Richard Bledsoe “Fugue” acrylic on canvas 20″ x 16″


No matter what the subject matter is, for the intuitive artist every painting is a self portrait. It’s not contrived or forced, it’s just the natural result of rummaging around in your own subconscious. Your situation and story gets intertwined in the imagery you create.

I still manage to be surprised by what appears. This was definitely the case in my newest painting, “Fugue.”

It started kind of like one of my earlier paintings I wrote about, “Inspiration.”  I was painting black all over an unsuccessful image to cover it up, when I saw the new content appear in the random brush strokes: a nocturnal scene of a solitary organist.

As a big fan of Bach, I immediately thought of one of my favorite pieces, Toccata and Fugue in D Minor. Over the next few weeks as I worked on bringing the imagery out of the darkness and into greater resolution, I contemplated a generic title like “Organist,” but it didn’t seem adequate. I kept coming back to “Fugue.”

Finally I looked it up. I knew the word, but never having been trained in music, I didn’t know its technical meaning. In music, it means when a short melody gets introduced, and then built upon through variations.

But there is another meaning for fugue, a psychological one. It’s a state of turning away, memory loss; actions taken in a state of forgetfulness.

I knew this context too, but had not thought about it at all until I saw the definitions next to each other in the online dictionary. As I looked at my painting of the isolated musician, his back to the viewer as he plays against the silence of the night, I recognized it was the story of my life as it is right now.

Painting is such a gift, it can make anything beautiful.

ARTICLE: Michele Bledsoe in “The Labyrinth Beyond Time”


Creatures Great and Small: Michele Bledsoe with her painting “Under the Pillow”


I’ve written a number of times on the amazing creativity of my wife, artist Michele Bledsoe. 

Michele was recently the featured artist in an article in The Foothills Focus, a weekly newspaper focused on life in north Phoenix and its environs.

Read the article at this link: “The Labyrinth Beyond Time,” by Shea Stanfield.

The writer does a great job summing up the spirit of Michele’s painting by referencing a quote from Marcel Duchamp: “To all appearances, the artist acts like a mediumistic being who, from the labyrinth beyond time and space, seeks his way out to a clearing.” Stanfield goes on to relay significant details about Michele’s experiences and attitudes towards art:

“She filled tablets with sketches and ideas that bound through her imagination. Creatures great and small would eventually be rendered in paintings as she taught herself the techniques. By all accounts, Michele has been successful on all fronts. Today, she paints in her home studio in Central Phoenix, her canvases supported on an easel her father gave her for Christmas 25 years ago. His passing a few months later added an extra portion of meaning to his gift and confidence in her, as well as Michele’s inspiration.”

The art of Michele Bledsoe does indeed navigate a special vision, her own enchanting world apart. It was a pleasure to read this article’s commentary acknowledging her achievements.


Forever (2)

From the article:

“Michele, over the last 20 years, has exhibited in various art galleries and venues.  Recently, she was invited to participate in an art show, at Skolkovo Art Gallery, in Moscow, Russia. The exhibit featured a number of international artists involved in the Remodernism Movement. As Michele would put it, ‘Who would have believed my painting “Forever,” a painting of a snail, is the one piece, out of all my work, that has ironically traveled furthest!’”

ART QUOTES: What is an Artist? Part 2

See “What is an Artist?” Part 1 at this link


Peter Paul Rubens “The Four Continents”

I’m just a simple man standing alone with my old brushes, asking God for inspiration.

-Peter Paul Rubens



Henry Miller “Two Heads”

An artist earns the right to call himself a creator only when he admits to himself that he is but an instrument.

-Henry Miller




Paul Cezanne “Self Portrait”

The most seductive thing about art is the personality of the artist himself.

-Paul Cezanne



Norman Rockwell “All Together”

The secret to so many artists living so long is that every painting is a new adventure. So, you see, they’re always looking ahead to something new and exciting. The secret is not to look back.

