The View from my Studio Window

Repetition

2011-04-29T12:26:00.000-07:00

"48", monoprint, variable edition, 1/16, 24" x 6"

I took a survey recently of women who own silverware asking:

1. What is your silverware pattern?

2.Why did you choose it?

3. When did you choose it?

4.Did the women in your family have a silverware pattern? If so, which one and when did the tradition begin?

5.What do you think the pattern says about you?

6.How many pieces do you have? Does it matter?

The majority answered all of the questions,with vigor and originality, with the exception of one question: When did the tradition begin? Some gave an estimated guess, but no one knew for sure who had started the tradition they carry on today and will most likely pass on to their own children.

The work above is a print that I did in response to the survey. I off-set three different etched copper plates, alternating plates, and ran them each through the press forty-eight times, printing on top of each other. Forty-eight is not a significant number, but it was simply the point where I stopped being able to see the forks clearly through all the prints, and the point where I began to lose my place with the forks- the action itself had begun to be so repetitive.

Down the Line: Silverware Talk Part II

2011-04-25T12:47:00.000-07:00

"Down the Line", india ink on paper, 15" x 22", 2011

As I explained in my last post, silverware is traditionally passed through the women of the family, to continue the maternal line of the family to the woman's new family. However, while that may hint at feminist undertones, the tradition of silverware is not (historically) feminist at all. In the late 20th century, when silver was easily accessible to multiple classes in the United States, the dining room was considered to be the center of entertainment for the family's guests, and a man would showcase his family's wealth and status through the family's silver collection (Of course, it was his wife's pattern that the he would collect).

The layered knives in the piece above explores the man's role in silverware. While the spoon was considered to represent a woman, with it's curves that mimic a swollen womb, the knife is phallic in shape and signifies both power and authority (Consider Thanksgiving: The one who carves the turkey is traditionally the alpha of the family). The layered knives, all of different patterns, explore what the tradition of collecting silverware would look like if it was passed through the men of the family- down the line, if you will.

Spooning

2011-04-21T13:26:00.000-07:00

"Maternal Line", India Ink on Paper, 22" x 18", 2011

Let me begin by saying that spooning is not what you think. It was not created on a college campus, nor does it have quite the sexual innuendo that most people today lend it (my apologies for any vernacular adjustments hastily being made).

In fact, the term spooning was created in the 18th century to describe the tradition of

Welsh and Dutch brides receiving a collection of spoons before their marriage, in preparation for their hosting duties that often called for more spoons for serving fruit, dessert, and ice (in fashion at the time). Spoons were also given to these brides to commemorate the sacrament of Matrimony, a custom that lead to the colloquial term “spooning”. Most importantly, spoons were given to the bride by her family, to continue the maternal line into her own family.

I created "Maternal Line" in the aftermath of the death of my maternal grandmother and my approaching wedding day. The layered ink washed drawings of spoons belong to the married women in my maternal family; a spoon with coordinating pattern for each. I wanted to see what a tradition looked like, all together, binding so many families and so many generations. What happens when a spoon is added? Taken away?

It's Been A Long Time

2010-12-09T07:01:00.000-08:00

Top: "Mrs. Bradley Baker's Burgundy Silver", 24" x 72", watercolor on paper
Bottom: "A Full Set Needed", 30" x 44", watercolor on paper

Similar to the last post, it has been a long time since I have posted. Graduate School is Go!, Go!, Go!, and my blogging skills have been lacking. However, I'M BACK! For the next few weeks I will be posting the work completed over the Fall Quarter, to catch you up to speed.

For the past couple of months I have been fascinated with the etiquette of Southern Women, particularly that of my own family, and where that history and circumstance stands in my own life. Being a part of a conceptually driven and contemporary graduate program, I was often heavily questioned as I explored this path, as it seems to not only have been done, but is of little interest to those not raised in the Deep South of the United States. Below I have posted my final statement for the Fall Quarter, as it not only describes the above work to the best of my current ability, my answers all questions that were thrown at me for two months.

My work is aesthetically feminine, but is not feminist art. My work depicts different silver patterns of dinner forks in a larger scaled format, yet is not suffering from empty chair syndrome. My work is about a specific area, a specific way of life, but can be applied to any society. Why is this? Because my work gives grace to the personal experience of the universal everyday, depicting objects or routines that are often dismissed and through placement and scale makes the viewer contemplate the possibility of what a seemingly insignificant image can potentially possess.

My current body of work depicts several drawings for dinner forks, most in different patterns, some singular, and some in groups of two or three forks. Rendered in a minimal composition using graphite and watercolor on paper, the patterns of the silverware hold the most detail, immediately communicating with the viewer. The forks represent the “Southern Silver Zodiac”, a traditional collection of silverware patterns that a woman raised in a middle to high class family in the Deep South of the United States of America must at one point choose for her collection. What silver (flatware) a woman chooses defines her in Southern society. In the South traditionally there are twelve different silver patterns to the “Southern Silver Zodiac”(Schwartz, “The Southern Belle Primer: Or Why Princess Margaret will never be a Kappa Kappa Gamma”, Broadway Books, New York, NY, 1991, Pg. 40-43): Francis I (made by Reed and Barton), Grand Baroque (made by Wallace International), Burgundy (made by Reed and Barton), Rose Point (made by Wallace International), Buttercup (made by Gorham), Chantilly (made by Gorham), Strasbourg (made by Gorham), Acorn (made by Georg Jensen), Old Master (made by Towle), Eloquence (made by Lunt), Chrysanthemum (made by Tiffany), and Repousse (made by Kirk).

While to someone raised outside of the Deep South of the United States the above list might seem either daunting, another language in itself, and/or unnecessary to everyday life, a woman raised in the Deep South not only knows the majority of the list from a young age, but can decipher between the patterns and different place settings (an informal place setting consists of no less than seven utensils while a formal place setting uses eight utensils at a minimum). Focusing on the role of the woman in the Deep South, I am conscious of the feminist stance I dance on, and that I am not the first to depict tableware as a means to show the expectations of women amongst their society. For example, feminist artist Judy Chicago’s installation piece The Dinner Party (1974-1979) consists of a triangular shaped table with 39 place settings, representing 39 different women, and all perfectly set and unique, and littered with feminist symbols. The proper etiquette used for the place settings alone lends to Chicago’s goal “to represent modern woman's gradual independence and equality, though it is still not totally free of societal expectations (Koplos, Janet. "The Dinner Party Revisited." Art in America 91.5 (May 2003): 75-77)”. With that work in mind, in contrast my work depicts forks larger than life (For example, drawings Burgundy, Acorn, and Chantilly are each 6’ tall) in a minimalist composition void of feminist symbols, yet acknowledges the fact that women in the Deep South not only recognize the importance they place on social expectations as a whole but choose to have these standards take over their lives. They are not restrained like the women symbolized in Chicago’s work, but celebrate the etiquette of their culture with the freedom to do so.

That being said, I am interested in the extent of which a person, male or female, identifies with the etiquette and codes of their own society, to what extent they follow etiquette, if they are conscious of it, and why. I use dinner forks not only because of the importance placed on silver patterns by women of the Deep South, but because a fork in itself is a universal tool, an everyday object of the universal modern society. The forks reflect these facts, rather than stand in for them, thus thwarting the concept of the Empty Chair Art Syndrome. By using a universal object to reflect etiquette of a specific culture I allow outsiders of the culture to connect to the work, and also make a connection to their own rules of etiquette. In addition, in a sublime size I am also asking the viewer to reconsider an object that modern society views as an everyday tool, whose main use is for survival, rather than aesthetically please it’s owner.

All in all, my work questions etiquette on a personal and universal level, and the connection people make to the everyday routine of their lives. Objects, actions, and expectations combine to encompass our lives; my work shows how one society acknowledges that in hopes that the viewer in turn questions their own life and expectations.

First of Many

2010-09-27T10:57:00.000-07:00

"All In The Details", mixed media on panel, 24" x 24"

DAY ONE of graduate school consisted of being told in multiple situations to push boundaries, explore mediums, and to basically use the 1st quarter of graduate school to do anything you ever wanted to do with your work.

Apart from making me feel like a schizophrenic, these are actually very inspiring instructions.

I have always loved mixed media work, admired it for it's many layers and texture, and for a while have found myself gravitating towards mixed media pieces more often than paintings at gallery exhibitions. However, I am a painter, and thus have written off any sort of whim to explore mixed media; that is, until now.

