Critique

The Red Shoes   watercolor/gouache   25 x 14

Last week, I was invited to critique work at our club meeting - The Akron Society of Artists. It is an exciting event and I can rarely sleep afterward. To be surrounded by so many people of like mind is just the best......people who are stimulated by the many ways of visually expressing the world around us. Thomas Edison said "I have friends in overalls whose friendship I would not swap for the favor of the kings of the world". This is how I feel about my painter friends. Of course, some painters leave the meeting elated after having received positive affirmation from their peers. And.....some are discouraged and disappointed. We have all experienced a little of both. For me, the goal is always to be able to self-critique as much as possible, so that the visual problem-solving is somewhat resolved before the painting is presented. I took the painting "The Red Shoes" to critique many years ago and will never forget what the critique-leader said (do we ever?).....that he liked the painting but wasn't sure about the red shoes. Well, for me, the whole point of the painting was indeed the red shoes, and the character of the person who dares to wear them! Definitely my son Nate! I this case, I ignored the comment and have continued to enjoy the painting.....and especially the red shoes.

Birthday

Independent   pastel/paper   20 x 13

Today is my son's birthday. My husband and I are excited to give him a call and have been trying to figure out the best time to do it as he lives three time zones away. I credit my children for giving me the depth of love that it takes to paint - to feel so deeply that it almost hurts, and to risk all for what you believe in. In "Independent" my son Nate posed for my Kent watercolor class. He actually fell asleep during the pose! (oh that I could relax so well!) The watercolor didn't work out so well and then transformed itself into a pastel. A morphing so to speak. Commitment. Thomas Edison said: "Nearly every man who develops an idea works at it up to the point where it looks impossible, and then gets discouraged. That's not the place to become discouraged." Thanks, Tom. I needed that.

When Things Go Awry.............

Dappled   oil/canvas   30 x 40 x 1.5

When I was 12 or so, all I thought about was horses. I drew them continually. I thought that I could draw them blindfolded. I even dressed like Lori Martin, the young star of the television show "National Velvet". I now live in a semi-rural community where horses are often seen grazing in the late afternoon sun. So, I thought that my painting of a grazing horse would be a shoe-in (no pun intended). WRONG. The painting was begun in November with all of the preparatory sketches drawn beforehand. This painting has since evolved at least a half of a dozen times. Each time I think I have a handle on making this horse my very own, the visuals go awry, the forms are either hugely boring or refusing to be broken up in a pleasing way. And so it goes. I will not give up, but have mixed in a few other paintings to dissolve my frustration. Today I will go at it again. I will show up for work. However, this horse is so shy that he may never make an appearance.

Hi-Lo Techie

Airwaves   mixed on paper   34 x 20.5

I believe that I am a high-low techie. As do most artists, I work in solitary surrounds and depend on my computer for communication, applications to exhibits, organizing my works and trying to sell paintings. I have learned to use my computer on a "need to know" basis and feel comfortable with most transactions. Just when I reach a point of feeling smug and safe, the computer fritzes out and I feel that a family member has been taken seriously ill and is in the intensive care unit....yesterday was such a day. The computer doctor was here and my husband would come out to the waiting room from time to time to keep me informed of the progress. It was truly tense. Has the disease spread or will we be recovering? If so, will we be in recuperation for a while? Sad but true. This techie stuff is starting to compete with my creative time. If I followed all suggestions that artists really "need to do", I would have no time left to paint. I have learned to lasso the computer time and then let it go.....its demands are neverending. Personally, I would rather have a paintbrush as an appendage than a computer. By the way, the computer is fine. We are the ones who had to take the aspirins.

Add/Subtract

Der Lehrer   charcoal/pastel   36 x 22

Every artist has his or her own process. Mine involves a putting on and a taking off of pigment. Sometimes, I "destroy" (i.e. smear, join, neutralize, lessen the importance of) huge passages. I don't believe that any of the strokes is too precious to be replaced. Actually, that is quite a complex notion that literally keeps me spinning. Sometimes the take-aways are more pleasing than the add-ons. My eraser as well as blending stumps are so very helpful in charcoal drawings, as they become my weapons of destruction. (all done in a very peaceful way). "Der Lehrer" is an example of this process. John works at The College of Wooster. It is a very good thing that I did not become an accountant......

