In my work I explore the line between accident and control, manipulating the inherent qualities of natural materials. I am currently using amber Mica which I layer with 23K goldleaf and carving volcanic stone which I inset with natural pearls and precious stones. I contrast this formal construction with serendipitous surface treatment such as my version of a very old Japanese patina; I heat copper to bright red, expose it to wood particles, and then plunge it into boiling water which creates an organic and unpredictable “Raku” effect. I strive to capture not only the beauty of the natural materials themselves, but the surprises that arise from working with them.

My works are painted on100% rag illustration board or stretched canvas.  Golden paints are used first with thin washes than with   various heavier overlays.  Some areas are also scrubbed for textured.  Works completed on canvas are than varnished.  Works on rag board are museum matted and framed.

I allow myself the freedom to follow my thoughts with intensity and emotion.   Each brush stroke suggests a new and challenging direction as the painting evolves. I relate strongly to hard edges, and strong lights and darks for contrasting values.

I am an oil painter. I paint mostly from direct observation both indoors and out.

There is not a difference between good sculpture and good pottery, but in my time making a living selling art pottery, I know that most people think of pots and sculpture as two different things.  Often times this is the case–we can say there are bad sculptures and bad pots. Another complication is that many United States audiences have been raised to associate “pottery” with “common knick-knack”, “grandma’s painted figurines”, or “brown, heavy, and ugly”. When one says “pottery”, many people are expecting the exact opposite of the kinds of things I make. So often the response I hear when people come into my shop, “I wasn’t expecting this!” I have always worked to improve my design and craftsmanship, to go beyond the basics. My intent has been to make good sculptures, good pots.

My artwork is unconventional, a hybrid of the East & West.  I came to my calling after a five-year stay in Japan, which utterly transformed me.  Deeply moved by their aesthetic, I felt an irresistible need to paint.  My Western art heritage combined with a love of the Asian arts led to the blend of styles I use today:  merging gesture drawing with Japanese brushwork, re-interpreting Chinese landscapes with a modern, American sensibility.  For subject matter:  sensual figures, serene still-lifes, quirky animals and quiet landscapes.  With black sumi  a Japanese, carbon-based ink  and select use of color, I strive for the art of suggestion & subtlety.  The goal is to be simple and natural, to be unpretentiously lovely.

http://www.juliekeatenreed.com/Artist.asp?ArtistID=20298&Akey=ABQTA3LR