Another of Art Santa Fe’s 2026 Spotlight recipients, Ben Garza is a contemporary artist whose work celebrates the vibrant culture, landscapes, and spirit of the American Southwest. Drawing inspiration from his Texas roots, Garza creates bold and expressive paintings that blend color, movement, and storytelling into visually compelling works of art. His artistic vision reflects a deep appreciation for heritage, community, and the beauty found in everyday life. Known for his dynamic compositions and confident use of color, we wanted to know more about this artist’s inspirations.

Art Business News: Introduce yourself — who you are and what your vision as an artist is?

Ben Garza: Hello, my name is Ben Garza. I am a local Santa Fe visual artist working in oil medium. My vision as an artist is to push the boundary of visual language. I achieve this with multiple levels of interest, such as broad strokes, scratching, and introspective color harmonies. I like to create a piece that offers something new each time one views the painting.

ABN: What is your background?

BG: I have been an artist and musician my whole life. One has always fueled the other. I received my Bachelor of Music from City College of New York. And then, went on to live in the south of France obtaining my Master of Fine Art in Aix-en-Provence. I have traveled the world and lived in a handful of cities. I believe that it is through these life experiences that I can inject my work with considerable variance.

ABN: What is your work philosophy and how does that impact your work?

BG: My work philosophy is to be a vessel. I aim to remove all earthly thoughts and allow the work to flow out of me. This impacts my work by allowing the piece to inform me of what is essential. In this way it allows the work to become its own personality and upon completion we both arrive at a point of new relations.

ABN: What artist(s) inspire you?

BG: Some artists that inspire me are Eugene Delacroix, Henri Toulouse-Lautrec, Georgia O’Keeffe, Egon Schiele, Gustav Klimt. I gravitate towards rule breakers and innovators!

ABN: What is the best advice you’ve received?

BG: The best advice I received is to make work with honesty and integrity. All other artifacts will fall into place if the works can withstand the test of time.

ABN: When you are not working, where can we find you?

BG: When I am not working you can find me with my wife. We like camping, reading, and sitting by the river just taking in nature and its natural beauty.

ABN: What does exhibiting at Art Santa Fe 2026 mean to you?

BG: Exhibiting at Art Santa Fe 2026 means so much to me. I am very happy to have an opportunity to present my work to the public. It was exciting to establish connections, cultivate partnerships, and meet new people!

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To learn more about Ben Garza, please visit:

Website: http://www.bengarzastudios.com/

Instagram: https://www.instagram.com/bengarzastudios/

First-time exhibitor at Art Santa Fe, Loretta Rieth is a contemporary artist whose work celebrates the beauty, energy, and emotional resonance of the natural world. Art Santa Fe put the spotlight on Rieth as one of its Spotlight recipients and it’s easy to see why her landscapes got attention. Rieth creates paintings that invite viewers to experience nature beyond simple observation. Her artwork reflects a deep appreciation for landscapes, flora, and the ever-changing interplay of light, atmosphere, and season.

Art Business News: Introduce yourself – who you are and what your vision as an artist is?

Loretta Rieth: I am Loretta Rieth, a solo artist. I was born and raised in Southern California and moved to Southern Arizona in 2021. My artistic vision, and my creative motivation, comes from an intrinsic desire to capture the beauty of nature, physical spaces, and human form.

ABN: What is your background?

LR: Well, from a very young age, creating art felt integral to my “being”. I remember an art class in second grade – I must have been six? – working on, of all things, an orange ink block print of a lion – and being so consumed – that I almost peed my pants.

Moving forward, a Santa Barbara artist who tutored children in oil painting, lived in my neighborhood. I began classes with her at age ten, and I have to say that I gained most of my oil painting knowledge from several years of her instruction – and I still use this today.

My artistic journey took a bit of a back seat to college and a 30-year career. As that career winded down, I attended OTIS College of Art and Design in Los Angeles, studying Graphic Design to obtain a more studied art foundation.

In 2021, I moved from Los Angeles to Tucson, where I discovered an amazing artistic community, as well as a new home and environment to create within.

ABN: What is your creative philosophy and how does that impact your art?

LR: I attempt to honor, in an oil painting, the indescribable beauty that myself and others find in the world.

ABN: Which artist(s) inspire you?

LR: At risk of sounding ridiculously cliché, Georgia O’Keeffe. Understanding her creative approach – from written and film biographies – is inspiring. Another would be Wayne Thiebaud, who absolutely masters whimsical hyperrealism.

ABN: What is the best advice you have ever received?

LR: Artistic advice? “When an oil is finished, you will know it”

ABN: When you are not creating art, where can we find you?
LR: When I’m not in Tucson creating art, you can find me on Western ski slopes or the Japanese Alps.

ABN: What did exhibiting at Art Santa Fe 2026 mean to you?

LR: I’m new to Art Santa Fe, so I drove from Tucson filled with curiosity. It was exciting to meet all those attending this event, and to get to know the creative community exhibiting here.

