concept: why ARE you painting that?

As I am hanging all the big pieces (that will be part of my next show) on the walls of my studio I am constantly brought back to the idea of "concept." In other words....Why are you painting that?

When plein air painting it's the reason you stop and paint "that." It's that elusive quality that stops you in your tracks as you walk. Now when you take that idea to the studio it grows...like a seed. It meets the beautiful playmates- time and isolation. It grows all by itself, without outside competition. It is through this that the concept can grow bigger or find new meaning.

Last year, during my recovery I read the word -"quietude" and fell in love. It was the word I was searching for all this time. Since I was able to paint only for small periods that the idea kept getting emotional fertilizer, full of ideas that were alive in my head.

If you look in the dictionary it says- quietude-a state of piece and quiet. But to me it is more. It's the silent balance of peace and quiet joy.  It's the looking inward similar to a kind of meditative state with blessings.

Here are a few of the paintings, all from looking out of my window...mostly from my head. They were done last year in January and February, from my bed.

Since then the concept has grown and I wanted to make BIG celebratory works. I was well and I could move. Yay!
The idea of quietude is always in my mind as I paint. I grapple with the best way to emote that feeling in paint. I had hoped to create big works that make a strong feeling of joy mixed with peace- quietude.

48x34

44x40

48x24

52x40

All of the paintings are still in process.....
They have very different qualities when compared to the pastels (top 4.)
This is a smaller oil waiting to grow. Quietude always has a space in my head. I wish I still had months more before this show.....I have so many ideas.  Till later.

12x12

creative habits and Wolf Kahn show

8x5 pastel on art suede

“To be creative,....may mean nothing more than the refusal to be habit-ridden.”    WK

Isn't that the truth? There is a line between constant experimentation  (and no solid work) and constantly producing the same thing in the same way(all paintings produced with the same method, of the same subject matter. ) We all have our side of that line and have to police ourselves to be certain not to get stuck-on either side. Exploration and discovery are the root of creativity.
On that note, I keep on working on how it is best to create that night glow. How can I do it best? That blue green twilight glow. Above is one of my latest versions.
Yesterday, for the second time, I visited the beautiful show of Wolf Kahn's work at the Addison Ripley Gallery in Georgetown, DC. It includes 32 pieces, most of which are oils with about 6 pastels.  Here are a few photos of the works on display.

Wolf Kahn, large oil

Wolf Kahn, large oil

Wolf Kahn, small pastel

Wolf Kahn, large oil

One thing I did notice is that he usually paints on a brightly colored ground and that it peeks through in most places. In a way it feels like a silkscreen. Each layer of color as a screen is making another layer in space.
It feels a little weird placing the work of the master on the same page as mine...but I wanted to share with my many blogger friends who could not make it to the show.

plein air and a great trick when preparing your ground

You know I can't say enough good things about painting in plein air, even if the purpose is purely personal, rather than to sell. There is no studio replacement for studying the color and discovering possibilities.

Being there is like having x-ray vision glasses. You look more than paint. Study what is underneath. Spend time painting the color that glows from beneath rather than what is on top. Does that make sense?

Now finally I will answer one of the questions I was asked.
How do I prepare my wood supports?

Answer: After building the structure with wood bracings I coat the front of the panel with Gamblin Oil Painting Ground. It's an alkyd that makes a strong, bright, non-absorbent foundation for oil paintings. Colors are more brilliant and "glowy" on it. 
Tools necessary: 2 large brushes (one for Gamblin alkyd, one for golden acrylic gesso), a container of each ground-Gablin and Golden,  palette knife, throw away gloves, sandpaper, and time

I wear gloves and use a palette knife to scoop out this thick goopy ground. Once it is on the wood I spread with a brush while using vigorous strokes.

sorry for the odd angle ..it was wet

I apply one coat and let it dry for about 24 hours, but not more than 48 hours. Sand lightly or heavily, depending on the amount of smoothness of the direction of underneath patterns you want. Before putting on the second layer I coat the back side of the panel (the side with bracings) with Golden acrylic gesso (less expensive, easier.) This is done to prevent warping. 
Now coat the front with a second layer of the Gamblin ground.You must wait 1 week for it to dry before beginning to paint.

