What is your story Ondřej?

I was born in 1991 in the Czech Republic and live in Brno. I will tell you all the important bits later :).

What are your earliest memories of cars?

My first memory of cars is travelling in our Skoda 120. It smelled to petrol, Marlboros and vanilla fresheners and we were listening to Jethro Tull from a cassette recorder.  I really like recalling this.

Do you come from an artistic family?

I inherited my love for cars and motorcycles from my father and my talent from my mother. But neither of them made art for a living.

Where did you study art and can you give some specifics?

As a kid I was attending an elementary art school, mainly painting and ceramic lessons. Later, I chose an art school in Ostrava as my high school. I studied Industrial design program. I guess I wasn’t too bad because I won a scholarship to universities in Torino and Detroit, thanks to my work. Unfortunately, I didn’t have resources to study abroad, so I started to study at Technical University in Ostrava. It’s funny because at Czech art universities I was labelled as a person who was too practical and without a futuristic imagination.

Car Art by Ondřej Balak

Did your studies involve car art?

I always wanted to do car design or motorcycles, but I realized that in our bonded and unified world it wasn’t possible for me.

What kind of jobs did you have or have you always been an artist?

In Ostrava, I was working as a construction designer on electromobiles in a Research and Development Department. Today I would love to be an artist and do it for a living but I am not so famous yet. So unfortunately, I have to do a “normal” job. Last time I was trying to be a graphic designer, but I hate sitting the whole day in front of a computer and do stereo-typed work.

How did you become an artist and why cars?

I’ve been painting and sketching since my childhood. But classic painting wasn’t tempting for me. A few years ago I tried to change designer’s markers to brushes and paints and after several horrible experiments, it caught me.  My father used to take me with him to car racings. He knew a lot of famous drivers from CSR personally, so I think that was the first big influence.

Do you only paint cars or also other topics?

I don’t paint only cars but I like cars the most. If someone wants a custom painting, I enjoy that too, no matter what the topic is. Except painting people. I hate painting people.

Do you have a certain theme in your work and which techniques do you use?

My main theme is the Masaryk Circuit in Brno and its’ history. But if I see something interesting, I just need to paint it. I don’t use any special techniques, I like to paint by acrylics, dyes on canvas and aniline dyes on paper.

What inspires you to start a specific artwork?

I don’t have only one line of inspiration. I try to combine different components in order to create something special for a specific artwork.

Ondřej Balak's Automotives

How do you start with an artwork?

I find an old photo which catches my attention. Usually I search on the Internet, in books or I get them from contemporary witnesses. I also need to find out the theme colours and other important details. Then I start painting. Mainly I try to picture some curiosities – for example like in one of my paintings – Drion and Stohl – they were captured during their last race in Brno, where both of them died.

How do you feed your inspiration and what is your creation process?

Sex, drugs and rock n‘ roll!!!  It pretty much depends on the specific artwork. Sometimes I feel almost angry about it and spend a lot of time finding the best compositions, colours and style. Then other times it goes well and I just enjoy the process.

What do you want to express with your artwork?

I am trying to capture the moment, the era. As I said before, my main topic is the old Masaryk circuit in Brno (from 1930 to 1986), which has been all but forgotten. I didn’t experience it’s time of glory but its spirit deeply charmed me.

What does your studio looks like?

I am just a poor young artist, so my studio is my kitchen. But my big dream is to renovate the old mill in the country, which belongs to my family, and create my own studio there.

What are you most proud of and what is your best artwork so far?

I am most proud of being successfully accepted by Czech automotive artists. In my opinion, my best artwork is the painting of Hans von Stuck in Auto Union type D. It’s one of my first paintings. At that time I was not using canvas, but fiberboards. But I still like it.

Which artists inspire you and how do you practice and improve your skills?

Not someone in particular. I am inspired by so many artists, I can’t name them individually. Quick sketches by hand and little aniline paintings.

How do you develop your style?

That’s such a secret, even I don’t know

Do you prefer any specific materials or tools?

Nothing special, I prefer canvas or handmade paper.

Ondřej Balak's Automotives

Do you work alone and do you work in silence or with music?

Yes, I work alone, but I discuss my ideas with my friends. I listen to music while I work and love rock music and Celtic punk, but it all depends on what I paint. Then I can listen to Bach or Vivaldi.

What does a normal day in your life look like?

If I have a job, I wake up at 6:30 a.m. and go to work. So I can create after returning home in between cooking and my relationship duties.  So I don’t have too much time for painting. But if I don’t have a job, I also wake up around 6:30 so that I can almost immediately start creating. If I need some inspiration, I take a ride around the Old Masaryk’s Circuit.

Do you have any preference, brand, make, year or style of car?

I don’t have any specific type or year. Unfortunately, my interest in cars ended about the year 2000. Modern cars are so boring! I just like the combination of the engine, wheel/handlebars and the driver. Modern improvements destroy the joy of driving. I used to have a Fiat Punto MK1, engine 1,0 l. Driving it, a man feels pleasure and fear simultaneously, even when the speed is 60 km/h.

Do you own such a car yourself?

I don’t own my dream car (which would be sooo many). But I have a motorbike, ČZ 125 from 1948.

Have you had any expositions and is your art on display in a museum or elsewhere?

Last year I exhibited my work at a Classic Show in Brno and this year I would like to present myself on some veteran events. The main place where I present my work is currently Facebook. I also have websites but I don’t maintain them.

Do you have contact with other artists or Automotive artists?

Yes, my friends are Tom Havlasek, Daniel Šenkeřík and Jan Sachr. All of them create art much longer than me. They are my inspirators and and also my critics.

Car Art by Ondřej Balak

Are you a member of an artistic group?

No, but I was thinking about creating one. But I am afraid we would spend much more time talking and drinking, than painting.

What is your dream for the future?

To do art for a living.

What is your advice for people who want to become an Automotive Artist?

It’s a long and difficult path. If you want to do for example Abstract Art, the only thing you have to do is tell the story about a blue circle on a blue background. If it’s interesting, no one wonders if you actually can paint. In Automotive Art, a man has to be a designer, a constructor, a sculptor, a photographer and insane all together. But it’s important not to slack but to find your way. And practice, practice, practice.

Any advice for people who want to buy automotive art or start a car art collection?

Buy my art!:) I am just kidding. There are so many young automotive artists, so one can choose among them and find exactly what they like.

How and where can people buy your art?