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To learn more about Loretta Rieth, please visit:

Website: http://www.lorettarieth-art.com

Instagram: https://www.instagram.com/lorettarieth_art/

Sacred art has long been rooted in tradition, but for Santa Fe artist and designer Arasely Rios, it is also a living, contemporary practice. As the founder of Seraphym Design Studio and the Seraphym Sacred Art Gallery, Rios creates handcrafted devotional jewelry and heirloom rosaries that blend centuries-old techniques with modern artistry. We spoke with her about her creative journey, the inspiration behind her work, and what exhibiting at Art Santa Fe 2026 meant to her.

Art Business News: Introduce yourself — who you are and what your vision as an artist is?

Arasely Rios: I am the founder and artist behind Seraphym Design Studio in Santa Fe, where I create devotional jewelry and heirloom rosaries inspired by centuries of sacred art. My work combines the restoration of historical sacred medallions with original contemporary designs, using traditional techniques such as lost-wax bronze casting and handcrafted beadwork.

My vision as an artist is to restore a sense of transcendence through beauty. In a world often defined by distraction and disposability, I create timeless pieces that invite reflection, devotion, and a deeper connection to the Divine—works that can be treasured and passed down through generations.

ABN: What is your background?

AR: My journey has always been rooted in beauty, devotion, and craftsmanship. Although I hold degrees in Business, Marketing, and Andragogical Studies and spent 22 years as a Director of Education in the beauty industry, I began designing rosaries by hand at the age of eight.

In 2008, I founded Seraphym, which grew into a nationally recognized brand carried in more than 1,000 stores. Today, I create one-of-a-kind devotional jewelry in my Santa Fe studio and curate the Seraphym Sacred Art Gallery. One of the greatest honors of my career was creating a rosary for Pope Francis during his 2015 visit to the United States.

Every step of my journey has reinforced my purpose: to express faith through timeless beauty, craftsmanship, and sacred art.

ABN: What is your work philosophy and how does that impact your work?

AR: My work is guided by the belief that beauty is essential—it can inspire, heal, and draw us closer to the Divine. Every piece I create is designed with intention and reverence, reflecting the strength, light, and devotion symbolized by the Seraphim angels who inspired the name Seraphym.

ABN: What artist(s) inspire you?

AR: I draw inspiration less from individual artists than from the timeless traditions of sacred art and humanity’s enduring desire to express the Divine through beauty. I am especially inspired by the sculptural traditions of the Benin Kingdom, Mexican pre-Columbian art, and the image of Our Lady of Guadalupe, all of which embody mystery, reverence, and artistic excellence.

Among individual artists, I admire masters from across history, including Botticelli, Leonardo da Vinci, Caravaggio, Fernand Léger, Jean-Michel Basquiat, Banksy, and Julie Mehretu.

ABN: What is the best advice you’ve received?

AR: The best advice I ever received came from a mentor when I was preparing to teach my first corporate training class. She told me, “This isn’t about you—it’s about your audience and what they can take away that might change their lives.”

That advice has stayed with me throughout my career. As an artist, I don’t create for myself—I create in the hope that each piece offers beauty, inspiration, and a meaningful connection that stays with the person who experiences it.

ABN: When you are not working, where can we find you?

AR: Outside the studio, I enjoy spending time in my garden, reading, reflecting, and caring for the flowers around a small oratory that has become a special place of peace. In the colder months, I find inspiration traveling through Europe’s art and sacred sites or simply enjoying a quiet evening at home by the fireplace.

ABN: What did exhibiting at Art Santa Fe 2026 mean to you?

AR: Exhibiting at Art Santa Fe 2026 gave me the opportunity to bring sacred art into a contemporary setting and connect with collectors in a meaningful way. I wasn’t sure how devotional jewelry would be received, but I was deeply encouraged by the response.

Many of the most memorable moments came through conversations about faith, sacred art, and personal experiences. It affirmed that people are not only drawn to craftsmanship, but also to the deeper meaning behind the work. Returning to Art Santa Fe is both an honor and an opportunity to continue that dialogue.

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To learn more about Arasely Rios, please visit:

Website: https://seraphym.com

Ellen Gonzales is an Arizona based artist whose work celebrates the beauty, spirit, and symbolism of the natural world. Through expressive paintings inspired by birds, wildlife, florals, and Southwestern landscapes, she creates imagery that reflects a deep connection to nature and the emotional experiences it evokes. Ellen and her work were recognized as one of the Spotlight recipients for Art Santa Fe 2026. Art Business News was interested in knowing more about this first-time Art Santa Fe exhibitor.

Art Business News: Introduce yourself — who you are and your vision as an artist.

Ellen Gonzales: I’m Ellen Gonzales, the artist behind White Bird Fine Art. I am a faith-based artist; even though my paintings aren’t directly representational, faith is the foundation and heart behind the work. My hope is that my work is felt that it brings hope, light and healing. I like to play when I create so I use a lot of mark making, inks, spray paint, collage, and acrylics in the underpainting then pull it all together and finish it with oils. I love my process and the layers it encompasses.

ABN: What is your background?

EG: I have always loved the arts and creating. I took a few art classes in high school and college, but I did not pursue art as a career until 2020. Even then, I only took it on full-time in the last four years, which coincided with my decision to homeschool my two teens. I wanted to grow and refresh my technique, as I had a lot of vision but lacked confidence in the execution. So, I signed up for the Mastery Program at the Milan Art Institute, where I built the technical foundation, my work stands on now.