Now here is the trick; because you have to wait between layers to paint again, I simply wrap the brush in a plastic bag. It will keep for at least two weeks if the bag is tight around the handle. So far I have not noticed any damage to brushes. My dad taught me this trick when he was here building my studio. We all know we have to take good care of our brushes (and I do) but who doesn't want a good short cut? Happy painting!

the trick

study for night

twilight 10x9

twilight 2 10x9

Night time, the later part of twilight...those few moments ...the sun has set the sky is darkening.  Ahhhhh. Maxfield Parrish did it in a way that can't be topped. I have spent many nights, months of nights just walking at that particular moment. If I am home making dinner I just pop onto the deck for those moments. It might last 5 minutes maximum. Memorizing. Finally I attempt the beauty of that light. It will take many times to find a way.
Oil underneath, on Uart, pastel layered on top.

BTW Today is my celebration. It's one year now and I am healthy! Yay!

love affair

40x50 oil on wood

I have a new love affair. They call her Cobalt Violet. She follows me everywhere. She is in my dreams and waking hours whispering, "Here I am, you know you want to be with me." Like a siren. She convinced me to feature her in my latest painting. I thought I could leave her in the tube. I tried, but her singing made me do it.
This one is called Quietude. It's the name of my next show that opens in April. My publicity work is due and all I can do is dance with CV.

Interview with M Katherine Hurley, part two

Sunset after Rain, 24x24 oil on canvas

 Part two:
What is your palette?

Kay-
I mix on a glass palette.
The top of palette-burnt umber, burnt sienna, permanent green light, cad green, sap green, plus my own greens made of prussian blue and different temperatures of yellow
left side- cad yellow, cad yellow light, cad orange, caucasian flesh
bottom- cad red medium, quid red, alizarin crimson permanent
right side- radiant turquoise, prussian blue, french ultramarine blue, indanthrone blue, moonglow
I also add long strips of white. One strip for warm colors and one strip for cool colors.
Complements are across from one another. I grey by mixing with a complement.
My medium is Gamsol, English turpentine and linseed oil.

What is your plein air process? How important are your onsite sketches?
Kay- Plein air is important because it reconnects me with what is really happening. I find that my sense of observation has such longevity that I see things that I can remember and bring to my work. The paintings in the studio take the information in a whole new direction

What do you do for fun, besides painting?

Kay- I travel with my family or with girlfriends. I want to return to Italy. I like the lifestyle and the value system of Italy. I recently went to England and France. I also enjoy going to the theater.

What advice would you give to a fledgling artist?

Kay- The biggest piece of advice I could give is- believe in yourself. being an artist is your vocation. Don't let anyone tell you that you can't do it. Surround yourself with creative people. You feed them and they feed you. Every human has gift they are born with and if creating is your gift it's your responsibility. Explore and share it with humanity.

What is the hardest part of being an artist?
Kay- The greatest challenge for me as an artist is to believe in myself. It can be hard. Keeping the momentum going is difficult, with the economy as it is. In the end sometimes we just have to do it.

By the way, Kay has made two great DVDs. They are both available from North Light Books at a very reasonable price. Here is the link

Interview with M. Katherine Hurley, part one

Gentle Dawn 24x30 oil on canvas

Kay Hurley has been doing absolutely delicious work that everyone should know about and today is your lucky day!  Not only is her work gorgeous, but she is an excellent teacher and just plain fun to be around. Here is my interview with Kay. It's a two part interview, today and tomorrow. Enjoy!
 
Please tell everyone about your evolution as an artist.

Kay- I started as a ceramics major in college and still I feel that was very valuable. Through ceramics I learned to feel how light and form works. I explored graphite drawing, later moving to colored pencil and soft pastel and oil pastel.

Back then my style was more impressionistic. Over the last 35 years my style has undergone an evolution. More my work focuses on big shapes and mystery.

 At this time I have turned it around and in addition to my landscapes I am working with small paper pieces, text and many layers to create small collages with mixed media.

Tell us a little bit about your study Your work is very personal, very you. Please talk about your study and your time spent working with Wolf Kahn.

 Kay-. WK was a big influence on me, even before I met him. I worked with WK off and on for 5 years. In 1985 I began working with him at the Vermont Studio Center and later the Middletown Art Center. WK was a huge role model for me.

Other influences include Rothko. His minimalist use of shape on such scale and what happens in the spaces where the shapes come together….the edges. Rothko divides  the space into 3 shapes. Monet work touches me as a colorist and for its impressionistic way.

I really like the drawings of Van Gogh and Kathe Kollowitz. They have such drama and  emotional and  spiritual impact. My colleagues at the Pendelton Center influence me as well: Greg Storer, Michael Scott, Paula Wiggins, Helena Kine and Barbara Ahibrand, just to name a few.