Currently the only way to buy something is by contacting me or write me a message on my Facebook page or send me an e-mail.

Do you have any upcoming exhibitions, awards of new artwork related to automotive art activities?

I know that I will have a small exhibition in the depo at the Veteran memorial racing in Brno Soběšice in 24. 9. 2016. But this is the only event I am sure about at the moment.

To see more of Ondrej's work, please visit his website.

The post Ondřej Balak's Automotives in Masaryk Circuit appeared first on CarArtSpot.

David Chapple Auto Art

David, in your work ‘Majestic Glory’, I notice you have the word Jesus on the number plate of the car.

I wanted to do something with the licence plates to honour God and open the conversational doors with people and a lot of people do enquire about it. The licence plate on the actual truck that I drive reads the same thing ‘J3ZU5’and it’s just my way of thanking God for blessing me with this talent.  If you zoom in on the 1960 Empower, it says Lord. It has actually really opened the doors for me. I had a book published with a wonderful Christian writer named Ken Owen, who used to be the Head Chapel for the Raiders for Christ and he would bless all the dragster racers before they went down the quarter mile drag.

How did you get started painting cars?

I started sitting in front of the tv drawing sports figures when I was a little boy.  My father always loved VW’s and he bought a 1969 VW beetle for my grandfather and that just opened the doors for me. I was 14 years old when I started drawing cars and they quickly became my passion. When I was at senior high school, I won the Congressional Award for the State of Michigan with one of my paintings. I then received a scholarship to go to the Hope College in Holland Michigan and then in my junior year in college, I was commissioned by the Hope College to paint three large paintings for the student commission. It was a natural fit and it’s just been a life long journey with the automobile. After I graduated, I started doing certain car events and I haven’t looked back.

One of your paintings is titled ‘Love Bugs’. What is behind the name?

My wife and I have recently moved back to my home town and bought a house across the street from my Mum and Dad. We love being with family. My Dad actually loves that painting. The first paintings that I did were of his cars and he still actually has them in his collection, along with his expanded car collection. He has a ‘68 Karmann convertible, a beautiful 1958 VW Beetle convertible which is flawless, and I actually still have my original 1969 Beetle which was the first one that he purchased. We have a lot of fun with them.

Love Bugs by automotive artist David Chapple

I notice you are using the same kind of colour schemes throughout all your works. Is the choice of colours your signature style and how did you develop that?

Being an artist is finding your own path and I am someone who has always tried to create my own pallet, my own cultural work and something which no-one has ever seen. So it just came out and was a natural progression. I think as you get older as an artist, your colour choices become more complex. You try to experiment and come out with different colours which appeal to your eye.

Your ‘Love Bugs’ painting is quite unique and I notice quite a difference in your work between your commissions and your freestyle, which is much more artistic. Do you see that yourself?

Oh yes, the best clients are the ones who let you create exactly what you want to create and don’t give you parameters or tell you how to do your work. That’s when I do my best work. Back to the Love Bug, that was the first in a series of paintings. I don’t use a computer at all. Everything you see is from my mind’s eye and how I want to convey colours and the overlay. That style was very difficult for me to create. Sometimes it took me months upon months to finish a couple of pieces.

Ford GT40 by automotive artist David Chapple

I can imagine. They are kind of abstract, yet showing the iconic design of the cars itself. You did that with some non automotive work, like the coca cola bottles.

Yes and those were a lot of fun to do. Kind of a pop art style. I really enjoyed painting those.

Coca cola bottle by David Chapple

Your painting ‘Thrust’ has such a different perceptive than what you normally see in a car painting. How do you choose that. Does it take a lof of time to find the right angle?

It really does. When I am doing a layout for a painting, I will agonize over it because I want it to be a journey for the person looking at my painting. I don’t want the eye to just go to one section. I want it to have movement. In a lot of my paintings which have many cars, you will be looking down at the first car and then your eye will have to move through the painting to see the other cars. I like extreme angles when creating paintings with multiple cars. I work tediously at getting that perfect angle and I’ll work further to get it to that point and if it’s not the right angle, I don’t do the painting.

So which techniques did you use in your ‘Thrust’ painting David?

I had a lot of fun painting that. I like the extreme angle that no-one has seen before. I am on the ground, pretty much at pavement level looking at the thrust of the side pipe coming out. I like to paint sometimes from a ground level as if the car is coming right by you. How you would feel with that car inches away from you at that level?  It’s an extreme mean look.

Thrust by David Chapple

The rear tyre is wider than the car itself and it’s really a dominant kind of appeal. Which techniques do you use? Is it water colour?

Everything I do is hand painted acrylic and all done by paint brush on canvas, or on wood or substrate  I think the strongest point of my work is my blending. I love to blend a perfect graduation and I sometimes spend hours achieving the perfect blend. Someone who is not educated in art might think my work is air brushed but it’s all hand painted.

Sn8ke by automotive artist David Chapple

How do you select the car that you want to paint? When does it appeal so much to you that you have to paint it?

Being a lifelong artist, I’ve gone through the classics, the ‘30s Duesenbergs to the 50s Bel Air Chevy’s, the ‘59 Cadillacs and beyond. It’s a progression and I always have to paint something I like. I don’t want to create a painting that would just sell. I paint from the heart and I think that’s important.  Being an artist, you have to paint something that you can get really excited about and that’s when you do your best work. I’m really into the Ferrari’s now because I had never painted them and when your eyes are open to something new, you feel the excitement. I just love to paint them and I am all excited about it and can’t hide it. When it comes down to all my artwork, I like a clean, ultra refined, rich look. Everything that I do, I do to the best of my ability.

Times by automotive artist David Chapple

Do you consider cars to be art?

Yes, yes, yes.

Is your art being respected outside of the automotive world?

It’s mainly in the automotive world right now but I think that will change. Automotive art is a genre that the art museum world needs to take notice of. There are a lot of fine artists out there who are creating incredible automotive art and it needs to have its’ place. I think every automotive artist battles with that. I love my clientele and the position I am in. About two years ago, I became a member of the AFAS group and that is the pinnacle of every automotive artist. I also think the part of what makes automotive art so special is the people you work with and the people who come to these events. They are many of the nicest people you will ever meet. You can look at the grass being greener on the other side or you can make the most of what you have; that’s what I do, I make the most of what life gives to me. I love going to Pebble Beach and the Concourse in the USA and hopefully I can make it over to Europe soon and introduce my work there.

