Paul Rumsey: The Slide That Buried Rightful Visual Artist

The Rightful artwork was commissioned for the project.

“We needed a painter with a visionary leaning, who could portray the other-worldly aspects of the slide and the things those buried might have experienced. At the same time, the story occurs a century ago, so we didn’t want the pieces to have a modern look. We needed an antique surrealist. Paul Rumsey was perfect. I think the paintings capture the power and mystery of the event, while preserving the helplessness and humility of those caught up in it; and his two-tone palette gives it the sense of history and a time past.”

View the Visual Art of Paul Rumsey

Cameron Nelson, Digital Photographs for Dissolve

“The slabs were photographed at magnifications ranging from 1X to 5X by Cameron Nelson. Slabs were placed on a copy stand with a black posterboard background in a room with a skylight. All photos were taken using only that natural light source. No filters or additional lighting were used.”

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Ramón Alejandro, Artist for Island Fruit Remedy

There is a striking connection between Ramón Alejandro’s paintings and the specific events and ideas in Island Fruit Remedy.

“In no other project is the correspondence so close. It was a collaboration in every respect, from character to plot to setting to theme. The idea for the story germinated in the eighties, long before I knew Ramón’s work. But I couldn’t figure out how to tell the story. Ramón gave me the characters and events, and it was his outlook on gender that helped me make Wood’s experience concrete.”

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Eugene Von Bruenchenhein: Rin, Tongue and Dorner, Arms from the Sea and Too Far Visual Artist

Born in Wisconsin in 1910, Eugene Von Bruenchenhein married a local girl and worked in a bakery during the ten years that he completed his most imaginative pieces. Most of his paintings were completed in a single frenzied session, one to three hours in length. His neighbors regarded him as a weird character. EVB saw himself as a great artist, but was unsuccessful in selling his work or gaining any recognition. By his own accounting, he completed 1,080 paintings. When he died, his small house was crammed from floor to ceiling with them.

“I first saw Eugene Von Bruenchenhein’s paintings in 2003. I found them mysterious and evocative, and full of energy” says Rich Shapero, the collector who is bringing EVB’s online collection of paintings to life. “The more I looked at them, the more they expanded beyond the borders of the frame . . . the paintings completed during 1954-1963 are extraordinary.”

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Donald Pass, Artist for The Hope We Seek

The late Visionary artist, Donald Pass, provided the artwork for The Hope We Seek.

“I first became familiar with Donald’s work about eight years ago. I heard about his vision in the churchyard, and I found it easy to believe that the scenes depicted in his paintings came from a real experience. They are that vivid. That impactful.

“His images of the resurrection of souls were close, in substance and feeling, with the mental pictures I had formed of Hope and the crowds of souls struggling to deliver themselves to her. He seemed like the ideal artist for the project. I had some trepidations, however. I wasn’t sure if he would embrace my fiction as something that could exist alongside his vision. And there was the question of personal chemistry.

“Meeting him, crossing the bridge we had to cross, being understood and accepted by him—that ended up meaning a lot more to me than the work we did to produce the Hope paintings.”

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François Burland, Artist for Wild Animus

François Burland is a highly acclaimed Visionary artist, often counted among painters of the Art Brut aesthetic. He has brought Wild Animus alive through a recently completed series. Rich Shapero discovered Burland’s work before completing Wild Animus:

“I was knocked out,” Rich says. “I saw a passion for the primeval, and I thought I recognized an understanding of things that was similar to my own. His bushmen interact and identify with wild creatures, often through violent acts, and there’s an ascension through that identification. A fulfillment.”

View the François Burland Gallery