Behold my first attempt at mixed media on panel. The concept of the piece is based on southern female etiquette, and the expectations that stem from it. The piece above concerns that matter of hosting a formal lunch for a group of women. Reflecting on the way I was raised, there are certain preparations and necessities one would need to accomplish; lists are made, linens are dry cleaned, china, silver, serving dishes, (the meal!) is prepared, planned, and perfected. All of these things are examined, layered, and surround the final product which is seen in the central (vintage) photograph of the smiling women having their lunch. All of this, all this preparation and {really} ritual is commented upon, and begs to be asked, "Was it worth it?"

What do you think?

Working With My Hands

2010-09-26T15:32:00.000-07:00

"Baking 1", oil on canvas, 36" x 60"

A quick Sunday evening hello, I thought a glimpse of the finished painting was deserved (after the partial viewing from the last post). The series will focus more on the practice and sensual nature of baking, an activity that is commonly thought of as task for professional bakers and women, and the beauty of the motions that require such action.

Greetings From Grad School

2010-09-22T11:20:00.000-07:00

Please excuse my internet absence, but indeed my first quarter as an MFA painting candidate has begun. All of my preconceived notions of the program have been just about on point: it is very overwhelming (not just the course load but the amount of information thrown at me), inspiring (my program has a sooo many talented and varied artists that it borders on being just plain intimidating), exciting (there is an air of "Look what I can do!" that encompasses the campus), and very much a smoker's paradise (which as most of you know I am an avid runner as well, so if you're looking for me outside the building I am the girl with the large water bottle and turkey sandwich amongst the sea of cigarettes. Give me a couple of weeks and I will probably have a mask on to boot).

What I really wanted to say, however, is that the biggest aspect about the program is that it requires I have several bodies of work going at once (and breathe). The above image is a work in progress of a 36" x 60" painting of hands creating apple tarts (Shout out to the lovely team at BakeShop, who were ever so patient with me taking over 300 photographs last week at 6am). I am also creating a body of work (consisting of mixed media, particularly old family photographs) commenting on the dual roles of modern American women, and also a body of work, also mixed media based, commenting on the necessity of female etiquette in the South.

Lots to do, and the posts might not be as regular, but check in on me: The next couple of years are going to be fun!

For Manhattan's Elite

2010-09-11T14:31:00.000-07:00

"Chanel Is Always Appropriate", oil on canvas, 24" x 24"

Continuing with the label series and how it adds value and appeal to the most mundane of objects, I've made an apple right off the set of Gossip Girl. The apple is given an expensive sex appeal (take from that what you will) not just due to the iconic Chanel label plastered on the curve, but the sheen + rich crimsons of the apple itself gives a feel of refinement + luxury.

On the other hand, my intention for the label on an apple also draws parallels to Snow White and her poisonous apple. They say money is the root of all evil, and who can deny that expensive designer labels and the desire to "Keep up with Joneses" doesn't add fuel to that fire.

I'll take my poison with a side of Chanel: $500.00 (+ tax and shipping) EMAIL ME

2010-09-07T15:48:00.000-07:00

"Paint By Numbers", oil on canvas, 16" x 16"

Part romance, part kitschiness, part traditional. With Fall quickly approaching, school almost in session (at least for me, I begin my graduate studies in less then a week) I felt the sudden need for a change in palette and revert back to tradition; warmer tones, freshly sharpened pencils. All of this is what I believe translated into a strong desire upon waking this morning to set up a massive still life, just as if I were in art class, and paint away. This is only one of a series I hope to display in a show later this Fall.

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2010-08-25T05:49:00.000-07:00

Instrument Series, both oil on canvas, both 12" x 24"

Not too much to write today, for the above pieces say it all. Regardless I will say this: The above pieces are continuing the Instrument Series for the ADC Show. An even closer view of the ballet slippers, these canvases can be shown as a pair or alone.

On a side note, I can't decide which of the series I enjoy more, all were equally challenging to paint with all that white, and all convey {at least to me} the {often exhausting} dedication of a dancer.

$200.00 each (+ tax and shipping)
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True

2010-08-23T13:11:00.000-07:00

"Instruments", oil on canvas, 16" x 16"

Above is a piece to be shown at the upcoming Dance + Art show at Atlanta Dance Central, this Friday. In an earlier post I posted pictures of my sketches from an ADC class, along with the intention to paint the figures. I think my sketches work and show the enthusiasm and originality of the young dancers, but as I approached my canvas this morning to paint them, all I could think of was, "This has been done before, by Degas no less." It somehow seemed typical, and well, not me. I like my still lives. I missed dissecting an everyday object and turning it into my own. Solving my problem creatively (my grade school art teacher would be oh, so proud) I found the one object that ballet dancers need: their shoes. This was a photograph (did you really think I had all those point shoes lying around?) that I cropped to make my own. The repetition and color (there is no use of straight white paint in this painting; it is various shades of cool and warm whites and violets) of the image invokes a sense of how many dancers go through the intense training, year after year, and some even for a lifetime. All those shoes. All those hours. All those dreams. I couldn't resist.

$200.00 ( + tax and shipping)
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Raising The Bar

2010-08-17T17:07:00.000-07:00

"Oh, It's Hermes!", oil on canvas, 24" x24"

Continuing from the last post, I have "raised the bar" of the orange above, adding an iconic and oh, so expensive Hermes label. Playing on the recognizable orange shade of the label, the orange is your run-of-the-mill 80 cents grocery store find, yet by one seal of a symbol both the value and appeal is higher, even though the contents are the same.

Admit it, you kind of like it more with the label.

$400.00 (+ tax and shipping)

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Forget the Ring, If You Like It Put a Label on It

2010-08-16T06:51:00.000-07:00

"It's not just a Pear, it's Organic", oil on canvas, 24" x 36"

Oh, labels. In today's world labels really do have such an effect, don't they? The above piece is making a comment on the organic trend {which I see as a fad, but I will admit that for some reason buying anything organic does make me feel better}, but does it matter what word I put on it? Regardless if I were to write ORGANIC, a designer's logo, country where grown, or simply the name of the fruit, the contents and health benefits of the pear would stay the same {note: if you want to argue the organic point of view, you are welcome to email me}. However, the value and appeal to the consumer would certainly change. I am intrigued with painting such a concept, for it turns the traditional still life into a sudden modern view, simply by putting a label on it. A label that is worth talking about, especially if it determine's the modern world's {skewed} sense of value.

Like this piece? It will be in The Super Friends 2: Art + Music Show at The Gallery @ Cherry Lion Studio (Same gallery as my "With A Side of Ginger" exhibition) Saturday, August 28th.

$500.00 (+ tax and shipping)
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Sweet Tooth

2010-08-13T14:26:00.001-07:00

Study of "Indulgence", oil on canvas, 8"x10"

It's no secret, I have a major sweet tooth. I usually never allow myself to go near a bakery, but nonetheless today I found myself detouring from the salad bar into Whole Foods' bakery. I was just curious (I swear!), and let's face it, there's usually free samples on Friday afternoon. Thankfully the expression "Curiosity Kills The Cat" did not prove true, and I discovered the most delectable happily colored mini cupcakes one can hope to find in a grocery store bakery. The whole idea of this array of vibrant colors, and enough sugar in one bite that one feels the need to find some sort of justification for the consumption, inspired me to buy a dozen and give them a go on the canvas. With their feel-good nature and Wayne Thiebaud's cake paintings running through my head, I created the study above, simply to see if I could make it look juicy and real enough. It's a small study, with the orange icing heating from the lamp and melting on the side... which I kind of like. The next canvases will probably have a row of cupcakes and/or a classic move of mine (you guessed it!) a cropped view of the cupcake.

From my over zealous writing, you are correct in guessing I ate my yummy, sugar filled subject immediately after finishing my study; Happy Friday afternoon indeed.

$75.00 (+ tax and shipping)
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Gestures

2010-08-11T08:27:00.000-07:00

From My Sketch Book, Gesture Drawings of Ballet Class

My sophomore year Drawing II class had a significant impact on my decision to get my BFA in Painting. My professor for that class put a lot of emphasis on "warming up" for the first twenty minutes of class with that time being spent drawing gestures of the model. The model would hold a pose for 30 seconds, 45 seconds, and 1 minute, repeating the cycle with a new pose for each interval. I marveled at the fact that an artist could make a drawing have so much life, with just a few bold strokes. My professor marveled at this too, and when passing by my easel one morning stated "Your mark making is so painterly, I don't understand why you would ever entertain the idea of doing anything else." Naturally, this got my wheels turning. Even now, however, I like to go back to drawing a series of gestures, even if I am not doing figurative work, to keep up the energy and varied mark making.