1959 Chevy Custom Bench by David Chapple

Besides paintings, you are also doing sculptures. How did that get started?

It actually started with my benches. I was given a raw flat bench for charity work. I got paid to paint on the bench. They told me to do whatever I wanted. So I painted a ‘57 Chevy on the side of it and it sold very well with their charity. So I thought ‘wow maybe I can offer this to my clientele’ and they responded well to it. Being an artist, when you go into a totally different genre or you work in a different medium, your mind gets tweaked and you become intrigued with it. If you look at the bench lines and the wood that is used, you can see that it was a natural progression into my sculpture work. My wall sculptures have the same line configuration. That was transferred from the bench to the wall sculptures and now I am doing custom furniture in the same exact lines as the bench and wall sculptures. It’s opened a whole new avenue for me creatively. I feel as if I am doing the most exploratory work of my career and I feel alive as an artist now. It’s very exciting for me.

Your sculptures look as if they can be hung on the wall or placed on a table top.

Yes, you can use them for both. I love creating that stuff. It’s very difficult but nothing that is good in life is easy. When you create something which has never been created before, there’s no set way of doing it. You have to explore with trial and error.

GT40 by automotive artist and sculptor David Chapple

Is working in 3D a lot different from working with flat paintings?

I took sculpting classes in college and knew that I wanted to get back to it someday. I just didn’t know quite how but it all fell into place. My current work has set me aside from other artists, so it’s very fulfilling.

The shapes and elements of your Porsche sculptures seem to follow the cockpit and the airflow of the car. Is that also the kind of involvement in your work?

Yeah, it depends on the subject that I am painting. Like ‘Ribbon Candy’, that is something I was designing in my mind and it turned out wonderful. I love that piece. That was the first piece I actually sold at Pebble Beach. I love the 917 and Porsches; there is something about the flow and movement of those cars. Pictures don’t do the sculptures justice because when you move around the sculptures, they move with you and shift to the image that show speed in a wonderful way. It’s fun when I see clients who see my sculptures for real and see first hand how they come to life.

Ribbon Candy Porsche auto art by David Chapple

There are a couple of AFAS members who also do sculptures. Do you share ideas and encourage each other?

I think we all encourage each other. The nice part about it is that we all have different techniques and styles. I am a painter and when I do a form, I have to think how a painting will balance on the sculpture. There are two different elements. It’s not just about creating a sculpture, I have to find a way to paint a car onto that form to convey the speed and the two work together. So it’s kind of a double edged sword when it comes to what I do. I paint on top of it and incorporate both mediums of sculpting and painting. So it’s a difficult process. At AFAS, we want the betterment of the fine art of the automobile and I think that’s the common ground for all of us. 

If you would like to see more of David Chapples’ work, please visit his website.

The post Automotive Sculpting Art appeared first on CarArtSpot.

CarArtSpot recently visited the Retromobile in Paris. Amongst the automotive artists exhibiting their work, was Unique & Limited which stood out for their large photo print of a Bugatti pit stop taken from above. An intriguing photo, since photos from that angle are only taken nowadays at F1 races and were not technically possible 50 years ago in the Bugatti era.

Bugatti T35 by Unique & Limited

Unique & Limited work is very different from other automotive artists at Retromobile. How was your work received?

It was a mix. Some people really liked it and the fact that it is something new on the market, which always helps revive the art industry. But some people struggle with which category to place it in.

Digital art in itself has been under some dispute by some groups such as AFAS. Is this something you encounter?

Well we actually tried to contact AFAS to become a member but they replied to say that they are kind of old fashioned and only really want to have artists in the same category. I think we will get there oneday but it may take some time.

Is Unique & Limited the first in the type of art which you are creating?

Yes, so far we have only come across two or three artists who do something similar. Digital art is quite broad and there are lots of rendered images which are displayed but none like ours.

What is the mission of Unique & Limited?

Basically we want to travel back in time and give history a way of looking at it in a way it deserves to be remembered. Usually historical moments (especially from the 30’s) are all black and white and quite grainy. The stories behind them are just as interesting as the races of today and we want to capture those moments and give them the quality and respect they deserve.

Silver Arrows by Unique & Limited

But why is that important? There are lots books with grainy photo’s which have some charm already?

Of course but a car like, say the Ferrari 250 GTO is one of the most expensive cars these days and many people value this kind of car and its’ history. There are only 39 of them, so they are limited, special and very beautiful in their own way. We want to make sure they get the attention they already have but improve it and make it as beautiful as it can be.

Ferrari 250 GTO Collection by Unique & Limited

Do you consider those cars to be art in itself?

Yes. The thing is the cars themselves require the main work. We build them exactly the way they were with all their dents and dirt and scratches. You basically cannot see them in that kind of condition anymore today because all the cars have been restored and polished to perfection, shiny and almost brand new looking, even though they are not. I always like to compare them to people because we try to fake our scars and marks even though there is no way you can look like 20 if you are 50. It doesn’t work that way. The great thing about this technology is that you dan basically do anything with it. Especially looking at these historical moments from a different perspective. That’s also what we try to do. Every image you see is sort of captured in a way that was technically not possible back then. People see our images and look at them for about ten minutes and can’t work out why they look like a photograph when it is physically not possible to be a photograph.

Like the Bugatti T35 which is my favourite.

Yes and that’s a great example because although we know that we have this view today in the Formula 1 races when they stop at the pit stops, back then it wasn’t possible. It’s the same for our work on the Silver Arrows where you are basically standing on the road and you have the cars coming at you. If you were the photographer, it would have been your last picture. It’s that kind of look that makes you feel like you are drawn into the scene because you become a part of it.

Burn and Crash by Unique & Limited

Unique & Limited tells a full story with just one photo and you do a perfect job in your marketing activities. I was surprised to see that you are creating a whole storyboard for your art.

Yes. It’s necessary and you can actually compare it to a movie production because you have to have a certain concept before you can actually start the work, due to the scale we work from. It’s a lot of work. We have to get all the details right. Everything of the car needs to be modelled in 3D and that takes a lot of work. For example the Bugatti which was modelled from the top; we had to make sure that everything was perfect from the top but if you were to rotate the camera and maybe look from the underneath, the car wouldn’t look the same. This is because we know you wouldn’t see it from that angle and so didn’t spend much time on modelling it. This is why you need to have a concept first, so that you know exactly which parts of the car need to be modelled. And it’s the same for the photoshoots. You have to know where the car is and what the people are going to be doing in order to actually do the photoshoot. We use Hollywood backgrounds aswell.  We worked for Lucas Film. So we know what the standards are there and it’s pretty much the same production work. You have to have everything set up and know how many people you need to hire and give them instructions as to what they need to do. You need to guide them.

