Work On View in Santa Barbara, CA

Posted on November 12, 2014
Selected works on view at the Elizabeth Gordon Gallery - Santa Barbara, CA

Selected works on view at the Elizabeth Gordon Gallery – Santa Barbara, CA

I’m happy to announce that my work is currently on view at the Elizabeth Gordon Gallery in beautiful Santa Barbara, CA. If you’re in the area, stop on by. It’s a great space and I’m honored to share it with talented artists like America Martin, Sherri Belassen and many more.

Shuffling paintings (including Bighorn) around for the window display.

Shuffling paintings around (including Bighorn) for the window display.

Night shot of the window

Night shot of the window

Six pieces are on display, including the latest painting, Reef Shark (2014), Deer (2014), Bighorn (2014), Piglet (2012), Cow No. 1 (2012), and Goat (2012).


Elizabeth Gordon Gallery
15 W. Gutierrez Street
Santa Barbara, CA 93010
(805) 963-1157


Until the next painting, thanks for reading…hope to see you at the gallery!


New Work: Reef Shark Portrait

Posted on November 11, 2014
Reef Shark | ©Aimée Rolin Hoover | 52in x 52in | Acrylic on stretched canvas

Reef Shark | ©Aimée Rolin Hoover | 52in x 52in | Acrylic on stretched canvas

With each painting, I strive to somehow make my subjects feel personal to you, the viewer. I want you to feel like you’re getting to know that particular cow, hyena, or deer. That specific animal.

This typically requires that my subjects display an emotion or a look that we as humans can recognize in ourselves (and therefore relate to). So when the idea of painting a shark presented itself, my first thought was, how the heck am I going to make a shark…emote?

But the idea was intriguing enough to do a little research. Which I did.

Let me tell you about shark photo research—photographers LOVE to capture those creatures with their impressive mouths open, ready to chomp down on a chunk of bait. I filtered through thousands and thousands of shark action shots in chum-y water.

Then, I found an image by photographer Alastair Pollock.

Original reference photo by photographer Alastair Pollock

Original reference photo by photographer Alastair Pollock

Serene. Curious. Beautiful.

I asked Alastair about the image and this is what he had to say…

I took the shot on the first day of a 8 day diving holiday on a boat sailing around the Bahamas. We were diving with Tiger sharks and the water was very murky on the dive. As we were coming back up a column of clear water appeared near the surface within which the shark floated over. Was a really beautiful moment with the afternoon light bouncing off the shark’s back.

If you like sea life and under water photography, I highly suggest you check out Alastair’s work. It’s phenomenal.

Here’s a detail shot of Reef Shark’s eye…

Reef Shark - Detail

Reef Shark – Detail

And if you’d like to see the entire Reef Shark in person, he is currently on view at the Elizabeth Gordon Gallery in Santa Barbara, California, along with Bighorn, Piglet, Deer, Cow No. 1, and Goat:


Until the next painting, thanks as always for reading…


New Work: Deer Portrait

Posted on October 28, 2014
Doe (2014) | ©Aimée Rolin Hoover | 46in x 50in | Acrylic on stretched canvas

Deer (2014) | ©Aimée Rolin Hoover | 46in x 50in | Acrylic on stretched canvas

When I’m asked how I go about choosing a subject to paint, the (underwhelming) answer in many cases is that the best ideas pop into my head when I’m organizing the silverware drawer or unpacking groceries. Basically when I’m performing repetitive but necessary tasks that have nothing to do with art. (Depending on how you feel about organizing silverware.)


This past July, I experienced a pretty amazing moment in London, England, which directly inspired me to paint the Deer portrait above. And rarity of rarities, I actually caught that inspiration on video…

Needless to say, the urge to paint a deer was rather immediate. (Side note: if this isn’t yet another reason to travel more, I don’t know what is!)

I turned to for my actual reference photo, as I often do, and waded through scads of good images to find one that really stood out. Of course, sometimes I find images that stand out in an entirely different way…

One of these things is not like the others.

One of these things is not like the others.

About 4000 images into my research, I finally came across this shot taken by Linda Speer. He just looked as if he was about to say something. And look at that beautiful eye detail…

Original photograph by Linda Speer

Original photograph by Linda Speer

Linda was nice enough to grant me permission to use her lovely image, and told me a little bit about snapping the shot in Ontario, Canada:

The photo was taken while on a leisurely drive on Mission Island where the deer are quite used to us humans! I actually captured this particular photo while sitting in my car, (something I don’t normally do) as he was heading towards me so fast I had no time to open the door. I’m sure the bag of apples I was enticing him with aided in that! The Island is a common area here in town (Thunder Bay, Ontario) where people go to visit/photograph (almost) wild deer…

Some of my own favorite photos are ones that I’ve taken from car windows. So I loved the fact that 1.) this shot was taken that way and 2.) I would have never guessed that by looking at it.

I have a feeling I may be painting more deer in the future. Hard not to fall in love with these creatures. In the meantime, here are a few more pics from the studio…


Until the next painting, thanks as always for reading…


When It’s Just. Not. Working.

Posted on October 16, 2014


One day in high school, my art teacher, Mrs. DeQueiros, abruptly declared:

“Guys…remember…NO creative work-in-progress should ever be TOO precious!”

Of course, she proclaimed this right after she mistook Emily’s drawing—laying facedown on the paper cutter—for a random piece of cardboard. And proceeded to chop it up into 12 pieces.