ABN: What is your work philosophy and how does that impact your work?

EG: My philosophy is that we are all created for a purpose. No matter our history or circumstance, we can grow and bloom. I paint mostly florals because they can convey so much. What’s funny is my mom decorated all of our homes in florals (stenciling them on most walls) and I swore I would never have florals in my house. Now it’s the majority of what I paint… interesting. I love that painting can say so much without using any words. My hope is that when someone walks up to my paintings, they feel something: hope, love, encouragement, or a sense of joy. That they would experience them and then of course take it home.

I write scriptures, words of encouragement, or positive quotes into the ground of the canvas. Sometimes I collage old hymns, or different textures. Then gold leaf. The oil goes on top of all of it. You can’t see most of it in the finished piece. That’s the point. The words are still there, holding the surface up. What’s buried is still bearing weight.

ABN: What artist(s) inspire you?

EG: I love the work of Dimitra and Elli Milan, Vanessa Horabuena, and Kim Black’s gorgeous florals; I admire many artists. If we are talking about the old masters Monet is probably my favorite.

ABN: What is the best advice you’ve received?

EG: Paint every day whether you feel like it or not.

ABN: When you are not working, where can we find you?

EG: Probably having a movie night with my husband, two kids and four dogs all snuggled on the couch together. Yes, my teens still snuggle with me. I also enjoy reading and playing guitar. I love leading women’s Bible studies; I have a heart for women knowing who they are in Christ (which is the heart of my She Is Collection).

ABN: What did exhibiting at Art Santa Fe 2026 mean to you?

EG: It’s a big step for me. It’s investing in myself and what I believe to be true. I spend my days painting about dry seasons not being dead seasons, hope in the waiting and being met in the middle of a season nobody else notices. To be chosen for this especially out of the field, into the Spotlight is that same truth landing in my own life. I don’t take it lightly. Santa Fe is one of the “serious rooms” in this country for original work.  It’s a threshold. I’m walking through it grateful, and ready.

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To learn more about Ellen Gonzales and White Bird Fine Art, please visit:

Website: http://www.whitebirddesignco.com/

Instagram: https://www.instagram.com/whitebirdfineart

Olga Lavrova was selected by Art Santa Fe’s curatorial team as one of this year’s Spotlight recipients. Art Business News was intrigued and wanted to know more about this contemporary artist whose work is inspired by the beauty of nature, the emotional power of color, and the timeless connection between people and their environment. Originally trained in classical artistic techniques, Lavrova has developed a distinctive visual style that blends technical precision with expressive creativity.

Art Business News: Introduce yourself — who you are and what your vision as an artist is?

Olga Lavrova: I guess I think of myself as an observer of life, fascinated by everything around me. I am more attracted to things of a quiet, pensive nature. As an artist I want to highlight the intricacy and poignancy of feelings in quiet moments that are often missed in the fast-paced, overwhelming reality of modern day. I feel that through appreciating the depth and preciousness of seemingly routine and simple things, whether they concern people or nature, we become more compassionate and more humane. My goal as an artist is to inspire my viewers to pause, reflect, think and connect with these feelings.

ABN: What is your background? 

OL: I was born in Moscow, Russia, and my family moved to California when I was in my early teens. I had a conventional upbringing, focused strongly on good education, and I did not allow myself to step away from that path until later in life. After getting my degree in Mathematics/Economics, I built a solid career in audit and compliance. At some point I went back to Moscow for several years and that’s when I started taking painting lessons with an artist whose work I admired. After some time, painting consumed me and I felt that I found my true purpose. In the summer of 2021, I came back to California and decided to focus full time on my art. Since then, I have exhibited at shows mostly in Southern California and was once selected by the city of Encinitas Visual Arts Program curators to hold a two month-long exhibit at the City Hall. Since I was not always an artist, there’s still a part of me that’s in disbelief when my work gets high praise and recognition, and I am so grateful for all the support I receive that keeps me motivated.

ABN: What is your work philosophy and how does that impact your work?

OL: I only paint once I become obsessed with a certain idea and the feeling builds up. For me, depth and intensity of emotion when working on a piece is essential to creating something worthy. At the same time, I dislike grandiose, loud, direct images and I spend a lot of time developing the right way to say what I want to say in a quiet, subtle way. In my paintings, the atmosphere, the feeling, is first and foremost, so I have to really channel that into my work. Because of this, my work is very susceptible to changes in my emotional state. Sometimes I can go up to a couple of months without painting anything and then go on a spree and paint a lot in a very short period. It can be a real nuisance, especially if I have a show coming up soon and want to bring new work, but I just can’t force it.

ABN: What artist(s) inspire you?

OL: I can’t really say that there are any particular ones that inspire me. I just do my own thing the way I feel it. In my work I am more inspired by people, nature, and events. I do admire a lot of artists though – old masters, as well as contemporary. I (embarrassingly) just recently, discovered Caspar David Friedrich and was stunned by how much his work resonated with me. I also love discovering new favorites at art shows I go to and am a proud owner of several pieces by fellow artists. My current obsession is Gia Chikvaidze – his work just transports you to another world.

ABN: What artist(s) inspire you?