So it is actually like doing a movie shoot because everything has to match; the fashion, the clothing, the tools etc.

Yes and we are actually quite fortunate to have good connections to the ‘The Hollywood of the East’, a big movie studio which has this huge department of period costumes and props that we can rent. 

A Dampened Victory by Unique & Limited

How do you pick the topics?

It depends. We always try to have some kind of theme such as upcoming anniversaries. Last year we did the Battle of Britain. Some sort of event which we can contribute something to. People approach us and ask if we are going to do a theme. We have a list of cars which are the most outstanding ones within the classic car industry and a long list of things we can and want to do but it’s always a matter of time and funding.

You are quite unique if you compare yourselves to other artists at Retromobile.

Yes and no. We have to support ourselves because we are still in our start up phase. We only just started working officially as Unique & Limited last year. So compared to other artists, we do the same but the difference is that we are a group of 5 or 6 people.

You picture historical events which need to be as accurate as possible but with your own twist to it.

Exactly. Authenticity and accuracy is key to every image. So we do spend a lot of time making sure we have all the correct details, enough reference images for the car and details for the story and background. It takes a lot of time and work before we can actually start modelling the car. Around a 1000 working hours just to get the modelling done. Other artists maybe work solo painting one image. So there is quite a difference.

Defeat But Not Despair by Unique & Limited

Does it help you to challenge each other? What kind of synergy do you have for each project?

The great thing is that everyone in our team has their own specialty. We all bring in something that each of us is really good at. It all comes together and we couldn’t do our work without each other.

What is the definition of art in the view of Unique & Limited?

Well I don’t think that art can be defined. There are so many different types of art and I don’t think you can really put a label on it. We struggle with that because so many people call our work photography, which it is not. Then they call it a painting, which it is not. There is no label for it. We always say it is a mix of photography and computer generated imagery or 3D artwork.

I try to define artwork by the emotion and feeling it conveys to the viewer. Your image of the Bugatti and the setting definitely does that.

Thank you. That’s the great thing about this technology, you can use it for everything.  Although we don’t just want to make car art, cars are a passion and there is a lot of passion behind our work. We don’t just do it to earn money. There is a lot of work involved and you have to enjoy it. We do and we also have a very broad vision.

Have you considered taking a Bugatti or a Ferrari and creating something of a more fantasy setting?

We have been approached about this and people would love to see the more newer cars in such a setting or in a nice environment. We think there is no point in doing this because you can actually take the car and put it in a nice environment and take a photo of it. We wouldn’t say no to a more fantasy setting but it should be a project which someone wants to do and where we have support.  There are people who know everything about cars and drivers and can tell us very interesting stories.  I’ve had so many customers come up during exhibitions and look at our work and tell us really interesting stories about the cars and its’ history.

Let It Rain by Unique & Limited

What is the dream of Unique & Limited.

One of our specialities is creating unique moments. Specific moments which happened back in history when no-one really knows what happened, or there are not many images to show the facts. We want to use our technology to change this and show what happened. It could be anything. Maybe it’s the starting of a big company moment or a beloved family member who did something heroic back in the days and they want to capture that moment in an art way. Kings and Queens have always had paintings of themselves. It’s even possible to recreate faces and use the technology to put it into a scene. There are great possibilities.

While you are capturing one specific moment, have you ever considered making short movies?

We do have ideas that we are playing around with but it’s different kind of work. Right now it’s only an idea which may materialize in the future. We don’t rule anything out.

So there are no limits to Unique & Limited?

Exactly. We were actually thinking at some point to change our name to Unique Unlimited. Our ideas are unlimited but the work we do is limited to limited editions.

To see more work by Unique & Limited, please visit their website: http://www.unique-limited.com/services/

The post Unique & Limited - Digital Automotive Art appeared first on CarArtSpot.

Benjamin Freudenthal

The movie director of automotive art – La Dolce Vita by Benjamin Freudenthal

Benjamin, it was so nice to meet you at the Retromobile in Paris. How did it go for you?

It was the best show I have ever done and a tremendous start to 2016.

In which way was it successful?

My painting ‘La Dolce Vita’ got a lot of attention and my “gangster” paintings were also very popular. People were curious about the human presence in the paintings and really liked the stories in my paintings. The humour and the fact that the characters are doing funny things. People kept stopping, looking and smiling.

Have those reactions confirmed that you are in the right direction?

Yes definitely. A friend of mine, Dominique who was with me at the Retromobile, had been telling me to paint nice girls and people and to tell funny stories in my paintings and bring some humour into my artwork. I think he is right.

You have done many automotive paintings but I think your character paintings are the best. Like Bonnie & Clyde for instance.

Making art is very personal and the problem with automotive art is that you mainly paint by commission and are asked to do what the customer wants. It’s not usually about fun, or fantasy. It’s mostly very serious and you have to be very accurate with all the details. This is why I like to choose the subject myself and especially because I recognize myself much more in my gangster and narrative paintings.

The Barrow Gang by Benjamin Freudenthal

The humour you put in your painting is not always immediately noticeable. I only just realized that you have painted yourself in La Dolce Vita.

It is the tradition in the history of art that the artist puts himself in the background somewhere. Even in movies. In my gangster painting ‘The Barrow Gang’, I am pushing the Ford V8 car and all my friends are around me and Dominique is driving the car. That painting is very big;  3 meters long. Bonnie and Clyde, who you see in the foreground, are my neighbours. They posed for me and I took photo’s of them wearing the clothes but changed their faces to Warren Beatty and Fay Dunnaway. I started doing those kind of paintings about four years ago.

I notice that the lady in those paintings is always wearing the same dress. What is the meaning behind that?

Art by Benjamin Freudenthal

Well those paintings tell a story about a movie and that is the reason why the woman wears the same dress. I first used the dress in my Barrow Gang painting and afterwards it was like a piece of a puzzle. It’s a visual effect to make people understand that each painting is a part of the puzzle and story. I still want to make nine more gangster paintings but you will see them in very different compositions and in different atmospheres; inside banks robbing, racing with cars, being in love, kissing and dying. Every time it will be a typical scenomatic composition with a very typical atmosphere and lighting.

