Not Every Step is Forward

I'm going to call this one done. It's got a lot of things about it that I like, and quite a few I don't. I'm not terribly invested in it, in other words, it's more of an exercise than a personal statement. Judging from that criteria, it has value: I have learned a good bit.

This is the first thing I have painted since April (? I think.). This past six months have been consumed with the move from Saint Charles, downsizing from a 4000 sq. ft. house that Tim and I had lived in for 17 years, to a 1300 sq. ft. St. Louis townhouse. And here I am, a mere six months later, sitting in my new studio, evaluating my first piece and deciding on where to go with my next. 

The last few paintings in Saint Charles were painted in a blacked out room, one light bulb over my set up and one over my painting, trying to get one clean source of light, no fill, spill, or indirect light. I was searching for the lost edges and subtle variations of color in near darkness. And really, I am as pleased with those as anything I have done in a long time. 

So, in my beautiful new north light studio, I am able to paint from the consistent lighting that changes little in color or intensity for hours a day with no supplemental source of lighting. This first composition actually surprised me, in that I was able to achieve those same lost edges in such a light filled environment. The conclusion is that the edges are "lost" in the contrast of light, not the lack of it. 

I love this new environment. First of all, I'm not working in a basement. Secondly, my big arched window looks out onto a lovely urban park that is now in the throws of autumnal transformation. However, as in my last home, my studio is placed conveniently where I can grab coffee, let the dogs out, toss in a load of clothes or even make lunch, without feeling as if I have to change gears or disconnect from painting.  In fact, it's an advantage.  I don't know how you work, but for me, I need to pull away from the canvas several times an hour, sometimes for an extended time. If not, I lose perspective, become overly focused or just get excessively tired. And I am the worst at "changing gears." This feels natural and effective, and I don't feel torn.  Granted, sometimes I do like to fool around too much, but hey, I'm not working on commission right now. I can afford to have fun with the process as, I hope, the result! 

             

Handles

I agree with Calvin (of Calvin and Hobbes) when he said: "an artist's statement says far more than his work ever could." Not being a "trained" artist makes me pretty insecure about making any statements at all. But sometimes I think people really want to know what makes an artist tick, to understand what catches their fancy and motivates them to create something. 

I hated and avoided painting still life for years and now I think I finally understand why:  I'm accustomed to painting portraits and figures which are interesting in and of themselves. This requires posing and lighting, certainly. But those things come pretty naturally to me and I'm lazy. It takes thought and effort and introspection to set up a good still life composition. So, now that I've worked on still life composition consistently for awhile, I'm beginning to see things differently and hopeful to be composing interesting and pleasing still lifes. 

It takes me a long while to set up. I change my lighting and textiles and objects over and over until I find something worth painting. This time, I didn't actually know what was right about the composition until I started work on it; I just knew that I liked it. The studio was so dark that I was able to achieve "lost edges," where the edges of the forms melt into the background. I love the repetition of the shapes of the two jugs, which contrast in value. And lastly, the angular wooden butter press sharply contrasts with the rounded shapes of the jugs. I am especially pleased with the handles...they define the painting for me. I hope this has been entertaining or informative to you. I may not even be using the right artsy terminology but I doubt that matters to those who are truly interested in how things are made!!

A Closer Look

The other day I was taking photos of something on my easel and as I was lowering my iPad to place it on my lap I noticed the camera had focused on the paint tray of the easel.  I snapped three or four images and chose one to paint.  This old easel is one that Lindenwood's art department "recycled" when they remodeled their painting studio a few years ago.  I claimed it and have loved it for all it's crusty sturdiness.  It's huge, bulky and difficult to crank!  But the best part of the photo was the years of accumulated paint, ink and who knows what else.   Anyway, it was a joy to paint this and I hope you enjoy it.

 A Closer Look  
18 X 24 in   oil on canvas

Candy Dish

This was a fun, challenging little set up.  The dish, an antique from my great grandmother's collection, is a family treasure, despite the fact that it has no real value.  It has a lot of intricate embossed designs, which I choose to barely indicate. I'm finding I have more success in attempting complex designs than in the simple ones because it requires me to switch to my right brain mode and paint only what I see, and less, rather than what I THINK I see. I hope you enjoy it.

Eggplant and Onion

Today's painting of the day is a quick still life study.... took little time but lots of seeing.  I want to simplify my daily paintings so that I can accomplish them in a few hours and not stress over them.  The hardest thing for me is deciding what to paint and I often wanderer around for hours without ever coming up with a suitable composition.  So, instead I am going to throw things up and paint them quickly and see what I can see.  Hope you enjoy it!

Afterthought

I am a portrait painter that doesn't know how to paint anything else!  I can't paint landscape, still life, or any combinations of all three with much success.  Ergo, I always revert to what makes me happy and leave off the schoolin' that I need to become a better painter all around.  So, as much as it bores me, I'm going to pursue a few weeks of still life and see if I can find something to amaze and delight me.... because then I know it will delight you too.  Today's painting is a set up using a candle stick than is so tarnished it's hard to tell if it's silver or brass.  Hope you enjoy it.