OL: I can’t really say that there are any particular ones that inspire me. I just do my own thing the way I feel it. In my work I am more inspired by people, nature, and events. I do admire a lot of artists though – old masters, as well as contemporary. I (embarrassingly) just recently, discovered Caspar David Friedrich and was stunned by how much his work resonated with me. I also love discovering new favorites at art shows I go to and am a proud owner of several pieces by fellow artists. My current obsession is Gia Chikvaidze – his work just transports you to another world.

ABN: What is the best advice you’ve received?

OL: Don’t dwell on failed pieces. Forget it and move on. Even the best artists can’t create a masterpiece every time. (Is it actually true? I still kinda suspect they can..)

ABN: When you are not working, where can we find you?

OL: On the road across the states, in my yard watching birds, lizards and whatever else makes its way in, or on a couch with my family, dog, book, wine, playing video games, etc.

ABN: What did exhibiting at Art Santa Fe 2026 mean to you?

OL: A lot! Testing new waters, meeting people, expanding my presence, gaining more visibility. This was my first time at Art Santa Fe, but I loved all the other ones I’ve been to in the series, so I am very excited to add a new one to the list.

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To learn more about Olga Lavrova, please visit:

Website: https://olga-lavrova.square.site/

Instagram: https://www.instagram.com/Olga_Lavrova_Art

As Art Santa Fe celebrates its 26th edition, we’re proud to announce this year’s Spotlight Award recipients—a select group of artists recognized for their creativity, innovation, and forward-thinking contributions to contemporary art.

Art Santa Fe 2026 will feature a dynamic mix of 75+ galleries, art dealers, and independent artists from around the world, showcasing original works in a variety of mediums—paintings, prints, drawings, sculpture, photography, ceramics, giclées, lithographs, glass, and more.

Kicking off Santa Fe Art Week (July 9–19, 2026), this year’s fair offers attendees a rich lineup of special programming, including immersive Art Lab experiences and inspiring Meet the Artist sessions.

From an impressive roster of exhibitors, the Spotlight Program highlights a curated group of standout artists, offering collectors a focused view of emerging and established talent shaping the future of the visual arts.

Check out this year’s Spotlight Program recipients below!

Ellen Gonzales — Booth D-1

Ellen Gonzales is a New Mexico-based artist whose work celebrates the beauty, spirit, and symbolism of the natural world. Through expressive paintings inspired by birds, wildlife, florals, and Southwestern landscapes, she creates imagery that reflects a deep connection to nature and the emotional experiences it evokes. Her work is infused with movement, color, and a sense of wonder, inviting viewers to pause and reconnect with the world around them.

http://www.whitebirddesignco.com/

Loretta Rieth, Booth C-2

Loretta Rieth is a contemporary artist whose vibrant paintings celebrate the beauty, energy, and emotional resonance of the natural world. Inspired by landscapes, flora, and the ever-changing interplay of light and season, she creates richly layered compositions that blend technical skill with creative intuition. Through expressive movement, luminous color, and thoughtful interpretation, Rieth’s work explores themes of growth, harmony, and transformation, inviting viewers to experience nature with a renewed sense of wonder and connection.

http://www.lorettarieth-art.com/

Olga Lavrova, Booth C-8

Olga Lavrova is a contemporary artist whose work is inspired by the beauty of nature, the emotional power of color, and the timeless connection between people and their environment. Originally trained in classical artistic techniques, Lavrova has developed a distinctive visual style that blends technical precision with expressive creativity. Her paintings invite viewers into luminous worlds  filled with movement, atmosphere, and a sense of wonder.

https://olga-lavrova.square.site/

Ben Garza, Booth J-6

“Countless craftsmen have worked Cerrillos turquoise from Turquoise Hill for a thousand years, and I am the last of that long line.” — Doug Magnus

 

Some artists make jewelry. Douglas Magnus makes history wearable.

For more than fifty years, the Santa Fe-based jeweler has been one of the American Southwest’s most singular creative forces, a self-taught master whose work does not so much borrow from the past as inhabit it. His collections traverse time and culture with remarkable ease, weaving together ancient cosmic symbols, Latin motifs, and contemporary design references into pieces that feel simultaneously timeless and urgently alive. Sorrel Sky Gallery, which represents Magnus, across its Santa Fe, Durango, SoHo, and East Hampton locations, has long recognized in him a rare convergence: the archaeologist’s reverence for history and the artist’s appetite for invention.

A Journey Shaped by Place

 

Magnus arrived in Santa Fe in the early 1970s, and the city claimed him completely. What began as a personal reckoning, a young man who had failed art school and spent two formative years in the Army finding his footing, became one of the most productive and wide-ranging careers in contemporary American jewelry. The landscapes and layered cultures of New Mexico provided both raw material and spiritual direction. Magnus has often described his artistic methods as intuitive, his journey as solitary, and the results speak to both qualities: work that is deeply personal yet universally resonant.

 

He is, at his core, self-taught. That fact is not incidental to understanding his work — it is essential to it. Without the constraints of formal training, Magnus pursued mastery on his own terms, absorbing techniques for silversmithing, goldsmithing, and lapidary gemstone cutting through hands-on practice and an insatiable curiosity about world cultures. His passion for nature, ancient cosmology, and the visual traditions of Latin America and the broader pre-Columbian world inform every design decision, from the sweep of a pendant’s silhouette to the selection of a stone.