Yesterday I had the privilege of sitting in on Charlotte Foster's Youth Ballet Class at her dance studio, Atlanta Dance Central. I am showing some of my work at a fundraiser for Atlanta Dance Central, which is to be held at the studio on Friday, August 27th, and thus wanted to get to know the students and have a much needed inspiring drawing session. Naturally, being young and attending their first day of class, these dancers were significantly more mobile than the typical model often seen in a drawing class. The challenge was nice however, pushing me to focus on the big picture and not get caught up in details, or concentrate too much on what I was putting on the paper; just drawing what I saw. I am hoping to turn these sketches into small paintings, to be sold at the show, and treasured by those who work so diligently at another beautiful craft.

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Attack of the Killer Tomato

2010-08-10T08:46:00.001-07:00

'Tomatoes on the Vine", oil on canvas, 3' x 6'

"But I'd never say that I started every painting in the same way at all. It's a sort of patience of trying things out and putting it in and taking it out. And just saying "give it a go." Because it's never the way you conceive it to be at all, and I don't think there's anything wrong in that, but lots of people get disappointed because they think: "I want it to be this." But I think if you keep going it becomes something. You grow every time you do a piece, anyway. You become the person in the painting or the painting changes you and your perception of things anyway. So I don't think there's anything wrong in having a completely different image to the one you set out with in the beginning." -Jenny Saville

The above quote was said by one of my favorite contemporary artists, Jenny Saville. Saville paints large scale (large is hardly the perfect adjective, her paintings are often 10' x 10') figurative work. She explores the human body, often making disturbing images of nudes, often obese, some hermaphrodites, others victims of abuse or disease. These subjects do not sound appealing, but the way she manipulates the paint is incredibly beautiful. Saville's paint application is similar to witnessing a sculpture, with Saville carving out her subjects. Thus, when painting on a large scale I find Saville to not only be an inspiration, but an encouragement. I think the above quote rings true, for when painting on such a scale it is as if you are painting several different pieces, that have to fit seamlessly. Myself being an artist who likes to paint the big picture immediately, I was reminded of Saville's words and tossed my expectations and old processes to the wind, and just "gave it a go."

I began by painting my intended focal point of the piece, and moving across the canvas so that all three subjects would develop a positive conversation.

I then pulled in the background to allow the tomatoes to have even more warmth, applying energetic strokes, but at the same time not allowing them to away from my subjects.

(Ignore the outfit, look at the scale)

Overall, changing up the process, "giving it a go", was refreshing and allowed me to see the big picture even more so than usual. Not to mention, in this case I also feel that bigger is better. If you are interested in "Tomatoes on the Vine" it will be displayed at The Shed at Glenwood (A fabulous Atlanta restaurant with yummy local fare and a killer wine list) along with more of my Fall series.

$1000.00 (+ tax and shipping)EMAIL ME

2010-08-06T06:21:00.000-07:00

Top: "Nectarine", oil on canvas, 16" x 20"
Bottom: "Nectarine" + "Peach 1"

There's no doubt about it, this Summer has been one of record heat. Even when I am tempted to open all of my studio windows to let in the gorgeous Summer day (and some much needed ventilation.. if you need proof, attempt a conversation with me at the end of a long day in the studio) I refrain: it's just too hot. Thus, I find myself painting a cooler palette. Refreshing greens, cerulean blues, and cool, watermelon-friendly crimsons are at the top of the list. The above "Nectarine", is no exception. Cool and refreshing like the fruit, the cropped image is meant to give just enough away to recoginize the subject while the tone of the background is painted to depict one of those hot, bright Summer days; the ones where you find yourself having lunch at Piedmont park and everything seems to be reflected to the point it's white tones are conquering your vision; bright, hot, and only in the heat of Summer.

"Nectarine" is currently available at Urban Cottage in Virginia Highland, Atlanta (http://www.urbancottageatlanta.com/) along with more of my Summer series.

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Going to the Chapel

2010-08-05T06:36:00.000-07:00

"Colette + Alex", oil on canvas, 16" x 20"

"Amy + Grant", charcoal and graphite on canvas, 16" x 16"

Oh, wedding season. One of my favorite things about being in my mid twenties is the over-the-top amount of weddings I attend. While naturally I enjoy the happiness (and love) of the couple and their overall celebration, I am always intrigued by the location of these blessed vows. What made the couple decided on this church (or synagogue, reception hall, hotel, etc.. you get my point here, trying to combine politics + religion is not the easiest task)? Family? Ease of Location? Special meaning to the betrothed? Whether the reasoning is ever revealed or not, the question alone inspires me enough to depict the location in my own way with hope that my gift will continue to inspire the couple.

"Colette + Alex", as I am sure you have guessed, is named after the now married couple. I chose to continue with my usual medium and style along with a bright color palette for this piece simply because it suited the couple the most (I've discussed many times how one of my main goals is to make my work, especially a piece meant for a specific viewer, to truly honor their life and intention. This was no exception). I lucked out with knowing the significance behind this church's location: the bride's family was a part of the parish, and the groom had proposed at the location. Thus, this place was one that glued the couple, and was a place of joy and new life. The couple themselves is also young and very much in love, to the point that you could feel the excitement bouncing off of them on the day of their wedding (Ok, I know this is probably something we would expect from any couple about to marry, but this was particularly picturesque). Therefore, I wanted the piece to capture all of that with color and application; love, excitement, and the beginning a life together.

Now, after saying that, I'm sure the next piece has you thinking, "Is this couple sad?" My intention with "Amy + Grant" (created with charcoal + graphite on canvas) is to make the piece mimic an old photograph, to give the image a timeless, classic appeal. I was attracted to the gorgeous long patterns of the windows, and the gracefulness of the shadows the tree makes over the church. I do not know the intention for the location, but I do know Amy and Grant, a couple who have been together for a decade, and thus seem to have a timeless, graceful, and tender excitement as their wedding approaches. My hope then is to have made this piece a tribute to that feeling, to keep as a timeless momento of the occasion.

Cheater

2010-07-13T05:50:00.000-07:00

"Trio", oil on canvas, 22" x 28"

I am a big cheat. Getting lost on my computer yesterday (I would say "Surfing the Web", but that sounds so late '90's, no?) I came across this gorgeous picture of pears, and couldn't help myself; I had to paint it. Basically I violated several rules of what I know to be truths in the world of art: don't paint from a photograph, always create your own composition, and... well, I'm sure there's another in there too. Part of me is a little weary of breaking these rules, but the rest of me thinks, "Who Cares?!"

I think it is safe to assume at this point that I love a good pear to paint, and these were gorgeous. And who cares that they are completely out of season? The prominent yellow in the greens give these pears just as much life as the rest of the Summer harvest, and I added the plum color in the back ground to really bring it out. I also enjoyed adding more contrast (set with the burnt umbers), allowing more of the forms to pop!, regardless of the fact that I smoothed all edges of each pear.

So yes, I painted from a photograph that intrigued me, and made it my own. I hope that my spin on these lush pears intrigues you too.

"Trio" is currently available at Urban Cottage, in Atlanta, GA.EMAIL ME

Summer Show

2010-07-09T06:31:00.000-07:00

"Tomato, Tomato", oil on canvas, 20" x 24"

On Thursday, July 22nd, I am having a show at my parents' home on Mobile Bay (Mark your calendars: Thursday, July 22nd Wine Reception 5-8pm, and the following day, Friday, July 23rd is an open house, from 10am-5pm) honoring all that is Summer on the Bay when it comes to nature's abundance.

Most of my work is inspired by the fruit stand that is located about 1/2 mile from their house. Off the side of the road, in a small tent that is the only lick of shade in a 1/2 mile radius, this fruit stand never fails to be over following with the most gorgeous watermelons, tomatoes, peaches, and blueberries, and a cheerful farmer to greet you (Yes, if it weren't for the blasting A/C in my honda my dizziness from the heat would lead me to believe that it actually was a mirage).

Regardless, I think my mother must visit this little slice of fruit heaven at least 3 times a week, because every time I visit the bay house her counter seems to be covered in her fruit stand finds, to the point that I am led to believe she gets half the fruit stand every time she goes. Thus, to me this means Summer, and my upcoming show is fruit painted in my usual style, like the painting above: single subject, up close, and almost graphic. However, I plan to cover the walls in fruit paintings, pairing similar types together, to make my own fruit stand.