Are they scenes from different movies or do you make them up yourself?

I invent the stories but they are inspired by gangster movies. Tragically most of them will die but I want to make paintings which are both attractive and also very sad.

I find it fascinating that you came up with this story about gangsters and have layed them out in a series of paintings.

Yes, there will be twelve in total. I have painted three and still have nine to paint. I already storyboarded all of the paintings. I just have to paint them now. The problem is they take a very long time, many years in fact and I also have to make commissions for a living in the meantime.

This series is very close to your heart. Will you sell all the paintings?

I will do my best. The first three have already been sold but it isn’t a fashion subject. So I hope to sell them all.

In my opinion your narrative work really shows more of yourself and triggers emotion. I see the difference between your commission work and your personal choice.

Yes, there is a very big difference. Not only in what is shown or told but also technically. There is much more knowledge in my narrative work than in my motorsport paintings. I go much further but maybe because I would really like to be accepted as a painter, rather than an automotive artist. I want to show that I know how to paint and how far I can go. That is why there is such a big difference between my narrative paintings and my automotive productions.

Porsche 356, Mille Miglia 1957 - Bâche by Benjamin Freudenthal

If you compare your older works to your work in 2014/15, your later work is more accomplished.

Yes I agree. I learned a lot from Stanley Rose. He is the person who taught me to be more confident on how to put the brush strokes onto canvas and be myself.  I have followed Stanley’s work for many years and if I had not met Stanley and seen his work so closely, or had so many talks with him, I wouldn’t have been able to do that with my last personal artworks. All artists have spiritual favours from people who show them something. Technically, Stanley Rose is very impressive.

Mille Miglia by Benjamin Freudenthal

Can you share with us how you developed your style and technique and choice of topics?

I am a movie lover but my first real emotions as a little boy, were aircrafts and cars which were in the movies.  I’ve always been in love with westerns and television series, but what is it we really love? Is it the actors or the cars? We love films and series because we love the characters, and I wanted to express that through my work. I wanted to paint characters and show that cars are driven by people and by guys who are much more interesting than the machines they drive. I wanted to show that I am involved in the cinema. All those reasons drove me to change my style and show characters. The problem was that a few years ago, I was technically too weak and didn’t have enough experience to do that.  Now I have and can really see what I want to do.

Jaguar typeE à Bordeaux by Benjamin Freudenthal

Are you influenced by any other artists?

Well obviously Stanley Rose has been a tremendous influence but also other artists like Tom Fritz who is  a really good artist. His paintings also tell stories.  The Americans are really good storytellers. Norman Rockwell is another one.

With your artwork, the viewer looks and fantasizes their own story.

That is what I want. I started experimenting to see what reactions my work would get.

Well with ‘The Share’, the story springs out at the viewer.

Yes, the animals give it some humour and the painting is not overly sentimental. This painting wouldn’t have been the same without that dog in the front.

The Share by Benjamin Freudenthal

So what is your dream? How do you see yourself in five or ten years from now?

I will continue with narrative paintings of people and many crowded paintings with funny things and a lot of humour. I will cast people to help me by posing for the characters. My future work will probably be compared to a film director who makes movie scenes on canvas. I want to be a film director on canvas and give people the impression that they are in the cinema when they look at my artwork.

Gangsters by Benjamin Freudenthal

I think the success you have had at the Retromobile is a good indication that you are on the right track Benjamin.

I think so too and I am really motivated to pursue this course. My best work is yet to come!

Keep an eye open for more of Benjamins work and visit his website.

The post Automotive Movies on Canvas appeared first on CarArtSpot.

Ferrari In Art by Paul Chenard

Artist Paul Chenard might be best known for his fast sketches of classic cars. At many car events in the UK or Canada you will find him sitting somewhere in a corner sketching another beauty. Passers by often stop to see what he is creating and share the admiration for the car and his wonderful skills.

Paul has a professional background as a graphic designer but his passion is creating art and writing about the history of automobile racing. In his new self-published  book “Ferrari in Art – A celebration of the legend”, he shares a fine collection of his work. Each drawing comes with some background information about the race.

Ferrari In Art by Paul Chenard

His graphic roots certainly show off in this well designed little book. You can feel the love for his work in all the small details. From the image hand-glued on the hardcover to the choice of high quality paper and font types. All the details have been perfected. And the nice deal is that this book comes with an optional small poster of your choice.

My favourite is the poster of the “Ferrari Garage – The Night before the 12 hours of Sebring 1962”. This is the sketch of the scene with two cars highlighted in blue and red. Paul did me a big favour by signing the poster and the book.

Ferrari In Art by Paul Chenard

Make sure you get your personal copy soon because his previous book sold out quickly and has already become a collectors item.

The format is a 28-page 9.75”x 8.25” hardcover book with slipcover. When book buyers request their Ferrari poster, Paul also includes a book-cover label and bookplate as added free gifts.

Ferrari In Art by Paul Chenard

Get your copy here:

http://www.blurb.com/books/6772551-ferrari-in-art

To see Paul's work, please visit his website and https://www.pinterest.com/automobiliart/

Read our previous interview with Paul Chenard

The post Ferrari In Art by Paul Chenard appeared first on CarArtSpot.

After studying sculpturing and graphic design at school and college, Daniel went to work for a company as a graphic designer and although he started out sculpting,  he very soon moved in the direction of painting his real love and passion………..cars, and in particular old cars. At the age of 25, he had done many paintings which he kept stored under his bed. A friend saw them oneday and liked them so much, he encouraged Daniel to exhibit them which is what he did and has been exhibiting them in his country the Czech Republic ever since.

Daniel Šenkeřík Automotive Artist

Daniel loves all era’s of motorsport and  the old Formula 1 racing cars from the past appeal far more to his background as graphic designer than the modern cars. They are far simpler in design and more beautiful than the modern F1 cars, he says, and according to Daniel, the 1970’s was the best time in racing when it was all about the car and the driver. He was just a kid back then and racing was so much more romantic than it is today.

Daniel Šenkeřík Automotive Artist

With his art, Daniel eventually moved into the direction of painting posters which is what he does most at the moment and loves doing. Eventually though he sees himself going back to sculpting again.

Daniel Šenkeřík Automotive Artist

Marcel Haan dug a little deeper into Daniels' artistic background:

So what do you want to express with your paintings Daniel?