 

The Stone at the Center of Everything

 

If any single element defines the arc of Douglas Magnus’s career, it is turquoise — and not just any turquoise. The Cerrillos Hills, located a short distance south of Santa Fe, contain some of the oldest and most culturally significant turquoise mines in North America. Indigenous peoples mined this land for more than a millennium, and the distinctive blue-green stone that emerged from Turquoise Hill traveled trade routes stretching from the American Southwest to Mesoamerica and beyond.

 

Magnus’s early visits to these ancient mines proved transformative. He came for the stone and stayed for the story. Today, he owns three of the fabled Cerrillos mines, making him not just an artist who uses this material but a steward of it. His relationship to the mines transcends commerce. “I want to be assured that the mines will always be available for historical, archaeological, and mineralogical study,” he has said — a statement that reveals a man as invested in preservation as in creation.

 

The Cerrillos turquoise Magnus sources is a study in rarity. Its intense, clear blue coloration and distinctive matrix set it apart from other turquoise varieties, and the stone’s historical weight adds an additional dimension that goes well beyond aesthetics. When a collector acquires a Magnus work set with Cerrillos turquoise, they hold something that connects them to a thousand years of human craft, ambition, and meaning.

Museum-Quality Collections for the Contemporary Collector

 

Magnus’s most recent body of work represents the fullest expression of his vision. Using 18-karat gold as his primary medium and Cerrillos turquoise as his signature stone, he has produced a collection that carries the designation “museum-quality” without hyperbole. These are not decorative accessories but wearable sculptures: the “4 Directions Pendant,” which encodes cosmological meaning into its very structure; the “Forever Pendant,” which transforms classical forms through Magnus’s singular eye; the “Thanksgiving Pendant,” a piece whose layered symbolism rewards extended contemplation.

 

Across his nine published design volumes, which document five decades of output, Magnus has demonstrated an extraordinary range. His “Primavera” collection embraces the organic abundance of the natural world. His “Santa Fe Heritage” volume celebrates the enduring influence of Spanish colonial culture on the region’s visual identity. “Constellations” reaches skyward, drawing design cues from the celestial. Throughout it all, one finds the same animating intelligence: a maker who refuses to settle for the obvious.

 

His buckle designs, explored in depth in “The Art of Buckles,” brought serious craftsmanship to a form too often dismissed as purely functional. His “Skulls and Diamond Plate” volume demonstrated that Magnus’s design vocabulary extends into more assertive, masculine territory without losing its fundamental elegance.

 

The Collector’s Opportunity

For galleries and collectors attuned to the increasingly fine line between fine art and fine jewelry, Douglas Magnus represents a compelling proposition. His work occupies that territory with confidence and originality, commanding serious attention in a market that rewards exactly those qualities.

 

The breadth of his current collection at Sorrel Sky Gallery offers meaningful entry points alongside significant statement pieces, with works ranging from finely crafted pendants and rings to substantial one-of-a-kind creations suited to serious collectors. Each piece carries the full weight of Magnus’s singular biography: the decades of self-directed mastery, the deep connection to place and material, the restless creative intelligence that has never permitted repetition or complacency.

 

Sorrel Sky Gallery Founder Shanan Campbell notes that Magnus’s work resonates with collectors who seek jewelry as a meaningful investment: “Doug is one of those rare artists whose depth of knowledge about his materials and his history gives his work a dimension you simply cannot manufacture. Each piece carries a story that goes back centuries.”

A Legacy in the Making

 

At fifty-plus years into his career, Douglas Magnus shows no sign of narrowing his vision. His identification as the last practitioner in a thousand-year line of Cerrillos turquoise workers is not an elegy; it is a statement of responsibility and resolve. He has committed to ensuring the mines endure for future scholars and communities. He continues to design, to teach through his published volumes, and to produce jewelry that challenges the assumption that wearable art must choose between beauty and meaning.

 

For collectors drawn to the American Southwest’s rich artistic heritage, and for those who understand that the finest jewelry transcends ornament entirely, Douglas Magnus offers something increasingly rare: a living connection to antiquity, expressed through the hands of a master who has spent a lifetime earning the title.

There is a particular kind of beauty that belongs to speed. The blur of a racing car at Silverstone. A woman in silk at the rail of a Riva on the Riviera. The curve of a vintage Porsche against a wall of Mediterranean blue. These are the images that populate Alan Walsh’s paintings, and they carry within them an entire visual autobiography, one that began not in a studio, but on the side of a racing circuit.

Walsh, a British artist based in Monaco, has built one of the most distinctive bodies of work in contemporary European painting. His acrylic and oil compositions, rendered in bold, clean strokes with a palette as saturated as a summer afternoon on the Côte d’Azur, occupy a genuinely singular space: immediately recognizable, joyful without frivolity, luxurious without pretension. He calls it “art with playful elegance.” Sorrel Sky Gallery, which represents Walsh across its Durango, Santa Fe, SoHo, and East Hampton locations, recognized in that phrase exactly the kind of artist its collectors have been waiting for.