So, dear bloggers, please join me in a couple of weeks over the bay to visit and take home your own slice of Summer.

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Born Romantic

2010-06-29T07:02:00.000-07:00

"Chandelier, 1872", mixed media on Rives BFK paper, 22" x 30"

I have had an obsession with chandeliers, especially antique chandeliers, for as long as I can remember. If I had it my way, I would have one in every room of my house. Yes, even the closet. The way the light hits the crystals, the ability for the structure to up the ante of even the most modest of rooms, and the undeniable romantic and prestigious feeling someone, especially a woman, receives when graced with one dancing above their head, makes the chandelier oh, so covetable and happily acknowledged.

Be that as it may, not every budget allows for such gorgeous structures in every day life, at least not the grand ones a la Marie Antoinette that I so love. Also, traditional structures I find to be even more intriguing when given a modern twist. The results from these facts can be seen above, in drawing of an antique chandelier.

Thick with layers of graphite and charcoal, the actual drawing was created by erasing out the applied layers of mixed media to unearth the mystical chandelier, and allow for edge and glow. I also kept a 3/4 inch border around the entire sheet of paper, to allow for a grittier take on something so classical. The end result I love; I can see it being hung over a bed or in a foyer... especially in a very white neutral setting. Come to think of it, I might just have to keep this for myself.

$400.00 (+ tax and shipping) SOLD

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A Different Point of View

2010-06-25T05:40:00.000-07:00

"Carla's Garden", oil on canvas, three 16" x 20" canvases

What I love most about commissions is the fine balance they challenge you to keep; the balance between your vision and your patron's, and honoring both.
The above piece was commissioned by a friend whose new apartment is centered around a color scheme of earthy greens and taupes, and who has been a part of the food business her entire life. She knew upfront that she wanted paintings arugula, brussel sprouts, and asparagus, to center her apartment. The rest was up to me.
I played around with several compositions, my most challenging being the one for the asparagus. Most of us have seen paintings of the beautiful stalk of asparagus, violet rubberbands and all, centered in the middle of a canvas. To be honest I painted the same composition initially, just to see, and found what I was expecting: it was boring. So, after much hair pulling and stomping and sketching, I found this composition. Almost abstracted, in your face proximity, and still keeping the traditional violet rubberband, this asparagus has some punch.
Not leaving out the other two, the paintings of brussel sprouts and arugula are meant to flank the asparagus, and are painted with the intention of allowing the eye to rest with their not-so-close compositions and energetic paint application being applied mostly to the actual subject.

I delivered the paintings to Carla yesterday, and much like their owner, hip with a side of tradition, they fit perfectly in her new home.

It Shows

2010-06-21T05:21:00.000-07:00

Oh, what a night. I could not have asked for a better opening reception for "With A Side of Ginger", which featured my latest sushi inspired paintings. After stressing hours + hours over placement, my work was finally hung to my satisfaction, wine and cocktails flowed, bites of sushi were served, and (while I am biased) the best of Atlanta (and surrounding areas) and Gulf Coast representatives attended. The show will be up for another month, so if you did not see it, please stop by the gallery when you have a moment (CherryLion Studios, 889 Morris St NW, Atlanta, GA 30318).

To add to the chaos of last week, I also put up a show in San Francisco Coffee, which is located on the corner of N.Highland Ave and Amsterdam.

Maybe it is going back to my days in Athens, but I do love having my work in a coffee shop. The hustle and bustle of such an establishment adds even more energy to my work. Go by and see them when you have a moment, and enjoy a cup of joe while you're at it.

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Gulf Coastal Life

2010-06-15T07:31:00.000-07:00

"A Day at Ono", oil on canvas, 30" x 40"

I don't think the timing could have been better for the above piece. Commissioned by a dear family member, the above painting depicts my patron's grandchildren playing on the beach of Ono Island, an island located at the mouth of Perdido Bay (which is off the coast of the Gulf of Mexico) and coincidently the exact beach where I spent many Summers with my family. In the wake of the horrible Oil Crisis that is threatening this glorious way of life as I and so many others know it, it was nice to focus on a composition that truly honored what living on the coast is all about: Family.

When I think about those Summers I think of playing with my siblings and cousins (I've mentioned before the tradition of the 4th of July) all day in the sun (okay, to be honest, me being the one with the pale skin I went back and forth from the beach to the house, usually kicking and screaming about having to re-apply sunscreen every hour..sigh) making up games on the beach, eating lunch on the wharf, and finally crashing from pure exhaustion and content later that evening (and usually dragging a heaping amount of sand into bed with me). To depict all of that in one painting was a fun challenge (ignore the oxymoron here, please) and the only way I could think to truly capture "a day in the life" was to paint the children in action. I am honored to have been asked to paint something so dear to me and this family, and hope that even if the oil does arrive to our beaches soon, at least this piece can be a reminder of what is so glorious about the Gulf Coast.

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What's Your Fortune?

2010-06-04T07:45:00.001-07:00

"Tempting Fate", oil on canvas, 16" x 20"

I had to. I have been painting sushi for weeks now, and as an avid sushi lover I know that at the end of most sushi meals I am rewarded with a gorgeously folded crisp cookie (that much like Valentine's Day, was created for the American consumer, and has no real attachment to the culture, but that I love anyway), so naturally it earns a spot in the upcoming "With A Side of Ginger" show featuring all of my sushi paintings.

Oh, fortune cookies. They usually strike some emotion, are curious in shape, and start a conversation. All are aspects which I strive for in my work. Above is one of three fortune cookie paintings, which I throughly plan to paint the fortune in a longer canvas to be placed under the work. As simple as it looks, the cookie was more difficult to paint that I originally intended The composition and subject, if not married well, were begging to be asked, "What is that?" Painting with a minimal palette and attempting minimal paint strokes, I went back and forth all afternoon trying to make it just right.

However, after such a struggle I got my reward. I opened the cookie to read my fortune.

"Your future is as boundless as the lofty heaven."

I couldn't agree more. Happy Friday.

$300.00 (+ tax and shipping) SOLD

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I'm Not Supposed to Like This

2010-06-03T05:12:00.001-07:00

"Roe", oil on canvas, 22" x 28"

I spent most of yesterday painting sushi with roe, also known as FISH EGGS. The thought of fish eggs, the gelatin little bulbs that (unless you have Hollywood teeth) get stuck in your teeth for hours (and are not advised to be consumed on a first date... trust me, just stay away) make my skin crawl. However, much like painting a nude model, when trying to paint a subject correctly, I often get lost in my paint application, and the uneasiness of the subject slips my mind. The end result, if painted in it's intended fashion, often draws away from the once cringe worthy subject. This is another aspect of painting that I love: the ability for the paint and the canvas to show beauty in the most unlikely of places, simply due to the way and really art in which it was created.

Thus, on with the sushi... and I'll have roe with that.

$400.00 (+ tax and shipping)

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Ode To The Ritual

2010-05-26T07:19:00.000-07:00

Before the phrase "What is this?!" or something of the like goes through your head, have no fear; this is not a painting of mine. In fact, it's not a painting at all.

You got it; the mishmash of paint above is actually a cropped portion of my beloved studio apron (Special thanks to Jason, my fabulous impromptu photographer. Also, please ignore the mid-laugh goober expression on my face; I was trying explain that walking outside one's studio to find a photographer out and about was completely commonplace).

This apron, nonetheless, has held an active role in my painting career for almost 6 years now. It's from Hobby Lobby, it cost me $2.00 (yes, that's exact. My lazy self never actually removed the price sticky from the inside tag), and probably has about $100.oo worth of dried paint on it currently. I bought it initially for my first painting class at UGA, and it has stayed with me ever since. And when I mean stay, I mean it has been used for nearly every painting since that first class. It is so covered in paint that it can no longer bend, and the pockets have been painted shut. Regardless, I wear it anyway.

I like to equate the apron to rituals and superstitions that athletes are often reported to possess. These rituals are often created by accident, often actions that an athlete notices after a pivotal performance, and then tries to establish a cause and effect. Whether the ritual truly works, it is certain that it boosts confidence, and without a doubt establishes a sense of control of the athlete's performance. However, I think this practice of establishing a performance ritual can be applied to any performance, especially fine art.