I want to express speed, the car and driver. I love paintings which are impressionistic but everyone has their own style and my style is painting simple cars, like the Niki Lauda BMW Procar M1 from 1971. With my poster paintings, I like putting in text and seeing them hanging on the wall as a poster.

The painting I did of Steve McQueen and his Porsche 917 was a sort of experiment which you have to do sometimes because if you don’t experiment, you don’t progress or move in a different direction. If I see work from other painters like Alfredo de la Maria or Juan Carlos Ferrigno, I love the way they work with colours and lighting. I try to learn from artists like that and try out different things. It’s not only about painting the car and I want to be a much better painter and understand the colours and lighting more. I am my own critic and work at developing my style more and making each painting better than the last one.

And how do you come up with new topics for your artwork and do you think that commissions limit your creativity as an Artist?

I have many books. I lived in England and bought many British automobile magazines which are the best.  One of my rooms is full of books and magazines and now there is obviously internet.  I make sketches and read articles which bring me onto ideas. Niki Lauda is my childhood hero and my top nr. One driver. I actually met him some years ago which fulfilled a dream of mine. I do commissions but don’t think they limit me. If someone wants a commission from me, then they obviously like my art and the way I paint and are mostly satisfied to leave it up to me.

Daniel Šenkeřík Automotive Artist

And for Daniel, he has the perfect job and is living his dream but his next goal is to expand his artwork abroad to get more exposure. Up to now, he has been exhibiting solely in the Czech Republic. That is about to change. Not short of hobbies, Daniel also makes design T-shirts and we think there is a lot more to come.

Daniel Šenkeřík Automotive Artist

To see more of Daniel Šenkeřík's work, visit his websites: http://p1gallery.cz/ and http://www.nemostudio.cz/obrazy/

Daniel also has a Facebook page.

The post Daniel Šenkeřík Multi-Talented Art appeared first on CarArtSpot.

Do you see yourself as a storyteller of art Alan?

Yes. I’m not interested in portraits of cars. I really like introducing people into my paintings rather than just mechanical objects. I like to do paintings which have some sort of a story and situation in them showing peoples facial expressions.

Automotive Artist Alan Fearnley

I noticed that there are a lot people being active in your paintings. Do you have people posing for you?

Sometimes I do.  I’ve been involved in exhibiting in Monte Carlo for a long time. My first exhibition there was in 1988. Then I started exhibiting with Monte Carlo Fine Arts Gallery and because of that, I’ve done a lot of paintings, reconstructing the social scene. The imaginery world of the 1930’s. The glamorous cars, people and clothes, and all that gives a wealth of inspiration. I also do London scenes as well, rather than just motor racing scenes.

It must be quite a challenge painting scenes from the '30’s when you were not there to witness it yourself?

Well I use lots of references for the clothes and architecture for how it was back then but I have to be careful in my research in order to portray everything as it was.

How do you research? Do you look at fashion books?

Well I have a library with lots of books, photographs, magazines and many things I can refer to, although not too many fashion books. It’s more about getting the feeling of that time, rather than exacting every detail. I’ve got motorsport magazines dating back to 1949. For everything after the war, I have some sort of reference for it.

Lunch at Prescott by Alan Fearnley

How do you come up with the scenes. Do you make them up yourself?

I usually make it up myself but sometimes people can be very specific in what they want. I had a Scottish client who had retired to Monte Carlo and he collected model T Fords. I did an imaginery painting for him of Casino Square, really in the very early years of the century where the buildings didn’t look at all like they look now. But I was able to get reference for them and actually his family, friends and other people all gathered together in Casino Square and with a couple of his model T Fords and a Cadillac which he had as well. Occasionally these things can get a little out of hand and become fairy-tale like. I try not to be too Walt Disney about it and get a sense of realism even though I am creating something from a hundred years  or so ago.

With an idea like that, do you already have that in your mind before you put it on canvas?

No not really. It’s really a case of starting a sketch or layout and doodling away at it for quite often several days. Then an idea appears and develops and I introduce more elements until it has the look I want. Then I start work on the painting.

Isn’t it difficult getting the lighting and reflections correct?

Well yes but that’s the job of the artist. It’s what I do hopefully successfully most of the time. It’s always a challenge but it isn’t something you are aware of. As you start to paint, you paint whatever is necessary for the painting.

A lot of your work has many romantic scenes with landscapes and picnics. Are you a romantic?

I would like to think so, yes. I think we all have romantic memories of things. The motorcar has been an enormous influence in the past century. We have all taken our girlfriends out in our jalopies which broke down. All those sort of things and it’s nice to rekindle it in paintings.

Summer of '49 by Alan Fearnley

I notice you mostly paint Classic Cars.

I do now. I used to paint a lot of F1 things but I can’t remember the last time I painted a modern F1 car. Although in actual fact, I have a commission for next year to paint a 1988 former Williams car. But these things come around very rarely and I really prefer cars of the 1930’s, 50’s and 60’s from a visual point of view.

What do you think it is in particular that makes them different from the modern cars?

Well the cars of the 1930’s are a lot more intricate. Once we got all the enveloping bodies in the late 40’s and 50’s, the visual interest in the car was lost to a certain extent. When cars have separate wings, headlines, running boards and louvres down the bonnets etc. there’s an enormous amount of visual interest in the car itself. As cars have developed, it’s disappeared  and modern cars are totally bland. Some cars of the 1960’s like the E-type Jaguar are extremely difficult to paint because in a sense, the shape is too perfect. The curves are very subtle and to get the correct shape is far more difficult than painting a 1920’s Bentley, although there are lots of things on the Bentley to paint.

Lunch Break at Prescott

That’s probably the best compliment you can give to the designers of the E-Type.

Yes it’s just about perfect.

While exhibiting in Monte Carlo, you must have seen a lot of races.

Yes, I exhibited for 11 years at the Hotel de Paris to coincide with the F1 Grand Prix. I’m not too worried about watching the racing these days but I like to wander around the paddocks etc.

I guess you must have been able to be in the pit stops close to the drivers then?

Not actually during the F1 racing but a lot of the drivers used to come into the exhibitions, so I met lots of them. I knew Derek Bell very well because his agent was my agent. I also got friendly with Roy Salvadori as well. He was a very nice man. The guy who actually represented me there at Monaco Fine Arts was Michael Key and he was in fact a Lotus driver in the early 60’s. He drove along side Jim Clark. He unfortunately had a very bad accident which ended his driving career and he then became an art dealer and moved to Monaco.