-Norman Rockwell



Paul Gauguin “Daydreaming”

The great artist is a formulation of the greatest intelligence: he is the recipient of sensations which are the most delicate and consequently the most invisible expressions of the brain.

-Paul Gauguin

EXHIBITIONS: The Stuckists Astrology Show, London England


Richard Bledsoe “Libra: Yes, No, Maybe So” acrylic on canvas 16″ x 12″


September 28 is my birthday, and this year my Libra nature is being celebrated in an upcoming exhibit in London, England: “The Stuckist Astrology Show,” on November 19, 2016.

Now I don’t believe the stars control our fates, or can be used to tell our fortunes. But life has proven to me again and again the time of year a person is born does seem to influence their personalities.

Why would this be the case? I have no idea. But my observations show me the universe is full of patterns, cycles, all evidence of the great underlying order beyond our limited human perceptions. The pseudo-science of astrology is the result of centuries of study on human behavior. Somehow we find echos of our souls projected out into a cosmic scale; around and around we all go, playing our variations of the 12 eternal roles manifested in symbols of animals, mythical beasts, and one inanimate object: the Scales.

I’m full of Libra traits that mark me as distinct from friends and family. I have a hard time making up my mind, and can see both sides all too easily. The Libra experience aims for balance, but the only way to get there is bobbing up and down, switching back and forth; the equilibrium is hard to achieve. But the process is full of moments of bliss and peace.

The painting I sent to England shows the experience in an oblique way. Since the piece was for a Stuckist show I worked rapidly and with exuberance, to create a painting with figurative elements. There is imagery suggested by a different set of ancient legends-the final test of the Egyptians.

Because for all their graciousness, dabbling and charm, the Libra is a tool of judgement-not on our own behalf, but as an expression of the chaos of life trying to find that place of harmony.



COMMENTARY: The -isms of Modern Art


Alfred Barr, Jr.

Director of New York City’s Museum of Modern Art 1929-1943


Lots of people say they don’t appreciate Modern Art. The term is used as a kind of generic catchall description, often a term of derision for the hokum perpetrated by the out of touch creative class of visual artists.

Technically though, when people refer to Modern Art, they are talking about something that is already in the past.

Modern Art was the future that ended.

For centuries in the western world, art followed predictable formulas, and only changed slowly. Artists focused on creating variations of Classical art, inspired by the masterpieces of ancient Greece, Rome, and the Renaissance.

There was broad consensus on what made for quality art. Order, beauty, and flawless adherence to approved techniques were desirable traits. Support for artworks came from powerful institutional patrons: the church, the state, and the aristocracy. These factions had much to gain from promoting stability and the status quo.

Sometimes an isolated eccentric would create art of a different kind, and challenge expectations. The artistic and cultural establishment of the times reacted harshly to such experimentation. William Blake was called mad, and worked in near total obscurity on his visionary books. J.M.W. Turner faced criticism and ridicule as his landscapes became more atmospheric and abstract. Francisco Goya kept his powerful and morbid black paintings hidden away from his employers at the royal court.

Despite these occasional flare ups from forward thinking radicals, for centuries the art world was a model of social control. Creatives were dominated by the elite. Training and opportunities for artists were under monopolistic control. It’s not that different in today’s commercialized fine art market. Advancement requires conformity to the self-aggrandizement and conceits of the ruling class.

But by the middle of the 1800s, the traditional dynamics changed. Life started moving faster than the establishment could react. The long standing pattern of gradual cultural evolution done in the service of the powerful underwent massive disruptions.

The Modern Age was upon us.

There’s no clear cut definition of the time the Modern Era covered. I define the era of Modern Art as running almost 100 years, bracketed by two art shows: the Salon des Refusés in Paris 1863, to the first major Pop Art show held in New York in 1962. The roots run deeper, and the influence lingers longer, but this is a useful measure for when Modern ideas were the most important in the culture.

Before the Modern age, the conventional understanding was art should present beauty, which represents truth. In modern art, beauty was no longer the highest aspiration, because it symbolized a kind of order and redemptive quality intellectuals had lost faith in.