With that notion, my apron is my ritual. While I never had a pivotal performance that made the apron a requirement, it allows my creature-of-habit self to have a sense of control. I put it on before every painting, and in doing so it gets me in the "zone". I turn everything else off, visual what I want to create, and begin the game.

Diptych

2010-05-19T04:41:00.001-07:00

"Salmon Roll", oil on canvas, 12" x 36"

A traditional diptych is defined as two panels that are linked by a functional hinge, to form an almost book like structure. Traditionally made of ivory or other precious material, these diptychs were often held in the highest regard, due to their rare material (obviously) and the skill it required to create such masterpieces.

Later on, the link between the diptych became more of a metaphorical presence, and often panels were placed next to each other, due to either their similarities or conversation that sparked between the separate panels.

Typically I shy away from diptychs, mostly because the ones I see today are often too open ended, or simply look like the artist should have just used one larger canvas instead of trying to make it interesting with two. However, the piece above and the piece from yesterday's post makes a perfect diptych in my eyes, for they form what we often see placed before us on a plate, but on canvas. The gorgeous rows of sushi I always admired, so I figured why not abstract and enlarge them to truly make a work of art? Just an idea, of course. What do you think?

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With A Side of Ginger

2010-05-18T05:42:00.001-07:00

"Nigiri", oil on canvas, 12" x 36"

Some paintings I create are not my favorite. Yes, I like them, but when I see them after I paint an overwhelming since of accomplishment, or rather an Emeril like "Bam!" does not go off in my head.

However, even if I sound vain, I must admit the painting above is a "Bam!" painting for me. What makes me enjoy the painting more than others is it's subject; I feel like I am painting something different. I also had several technical problems to deal with (white on white is not a fun game. If white on white was painted at the Paris Salon back in the day, you could bet that artist got an extra point. Google "Lady in White Painting" if you don't believe me), along with making a gigantic piece of sushi look appealing.

There will be more sushi to come, as I am preparing for the show in Atlanta in June. No pun intended, I'll keep you posted.

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Exposed

2010-05-06T07:08:00.001-07:00

"Exposed", oil on canvas, 30" x 40"

You read that correctly. The piece above is 30" x 40", a.k.a. a giant one. I have been preparing for a show to be held at my cousin's home next week, and thus have been painting smaller paintings, to keep costs down for patrons and to ultimately make my work more accessible in a smaller, more private setting. My studio can not hold any more paintings for that show (once again, roommates are giving me the eye... my work is starting to spill out into the dining room) so I have moved on to the next big thing (no pun intended).

I'm having a show at Cherry Lion Gallery in June, and because of the fantastic space I have the opportunity to paint my large scale still lives I've been itching to do. The above piece is the first attempt, and I believe it was a successful one. What I like most about painting on such a large scale is the ability to give a subject more life, more energy, more variety (in marks, color) than I ever could on a small canvas. It is almost as if, when a starting with such a large blank surface it challenges me, saying. "What now?" And then I get to work, lost in paint and thought.

$700.00 (+ Tax and Shipping)

Inspiration

2010-05-05T07:13:00.001-07:00

"Home", oil on canvas, 16" x 16"

"Good Artists Copy. Great Artists Steal."

(Pablo Picasso)

Picasso seems to imply that nothing is original, and maybe that is true. I often draw my inspirations and ideas from multiple sources, making nothing truly my own, even if the combination of ideas comes from only me. I am okay with this thought, because I feel obligated to respect the artists and work that came before me that lent opportunity to not only create work but allow me to see it a certain way.

My go-to inspiration are the Impressionists; the way they lived their lives, created work, and overall banded together to create such a movement that would forever change the way we see everyday life of their time. I discovered more about my beloved impressionists yesterday, by getting lost in a book on the subject at Barnes & Noble, and before I knew it I was 100 pages in. (I did feel a little guilty about this, since I did not intend to buy the book, so justified my stolen knowledge by purchasing a cheap paperback on Julia Child, another major inspiration and a subject for another post). I became so caught up in the vivid palette and work ethics of Mary Cassatt (if you are not familiar with this famed artist, go look her up. She's my re-discovered hero. Fabulous painter, considered a true impressionist, and on top of that a WOMAN, something that until not too long ago was considered very taboo) that I immediately went home locked myself in my studio, and painted whatever canvas I had available. The above painting, a gorgeous turning peach, is one result of such a powerful inspiration.

"Home" is currently available at The Gallery @ Lime Tree in Decatur, GA.

Let's Just Say I'm Going Green

2010-05-03T14:13:00.001-07:00

"In Good Faith", oil on canvas, 16" x 20"

It has been said that the old masters of art used to scrounge trash bins for their students' old paint tubes to scrape whatever paint was possibly left to use on their own work (I have to admit I like to romanticize this thought a bit, throwing a little bit of a Sherlock Holmes setting in, picturing these famed artists creeping about in the shadows, capes on, grabbing what little paint they could and rushing back to their studio to paint all night to create the masterpieces we know and love today).

Trading in the cape for old jeans (covered in paint) and the trash bin for my beloved Binders, I feel the need to scrounge and save the precious medium that is my oil paint. Stressful at times, naturally, but such a dilemma of saving paint while still maintaining my love for a "Juicy" painting has lead to me constantly play with application and process.

Let's take today's painting for example:

In attempt to save paint from the previous painting I used what was left on my brush to paint the first layer of the background to the painting. It allowed a different color palette than what I normally would have chosen, and I enjoy the muted tone of the background that allows for the magenta swatch on the pear to really sing.

Painting the background first also allowed for the edges of the pear to automatically be softened, and provided little conflict with the overall marriage of subject and space. I feel like it is a common problem for a painter to get so wrapped up in the subject of the piece that when they get to the background it either becomes an afterthought or they struggle with what to paint. Painting the background first solves both of those problems and allows for more opportunity to let the subject shine.

Nevertheless, such a practice leads me to wonder: What masterpieces were throughly planned out, and which ones had traces of happy accidents due to the selectiveness of our precious medium?

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Weeding It Out

2010-04-29T10:01:00.000-07:00

"Parsley", oil on canvas, 16" x 16"

I paint fast. Abnormally fast. I'm not even sure why. Impatience? ADD? The addiction to the feeling of paint flying and quick mark making? Keeping pace with Jason Mraz's scatting (that is on repeat in my studio)?

It's probably a combo of all of these things, but on the odd occasion I am not painting fast red flags seem to pop up. "What's wrong with this painting? or "Why are you having an off day? You don't have time for an off day!" or "Is the turpentine getting to you? Did you open a window?!" goes through my head. This is the point where I sit back and think, "If I were painting a person, how would I do it?"

Sketch it out, find the lights and the darks. Don't think about what you're painting. THINK SHAPES.

I went about doing this, painting shapes, filling in lights and darks, and trying not to get wrapped up in the details. The reason I started painting my vase of parsley in the first place was because I love the fact that its just a bunch of wild fresh green leaves, like I picked it out of the garden and let nature create the center piece. However, painting just a bunch of wild fresh green leaves is tricky, because I had to give it depth, but keep it true to my style. I don't use small brushes, sharp edges, or photo realism. I like natural and loose paintings; paintings that allow you to see something else in your regular, run-of-the-mill object. However, finding the balance of all of this caused me to have to stop and stare all morning.

I honestly almost stopped here. I liked the unfinished layers, and thought the piece might say enough to achieve the depth and freshness I wanted. Then I realized that I needed to go the extra mile and let go of my need to finish a painting so quickly.

I like the end result, and feel good that I pushed through; I even painted the white on white background! woo hoo!

Life is good. Happy Thursday.

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An Artichoke Gets Graphic

2010-04-28T11:35:00.001-07:00

"Stands Alone", oil on canvas, 24" x 24"

Continuing with the exploration of breaking the rules with a white background, today's painting has a graphic feel to it. The almost symmetry, placement of the artichoke, and strong shadow are all elements that were not as intended as you may think, but results I love. I am mostly pleased with them because they are not my typical style. I lean toward softer paintings, more application of paint, and an overall energetic background. However, I think that the simpler white background forces the viewer to pay closer attention to the brush strokes used to create the layers of the artichoke, which are even more energetic than any background I could apply.

Layers are in: $400.00 + shipping EMAIL ME

Possibilities

2010-04-27T05:03:00.000-07:00

"Almost Gone", oil on canvas, 12" x 12"

"Critics, mathematicians, scientists and busybodies want to classify everything, marking the boundaries and limits... In art, there is room for all possibilities." (Pablo Picasso)

This quote is posted in my studio, to remind me to push myself and to not doubt my instincts. Powerfully stated by the one and only Picasso, it lends a vast sense of hope and assurance, especially when I know I am breaking the rules so rapidly pounded into my head during my formal art training.

