Can't see the forest for the trees

Landscape preparation drawing

Where did all of these truisms come from? Probably from someone who is highly perceptive. When I return from my evening watercolor classes, I am usually flooded with feelings. If I feel that most of the artists have been successful that evening, I am rewarded with joy. Sometimes the feelings cause me to question how I have approached a subject....or, more importantly....how can I improve upon that approach the next time? Landscape paintings are popular....they make us feel good in a rapidly shrinking world. In fact, noted landscape painter Ann Kah recently remarked how her canyon painting had been manipulated as she was unable to stand back far enough to get a real sense of distance. Wow! That is so true.....if we move back far enough to gain distance, we are always bumping into something else..........profound. (kind of like shopping at Marc's) And so it follows that we sometimes lose sight of the forest for the trees. In all paintings, BIG FORMS ARE MORE IMPORTANT THAN SMALL ONES. So, the gesture of the grouping of trees is more important than the trees themselves. It is indeed possible to unite an already-painted grouping of trees that have been described too individually. Somewhere along the learning curve, however, an artist is able to see the grouping of trees as a viable form, then will work to separate the forms in a later pass. Both ways work, but the later, to me, indicates a more sophisticated way of seeing. Perhaps that just takes time. In this sketch, I have indicated the dark areas negatively, which are the spaces between the trees.

Sixty Pairs of Eyes

Terry and Dan...a sketch

Last evening was our club's monthly critique. It is probably our most popular monthly meeting as everyone brings works that are currently in progress or, sometimes, finished. What a stimulating event it is! Our leader last evening was Terry Richard who goes about the task in an efficient way and seems to zero in on areas that are not working in short order. He was assisted by Dan Lindner who plays "gopher" by putting all of the paintings up for viewing. It is such a treat to be entertained with colors, shapes and movement. Some of us also use the time to our advantage by sketching while we are sitting. My brain is always overstimulated by this event, but in a most pleasant way. Judy Gaiser's blue heron and Ann Ferguson Kah's Arizona tree were standouts. My painting-in-progress received some helpful notes. Sixty pairs of eyes are better than one.

Tired

Tired Official...a sketch

The quality of the sun is changing - it is late February. I am reminded now of the beginning of track season, which was a staple in our household. Many of my sketches are of the athletes and fans who populate these events. Today I remind myself of "Tired Official". I wonder why I blog....I started when "The Art Calendar" highly recommended it as a way to increase an artist's presence on the web. And I did it grudgingly. Some folks think that blogging is an egotistical thing to do, although I never thought of along those lines, as I really enjoy the "Robert Genn twice weekly" blog that I follow. Sometimes it speaks to me, and sometimes it doesn't. Those I don't have to read. The real benefit, I have found, is the self-validation of problem-solving that occurs each day on my canvas and in my life. When I take the time to summarize my findings, I help myself to learn and grow. I will be a forever-student. I am not certain how beneficial this blog is to any others. In fact, sometimes it just makes me tired.

Hands Down

Hands Detail - Paint Dancer

Why do we painters freeze up when it comes to hands? It could be because they are so complex, what with all of those joints and digits. Someone in the Saturday workshop asked me about hands and expressed how overwhelming they are! Part of the problem, I think, lies in the interference of our naming brain - the left brain. It is the part of our brain that organizes, categorizes and names. When our L-brain takes hold of the notion of "hand", it helps us to recall the 6-year-old notions of hands, all far to difficult to reproduce....it also recalls all of the times we have attempted and failed. In my opinion, we would benefit from the shift to the art-friendly R-brain, where the visual language exists only as visual....the hand becomes terrain, shades, lines and masses. Hands, for me, take a back seat to the overall rhythm of the picture, which is my goal. If it helps to support the movement, I count it in. The gesture of the hand is more important than any of the pieces/parts. Then, as I distill and simplify, only important parts of the hands are described, as supporting actors, so to speak. All artists are different, dependent on their personal aesthetic choices. Just yesterday, I perused some paintings by Daniel Greene....the hands are exquisite, in all of their veiny detail. He has determined what works for him, and I for me. The Art Spirit by Robert Henri is my art-bible.