Raised at the Circuit

 

To understand Walsh’s work, you must understand where he spent his childhood. His father worked in motorsport, which meant weekends at Silverstone, Monaco, Monza, and Paul Ricard rather than the parks and back gardens of his native North Yorkshire. On the long drives to and from circuits, young Walsh entertained himself with a pad of paper and a collection of pens, sketching racing cars from his father’s copies of Autosport and fashion figures from his mother’s issues of Vogue. Those two visual vocabularies, the aerodynamic precision of a racing machine and the graceful poise of high fashion, never left him. They remain the twin poles of his work today.

He raced competitively himself as a teenager, joining the elite Zip Young Guns karting team, the same program that developed Formula One World Champion Lewis Hamilton. The experience deepened his instinctive feel for speed as a visual concept, and it gave him entree into a world of drivers, team owners, and collectors who would later become among his most loyal patrons. Past and present racing legends count themselves among his regular clients.

From Advertising to the Atelier

Walsh left secondary school early, by mutual agreement, he notes, having attended only his art lessons, then spent a period at art college before pivoting into advertising. The career that followed was genuinely impressive. His illustrations appeared on billboards for Aston Martin, Porsche, Mercedes-Benz, Grey Goose Vodka, and Coca-Cola. He co-founded the award-winning Artisan Drinks Company, bringing his characters to life across bottle labels and global advertising campaigns. The discipline of commercial work gave his line its characteristic confidence: clean, deliberate, with nothing extraneous.

A formative moment arrived early in his advertising career, when a creative director at a London agency observed a teenage Walsh still laboring over the facial features of a storyboard character an hour into an assignment. The instruction he received that day shaped everything that followed: don’t worry about faces, express emotion and movement through body language instead. Walsh has not drawn a face since. The result is one of the most recognizable signatures in contemporary painting. His figures convey feeling entirely through posture, gesture, and the tilt of a head, leaving space for the viewer’s imagination to complete the picture.

In 2012, Walsh decided to leave the agency world entirely and commit fully to painting. Solo exhibitions followed in Los Angeles, San Francisco, Cannes, and beyond. By 2016, he owned two galleries in Australia, one in Sydney and one in the regional town of Bowral. In 2020, he opened Walsh Gallery Monaco, positioning himself at the epicenter of the luxury art market he had spent a decade capturing on canvas.

Monaco, the Martinez, and an A-List Clientele

Walsh’s base in Monaco is not incidental to his work — it is its natural habitat. The gallery, located in La Condamine, the district where the Grand Prix circuit runs through the streets, sits precisely at the intersection of motorsport, fashion, and Mediterranean glamour that defines its aesthetic. His works hang in the homes of royalty, Hollywood stars, chart-topping musicians, and global sports stars. He served as resident artist at the legendary Hôtel Martinez in Cannes, sharing its lobby with fellow British artist Damien Hirst.

The subjects that populate his canvases read like a love letter to an idealized version of the French Riviera: vintage racing cars, impossibly poised women in chic French fashion, champagne-drenched afternoons on Riva boats, the bold geometric branding of luxury sponsors. His color work is a particular achievement — saturated but never garish, inspired by the vivid palette of vintage motorsport advertising from the 1970s and 80s.

A Cultural Bridge

When Sorrel Sky Gallery founder Shanan Campbell first encountered Walsh’s work, she identified something that transcended geography. “Alan Walsh paints the feeling of speed and sophistication,” Campbell says. “His work speaks to collectors who appreciate both the elegance of the Riviera and the adventurous spirit of the West.”

The observation is astute. Walsh’s paintings share with the best Western art a certain quality of light: luminous, expansive, unambiguous. The wide-open feeling of his compositions, with their clean backgrounds and breathing room around each subject, translates naturally to a collecting audience accustomed to the particular clarity of light found in Colorado and New Mexico. The Côte d’Azur and the American Southwest are separated by an ocean and a continent, but both traditions prize immediacy of vision and confidence of execution.

His arrival at Sorrel Sky represents a carefully considered expansion of the gallery’s contemporary offerings, extending its reach from the American West to include one of Europe’s most compelling voices in figurative painting. For collectors who move fluidly between Manhattan, the Mediterranean, and the mountain West, Walsh offers a point of connection across all three.

The Work Itself

Walsh works exclusively by hand in his Monaco studio; each painting built in acrylic and oil with a technique that owes as much to his advertising background as to his fine art training. His compositions are architectural in their clarity: bold blocks of color establish a ground, against which his subjects, who are always faceless, always poised, command the frame with authority. Limited-edition screen prints and serigraphs offer collectors additional entry points into his visual world, while his original paintings represent significant investments in a market that has rewarded his work with consistent, growing collector demand.

The range of subjects available through Sorrel Sky spans his signature themes: vintage racing imagery, Riviera lifestyle scenes, and the luxury brand references that connect his commercial origins to his fine art present. Each piece rewards time spent with it, revealing, in its apparently effortless execution, the full weight of the discipline Walsh has brought to bear over more than a decade of dedicated studio practice.

For collectors who have found contemporary Western art to be a natural expression of their values and aesthetic sensibilities, Alan Walsh offers an unexpected but entirely coherent extension of that conversation. Speed, elegance, and the particular pleasure of a beautifully made thing. The Riviera, it turns out, has always been closer than it appeared.