The watermelon painting above is the perfect example. For the past few entries I have mentioned my vision of white on white that has been in my head. I loved the stark white of the canvas, with my preliminary sketch marks peeking from underneath my paint. I had been taught to paint the background, even when I already loved the color that was there, in order to complete the look. I know this rule well, and usually follow it. However, (forgive me for sounding like a cliche) if I always followed the rules what new avenues would I discover? Rules tossed to the wind, I am enjoying the raw, smooth, stark white canvas next to the vivid textured paint that creates my watermelon. I even like the idea that others might think it is unfinished; it takes the sacredness away from the painting and allows the viewer to relax, enjoy, and place wherever they see fit.

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Can you tell?

2010-04-23T07:15:00.001-07:00

"Spicy Tuna", oil on canvas, 16" x 20"

You must be wondering at this point where I am getting all of the sushi for my pieces, or rather how I can afford to be purchasing all of these rolls. Well, as you can imagine this particular subject is starting to get a wee bit pricey. Thus, I cheated this morning and used a photograph from a cookbook as a reference.

While in undergrad, I was strongly discouraged from using photographs. My professors encouraged us to paint from life, so the true color, light, and LIFE of the subject could be more easily translated to the canvas. A photograph often manipulates the desired object, and a lot of details are left unseen by the lens. I find this to be true, but I have also found that when given a high quality photo, one can still create a worthy painting.

I ask you dear bloggers, can you tell the difference between the photograph referenced painting seen above and the two previous "from life" painting posts? You be the judge!

By the way, almost there with the white on white image in my head (read yesterday's post to understand).

I like this one: $300.00 (+ tax and shipping) Email ME

The Hardest Part

2010-04-22T07:20:00.001-07:00

"Guilty Pleasure", oil on canvas, 16" x 20"

I'm not going to lie, if I tell you that I paint for a living and your response is, "Oh, that must be sooo relaxing!" or "That must be so much fun!", I'm going to judge you.... and slightly like you less.

Yes, I enjoy painting. But, it's similar to the joy someone can get out of running/exercising. You like the result, the overall feeling of the workout, but somewhere in the middle of it the idea to stop crosses your mind. I love to paint; the mixing and texture of the paint, the constant changing of a composition, the often event of getting lost in my work. However, I struggle with getting the vision that I have in my head to the canvas. For me, this is the hardest part. Artists try for years to get it right, a reason many artists declare that a painting can never be truly finished. Somewhere in the middle of working on a piece an artist (I've discussed this with many colleagues, mind you) has to step back and determine if the piece is "working", a.k.a is becoming the image they see in their head; the make or break moment. The moment that the idea to stop crosses their mind.

The piece above is not what I wanted at all. I envisioned a large scale piece, with at least 5 pieces of sushi and white on white background. I had to make changes for the color palette and composition to work, and this is the result. I truly like the piece, the greens and oranges are having a big time conversation, and the sushi looks fresh. But, I am still struggling to release the white on white image from my head.

However, as Scarlett would say, I'll think about that tomorrow.

Loving the sushi: $300.00 (+ tax and shipping) Email Me

Konnitiwa

2010-04-21T07:47:00.000-07:00

"Konnitiwa", oil on canvas, 16" x 20"

Keeping with my passion for the art of the everyday, I have begun a "Foodie" series, the piece above being the first to be added to the collection. Roll your eyes if you must, but while the term foodie is often synonymous with snob, I think of it as exploring an art and a different way to approach food. The food that is often presented in "foodie" restaurants I find to be almost heartbreaking to eat, it is often so beautifully presented.

Such is the case with sushi, and I found the particular roll depicted to be absolutely gorgeous (have no fear, I did eat it the minute I finished painting). Hard to create with the vivid layers and delicate texture, I was curious to see if I could make it just as appealing on canvas. I like the piece, but think that a more linear canvas showing multiple pieces of sushi would be even better.

I'd like a bite: $300.00 (+ tax and shipping) Email Me

Just What it Needed

2010-04-20T07:07:00.001-07:00

"Papaya", oil on canvas, 16" x 20"

Today's painting is all about instinct. I saw this gorgeous subject out of the corner of my eye yesterday, and didn't think twice about giving it a home on my canvas, regardless of the fact I had no idea what it would look like once sliced or the name of this gorgeous mango (at least, I'm pretty sure it is a mango). While preparing the canvas, I began to test colors to insure contrast while being true to the subject's color. I ended up with half a canvas painted with swatches, and went with the technique, using only the palette knife. I used colors that I love; naples yellow, chartreuse green, phthalo blue. It felt good to go with my gut instinct, and to let that produce my work.

"Papaya" is currently available at The Gallery at Lime Tree in Decatur, GA Email Me

I've Seen this Before

2010-04-15T04:59:00.000-07:00

"What's on the Inside Matters", oil on canvas, 16" x 16"

I'm sure that most of you have seen this image before. Of course, you haven't seen my version, but the gorgeous pattern that is created by the wedges of a lemon once halved is so commonly used I'm almost certain you could find it in the Clip Art folder on the first version of Microsoft Word.

Regardless, I was still seduced by the stunning array of color and pattern once I halved the monstrous lemon that has currently been living in my studio. Much like a chef who creates a twist on a classic dish, with this piece my intent was to twist a classic image and call it my own.

While I'm not sure if you can tell by this particular image, I used a wide ranged palette, and also timed myself when painting in order to keep the energy up in the brush strokes to prevent any sort of crisp pattern forming. Basically, I wanted to make this slice lemon look REAL, with all of it's curves and juices taking over while it posed for me.

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Spring is in the Air

2010-04-13T05:45:00.001-07:00

"4 for $5.00", oil on canvas, 16" x 16"

It's the time of year when I actually get excited to go grocery shopping because I know that fresh, delicious produce will FINALLY be sold for a reasonable price. I honestly don't consider it to be summer until blueberries are sold for under $3.00, but the fact that strawberries are now on sale makes it sufficient enough in my book to call it Spring.

Inspired by the delicious fruit as I prepared breakfast this morning, I decided to pay it homage and dedicate this quick study to the strawberry in order to properly welcome the season.

Cheers to painting the art of the everyday and a lovely Tuesday morning.

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Maybe Bigger is Better

2010-04-12T05:25:00.000-07:00

"Larger than Life", oil on canvas, 3' x 3'

"Your painting reminds me of the large woman at the party who is wearing a tight red dress that hasn't fit her in twenty years and no one wants to tell currently makes her look like a wrapped sausage."

This is a direct quote from my undergraduate professor during a critique my junior year. I had painted a 5' x 4' painting, it had taken me a month (I had basically set up a cot in the art building), and I thought it was fabulous.

Apparently I was wrong.

The work depicted the nude back of woman, perfectly proportioned, but looking back just plain....boring. I had painted a boring painting, that was REALLY big. Granted, after an hour study and good cry over the painting I realized this, and also realized what my professor was saying. Just because it is big, does not make it better. There is nothing worse than a bad LARGE painting. Just like the woman in red dress, it is not pretty, and can not be avoided.

I am not saying that the above painting is fabulous. But, due to the subject (yes, check out the picture of the lemon in my hand! This is another lemon from my friends' lemon tree in Albany, GA) I could not resist painting it true to size; larger than life and with a painterly edge. In addition to the size, this lemon has an abundant amount of ridges and color depth, causing the large canvas size to be justified; it is neither a static subject or color palette. It leans toward an opportunity to paint something that makes a large canvas worthy of the party's attention.

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Derby Paintings

2010-03-31T05:34:00.001-07:00

"Mint Julep", Watercolor on Arches Paper, 7" x 10"

The above piece is part of the Kentucky Derby series I painted for a display (and yes, they are for sale) at Star Provisions, a fantastic gourmet shop that is every foodie and creatively inclined person's dream. Obviously, when given the opportunity to work with them I jumped at the chance.

I have touched on this a little before, what I love most about this series is it's ability to be such a personal piece of work. The small size, the light application of paint, the charcoal markings that allow my artist's hand to be visible, allow for a sense that the particular piece of art was made for the viewer, and the viewer alone. Not to mention, the work is relatively inexpensive, which I love. While this might sound ostentatious coming from an artist whose normal medium is frequently the most expensive, I try to have work that everyone can afford. Art is not for a certain class, and art also does not have to be outrageously priced. I think some of the best work is made with found pieces, which goes back to my love of art of the everyday, and the simplicity of that practice.