Grocery List - Standing on the Shoulders of Giants

It is inevitable. Each time I pull into my driveway from the grocery store, my subconscious brain seems to recall an item that I have forgotten. Funny how that works. The Saturday figure drawing workshop at Summit Artspace took me by surprise. I had pictured a small intimate gathering. The crowd was considerably larger and, in my anxiety ridden reaction, I forgot to mention several things....the most important being the artists who have influenced my work. The first artist I studied in detail was Andrew Wyeth....not a surprise. His moody works reflected my inner workings. My favorite impressionist is Edouard Manet. I have several favorite contemporary painters: Burton Silverman.....power beyond words. Alex Powers, primarily watercolor, from whom I discovered the marvelous principle of shared shapes. Alex Someone-or-other, a Russian painter who lived and showed in San Francisco and was the recipient of one of the Vodka promotionals. He seems to have dropped off the radar. I was inspired by his layering and distressing of the paint surface. The emotional content of Alice Neel. The push and pull of Hans Hoffman....I love his abstractions as much as his realism. Zhoaming Wu's work spins my fan. You can see some of his drawings at: http://www.lilipubsorders.com/prodinfo.asp?number=9787806748220
His charcoal portraits are soft and say so very much. His process reflects my own. And my newest favorite is Alex Kanevsky....love his paint quality and his subject matter. His work can be seen at:
http://www.somepaintings.net/ And, of course, it goes without saying that I am always influenced by the wonderful artists who live and work around me. Whoa...........I just noticed something. I seem to enjoy the work of artists named Alex.

Drawing

Marcie...a sketch

Drawing is just about the most fun that is possible for me! Love it, love it, love it. It is also provides the necessary drafting skill that underlies paintings. Tomorrow, Saturday, I will be leading a mini-workshop at Summit Artspace in Akron in collaboration with the "Women's Work" exhibit. It is from 1-3 pm and we will be drawing from a live model. Our goal will be drawing like a painter, rather than a drawer.....we will avoid defining lines as long as possible and will concentrate, instead, on mass. ( I am picturing a vague ultrasound image here) And.........BTW, our model Marcie is the star of an Agatha Christie play at Coachhouse Theatre that just opened............"Appointment with Death". She is so very good at being so very nasty. There are so many wonderful things to do in the Akron area.....hope to see you there.

Accommodation

An Accommodating Curve   watercolor/gouache   27 x 14

I am happy with my role as an artist. I am also happy to be woman. One of the qualities associated with yin is the notion of flexibility. That opposes rigidity, to be sure. Because a woman's life is composed of so much rigidity with so many details to tend to and so much nurturing to provide, I think that women who release themselves in creative endeavors are able to relinquish control and discover a complete freedom. Those artists who I admire (many of them men) have been able to marry the yin with the yang....the freedom with the control....and the traditional with the modern. These are the artists who continually question and search. (as opposed to rigid artists who seem to know all of the answers). Right now, I visualize sea grasses bending in the wind....flexible and strong.

More joy....another perfect triangle

Night Music   oil/canvas   40 x 30 x 1.5

I have always envied concert musicians. They make beautiful music together and seem to enjoy being a part of a greater music machine. Being a small part of something greater.....ah, yes. And the bonus part is that no one is singling you out. You can remain invisible. I have performance anxiety and ended up not wanting to play the piano anymore for that reason. I have always wanted to play saxophone or guitar. Visual artists, on the other hand, enjoy working alone. They like to work and problem-solve by themselves.....and without the scrutiny of others. The judging can be done later.....without the physical presence of the artist.

Head:Hands:Heart

Oboe   oil/canvas   48 x 24

The triangle is a perfect compositional shape to me. That includes most musicians, who have a wonderfully intimate relationship with their instruments. Head...hands....tool. What could be better? As I profess to be a musician groupie anyways, painting them gives me great joy, perhaps the same kind of joy they feel when they are making music. "Oboe" was painted a few years back. At that time, my subject played the oboe at the high school level. She is currently taking a masters degree in the instrument. Her seriousness was early apparent. To me, she and her instrument share a common beauty.