For much of my career, creativity existed through the structure of the fashion industry. For over two decades, I worked within a world built around movement, collaboration, deadlines, textiles, color stories, fittings, production teams, and the challenge of transforming an idea into something physical that people could live in. Fashion became part of how I observed the world—how color affects emotion, how texture changes perception, and how a garment can alter the confidence and experience of the person wearing it.

Then, a few years ago, after a move to the desert near Joshua Tree, my creative life began to shift.

The quiet and expansive landscape gave me the space to reconnect with creativity in a completely different way. The stillness of the desert, the changing atmosphere, and the muted yet powerful color shifts across the sky and land inspired me to begin creating work rooted in observation, emotion, and texture. There was something about the openness of the landscape that encouraged reflection and experimentation. The desert became more than a location; it became part of the creative process itself.

At the time, I didn’t know exactly where that path would lead or whether it would permanently replace fashion in my life. I wondered if focusing on painting and textile artwork meant leaving one creative identity behind for another. I questioned whether trying to do both would divide my focus too much, causing one side to suffer.

Instead, something unexpected happened.

The deeper I moved into fine art, the more it began to reshape the way I approached fashion. And eventually, when fashion re-entered my life again, I realized both worlds had quietly started informing each other in ways I never anticipated. What once felt separate became a blended creative life—one where art and fashion constantly exchange ideas, emotion, process, and inspiration.

That blending has become one of the most rewarding parts of my creative journey.

One of the biggest differences between fashion and fine art is the number of people involved in bringing something to life. In fashion, there are countless hands shaping the final product. Designers, patternmakers, textile developers, technical designers, sewers, production teams, factories, craftsmen, merchandisers, marketers—each person affects the final outcome. A garment evolves through many stages, and each stage can significantly change the direction of the product.

You rarely see the final result clearly from the beginning.

The process becomes a winding path filled with pivots, adjustments, reactions, and problem-solving. One fabric behaves differently than expected. A silhouette changes during fittings. A wash alters the mood of the color. A technical issue creates a completely new opportunity. Every stage becomes reactive and collaborative.

There is an unpredictability to it that I’ve always found inspiring.

Artwork creation, although often more solitary, contains a similar unpredictability. While the work is primarily in my own hands, the surface itself begins to participate in the process. Paint reacts unexpectedly. Layers shift the atmosphere of a piece. Texture changes the emotion of color. One brushstroke suddenly redirects the entire composition. Sometimes the work begins to reveal something I did not originally intend to create.

Again, you cannot always see the ending. You respond to what is happening in front of you. That reaction—that openness to process—is something fashion and fine art deeply share.

For me, creativity has become less about controlling every outcome and more about learning how to observe, react, and evolve with the work itself. Both disciplines continuously remind me that uncertainty can be one of the most valuable parts of the creative process.

I have also become increasingly fascinated by the way both fashion and art affect people emotionally and psychologically.

With art, I’ve had conversations with collectors and viewers who describe seeing something deeply personal inside a painting or textile work. Sometimes a piece reminds them of a landscape they once experienced. Other times it evokes a memory, a feeling, or even a place they long to return to emotionally. Watching someone connect to a work on that level is incredibly meaningful.

There is a quiet moment that happens when a viewer stops in front of a piece and becomes fully present with it. You can often see the emotional shift happen across their face before they even speak. As an artist, those moments are priceless because they remind you that art exists beyond decoration. It becomes part of the human experience.

Art gives people a place to pause, to reflect, and to feel something.

Fashion creates emotional experiences differently, but with equal impact. Seeing someone wearing something you helped create out in the world carries its own kind of energy. In activewear especially, clothing often becomes connected to movement, motivation, and self-transformation. A garment may encourage someone to go outside, exercise, join a community, improve their health, or simply feel more confident in themselves.

That confidence affects how they move through the world. It changes interactions, posture, and presence. Something as simple as color, fit, texture, or silhouette can influence the emotional experience of the person wearing it—and even affect the people around them.

Fashion and fine art may appear very different externally, but both ultimately influence human experience. Both shape atmosphere, emotion, perception, memory, and identity in subtle ways. The blending of those ideas has become central to my own creative practice.

Now my art practice rotates between playful desert scenes, atmospheric seascapes, and layered forest landscapes—all deeply impacted by the outdoor spaces where I spend time hiking and exploring. Each landscape carries a different emotional energy, and I often bring those observations back into both my paintings and textile works. The outdoors has become an essential part of my creative rhythm, influencing not only the visual direction of the work but also the sense of movement, stillness, and reflection within it.

My artwork often begins with observing landscapes, texture, atmosphere, and light in the natural world. I spend a great deal of time paying attention to subtle color shifts, movement across the sky, weathered surfaces, and the emotional feeling a place carries. Those observations eventually move into painting, textile processes, and layered surfaces.

At the same time, fashion continues to influence how I think about proportion, movement, material, and the physical relationship between the body and design. My years in apparel taught me to think about construction, tactile experience, and functionality alongside beauty.