If you enjoy the series, there are more pieces available at Star Provisions starting next week. I have posted the link below.

Composition Thoughts Part II

2010-03-30T04:53:00.000-07:00

"With Lime", oil on canvas, 36" x 36"

I couldn't let all of those gorgeous limes go to waste, so my studio is currently being taken over by paintings of limes. I am very attracted to them for many reasons, but in order to keep my viewers engaged I feel an obligation to offer a different composition each time.

Above is a lime painting with a composition (dare I say it?) I am rather proud to show. Attempting to stay away from my tried and true, singular cropped views (still following? My apologies for the doozy of run-on adjectives), I opted for a way to show more space on the canvas, but also to allow the canvas to not seem as copious as most 3 feet by 3 feet canvases do. My original sketch (let's not be fooled here, there were no sketches on notebooks, just on the actual canvas) held three lime wedges, but due to space issues and my goal to allow for more of it, I went with just two. The end result, obviously, is above.

Add some lime: $500.00 (+tax and shipping) SOLD

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Limeade

2010-03-28T10:48:00.001-07:00

"Set of Limes", oil on canvas, four 8" x 10" canvases

Another request from the "Forbidden Fruit" show was a series of lime pieces. I was happy to oblige, and the result is seen above. The small studies once again beg for a home on the coast, evoking summer with their cheery disposition and color palette. These will be available for sale in Bella Cucina starting next week, along with larger studies of limes to follow.

As much as I love the precious quality of small paintings, especially when grouped together, I am eager to paint REALLY large... 5ft and up. For some reason, something as common as a lime seems to take on an entirely different role when it's is taken out of it's comfort zone. When enlarged, I get the sense that the fruit seems to take on an almost humanistic quality, with more presence on the canvas and opportunity to abstract the subject.

My next show I am leaning towards larger than life pieces. Will post them soon for y'all's preview.

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Easy Mood

2010-03-26T07:53:00.000-07:00

"Cantaloupe", oil on canvas, 22" x 28"

Another example of how moods can effect work, I've been in a sleepy-easy-no worries kind of mood for the past week ( I have no reason for this, with the millions of deadlines quickly approaching) and the mood I believe has reached it's peak this morning. I awoke content to great the morning, knowing that I have a weekend free to be in my studio for as long as I want.

I am usually inclined to paint a palette that pops! but this easy muted cantaloupe I'm enjoying for it's peaceful nature. Much like yesterday's watermelon it evokes Summer, but I think it really calls to the laziness of long Summer days, more so than the outside activities that Summer leans towards.

Have a slice: $400.00 + shipping

Rushing the Season

2010-03-25T07:35:00.001-07:00

"True American Summer", oil on canvas, 24" x 24"

Don't worry dear bloggers, I am not wearing white shoes just yet. However, when painting this piece I can't help but think of lazy summer afternoons on Mobile Bay and the beloved 4th of July at my grandparents' house, and it's only the first week of Spring.

This piece was actually commissioned by grandfather, for his bay house, which is only fitting with the 4th of July scenario and the shades of green (yes, the love of green is a family thing- we might not all love the same shade, but green seems to be the majority's favorite color).

I was little hesitant to paint this one however, because I felt it was a little too typical. However, as my roommate and I nibbled on watermelon slices to give the composition a little more umph, I realized that even a true americana stereotype can have some edge.. and will look perfect over the bay.

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The Artist's Hand

2010-03-24T06:15:00.000-07:00

"Not just for Rabbits", oil on canvas, 12" x 12"

Initial Layout Sketch of "Not Just for Rabbits"

In conversation with a friend yesterday, he mentioned what he enjoyed most about original work was seeing the artist's hand. Today art is so mass produced or screen printed (I'm not knocking the art of screen print, for the record. Love the graphics that often are the result) that the personal touch of the artist, what makes their work their own, is often lost.

I have never been one to keep a sketch book (I currently have close to two bookshelves full of 1/4 filled sketchbooks that were forgotten a week after purchase), and usually dive into work. Many classically trained artists would cringe at this method, but I simply am to eager to get started on the actual painting.... or at least paint a study. However, I am drawn to the initial layout, and often want to keep that layout and go on to the final painting. I came to the realization yesterday that what I loved so much was that I could see my hand in my work- I could see all the marks that really only make sense to me, and to be honest am not quite sure how they come to exist on the canvas. I look at an object and go... and there is the sketch.

Above is my sketch of a cabbage, along with the image of the result. I enjoy them both, but am now striving to keep my "hand" more in my work.

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Isn't it Grand?

2010-03-22T07:15:00.000-07:00

"All that Glitters", oil on canvas, 30" x 40"

Way back last Summer I borrowed every book the Fulton County Library had on French interiors, seduced by the intriguingly grand chandeliers that hung in almost every room. I was set on painting these elaborate sculptures, but was soon intimidated by the amount of perspective and detail that was required to pull off such a depiction. I abandoned the idea, and painted what I knew and loved, which of course is the work you have been viewing for the past couple of months.

However, last week I was requested to paint a commission for a dear patron who not only has a fabulous home, but a chandelier similar to the ones I so wanted to paint. She requested a certain color palette, with a loose abstract feel to the piece.

I simply couldn't help myself, and dived in once again to the chandelier genre. I feel that the piece was a success, not just because of the final product, but because I allowed myself to not worry about the details; I kept it loose and painted fast, to allow the often stationary object to have some energy. I'm considering a smaller body of work that continues this journey, possibly with a louder palette. We shall see.

To Bring Out Your Green

2010-03-17T07:08:00.000-07:00

"Cherries", Oil on Canvas, 16" x 16"

I have to admit, I attempted to make this a witty post and try to tie the cherry subject and St.Patrick's Day together. Alas, Google only gave me recipes for cherry pie and trivia on Michigan (the state is the leading producer of cherries in the United States by 75%, just in case you were wondering).

I'm not quite sure what draws me to cherries. It could be the fact that they are often accompanied by whipped cream and hot fudge, their overly cheery color, or better yet the fact that they invoke some 1950's red nail polish color that I am always tempted to use (on the rare occasion I am not covered in paint). Regardless, this painting makes me happy, and has inspired me to do a bunch of little 8" x 10"s to be sold on Etsy (shameless plug).

Happy St. Patrick's Day to all.

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Loving some Red

2010-03-11T07:39:00.001-08:00

"Georgia meets Alabama", oil on canvas, 24" x 24"

Over the past weekend I had several conversations about why people are drawn to certain subjects and colors. Is it the feeling that we get from these subjects? Is it the environment we grew up in? Is it the overall look that we are trying to achieve for our home/lives? Better yet, is it our preferred escape from our everyday lives that we respond? It's something to consider, but it's also something that I doubt there is any true scientific reason (however, would be interested to know if there is a study- someone contact me if you have a clue).

The above painting is in response to an overwhelming amount of feedback towards the color red- so many people wanted to see more of it! I have been trying to embrace it more in my work, to the point that I think my roommates are beginning to get overly suspicious of the large amounts of peaches, cherries, and watermelons I'm keeping in our dining room until I am ready to paint them. Don't worry girls, will be painting and sharing them soon!

$400.00 (+ tax and shipping)

My first love will always be Oil

2010-03-09T04:19:00.000-08:00

"Tomato", watercolor on paper, 4" x 6"

Have no fear, I am not drastically changing my medium! While it is common after a show (Thanks again to all who came to Forbidden Fruit; it was truly fabulous getting the opportunity to show you my work) for an artist to want to be entirely finished with a certain subject (there is a definite emptiness once every one leaves, which an "On with the new!" feeling inevitably follows), I felt the opposite, wanting to go even deeper into the subject of everyday, of delicate fruit and the twisting of color, especially with all the inspiring feedback I was given.

However, the above piece is a quick study to be sold in a few shops around Atlanta, and on Etsy. I learned how to paint using watercolor, and find that the ease and delicacy of the medium (not to mention it's usual inexpensive nature) to have a certain charm that can not be denied, especially when the subject is edited and framed in a clean, beautiful way. This tomato piece is one of many fruit and vegetable studies, honoring in particular some of the new spring flavors of Bella Cucina, a little italian food shop in Virginia Highland. I'm also researching vintage seed packets to duplicate. I think these would be perfect in a kitchen, and great for a small hostess, birthday, or wedding gift. They, along with this gorgeous weather, are getting me very excited for Spring!