Taking Stock

Chameleon   oil/canvas   20 x 16

The "Winter Blues" exhibit at Second April Galerie in Canton features a marvelous sculptural piece called "Taking Stock". Hit me like a brick. It seems that many artists do self-portraits every now and then.....I do. It helps up to take stock, to see ourselves and our place in the world, to think about our shortcomings and our neuroses and how to deal with them. Every vacation photo was the same....tanned smiling faces.....all except mine. Mine was a sunburned red smiling face. I was perpetually teased and singled out. Yuck. Several years ago, during a snowstorm, I pulled my easel up to the large windows, used a mirror and painted myself with the swirling whiteness behind me. My skin looks dark in comparison. I struggle and it shows. Honesty. I don't tan....I deal with it.

White Shirt and Tie

White Shirt and Tie   watercolor   8.5 x 6.5

As I look over the images of my many paintings, I am drawn to some in particular. Painting from a live model can provide the ultimate of human experiences....a true communion with another individual. Robert reminded me of an era gone by, the era of my parents. Great dignity. Work Ethic. A White Shirt and Tie. Years later, Robert's wife Violet called and had saved up enough money to buy the painting. When I delivered it, I was treated to their life experience.....gardens and plantings inside and out, each with a story. In fact, Robert had written a book about his gardening and the trusty spade that he had used throughout the years. When I look at the image today, I realize that I gained so much from the painting (verb) of Robert. Dignity.

Failure to plan ahea

d. OK. Guilty as charged. While I preach, preach, preach to painting students to draw and plan ahead of time, I sometimes forge ahead with little to go on other than my desire. Whoa. My typical shortcoming is drawing too large. My subject matter seems to grow with each stroke. I can't tell you how many feet and heads I have cut off. Sometimes the result is charming. Mostly not. I have learned to compensate by drawing a box inside of the canvas edges which I pretend to make into my real boundaries. When I forego this important step, the result is disaster. My husband, the counselor, says that test results on children reveal this to be a lack of impulse control. Again, guilty as charged. All of the details in my life revolve around more time to paint. When I am finally planted in front of the easel, my excitement is boundless........and I throw caution to the wind. Yesterday's session ended up in a complete wipeover. Three days of painting lost.....along with sheets and sheets of paper toweling and beaucoup de paint. While I tried the bandaging the painting with color upon color, I realized that no magic color could cover up the bloated drawing underneath. What a horrible feeling. I wiped out.

Dancing Shoes

Dancing Shoes   watercolor   9.5 x 14

I believe in the adage "Dance like no one's watching". Likewise, "Paint like no one's watching". What a wonderful way to spice up the day! "The Winter Blues" exhibit opens this Friday at Second April Galerie in Canton, Ohio. I liken this place to the Moulin Rouge....well, at least for me. It is full of colors, activities, live music, great food and good vibes. The opening, which is free and open to the public is from 5 - 9 pm. Over 40 artists will be exhibiting! Don't be surprised if you find yourself dancing.

hundreds, thousands, millions of choices

Blink....pen and ink

Making art of any kind requires lots and lots of aesthetic choices. The more we work in the same manner, in the same medium(s), the easier the choices become. We know instinctively which decisions will result in the effects we desire, probably because we have made incorrect choices in the past. Recently, I was asked to design a tattoo. Line art, using pens and ink, isn't something I spend much time doing. I worked and reworked the design, searching for the best possible line work. Is it too realistic? Is it too stylized? Do the straight lines have a communion with the organic ones? Are the darks balanced? Whoa..............a whole new series of problems, albeit good ones, to solve. "Blink" is the result.

Fox Fur

Bus Stop   watercolor   20 x 13

Drawing different textures is a wonderful way for we artists to learn about the nature of things. This time of year we have lots of wooly hats, scarves and gloves, as well as fur collars to whet our visual appetites. An artist once told me that in a college drawing class, they were asked to put piles of flour, sugar and salt on individual sheets of paper and to draw them...........wow, what a challenge! Such minute differences in weight, bulk and texture! This exercise is definitely on my "to do" list!