Monaco Pits 1957 by Alan Fearnley

Do you get inspired by other artists?

Not from motoring artists. There are other English artists who inspire me and a particular favourite of mine was called Monings who died in the 1950’s. He painted horses but certainly his style of painting influenced me a bit.

Has there been a development in your own style and techniques through the years?

Yes there has. I started off painting impressionistic landscapes and motoring and railway subjects in the 70’s. Then in fact my style became tighter and tighter and more restricted as I started painting F1 cars. I think largely because of the advertising which has to go on the car. Now I find that my style has become loser again and I find myself moving back to a slightly more impressionistic and dashed off style of painting.

The reason why I ask that question is because on your website you have your painting of ‘Twelve Wild Horses’ which is quite different.

It’s a complete ‘one off’. I did some work for Chris Rea and he has a song called Daytona and in that song there is the line ’12 wild horses with silver chains’. I had the inspiration to do that painting for six or seven years before actually deciding to do it because it was so out of style with the sort of things I usually do. Anyway, I got down to it and am really pleased with it but it really is a one off.

Twelve Wild Horses by Alan Fearnley

When I saw it, all sorts of questions came into my mind and I find it intriguing.

Well as an artist, I just felt it was something I had to do. I don’t suppose I will do anything like that again though.

Have you had an inspiration like that before, where you had to paint something?

No not really. There are lots of paintings I want to do but nothing I felt I had to do in the same way.

Are there any specific paintings which you would still like to do?

I think I’ve done all the paintings I want to do. Occasionally I do get inspired  to do a painting when I see elements which appeal to me or bring something to mind.

How do you describe yourself? As an Automotive Artist or a Fine Artist?

I usually describe myself as an Automotive Artist but only really to tell people the subject matter I usually paint, although I obviously paint other things as well. I was a member of the Guild of Aviation Artists and Chairman of the Guild of Railway Artists and have painted ships as well. I don’t look upon myself as soley an Automotive Artist.

Sacre Coer by Alan Fearnley

What I hear from a lot of Automotive Artists is that the subject matter limits them from getting more exposure.

Yes, I think motoring art, along with railway and aviation painting doesn’t yet have the same recognition as for instance marine painting. I imagine that is really because motoring art hasn’t been around long enough in a sense. It’s not recognized as Fine Art in general art circles.

Is that just a matter of time?

It may be but it's taking an awful long time.

My view is that the automobile has had such an influence on our culture. Art is a way to capture the changes and moments in time and preserve them for the next generations.

Yes I see it in exactly the same way myself but I think possibly that most motoring artists paint in a fairly strict representational way, whereas most art galleries and exhibitions are looking nowadays for far more modern, abstract work and not for pictures of something.

Not Too Fast by Automotive Artist Alan Fearnley

In recent discussions with curators of car museums and from personal feedback on my social media, it seems that far more reactions are triggered by automotive paintings of nostalgia and memories rather than the super car. Do you recognize that?

To a certain extent but I still think the car has to be special and something people dream about.

What do you consider as the major quality in your artwork which made it so popular?

I think it’s the ability to bring atmosphere of the time and place into my paintings.

In your Mille Miglia painting, you have a wonderful scene of three supercars and big crowd which you captured brilliantly. Have you ever driven in a Mille Miglia?

No I haven’t.  I recently sold one of my cars which was a Lagonda but I still have my XK120 Jaguar and do some gentle rallying and outings in that which I enjoy greatly.

Mille Miglia by Alan Fearnley

Do you still have a dream to create your masterpiece or has that already happened?

I really don’t know. Hopefully I might produce a masterpiece which is better than anything I’ve ever done before but I won’t know it, until I’ve done it.

Do you see it as a challenge to do each painting better than the previous one?

Yes I do really. I don’t chase work any longer but I receive a lot of commissions which I am very happy to do but I paint a lot more what I want to paint now. Even painting for an exhibition there is a tendency to paint picutres which will sell and with commission work, a lot of the decisions are made for me. So if I am not doing a commission, I like to do something which I really feel inspired about or haven’t done before or which I feel that I can make more of.

I see the boundaries of a commission but I can also imagine that it challenges your creativity as an Artist to obbey the request of the customer while remaining creative and doing  what you want to do as an Artist.

That’s true yes. It is a challenge. The great thing about it is that most people who commission paintings are very happy to take the artists influence. Generally speaking, they employ me to produce a piece of artwork for them but there are obviously elements in the painting which has to be done. With a non commission, I feel more freedom to do what I want to do myself.

For more of Alan Fearnleys work, please visit his website.

The post Alan Fearnley Automotive Art Storyteller appeared first on CarArtSpot.

Ford Total Performance by Author Martyn L. Schorr

Ford’s racing tradition is older than the company itself and with their “Total Performance” program they created a line of race and high performance cars that have become legends on their own. Author Martyn L. Schorr has a distinctive publishing career as a photo journalist and is the right guy to create this book.

He covers the progress Ford made in racing throughout a period of 10 years ((1961 through 1971).

Ford Total Performance by Author Martyn L. Schorr

Starting in 1961 with the Starliner coupe that came with an optional performance package each year comes by highlighting the models, the technical details on the engine and the race results.

From the Galaxie to the Mustang and the Shelby Cobra Daytona, all those wonderful cars which we admire today are placed into the context of those early days. The amount of technical detail and the specifics on special models and packages is impressive. Everyone owning a Ford from this era should have this book, if only for the appreciation of all the engineering and dedication that was put into these cars.

Ford Total Performance

Ford Total Performance

Ford Total Performance

And of course there is a lot on the Ford GT, Ford’s answer to Ferrari at Le Mans, dominating this race in 1966. The author himself was one of the first driving the commercial version in 1967 and reminisces some notes from that day:

“Incredible throttle response as long as I keep the Rs up. Braking and handling, superb, like driving a fully sorted-out race car on the street. A little scary.”

This book takes you on a journey through the best years of American car design and racing history. A journey by the best guide you can find. Enjoy!

This book is published by Motorbooks and available here.

(Author and ISDN: Martyn L Schorr 9780760348581)

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When you write about cars and art, the same car brands keep coming to mind; Ferrari, Porsche, Lamborghini. Brands that dominate the market of the supercars. Doing a review on Tachens' book 'Intersection Cars Now' made me realize how many other brands are out there. Rolling sculptured creations, pieces of automotive art.

