Sunday, January 31, 2010
Jasper Johns once said, "I think a painting should include more experience than simply intended statement."
I think he makes a very good point, especially when it comes to art today. WIth this world of photoshop, iphones. ipads (still not quite sure why we must have such a thing), and other advanced technologies beyond our imagination, there is a sense of urgency to find the next big idea, make the biggest statement. This obviously translates to art as well- which scares me.
Art should be about an experience, whether its how the image came to be made, or how the viewer experiences the work. Yes, throughout the history of art, because of certain statements, art has evolved and ideas have been challenged for the better. However, every piece doesn't have to push so many buttons.
At least that's not what my art is all about. Yes, I want it to speak to the viewer, to state something, but my intent is not to change the world of art with a huge statement. My intent is for the viewer to experience a range of emotion, good or bad.
Above is a study of a single dying artichoke, which I hope conveys to you the sense of emotion it did to me as it was painted.
*"Study of the Artichoke", 22" x 28", oil on canvas
Labels: Jasper Johns
Thursday, January 28, 2010
I am a morning person. I like getting up early, usually around 5:30am, and getting my day started. I've been this way for the majority of my life, with the exception of course of those glorious teenage years when the act of getting up before noon was unheard of. Because of this habit, I often paint in the morning, when my ideas are fresh and I am ready to conquer the day and the canvas.
Recently, however, my morning schedule has changed a bit and I have found myself painting late at night- and I think my work is the better for it. While I've always had a loose hand, my night paintings have become increasingly abstract and energetic. It might simply be that I'm getting out all the day's dealings, or that the fact that most people's heart rate is faster at night, but I am enjoying knocking out paintings at increasing speed and twisting the image even more.
Above is last night's painting, which I once again used both a palette knife and way too many brushes. I like the style, and think that an investment in a good coffee pot might be in my near future.
*"Ravanello" 24" x 24", oil on canvas SOLD. Commissions Available.
Tuesday, January 26, 2010
Obviously, being an artist, I am obsessed with color, especially how it can affect not just the execution of my subject, but the way the viewer interprets my work. I also am intrigued by the meaning of colors- how each one represents an emotion, or some subconscious motive.
For example, if you are a "green person" (which I typically am- without a doubt some shade of green will creep into whatever I'm working on) it is said that you are a person who is constantly growing, evolving, but is overall accepting of these changes. If you are a "red person", there is passion, anger, and an overall sense of excitement in what you do.
This might be pish posh, but take the above painting into consideration. What if I had painted the pomegranate with shades of yellows and with more blues in the background? The piece would ultimately loose some of it's energy, and I guarantee you would be not as inclined to claim the sexual nature of the piece.
It's all about color. What color are you?
*"Open" 3' x 3', Oil on Canvas SOLD Commissions Available. Email ME
Thursday, January 21, 2010
Most jewish scholars believe the pomegranate to have been the forbidden fruit in the Garden of Eden, and not the apple.
The pomegranate was also the tempting fruit that because she ate four of it's seeds while in the Underworld, bound the Greek goddess Persephone to an eternity as Hades's queen.
These speculations and tales might be just that, but for now the color palette it provides (I am usually inclined to paint with more greens and violets) along with the succulent composition have made go to my studio and paint the second I get home.
*" A Piece for Persephone", 24" x 24", oil and paper on board
SOLD. Commissions Available. Email ME
Wednesday, January 20, 2010
As with most decisions we make, whether it be what to eat, what to wear, or how to handle a situation, our mood inevitably plays a part in that decision.
Recently I have been excited about the opportunities of the New Year, and ready for change. Thus, while I love the colors of a pear can provide, I decided to shake it up a bit and venture a little more into the my current up close and personal fruit body of work. The juicy colors of the pomegranate caused me to really play up the vibrancy of the fruit- and I have to admit I went a little more abstract then originally planned, but find it fitting for such a lovely but messy fruit. I have a feeling this will not be the last of the delicious pomegranate paintings.
"Ripe for the Taking",16"x 20", oil on canvas
NFS. Commissions Available. Email ME
Monday, January 18, 2010
Above is a quick study I painted using mostly a palette knife. I feel like a palette knife fad has emerged in recent years. Along with this realization, I also feel like I can vary my mark making and control much more with a brush, so I have shied away from using a palette knife on canvas.