Erasers

Erasers are great fun.....and, of course, saviors. In my bag I always carry my pocket-sized sketchbook and a small variety of tools. And ALWAYS my friend the kneaded eraser. My method of working involves subtraction as well as addition and I often appreciate the marks made by the skimming-across-of-the-eraser, as much as the ones originally laid down by the pencil. As often as not, I preach to beginning artists to forego the eraser while appreciating all of the marks laid in, even the erroneous flyaway ones. After all, those marks can be every bit as beautiful as those "more correct" ones. So, on a recent encounter with my sketchbook, why did I feel a sense of panic when I realized that my trusty "kneaded" was lost from my bag? Wow..........I will have to practice what I preach! That day I used a roller pen....not my favorite, yet a new experience. It seems that these drawings more easily tip the scales to those nasty value judgements "bad" or "good", while erasured drawings can more gradually ease themselves into acceptibility. I was happy with this result, the one of 3 that day, but will admit to putting another kneaded eraser into my bag as soon as I returned home. Oh, that comfort zone is so difficult to leave!

High Drama

Early One Lemon Morning   watercolor/gouache   12.5 x 19.5

Paintings are like great music.....they can evoke different moods by the way in which an artist "plays" the value scales. The arrival of Spring and more sunlight allow for drama to unfold in the visual. Strong light (from one light source) creates strong shadow areas. Those visuals that utilize both ends of the value scale spectrum are indeed dramatic in mood. I liken them to a musician who plays loud feverish passages in combination with softer sound passages for the same effect. It definitely captures our attention. "Early one Lemon Morning" was painted many years ago from photos that I took this time of year, as the amount and quality of light entering our dining room window changed dramatically from what we had been seeing during the winter. At that time of my life, I more appreciated the dramatic than the sublime in my work. Dark, dark shadows. Sparkling lights. Not so much middle ground. More easily read from a distance. This painting is in the collection of The Parkersburg Art Center (WV).

Teacher/Student

A Jubilant Mr. Watt   watercolor   28 x 20

"My right hand is being held by someone who knows more than I, and I am the student. My left hand is being held by someone who knows less than I, and I am the teacher". I don't know who authored this quote, but I can't agree more.....for me, the notion of education is circular. Experience doesn't mean much if we can't approach new works with the eyes of a beginner. Repetition of past success leads only to life-in-a rut. My friend Pat Sargent retired from an outstanding career in arts education with the Akron Public Schools. She is a firm believer in educating yourself, in the search for self-knowledge. Formal education is indeed a mixed bag, as one is subjecting herself to the value systems of the teacher. Following one's own path allows the artist to accept some notions, and to reject others. The quest is the thing. And I believe that creative people are more motivated by learning than by money. I am inspired by teachers such as Pat Sargent and by Mr. Watt, the teacher of rocketeers.

Look to the skies

Mr. Watt's Rocket Day - The Spectators   watercolor   26 x 18 

It is an amazingly sunny and warm early Spring day here in northeast Ohio. Actually, we have more cloudy days here than just about anywhere else in the country. So, when it is beautiful, people really get excited! This is the time of year that Mr. Watt would introduce rocketry to his fifth grade students. And, on a day just like today, the rockets would be launched. Seeing my painting of the crowd pleases me.....I like the way the group of students plus teacher works and breathes as a single organism. It excites me. Perhaps it is because my children were the direct benefactors of Mr. Watt's enthusiasm. Perhaps it is because the scene evokes such wonderful memories for me. And perhaps it awakens the child in me, the one who would like to send a rocket soaring.

