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Kennedy Meadows half in winter - Amy Bernays
Water color on heavy cotton paper

Night and Day

The moon was obese, its light billowing down on the salt flats to the east toward Death Valley; illuminating the mountains to the west like wolves’ teeth. Ahead, the center yellow line crawling unblinkingly up to the night blue horizon. In my rear view mirror, the same desolate gray slinking back to Los Angeles, the lights from the newly built tract housing on the outskirts of Ridgecrest humming orange just below the horizon.

My high beams swept upon the small green sign that had been growing out of the brush at the side of the road; the only object that we had seen since the last commercial break on the Christian country channel. We slowed and turned, felt the gravel of the country road beneath the small city- car tires.

Earlier that day the sun had peeked over the top of the mountains just enough to melt the few fat flakes that had drifted their way onto the three feet of snow. It had then dipped again behind the jagged mountains tips and the melt had bolted back to frozen.

We slowed to look at the depth of ice and snow on the first turn-off to the cabin. A wind had blown an impenetrable bank across the track, thick like a warm fat duvet.

The second road was a little further up the hill and nestled in trees. As we turned off the lane, the creaking of compressed snow crunched under the tires like Styrofoam. We slid a little onto the ridges of someone’s tracks, locking us into the road like a train.

The headlights turned each sagebrush and pinion pine into cardboard cut outs. Like painted scenery in a play, the stage sloping down to us sitting like an eager audience in the front row. ‘ooh’s and ‘aah’s and held breath as we slipped and skidded and bounded our way. We scavenged our way through the shafts of dappled moonlight on the forest floor toward the little cabin in the trees.

The heat of the Sunday sun prickled my cheeks and warmed my rock, its glair was burning my eyes. The south face, moistened by the melt, was brimming with life. The ground was muddy, the air hummed with flies. The tiniest of flowers, still wrapped up in their buds, were wriggling their way out to find the spring. Summer followed the night; the meadows are cut in two.

Kennedy Meadows winter mountains - Amy Bernays
Water color on heavy cotton paper

Kennedy Meadows brown and blue - Amy Bernays
Color pencil on drawing paper

Kennedy Meadows sunset - Amy Bernays
Pencil on drawing paper

The Kiss - Amy Bernays
Acrylic on cotton paper

I was thinking of the way the waves burst out like the water is kissing the shore when I named it. I hope it also makes you look at the people on the pier, who are lovers, who are fishing, who are the old people walking out to get fresh sea air?

Red Beach - Amy Bernays
Acrylic on cotton paper

Santa Monica one Wave - Amy Bernays
Acrylic on cotton paper

Santa Monica Pylon - Amy Bernays
Acrylic on cotton paper

Rough Surf - Amy Bernays
Acrylic on cotton paper

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A bit about Amy: "I am a painter and animal trainer living and working in Los Angeles. I graduated with a BA(hons) in Fine Art from Central St Martins College in 2001. I use my day jobs to influence my art practice. Using my art practice as a window into managing a dude ranch under the Hollywood sign and now, training animals in major films and TV shows. My work is a mix of paintings, prints and drawings; behind the scenes narratives, landscapes from London and California, mono print series from an east London strip club. Influences include Kate Marshall, Degas and I enjoy a gimlet with Jack Vettriano."

"There is a colorful, playful mixing of narrative painting and celebrity reality in the behind the scenes series that originated in the prints and drawings of the working girls and clients of an east London strip club. Bit like modern history painting but instead of a great noble war it's the antics of Paris Hilton and the pony."

"My landscapes are an idealization, 'Sometimes I want to crawl into the landscapes that I create, build a house there or make a sand castle. I see a perfect future, an ideal man, a woman I would like to be, the land I want to return home to.' Like the dreams of cows or a crystal lake on a hot dusty day. I want paint to be paint. I want to see the blobs and swirls of how the image is manufactured. I love it when that daub magically becomes two things, a piece of paint on a canvas and the calming gesture of an animal trainer moving a camel to the left, or the nervous glint on the strippers face as she both leans in to the client and pulls away."

Shortlisted for the Mercury prize in 2006, her work can be seen in galleries in Los Angeles, London and Edinburgh as well as online at www.bernays.net and www.newbloodart.com.

Check out Amy's website for more about galleries and contact information as well as a behind the scenes narrative painting of a water buffalo on the set while filming Heroes TV show.