Now those influences constantly move back and forth between each other. A painting may inspire a textile direction; a fabric texture may influence a painting surface. An atmospheric landscape may evolve into a color palette for apparel, while a garment silhouette may inspire compositional balance inside an artwork. The boundaries between disciplines have become increasingly fluid.

That fluidity has allowed me to embrace creativity in a much broader way than I once imagined possible. For a long time, I thought creative careers required choosing a single direction. But I no longer believe creativity works that way. Some creative lives are built through specialization, while others are built through exploration and blending multiple forms of expression together over time.

There is beauty in allowing your creative identity to evolve, in not always knowing exactly where the process will lead, and in realizing that different disciplines can strengthen each other rather than compete.

I feel incredibly fortunate to experience both worlds. Fashion continues to inspire me through collaboration, craftsmanship, and movement, while fine art inspires me through

observation, emotion, and storytelling. Both encourage me to remain curious and to bring all my experiences back into the creative process.

At this point in my life, I no longer see fashion and art as separate identities. Instead, they have become part of one blended creative life—constantly evolving and pushing me toward new ways of seeing and building. I may not always know exactly where the path is leading, but I’ve learned to trust the process of discovery. Sometimes the most meaningful creative work happens while navigating the unknown and weaving it into daily existence.

 

Author Bio

After immersing herself in the action sports design world for several years, Sherri took the opportunity to explore her artistic side in painting and illustration.  Driven by a deep passion for the arts, she enjoys experimenting with various traditional and contemporary media in her paintings.  Inspired by her exploration of the outdoors, she finds inspiration in both the picturesque landscapes and captivating elements of land and sea.  A versatile artist and designer, with a strong background in designing for brands including her own successful apparel line, she brings a unique perspective to her designs.  Her technical design skills and creative vision blend seamlessly to create her work.  Today her deep appreciation shines through in her artwork, she continues to push boundaries and explore new artistic horizons.

For more information, visit www.sherriscottstudios.com

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All images courtesy of Sherri Scott.

In today’s rapidly shifting landscape, where life can feel relentlessly busy, Silke Bianca’s Zen Garden Cycle emerges as a breath of fresh air—a sanctuary for the senses presented by S-BRT Contemporary Art. Through Zen Garden Cycle I and II, Bianca reimagines art as a living, transformative presence, weaving together the tranquil principles of Zen philosophy with the clean lines and conceptual flair of contemporary interior design. The result? Spaces imbued with harmony and beauty, designed to soothe, and inspire.

Standing out amongst bold gallery installations, Bianca’s work invites viewers into serene, immersive environments that blur the boundaries between art, design, and spiritual reflection. Her approach, which she terms “Art Composing”, is all about rethinking art’s place in modern life: not as something to be passively observed, but as a vital element of our lived environment. The Zen Garden Cycle encourages us to inhabit these sanctuaries, transforming everyday interiors into havens of calm and contemplation.

“In a restless world, it’s essential to create mental stillness and harmony through the integration of art and design,” Bianca notes. “The Zen Garden Cycle celebrates living art—not as political discourse, but as an extension of one’s environment, fostering peace and serenity.” This philosophy is reflected in every aspect of her practice; from the materials she selects to the way her pieces interact with light and space.

Bianca’s artistic journey is deeply influenced by her heritage and global experiences. Her extensive travels across Southeast Asia and her studies in Zen Buddhism have left a lasting mark on her work, infusing it with a balance of structure and stillness, movement, and tranquillity.

At the heart of Bianca’s creations are her monochromatic compositions, layered with relief-like structures using a comb spatula—a technique that emphasises texture, form, and the experiential. Each artwork is framed in handcrafted black steel, designed to integrate seamlessly with contemporary interiors while encouraging quiet reflection. Notable pieces from the cycle include Tranquillity of Coloured Explosions and Reflexivity of Floating Thoughts, both of which exemplify her commitment to kinetic calm: reflective surfaces catch and play with light, while the three-dimensional reliefs evoke a shifting inner landscape.

Bianca’s Zen Garden Cycle also nods to the legacy of post-war European avant-garde, referencing the Zero Art Group and its luminaries—Heinz Mack, Otto Piene, Günther Uecker, Yves Klein, and Daniel Spoerri—while forging her own path with what she calls Zeroart 2.0. This connection places her firmly within a lineage of artists who use abstraction and spatial experimentation to invite mindfulness and new modes of seeing.

International recognition has followed. Bianca has exhibited at prestigious venues including Miami Art Week, Artexpo New York, and major galleries in Berlin, Salzburg, Düsseldorf, and London. She’s been ranked among the Top 50 European Contemporary Artists, a testament to her unique vision and growing influence.

Ultimately, Silke Bianca’s Zen Garden Cycle is more than an art collection—it’s a philosophy for living. At a time when constant movement and change can feel overwhelming, her work offers a counterpoint: a gentle reminder of the value of stillness, reflection, and a sense of “home” within both public and private spaces. The art isn’t just something to display; it’s a transformative presence that turns interiors into sanctuaries of calm and beauty, demonstrating how design and spirituality can intersect to elevate everyday life.

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For more information about Silke Bianca and S-BRT Contemporary Art, please see the website at https://www.sbrt-art.com/  Please follow on Instagram @SBRT_Art 

All Photos courtesy of S-BRT Contemporary Art