Everyone's a Sprinter

Rabbit Study   pencil/conte crayon   10 x 13

My sons' high school track coach used to say, "Yeh, everyone's a sprinter". What he meant by that is that given the choice, most track athletes consider themselves to be sprinters, which involves training, yes, but is often the by-product of quick-genes. A very short race....then it's over. A minority of runners want to subject themselves to the torturous training and energy output of distance running. It's hard, time-consuming and is commanded by self-discipline. I feel the same about drawing. It seems that most student artists want to paint, and just forego the discipline that drawing provides. Most of the problems I see in watercolor paintings are actually the underlying drawing errors. Many years ago, I knew I was going to be called upon to paint rabbits. Besides, I love rabbits. I took a trip to the pet store at the mall to shoot photos as reference material as I had none, and the wild rabbits in my yard just wouldn't hold still. (I got the permission of the manager first). "Rabbit Study" was an arduous pencil study that took a week but it was invaluable for subsequent paintings. I will admit that I am guilty as the next person of not fully preparing for a painting by studies. Let that be a lesson to me.

Relationships

Kallie and Elmo   watercolor/gouache   16.5 x 10

It doesn't take a genius to understand that the more relationships one has, the more complex life is. Likewise with painting. The more subjects in the painting, the more complex it is, and the harder it is to achieve the gestalt, the higher order. It is indeed tempting to render all of the subjects at hand in all of their glorious detail. But I am a reductionist. I am trying to distill what is given to me into its absolute essence, that which I can savor and remember. In "Kallie and Elmo", the given is the relationship of a young girl and her puppy. I have come to the conclusion that the relationship of the two must be a higher priority than either Kallie or the puppy individually. (i.e. the taste of the souffle being greater than the sum of all of the ingredients) It definitely takes some restraint. I have some very bad still life paintings from the summer where each artist participant was asked to contribute one thing to the still life painting. The result: cacophony. You know what they say about experience? You know it's a mistake when you recognize it as such....... the second time around. I remember this painting in particular at is was one of the rare ones that seemed to paint itself.....that hardly ever happens. I am certain that Kallie is a beautiful young woman now.

Format

Long Tall Amy   watercolor   19.5 x 10

The planning of a painting is a particularly exciting event! Among the decisions we have to make, format is one of the most important. There are also psychological reasons why one way may be better than another. Horizontal formats mimic the sleep position and are restful, peaceful and non-stressing. Vertical formats are more energetic and lively. A diagonal subject on either conduces a bit of anxiety as we mentally determine which way that subject will fall and reposition itself. Very exciting. I guess that I prefer a vertical format, probably because I enjoy painting the human figure. Even my landscapes are likely to be vertical. Today I am painting a beautiful sleeping cat in a horizontal format. Because I like to overstate my preferences, I usually prefer verticals and horizontals that go beyond the standard rectangle sizes....i.e. twice as high as wide, or twice as wide as tall. "Long Tall Amy" is a painting of a tall thin young girl. Even though she is seated, I hope to provide evidence for her beautiful aesthetically pleasing height by using an extreme vertical format.

Making something out of Nothing

Lapin au Jardin   watercolor/mixed   10 x 16

As the mother of three sons, I became quite adept, come dinner hour, at making something out of nothing. And my three friends, with a total of 10 sons became likewise skilled. Boy oh boy oh boy.
In making art, I have become a fan of the same pursuit. You just need to start with a "spark". In my paintings, I often start with a free errant stroke that will jump-start my imagination and keep me out of the "itty bitties". But, I believe you have to start with a given. In watercolor class last week, we tried this little trick: A heavy wash of watercolor is placed somewhat strategically on the paper. Wadded up sheets of plastic wrap are placed on the surface. Heavy books are placed on the top and the paper is left to dry for a day. (don't peek!) When the plastic wrap is removed, graceful textured mottling is left on the paper.....those marks can become anything you want them to be! In "Lapin au Jardin", the border area was worked out of this technique. Gardens are chaotic. So is life with lots of boys.