Modern age rationalism and materialism compels that everything needs to be dissected and analyzed. Artists brought this mentality into art, and manifested this questioning both thematically and visually.

As the Modern age unfolded, the ideas imposed by social changes seemed to demand artists abandon art’s enduring function as a tool for bringing harmony and unity into the lives of humanity. A sense of doubt became a standard starting point.

No longer did art look to provide the comforting experience of the beautiful.  Modern art featured probing and often critical ideas about the nature of art, perception, humanity, and the values we so often fail to live up to. Pessimism was a safe attitude, depicted with ugliness.

Modern art took on an unstable aspect as artists looked to find something to effectively replace the sense of meaning and purpose that had informed the art of the past. The creative class tried to define possible alternatives, angling for personal advantage and prestige. Theories abounded.

Modernism fragmented into competing movements, schools, and influences. With all the possibilities swirling around, artists were not sure what or who to believe in. In rapid succession, the art world moved through major phases: Impressionism, Post Impressionism, Symbolism, Fauvism, Expressionism, Abstraction, Cubism, Futurism, Suprematism, Constructivism,. De Stijl, Dada, Surrealism, and Abstract Expressionism. Artists built entire careers based on the nuances of these experiments.

Modern art can be observed as a series of trends proposed as solutions to the void introduced into heart of art-and by extension, life itself. Nothing seemed to work for long.

This lead to a terrible burnout, and what we have now: the sophistry, shallowness and will to power of the Post Modern age. But even this horror is coming to an end. We are at the beginning of a new era. Welcome to the Remodern Age. We integrate the fragmentation of the Moderns back into a holistic approach, art as a tool for communion and connection once again.

STUDIO: Sixteen Years of Paintings


At least they stack nicely

We are working on some renovations on our house. These upgrades involve emptying the room where Michele Bledsoe and I store our art.

Paintings can be fragile things, easy to scratch, dent, puncture, or rip if you are not careful. I believe the best way to store a painting is to have it hanging on the wall, and believe me when I say our house is lined practically floor to ceiling with art. This is what happens when two compulsive painters get married, and they have lots of artistic friends to trade works with.

But in the end there is a limited amount of wall space, so the majority of my art gets stacked out of the way of life. This home improvement project we are working on required moving my paintings out of their secure location.

It didn’t occur to me to take a “Before” picture. We had sixteen years worth of mostly my paintings lined neatly up by size, front to front, back to back, with dividers of cardboard and foam core for extra safety. They were elevated off the floor on strips of lumber I cut for just that purpose.

I was so used to this system it didn’t really occur to me how many paintings there were, until I had to pull them out.



This isn’t even all of them, just a few of the stacks that have been distributed throughout the house. One thing we are doing is taking this opportunity to do an inventory: documenting the titles, medium, and size of each work. Once we get this massive update done, I intend to keep it current with my new works, but we will see how that goes.

Ironically, seeing how many paintings I have, and scrambling to find a place to put them, makes me want to paint even more, on even larger canvases.


PAINTINGS: A Plague Upon the Prairies

A Plague Upon The Prairies

Richard Bledsoe “A Plague Upon the Prairies” acrylic on canvas 24″ x 20″


The vision came, and I performed a transcription of what I was shown. This is the results. It was painted fairly rapidly, a momentum matched in the treatment of the field that appeared.

What is this herd, or pack, wandering in the waving grass? The title that was presented to me suggest they are nothing good.

A painting is a contained unit of interlocking contrasts that create a balanced world apart. Contrasts of light and dark, naturalism and stylization, fade and edge, and perhaps most importantly for my Symbolist art: the beautiful and the grotesque.


“Spiritual art is not about fairyland. It is about taking hold of the rough texture of life. It is about addressing the shadow and making friends with wild dogs. Spirituality is the awareness that everything in life is for a higher purpose.”

The Remodernism Manifesto