Ted Remington

Ted RemingtonTed Remington, as a self taught artist, began his professional career in late middle age, by quite literally being motivated to get out of bed one night and begin to paint his first painting. That surge has not stopped. Early on, Ted began accepting commissioned works of art, was juried-in National competitions, became represented by galleries in Utah, Nevada, Arizona and Wyoming, and began to receive special honors and awards. In addition, Ted was juried into major western art festivals, from Seattle to Sedona.
Although Remington has lived in San Francisco and it surrounding areas, he declares himself a native of Salt Lake City, Utah. As a boy, Ted was acknowledged locally for his portrait sketches, but a love affair with Italian bel Canto – having studied five years with a renowned opera singer – lured him away from fine art. Then, in the 1970’s, Ted discovered the desertTed Remington southwest and was immediately inspired to write and publish poetry about his experiences. This effusive period was one in which the artist resolved primal forces to be a counterpart to a love of art or culture; rediscovering what he has called “my true voice…within which past artistic endeavors came together in one-pointedness on paper and canvas,” in which he saw a relationship between shading of the human voice and painting.
Ted says about his painting rebirth, “One day I awoke to a compelling force…a renewed passion for visual poetry as my true expression.” As of now, Remington’s artistic efforts are best expressed in his “Living Earth” series, a seemingly indefatigable journey in which the viewer is taken through heightened scenes inspired by the waterfalls of Grand Canyon, Zion National Park, the Colorado River, and by New Mexico and Pueblo Culture. Ted RemingtonAmong his current accomplishments, Remington’s art was chosen by the set designers for the 2012 movie release, “21 Jump Street,” and was featured in the 2002 Hard Cover, New Art International in New York; he has featured works in the renowned Joan Cowley Art Gallery Catalogue and Gallery, from 2002 to the Present, Scottsdale, Arizona; and has Open Editions published by Poems Art Publisher of Salt Lake City; as well as being featured in such periodicals as Southwest Art Magazine, Utah Business Magazine and January 2002 featured in Utah Homes & Garden Magazine under Artists of Utah.
Remington’s art has been featured along with Georgia O’Keeffe, R.C. Gorman, and Ansel Adams, as Art of the Month, in the New MexicoTed Remington Magazine on an ongoing basis, since 2006. Accepted as an “Associate Member” of the Pastel Society of America, Jimmy Wright, Membership Chair., New York, NY, November 2014. As an artist, Ted Remington also delights in being a relative of the great western sculptor and painter, Frederic Remington. While I have always been inspired by the formations, colors, and haunting formations of the Southwest, I have also been motivated to paint what I have envisioned from within silent but moving spaces emanating from meditation; each place and space is, for me, an honored place, having almost a ceremonial presence.
My style is best described as a distilled Realism, at times moderately abstract. Interpretively, my purpose is to evoke a sense of wonder and to heighten awareness. I’m always seeking more to express than to detail. Sometimes I experience a shift from painting what I see to seeing what I’ve painted. That’s always a moment of transcendence. For me, remembrances and visualizations are natural from having played and crawled over and between an ocean of crevices, mesas and mounts throughout the Colorado Plateau. It has been a labyrinth journey through earth and Consciousness; Ted Remingtonand while technique is imperative, more importantly yet is that an artist must have something to say — and with conviction. My primary medium is soft pastel, with fewer works of art with oil on canvas.
For pastels, I have cultivated a technique utilizing a black paper surface, where I press a flat pastel surface across the paper or textured illustration board to achieve a more textured, more three-dimensional effect. This process allows me to build up textures, hues and vibrancy similar to oil paints. I view pastel art as a true “painting” experience as opposed to simply drawing or stroking delicately like some artists who utilize pastels. With oils, I enjoy working with the Palette knife for a sense of “sculpting” on canvas.

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