I was always curious though what I could do with a knife, so throwing that old "Curiosity Kills the Cat" saying to the wind, I played around with the technique, and I liked it! I don't think I'll ever just use a palette knife on canvas, because I like the contrast between the smooth mark of the knife and the texture of the brush mark.
I guess what I am trying to say is that like with any trend, you should never embrace it head to toe. So far, I'm liking the hint of this new style (ok, new for me). Happy Monday.
* Pear Study, 16" x 20", oil on canvas
SOLD. Commissions Available. EMAIL ME
Saturday, January 16, 2010
A dilemma every artist must face: Do you compromise your work to sell more paintings, or do you stay true to yourself and hope the money will come?
I think you compromise between the two choices.
Since I am just beginning my career as my artist I guess most would agree that it is very naive of me to say such a thing. However, I feel that while everyone must earn a living, compromising yourself in any regard will never lead to satisfaction in your work or in yourself. I am not saying that veering from your current body of work for a patron is necessarily falling into the compromising yourself category (Hey, I love my current pears, but if you want me to paint a portrait, I'm your girl), but choosing a subject just because you know it is popular but not your cup of tea is something I disagree with whole heartedly.
Which brings me to the reasoning for my title. While growing up in a coastal town, there was always a multitude of coastal art: crabs, flip flops, palm trees, etc that weren't necessarily that great, but looked perfect in a bay house. I love that entire culture, but I could never paint those subjects, even if they would sell like hot cakes. My mother (Sorry Mom, but you will be talked about a lot since you are such a fabulous influence) still tries to get me to paint some crabs and send them down to her- coaxing me to make some more money by compromising. "Sometimes you have to paint a crab", she'll say. I always resist. Sorry Mom, no crabs. How about I send you some fruit?
*"A Pear for Lynn" 20" x 16" Oil on Canvas SOLD.
Tuesday, January 12, 2010
Though I am sure you have noticed, I am on quite a pear kick with my current body of work. For years I painted the nude figure, not only for the many meanings and compositions the human body can create on a canvas, but because I was, and still am, a believer that people respond best to people.
However, I also believe that people respond best to subjects that strike a warm emotion.
I first noticed the pears a few months ago during an impromptu trip to Whole Foods- a place that despite the cost always makes me want to buy their entire produce section and eat nothing but natural foods and take yoga classes everyday ( maybe that's a weird stretch of mine, but I'm sure you get the point- the entire atmosphere strikes a desire to be uber healthy). Such a feeling I want to convey on canvas- health, a beautiful life, and an abundance of both. Long live the pear.
* Today's Painting (I apologize for the flash): "More than a Pair" 3' x 3', Oil on Canvas
Thursday, January 7, 2010
A dear friend and I were discussing (ok, critiquing) another colleague's work recently when she said something that really resonated with me. She mentioned that she was disappointed that the artist did not "own her colors."
She went on to vent her frustration with the fact that many artists use their color straight out of the tube. Where is the creativity in that? How is it fully your work, if I can take one look at your piece and give store-bought tube of paint color to each stroke?
I truly support this theory- make your colors, your work, every bit you. I try to keep this in mind when I paint, not only for my work to stand out, but so that it is something I can truly call my own. Come to think of it, "Owning Your Colors" can really be applied to any art, or profession. Do what you love, and make it your own.
Monday, January 4, 2010
Way back in art school one of my beloved professors used to harp on the fact that 92% of art majors did not use their degree once they graduated. Creating art had always been a part of my life; my mother was an artist, and I grew up in her studio, at her side executing whatever idea came into my head. I knew from an early age I wanted to be an artist, and would go to college to study that very subject. What I would do once I graduated didn't cross my mind until the art major statistic was pounded into my head. I vowed to beat the odds and be a part of that blessed and talented 8%.
Being the 8% was a little harder than expected, and once graduated I found myself discussing art, looking at art, but not actually creating any art. I made excuses that I was busy with work or just burnt out from school, but the truth was I was scared.
However, a few months ago I came to the realization that I was much more afraid of waking one day 40 years from now not taking advantage of the opportunity the art world had given me than being rejected by it.
This is me not just dipping my toe in the pond, but diving in. While I might not paint the challenging figures I painted in college (even though I am sure someday soon they will show up on my canvas again) I paint what matters to me- the art of the everyday. Enjoy.
SOLD. EMAIL ME.