We all disagreed with Mrs. DQ’s art “lesson” that day. Especially Emily. In fact, that one-sentence lecture had the exact opposite affect. We clutched our artwork even tighter.

But now, as professional artist, I think Mrs. DQ was kind of right.

Sort of.

While I wouldn’t want my paintings slashed into 12 equal parts, I think about Mrs. DQ when I’m struggling with a piece. Which happens in varying degrees with most paintings.

This particular week, it happened in exquisitely awful fashion. With one of my largest pieces yet.

Since I’ve posted videos of my paintings being created in the past, I thought it only fair to pull back the curtain a bit further and show the full spectrum of being an artist. Namely, frustration and destruction (with paint, not a paper cutter)…

Why I felt this painting wasn’t working…

After finding a fantastic, wild Icelandic horse photo by talented photographer, Alessio Mesiano (and given permission to paint from it), I was excited to get to work. Just look at that incredible light…

Alessio's beautiful, original photo

Alessio’s beautiful, original photo

In my current work, I remove the backgrounds (typically landscapes) in the reference photos in order to keep the focus singularly on the animal. So had a very clear vision for the piece: amber horse, moody grey background. But at the half-way point, I hit a wall. The painting just wasn’t working. And I wasn’t sure why.

After staring at my background-less painting for two days, I finally realized that Alessio’s photo works best as a photo, rather than a painting. At least the way I would use it for a painting. Removing that stunning background completely changed the strength of the image once it hit the canvas. I was disheartened, but knew it was time to cut my losses.

It is never easy to make the decision to abort a painting. Especially a piece as big as this one, with such a beautiful photo to work from. But thankfully I now have the benefit of 700-ish paintings under my belt. Which means I know what I did not know back in high school art class: there’s probably more art in me. Hopefully better art. Stronger art. Art that I can be proud to hang in my clients’ homes.

So yes, Mrs. DQ…no work in progress is too precious. At least in my studio.

And besides, Emily glued those 12 cut up pieces onto a mat board in an interesting way…and won a damn art contest!

So it’s back to the drawing board for me. I have a very large, very black canvas to fill with…well, I’m sure it will come to me.

Thanks as always for reading…


New Work: Bighorn Sheep

Posted on September 15, 2014
In the studio with Bighorn (2014)

In the studio with Bighorn (2014)

Happy to announce the first painting completed in the new studio space: a (big) bighorn sheep. This new piece represents the looser, more painterly style I’ve envisioned using for quite a while.

Bighorn (2014) | @Aimée Rolin Hoover | 46in x 64in | acrylic on canvas

Bighorn (2014) | @Aimée Rolin Hoover | 46in x 64in | acrylic on canvas

Bighorn (2014) - Detail

Bighorn (2014) – Detail

Back when I was doing solely pet portrait commissions (1999-2012), it was important to record every little detail of the the dog on the canvas, because it was those details that made it your labrador, not a labrador. You’d miss that little speck of white on his chin if it wasn’t there, and how could I possibly leave out that humorously long, single eyebrow hair? I wanted all of those elements in the painting. So, over the course of 13 years, my work became more tightly rendered in pursuit of that goal.

But now that I’m working on a new series of animal portraits, and much larger pieces, my goal is to loosen up my paintings—to show more brushwork, and paint more freely. But I had no idea how tough it’d be to actually paint differently than I had been painting. Working against a decade of artistic muscle memory proved to be a tad…challenging. Ok there may have been some profanity in the studio. My hand just wanted to do what it’s always done. Which, for me, meant snapping back to (my perfectionistic tendencies of) recording every itty bitty detail.

This is why, (please excuse me while I honk my own horn), I’m proud of this new piece. With the bighorn I was finally able to free up my brushwork in the way I had envisioned. I also experimented with an acrylic wash for the background, which is a first for me:

A watery, acrylic wash goes in for the background.

A watery, acrylic wash goes in for the background.

I have a feeling that the new studio had some impact on this painting. Simply having more physical space to move around in, not to mention being able back up and look at my work from an appropriate distance, proved to be a much bigger deal than I thought. Especially when working on five to six foot pieces. Had I known all this, and how happy and inspired this space makes me feel, I probably would have said sayonara to the home studio much earlier. But I’m just grateful to have it now. The sunsets aren’t bad either…

View from the studio

View from the studio

Speaking of inspiration, as usual I looked through thousands and thousands of images on to find the needle in the haystack from which to paint. The minute I saw this image by photographer Waldo Nell, I knew it was the one. Thankfully, Waldo was kind enough to grant me permission to paint from it:

Original bighorn photo by Waldo Nell

Original bighorn photo by Waldo Nell

You may notice I took some artistic liberties with the bighorn’s body and overall composition, as I wanted a more vertical piece, but the detail in Waldo’s image—especially in the eye—was fantastic and I’m so happy he allowed me to use it. (Thanks Waldo!) He snapped the photo while on vacation in Alberta, Candada:

We were driving back from Maligne Lake where I took some landscape photos the morning very early. We were on holiday of course… Jasper to Golden to Osoyoos. On the way back from Maligne Lake we spotted these Big Horn sheep next to the road, eating the vegetation, when I pulled over and got my camera. I loved the background of Medicine Lake and the mountains for these sheep.

I’m itching to get to work again, and excited to further develop the new style. So it’s back to for me…there are beasts to paint!

Until the next painting,