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Alexander Beedy About

As a young child, watching my mother blossom as an artist, I found a deep love for art. My father was a sculptor which also enriched and enlarged my perspective of art. Eventually I grew from mimicking their work into my own style, tenaciously, at age seventeen. Add Comment


I was born in Madrid, Spain in 1974. Though I was still a baby when we moved to Texas the Spanish culture remained echoing through my childhood. My mother, born San Juana Guiterrez, soaked in all that Spain had to offer and therefore it remained a foundation for my life experiences. I found myself surrounded and influenced by Velasquez, Dali, Degas, Goya, and the whimsical Cervantez . As soon as I could understand what art was all about I took every art class I could get into, including many taught by my mother.

I wasn't truly inspired until my mother started taking art classes from Paul Milosevich and other great artists of Texas and New Mexico. I saw a painting that Paul did of my mother and I saw the same painting that my mother painted of herself and realized the difference in the "eye of the beholder" and the "eye of the creator". The colors were the same. The clothing my mother was wearing was the same. The eyes, they were different! This, I think, is what set me free to paint, draw, sculpt, write, do what ever I wanted to do. Both of these paintings, equally beautiful, but different, helped me to realize to paint what I see...not what I think I see. It was at this time that I began to realize that all the reproductions my parents had bought in Spain were paintings by some of the great artists of Europe such as "Man in a Golden Helmet" originally painted by Rembrandt.

I started to dive in deeper. Studying brush strokes on each painting, watching my mother paint and countless shows of Bob Ross I found myself picking up many techniques that would mesmerize me to this day. One simple stroke of the brush and you have a rock. One sweep of the pallet knife and you have a path running through the field, oh, and the white dot on the eye. It was fascinating! I primarily painted landscapes, lighthouses, some animals and periodically a painting of some person here and there. When it came to painting people I was, and still am plagued by that cartoon look. I found that my fear of black was my biggest enemy. Without light there are no shadows, and without black there is no contrast. With every painting I saw myself developing and learning something new every time. It wasn't until I painted a black and white painting of an angel that I realized the error of my ways.

At this point I started focusing on monochromatic projects gradually gaining an understanding of the principals of light and shadow. Then one day I came to the realization if I could paint the contrast then all I had to do was add the flesh tones and shades. That is when I painted "Angel", my first true painting with flesh tones.

In the end it's all reduced to light, dark, color and shades. Where is the light coming from? How many light sources? Do the shadows coincide with the source(s) of light. What is the position of the viewer? Where is the subject. It's a triad of light, object, and gazer that makes art what it is. Just as theory works for musicians the principals are there with proven results if you choose to use them.

I am now in a risidual phase of painting angels and entering into one of my greatest loves other than Jesus, Texas. It is my desire to paint the history of Texas especially the years leading up to the revolution and on to annexation. Currently I am working on a painting of Sam Houston as depicted in the history of San Jacinto.


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