Happiness

Elderly Woman in Union Square...a sketch

Happiness is somewhat elusive. We still try to chase it actively by aggressive pursuits such as buying, controlling and overcrowding our schedules. For me, happiness comes in little unexpected twinkles, often when I least expect it. A few years back, I was sitting in Union Square on a bench enjoying the day with my sketchbook at the ready. A caregiver subsequently sat next to me with her elderly charge in a wheelchair. As the caregiver did not speak English, we communicated by body language, and soon I was looking into the eyes of this beautiful old woman who nodded off now and then, with her head dropping to her chest. She and I took a break. As she shifted back into an alert stage, we worked again. I don't know if she knew what I was doing. But looking into the dignified eyes of this woman definitely qualified as a "happy moment" for me. Several moments in fact. This drawing session was the most memorable thing that I did that day, and still makes me happy after many years.

My favorite color always ends in -ish

Pinkish-Greenish

Fellow artist Barbara Gillette and I were relieved the other day to find out that neither of us prefers to use commercial names for colors. She has her pastels divided into two piles: one warm and the other cool. It is remarkable how often observers of painting demonstrations are concerned about which exact color the artist is using. Observers can then be seen busily recording this information in their notebooks. What a sticky wick. Naming and categorizing is a function of the L-brain, that part of the brain that cautions us against using our intuitive brain. I believe that the more time we spend in the L-brain, the more we debilitate the creative decisions that we alone can make. As for me, my favorite colors have names like bluish-brownish-pinkish. And I am rarely on time.

Color Temperature

Sylvia   watercolor/watercolor pencil on paper   18 x 9

Color temperature is more important to me than the colors themselves. While in college, I read of a primitive tribe somewhere (?) where there were only two words describing colors. My guess is that one word described warm tones, and the other cool. Using local color to describe subjects often results in cacophony, the resultant image resembling a stained glass window where color fragments attention and loses power. Of course, only my personal opinion. Two colors: tending towards blue and tending towards yellow. Cool. Simple. Of course, in my own recipe, one must be dominant in order to avoid conflict. My own recipe is to strive toward harmonic relationships. That soothes my soul. I hope that Sylvia is doing well. "Sylvia" is being offered through Masters' Portfolio in Chicago.

Getting it Right

Onionskin   watercolor/gouache   20.5 x 13

Each time I look over past paintings, I am reminded of the lessons that they provided me. "Onionskin" was painted many years ago. This young woman appeared to be tough as nails. After all, she had not had an easy life. After the 3 sessions, I was very disappointed with the work. I thought it should be softer. So.........I painted it again. And, guess what? The second painting looked very much like the first one. I have found over the years that the repeated painting of a subject with the intent to improve it, usually falls short. Different mistakes are made. Different areas are weak. Morayo taught me about commitment to the painting and accepting its strengths along with its weaknesses. And.....ten years down the road, those small differences usually don't matter. I hope that Morayo is doing well.

and speaking of hanging on with a toe-hold

Precipice Tree...a watercolor sketch

That precipice tree that I featured yesterday really got me to thinking.....about the edginess I feel with traditional realism, yet all-the-while clinging to traditional icons of realism, notably the human figure. I guess I use the subject to spin off into my own world. Although there is much abstraction in painting that I admire, it lacks the emotional connection that I need. In thinking about my goals, I realized that there are other artists who "destroy" the reality in its completeness and make it their very own. In doing so, they combine the realism with an abstract quality. I love it! I have previously mentioned Alex Kanevsky, educated in both Lithuania and at the Pennsylvania Academy of Fine Arts in Philadelphia. Another painter whose work I admire very much is Bruce Samuelson, teacher at the Academy and noted painter. Wow.....also love Jenny Saville. They have each inspired me to keep looking beyond.....................

Rhythm of the Pine

Pine   watercolor   9.5 x 7

I have relented. We are painting landscapes in watercolor class. Most painters love them. I never have. When I first began painting in watercolor, the medium was fully represented by rustic barns, ramshackle buildings and marine settings. These subjects became kitsch-y to me. But....back by popular demand....landscapes! As a result, I have been studying trees. Lucky for me, my husband is a tree-hugger and we have vast quantities of tree photographs stored up. On "tree night" we painted a variety of trees. Each variety has its own posture, its own rhythm. Branch formation on a pine tree dances in a figure-8 formation. My six-year-old brain remembered only the color of the branches and the overall shape of the tree, an approximate triangle. I was happy to draw the conclusion......