Please talk about the metamorphosis of your painting process throughout the years.

Kay- My paintings now show much more of the actual process. I want to reveal the push pull that happens as I paint. When I painted before the edges were so fused there was no edge. Destroying my mark marking helped me make a dream like fog. Now I am trying to hold back from  destruction of mark. I want the view to see the layers of things.

Right now I am working with printmaking, mixed media and collage with oil paint on paper beckoning back to work I did in the 90s with Acrylic.

I am trying to “re-find” my own energy, bust loose a little. All human beings, whether they define themselves as creative beings or not, sometimes we need to force ourselves to grow a little.

Please talk about your painting process now.

How do you keep pushing yourself to be a better artist?

Kay- I don’t know if I do it as much as I should because I am making my living as an artist. I keep honing my skills. I’ve done a TV video, CD and books. Most importantly I just keep painting. That in itself is a learning process. Keeps adventure alive.

What inspires you to paint?

Kay- As a landscape painter, everywhere I look is an inspiration. I feel as if I am walking around with 3d glasses, especially in the winter when the bare tree lines are exposed. Beauty inspires me. Sunrise, sunset and gray days at the river. The  colors in gray are wonderful. Everywhere I look is an inspiration. Driving on the highways is beautiful. When I drive home to Cleveland that flat farmland is beautiful.

How do you keep motivated when it gets tough in the

studio?

Kay- Very often I just have to force myself because its my job. Anyone who thinks an artist’s life is easy is fooling themselves. It’s not. I would say its 80% forcing myself. The computer takes so much time away. I force myself to just get started. I always have something started, ongoing. With something on the easel or table it makes it easier to wake up thinking about it. I put paint to canvas before I go to bed. Once the ball gets rolling it feeds itself. It gets its own energy.

What is your daily routine?

Kay- I get up, get coffee and walk the dog. I return to the easel, not the email. I have two studios, one at home and one downtown. When I stay home I start painting, even if it is  just a 8x10 panel. I make certain to do a half hour of yoga. It calms me and helps me keep my muscles stretched.

If I go to the down town studio I don't go to the computer. I find that going to my creative space gets my endorphins going.

The photo of your downtown studio is quite beautiful. Please tell us more about that space.
Kay- It's 1000 square feet with 15 foot ceilings- all windows on the north and west sides. The building is 100 years old and has wooden floors and huge arched windows. I have an unbelievable view.
I have created  a life for myself where art can't escape me. I can't ever get too stuck watching TV.


More tomorrow. Meanwhile please check out her link.

M. Katherine Hurley
And try to beat the rush.... Kay will be teaching at the Dakota Art Center in Washington  State, June 28-July 3, 2012. It's a wonderful place Craig runs a good show. Here is the link to the workshops.

6 good reasons not to paint a landscape

pastel done from the oil I am struggling with at the moment

Happy New Year everyone! I hope it is healthy and prosperous. Here's a little new year's treat.
 Wolf Kahn!

The other day I ran across a lecture from Wolf Kahn. It had  a provocative title: 6 good reasons not to paint a landscape.
It made me think even before I ever clicked on the link. Why do you or I choose  to paint landscape (if indeed you are one of the many painters who do so exclusively)? Think now before reading on.

memory pastel

My answer, before I clicked was twofold I like the way it feels when I am outside painting when I feel totally absorbed in the landscape. It's amazing. Plus the landscape provides me with a jumping board to where ever I want to go with it. I don't feel that same independence with still life or figures. It's like having carte blanche all the time.
The whole process of painting is amazing. One moment it is nothing and then like magic there it is.

In the lecture WK made the point that in art NOW you are obliged to surprise people. Landscapes don't do that. To me they appeal to the heart...no surprises....just serenity.
So as a good way to begin the new year I have included it here. It's about 40 minutes long so wait till you have time to sit back.
 Here's the link- http://forum-network.org/lecture/six-good-reasons-not-paint-landscape

Oh happy day! As a celebratory note, Katherine Tyrrell honored Daddio and I with the Most Gorgeous Mouthwatering Studio of the year award. I share the honor with Carol Marine, an amazing artist who just lost her beautiful, newly built studio to fire. Read her story and look at all the the awards from Making a Mark. Click here for my award.http://makingamark.blogspot.com/2011/12/home-front-making-mark-awards-2011. Or here for the entire blog and list of awards.
Thanks so much Katherine! Daddio, Paul and I are amazed and delighted!