Intersection Cars Now by Taschen

Take for example the BAC Mono. I had never heard of this car before but what a stunning car! And while it has the looks of a racer, the Briggs brothers claim that it’s street legal.

BAC Mono - Intersection Cars Now by Taschen

BAC Mono - Intersection Cars Now by Taschen

Publisher Taschen is offering a kind of catalogue with this book. The authors categorize the latest innovations in alphabetical order.  So you won’t only see supercars listed, you will also find the Mitsubishi iMiEV. To entice the reader, they divulge secret details. And while most of these details are not really secrets, they do add to the appreciation. For example I for one, wasn’t aware of the fact that the horizontal body grooves on the Ford Flex evoke the woody wagon paneling. Nice to know.

Mitsubishi iMiEV - Intersection Cars Now by Taschen

Ford Flex - Intersection Cars Now by Taschen

The book contains graphics which show you the basic details of each car, such as speed, price and power. This is the graph for the Ferrari 458 Italia.

Ferrari 458 Italia Graph - Intersection Cars Now by Taschen

Published in 2012, the authors wanted to provide an indication on what was to be expected. Three years down the line, you realize that the purpose of cars remain the same. Beside the basic function of transportation, it offers the joy of speed and movement in so many ways and configurations. I am curious what the automotive future will bring us.

This book is available at Taschen.

The post CARS NOW appeared first on CarArtSpot.

So Dave, you are into gassers.

Yes, I’m into cars which, back in the mid west in the 50’s, were called gassers because they looked like cars you could drive on the street but they had modified motors. Later cars evolved and became more elaborate and pretty soon during the 60’s, they were really no longer street legal cars. They had very powerful motors and by the end of the 60’s, gassers evolved into drag racing cars which became the ‘ funny car’. It was basically a fibre glass body on a dragster chassis. So I was in on the early years of those kind of cars and that’s what I’ve always stayed involved in. Drag racing cars of the 60’s and sometimes muscle cars. I don’t drive in them now. I just like restoring or building one which I think reflects that time. It’s my hobby.

Dave Miller

Well I had never heard of the word ‘gassers’ before.

I could take you to garages with guys you have never heard of, who are doing some magnificent work. I was there in the early stages and have seen how this hobby and industry has developed and I want people to remember that it’s really an individual activity.  There are so many talented people out there, engineers who are never heard of. Cars are not about one individual or one shop. Every little town has someone who loves and builds wonderful cars. They are labours of love. I’m focused on the 60’s when cars were so supreme, it just boggles your mind and I’ve been fortunate enough to build a couple of really nice cars. I’ve loved cars all my life.

Dave Millers' 1955 Chevrolet gasser

Dave Millers' 1955 Chevrolet gasser. It won Postwar Race Car Class at the 2009 Los Angeles Concours d' Elegance and was most recently one of four featured gasser's at the First Annual Tribute to Gassers 2014 presented by the Automobile Driving Museum in Los Angeles.

So for you, it’s important to build those cars with all the detail and in exactly the same way as they were in the 60’s.

You nailed it. People find some aspect about the car from the era I like, which is kind of unique; they take that and pretty soon it’s reproduced everywhere and becomes the standard. But it really isn’t the standard because it wasn’t the way it was done. For instance, I’ve seen modern cars of today painted in all black primer. That kind of got started with Hot Rods and gassers because people building replica’s would paint them in all black primer. So people assume Hod Rods and gassers were painted in primer but thats not true. In my day, no-one wanted a primer, they were only painted in the primer temporarly until you could afford to paint it in the colour you wanted. I like to show people and remind them the correct way it was done back then.

Today, replica’s can be built of any car you want. For example, some high end beautiful roadsters from the 30s and 40’s get built and the level of workmanship on those cars is phenomenal.  In my opinion, they are no longer cars, they are works of art.

In 2009, I entered one of my cars, a 1955 Chevraley gasser which I restored, in the Los Angeles Concours D’elegance. We won ‘Post War Race Car Class’ because we restored it to the exact way it used to be. That means that we left imperfections in the car which the original builder was in too much of a hurry to get finished and out onto the race track.  When we showed it at a car show, we got 994 points out of 1000. They took off 6 points because the fit of the doors were not as close as they thought they should be. The fact is, the doors were fibre glass, like the hood and other parts and the original builder didn’t want them to fit. He wanted people to know they were fibre glass. This is my point. Todays replica’s, even of gassers, are built to a level which just did not exist back in my time.

Dave Millers' 1955 Chevrolet gasser at Los Angeles Concours 2009

Dave Millers' 1955 Chevrolet gasser at Los Angeles Concours 2009

It's not about the most expensive car, it’s about the car which has the most emotional association!

Is that because at that time, those elements were not the main importance? The focus was on the performance and the general appearance.

You got it.  My focus is just to try to remind people that a car is a car but it still has tremendous emotional artistic value to people in remembering a time and an era. Some of the things that get overlooked are vital to really understanding that. The hurriedness and the imperfections that were left because they didn’t have the equipment or the time to finish it.

1939 Willys pickup

How do you see the role of an automotive artist?

I think that good art should tell a story of a place and have a broader impact on the people looking at it. Too much of our emphasis is making assets out of things and transforming them into objects to be sold. Take the French impressionists, their paintings give us a sense of the time and place. They show the average person, something which they didn’t see, and remind the viewer of something that has been forgotten or overlooked.

At the General Motors Heritage Museum in Detroit the biggest crowd puller is the little brown car in the corner which people remember their grandfather driving in or remember sitting in the back seat when they were a child. It’s about hitting the most hearts with the most emotion. It’s not the most expensive car, it’s the car which has the most emotional association.

Replica of the 1968 Corvette commissioned Chevrolet Public Relations. Built by Chevrolet Engineering

That’s also the role of an automotve artist; to capture emotion and preserve the cars of those days for future generations.

Exactly. Explaining the culture of the time and place through the car, not as a vehicle but as a vehicle to connect the viewer with some important aspects of that time and place. Cars become very personal to me and it’s hard to get rid of them. But I am happy to pass them on to the right group of people.

I have an association with Holland because my father is buried in Maastricht. He was killed over there in the WW2. 

A very big thank you to Dave Miller for sharing his wonderful knowledge, experience and stories with CarArtSpot.

Related links: 

A Blast While It Lasted, Unique Corvette Earns an Encore

Long Lead Corvette 

Photographs and websites supplied courtesy of Dave Miller and Paul Stenquist of Paul Stenquist Photography .

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