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    Buried Sins by George Bodine

    Buried Sins by George Bodine

    $5,000 Cash, Grand Prize Winner

    George Bodine Grand Prize Check

    Above: Artist George Bodine stands holding his check for $5,000 in front of the scene he depicted entitled "Buried Sins," the painting that won the $5,000 Grand Prize in the Gateway To Sedona Artist Competition, now renamed The Sedona Art Prize.

    George Bodine is an American painter of landscapes, cityscapes, and people.  He has traveled extensively in Europe and his paintings reflect his unique vision here and abroad.

    He paints almost exclusively in oils obtained from small niche manufacturers; he hand stretches Belgian linen, sized with rabbit skin glue and primed with white lead, techniques dating from the 16th century.   Recently he has begun  painting on sun-bleached Belgian linen, again primed with white lead, but glued to either sealed birch board, or archival quality artist’s board.  His use of time-tested methods ensures that his work will be permanent and able to be handed down within families or collections over centuries.

    Although he has never had an art lesson, George Bodine paints like a seasoned master; his works are displayed by top galleries and hundreds of established collectors across the US and Europe.  His ultimate goal is to produce work that will transcend time; his portrayal of diverse subject matter, and especially his style of “voice” in painting, is entirely unique.  He will often work on a series of paintings, only to stop suddenly, sometimes never to return to the subject again.  Although George has been reclusive by nature in associating with living artists and organizations, recently he did approach and was immediately accepted into the Oil Painters of America.  Additionally, he has held 10 consecutive one man shows, most of which have sold out.

    Distinguished Awards, Shows, and Achievements Include:

    National OPA selection 2014

    National Eastern OPA selection 2014

    Honorable Mention OPA Online competition 2014

    Solo Show Breckenridge Art Gallery August 2014

    Solo Show Breckenridge Art Gallery August 2013

    Juried into national show "Small Works" Eppersen Gallery Verona, Ca. January, 2015

    Waterhouse "8x8" Small Works show, Waterhouse Gallery, Santa Barbara, Ca. February, 2015

    Profiled in Sedona Gateway Magazine/Website Januaruy 2015

    Accepted into the Salmagundi Club, New York City March, 2015

    ARC Salon finalist International Competition 2015

    Juried into Salmagundi Annual Members Only show April, 2015

    Best in Show Gateway to Sedona Artist Competition for March, 2015

    Selected Artist 1015 OPA Eastern National show, Indianapolis, In. October, 2015

    Best in Show Gateway to Sedona Artist Competition April, June 2015

    Accepted into the Howard Mandville Small works show, November 2015

    Grand Prize Gateway To Sedona Artist Competition 2015

    Award Of Excellence 2015 OPA Eastern National

    Juried into 2016 OPA National

    Gallery Representation:

    Brennen Gallery,  Scottsdale, AZ.
    Palm Avenue Fine Art,  Sarasota, FL.
    Waterhouse Gallery, Santa Barbara, CA.

    To view more paintings by George Bodine, and to contact the artist, please visit www.GeorgeBodineArt.com.


    A note from George Bodine: On Winning the Gateway to Sedona Art Competition

    When I was told I had won the Grand Prize in the Gateway to Sedona Art Competition I had to sit down, and when I was informed it was for the painting “Buried Sins”, I was surprised and grateful at the same moment.  The painting is a complicated piece in that it is both unconventional and unusual in subject matter.  I very seldom discuss what a painting “means” or what it is about.  I have found it is better to let the viewer put their own interpretation into the piece.
        
    However, in this case I do want to try and discuss this painting, especially considering that time is moving faster every day for me and someday all that will remain of me is my work.  I also appreciate that the judge in this national competition must have sensed a deeper meaning in this piece and chose the painting even though it is in many ways unconventional.
       
    My wife’s family farm is open to me to wander the hills and fields, the old barns and abandoned dwellings.  It is a lonely place to me, with everything in decay and moving inexorably towards reclamation by a relentless wilderness.  There is sadness on the farm that rises through the very earth, like fog appearing to seep from the soil.  Yet I also know that many of the traits that I love and admire in my wife are from her endless work in those fields and hills, and her difficult struggles which she overcame through quiet thought and faith.  She left behind on it’s fields the things which would weigh her down, and kept those things which made her strong and honest and real.  I admire her and her sisters, and her German parents who immigrated here with the clothes on their back, a few suitcases, and twenty dollars.  They own everything I see around me as I wander its hallowed ground, all paid for in work and blood, and with no credit drawn.
       
    But there is a dark side to the story of the farm that involves tremendous loss and missed moments of what could have been.  I have no right to discuss this part of the farm with strangers, and will not be able to share in words that part of the story, and here is where I must let the painting, “Buried Sins”, speak for me.
       
    When I first came around an old building and saw the barrels in the painting resting and rotting upon the old rail road ties, I knew I would paint this scene.  I have done so now countless times.  I will paint it again probably off and on till I’m dead.  In “Buried Sins” I almost—so close—come to what I want to say.  One of the reasons I sometimes paint series is because I can never “get it quite right”.  And when something really stirs my soul I find I have to keep trying to capture it.
       
    The painting represents great loss, both in a past which is gone now forever, but especially in the idea of what could have been.  Yet what is important is that the model is looking up away from what she is doing, turning in that half glance while pausing in work, towards a light which comes from the hill above, yet is not viewed directly by the viewer.  This light represents hope, and perhaps a redemption here on this earth, or a peace when our struggles at last fade away and we cross the final river.

    — George Bodine