O range County is rich with creative talents. It’s an

amalgamation of the artists who paint outside the canvas, and the patrons who cultivate their prowess.

By Carrie Storke WilliamsPhotography by Robert Benson

Patrons & Artists

When it comes to artistic street cred in Orange County, Carl E. Smith’s got plenty. The Laguna Beach native spent years channeling his talent as an artist and designer in the action sports industry before shifting his focus to his own design and fine art projects two years ago. But he’s not about self-promotion. Rather, he’s an advocate for enriching the area with all types of high-caliber, globally relevant contemporary artwork. He founded CES Contemporary to fuel that movement, and he couldn’t be more excited about the effort. “We are witnessing the start of a new era for the arts in Orange County,” he says. The gallery and artists’ organization exhibit s the works of loca l and internat iona l emerg ing contemporary talents. It opened in October with a group exhibition t it led Continue to Continue, showcasing artists whose work demonstrates a desire to explore and push boundaries. Smith calls out one of these artists, Stacy Yelland, as a standout. “I was immediately impressed with Stacy’s commissioned portraits of her friends’ children,” says Smith. “In these works, she uses a very original hand-cut collage technique and commands an extraordinary color palette and use of space, while affording the viewer an intimate interaction with her subject matter.” Smith compares Yelland’s work to British collage artist and master portrait painter Jonathan Yeo, and to Brazilian artist Vik Muniz—and he anticipates that her artwork will forge a solid collector base both locally and internationally. And Yelland is set to mount her first solo exhibition with CES this coming fall.

Carl E. Smith & Stacy Yelland

From left: Carl E. Smith and Stacy Yelland shot on location at CES Contemporary

Even before JoAnne Artman had a gallery, she was championing up-and-coming artists—she was just doing it from home, opening up her Laguna Beach abode for private showings. It wasn’t until 2004 that she found a spot in the burgeoning, revitalized downtown area of Santa Ana and opened Space. But Artman always dreamed of operating a gallery in Laguna—and her dream came true four years later, when she found a great venue on North Coast Highway where she could “mix it up and bring a Santa Ana attitude to an exciting showcase of works,” she says. And that’s just what she’s done. The JoAnne Artman Gallery features an eclectic mix of media, from photographs and pastels to watercolors, oils, acrylics and sculpture—all created by award-winning artists. One of those talents is O.C.-based, Canadian-born James Verbicky. “James respects the great artists before him, such as Robert Rauschenberg and Jasper Johns, and is forging ahead with his unique style, paving the way for a new direction,” says Artman. He was first recognized in California for a commissioned work created on a vintage Frank Gehry sphere originally housed in the Hollywood Bowl. Then, in 2010, he unveiled a new collection of 3-D sculptural paintings constructed from antique and vintage paper and magazines from all over the world. The works communicate and capture the cultural bombardment of media throughout the decades. “James experiments with ease,” she says. “His ability and inventiveness will surely solidify his mark on the art world.”

JoAnne Artman & James Verbicky

From left: JoAnne Artman and James Verbicky shot on location at JoAnne Artman Gallery

The way Diane Nelson and Jeannie Denholm see it , Sout hern California could—no, should—be a sea of creativity that feeds a constant stream of talent. And their SCAPE gallery in Corona del Mar is an important waypoint. If any two people can make it so, this team can. Nelson, who founded SCAPE in 2003, has owned four contemporary galleries and is a noted supporter of the arts, including programs at the Laguna Art Museum, and the Laguna Beach College of Art and Design. Denholm’s provenance lies in assisting foundations, corporations and private enthusiasts in acquiring, curating and managing their art collections. But as a team at SCAPE (short for Southern California Art Projects and Exhibitions), Nelson and Denholm are able to host dynamic exhibitions and further in f luence Orange Count y ’s contemporary art scene. Among the up-and-coming artists who have captured their attention is Julie Easton, whose sculptures, works on paper and installations share her view of the world as a place where t he mu nda ne c a n become extraordinary. She uses cigarette butts, acorns, mini video screens and plastic to create works that radiate beauty and elegance, and compel her audience to question current environmental and social practices. “She makes completely obsessive, yet beautiful compositions using unexpected materials such as cupcake wrappers, coffee cup cuffs and dry cleaning tags,” says Denholm, “taking materials that most people would discard, and instead creating a very original and beautiful work of art with them.”

Diane Nelson, Jeannie Denholm & Julie Easton

From left: Diane Nelson, Jeannie Denholm and Julie Easton shot on location at Scape; Nelson and Denholm clothing by Elizabeth Charles and jewelry by Claire Slovacek

If there’s a grande dame of fine art photography in Orange County, it’s Susan Spiritus. It’s a passion that she’s been sharing with collectors for decades at her namesake gallery in Newport Beach. She curates exhibitions focused on some of the world’s most prominent lensmen, including Ansel Adams, George Tice and Camille Seaman. But she’s also often credited with developing (pun intended) the local fine art photography scene—and her gallery remains the only one dedicated to the contemporary genre in Orange County. She’s known for showcasing creations by artists who work in a variety of formats, from traditional to digital to vintage; and also supports local photographers, including San Clemente-based Julie Sample, whose environmental portraits capture stunning natural subjects with a unique perspective, focusing on the more intimate components of larger scenes. She adds beauty and depth to her compositions by using the 19th century-era platinum print process. She says the rarity and complexity of the technique illuminates her subjects like no other. And the artist feels strongly about showing her work in the Spiritus Gallery: “Knowing that Susan clearly understands and passionately embraces various photography styles makes me feel highly conf ident that she can communicate my passion and love for platinum to collectors,” says Sample. “It’s a lways a great partnership for an artist if the gallery owner believes in your work.”

Susan Spiritus & Julie Sample

From left: Susan Spiritus and Julie Sample shot on location at Susan Spiritus Gallery