 x 60 inches