Man's Best Friend

2010-02-28T13:07:00.000-08:00

"Casey", oil on canvas, 16" x 20"

I am slowly but surely becoming a dog person. I grew up with cats (at one point there were 5 cats in my house... which if it weren't for the other 5 human family members in the house I would qualify for the horrific title of cat lady). However, it seems that for the past several years I have been surrounded by dog lovers, with the owner of this recent man's best friend portrait being no exception.

Much to my surprise this particular piece was a blast to paint, mostly because Casey's coat called for a heavy application of paint and variety of brush strokes for texture. If it weren't for a time constraint (this piece was given as a birthday gift) I think I might have really piled on the paint. It was also a challenge, as with any portrait, to make sure the subject's personality shown through. From what I've witnessed of Casey, he is curious and spirited- which I hope this reflects.

I hope this isn't my last puppy portrait- it was too much fun to paint to just stop here!

Compliments

2010-02-25T04:52:00.000-08:00

"Shed the Skin", Oil on Canvas, 12" x 30"

One of my favorite things about fine art is the concept of using color theory to make seemingly odd color pairings work. Because of the patterns of the color wheel, you can use color in a way that uses your mind instead of your eye. The most obvious example is the use of complimentary colors. If you look at the above piece of the orange, in reality the orange's shadow is more of a brown-green color, which leaves the orange on canvas looking slightly muted. I wanted to add some pop to it, and because blue is the complimentary color to orange I could get away with using that as a shadow, adding my wow factor without seeming out of place.

I don't mean to sound like a know-it-all with my color theory run down, but I just love that I can play with color and have it make sense! Using what you know and applying it to the things you love in life-bending and pushing rules- is there anything more satisfying than that?!

On that note, it's almost the weekend. Hope you too, dear bloggers, bend the rules a little today. Happy Thursday.

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Rough Around the Edges

2010-02-23T04:15:00.000-08:00

"Pera", oil on canvas, 12" x 30"

I rarely frame my work. It's not that I have anything against frames (I think it would be difficult to be raised in the South and not love a good frame with a large mat... or maybe it's just my friends and family that were the influence), but for the past couple of years I tend to like things a little rough around the edges.

I think it mostly has to do with the fact that I don't want my work to seem overly precious. Yes, it is original and something that I treasure, but I paint everyday items, and I want the owner to both love the piece and be able to incorporate it into their lives- whether it be above their mantle, in their dining room, or even hung on the wall on the back porch. My work is meant to be versatile when it comes to space- something you can dress up or dress down. This could also have something to do with my decorating style. I tend to mix all of my work, both original works and reproductions, to create a space of all the images I love. I want my viewer to be able to do that with my piece; to love it and realize that it belongs in those items that they cherish, with or without the stately impact.

The above work feeds into that philosophy. I have gallery wrapped the piece, allowing the painting to spill over the sides of the canvas. No pun intended, I think it adds some edge, which is why gallery wrapping is one of my favorite techniques; it allows both classic and contemporary to kiss.

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Showing Off

2010-02-22T04:13:00.000-08:00

"In Line", Oil on Canvas, 12" x 30"

I lucked out with having a great studio space in my home. My studio is actually a sunroom, complete with 2 walls lined with windows that look out onto my lovely Virginia Highland neighborhood. It has a such a great view in fact, that I often feel like James Stewart in "Rear Window", witnessing the comings and goings of my neighbors...minus the whole murdering husband speculation. It is a good sized space, I have even managed to fit a seating area complete with vintage brocade couch and coffee table along with my painting materials.

However, as of late I can barely move in my beloved studio. Paintings are stacked everywhere; on chairs, propped on tables, hanging from every available wall space, making my studio somewhat of an obstacle course (If you can get to the other side of the room without touching any paint you get 10 points!). This is a good problem to have, the reason being I am preparing for an upcoming show.

My work, including a vast majority of work that you've seen on this blog will be on view (and for sale!) March 6th from 5-8pm at my parents' home in Mobile, AL. My parents have graciously agreed to host such a wonderful night, and the show, consisting of this fruit body of work, is consequently titled "Forbidden Fruit". I've made a point to have several sizes of work available- the largest being 36" x 36", the smallest 12" x 12". I hope that you dear bloggers, especially those in Mobile, will venture out to take a look- or at least say hello.

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Texture

2010-02-18T04:08:00.000-08:00

"Fallen", Oil on Canvas, 16" x 20"

My roommate happened to walk in my studio while I was sketching the painting above. I asked her what she thought, and she instantly replied, "Leaves are boring."

While I see her point, that just a leaf doesn't strike dire interest in many, this leaf in particular, a dried up appendage from my nectarine, I find to be quite the opposite of boring. With it's rough surface and folded shape, almost as if nature had tried it's hand at origami, I could not resist seeing what would happen on the canvas. Not to mention, I really hoped to convey lots of texture in the piece.

Playing around with something can lead to several happy accidents, which was the case here. I used several tools- brush, palette knife, and my graphite pencil. Never having tried graphite after paint before, I used it to sketch in lines, carving out paint to leave room for gestural marks of graphite.
I think it was a success- adding texture and some umph, without being overdone. I want to continue to push this technique, particularly because I'm a sucker for mixed media.

More to come, naturally.

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Different Shades

2010-02-16T07:02:00.001-08:00

"Freshly Picked", 16" x 16", Oil on Canvas

While the last post was a lemon painting, this lemon is in a class of it's own. The lemon depicted was given to me by a dear friend, and I am not kidding when I say it is the size of your head. I would have mistaken it for a grapefruit if it hadn't been for the delicious color (you can tell the difference from the previous painting- this lemon is BRIGHT- with lots of cool yellows and greens, while my little store bought lemon had deep yellows and violets going on). The smell of this fantastic fruit should be noted too....my studio, while it looks out onto a bitterly cold morning currently smells like Summer with the zesty scent of the lemon (more Summer than Mr.Clean, people). If only I could get the smell across in the painting.

Regardless, such a subject led me to paint several smaller lemon paintings for my upcoming show (more on that later). I'm sure my pears are envious of my new found infatuation.

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That Same Old Feeling

2010-02-12T04:45:00.000-08:00

"Limoncello" 22" x 28", Oil on Canvas

It is only natural to want to offer something new and to constantly push for something better. I have often been described as a "go-getter", and I'm not going to lie, pride myself on that fact. This translates to my work, where I like to try new avenues and see how far I can extend my ideas. This need to explore is apparent in my last couple of blog entries, but as you can see from last night's painting I came back to the basics of what I LOVE to paint.

In the same sense that people are inclined towards certain styles and colors, whether it be how to dress or format a letter, I am inclined to paint closely cropped images, in warm tones with a variety of color. It is natural for me, and when I get to far away from that vision I am truly a fish out of water. Believe it or not, I am okay with this fact. I think it's important to be versatile in subjects, but true to yourself. Painting this lemon last night felt right- and there will be many more similar paintings to come.

Happy Friday dear bloggers.

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The Perks of Being an Artist

2010-02-11T07:10:00.000-08:00

"A Peach would be more Appropriate",16" x 20", oil on canvas

Glass Piece by Peter Zakshevsky

While it has been said that choosing to be an artist is one of the most challenging career paths one can take, it is also one of the most rewarding. The obvious reward being content with your work and the sense of fulfillment that can come with it, but one of my favorite perks is being in a community of artists. Not only does this community allow the opportunity to bounce around creative thought and support, but also gives opportunity for trade.

The above work is of a recent trade I made with my friend Peter, who as you can tell from his glass piece is an incredibly talented glass blower. What little I know about blowing glass comes from what Peter has told me. My before knowledge, I am slightly embarrassed to say, came from an episode of "David and the Gnome" that I saw when I was 7. For those of you who also remember this episode, just for the record, you cannot suck in the molten glass while blowing and have it harden in your throat. That's impossible, and if you mention this to a glass blower they will laugh at you... a lot.

Obviously withstanding great amounts of heat is involved with blowing glass, but what I admire most about these skilled artists is their concentration and speed. There is only a small window of time they have to work on a piece, and therefore glass blowers have to know exactly what they are doing. While painting with oils does not have that time restraint, quite the opposite in fact, I too strive to plan my piece and work quickly, to keep my work alive and energetic.

Thus, while there are almost too many varieties of art to name, communicating your ideas and technique to the others is universal, and there is something we can learn from every variety. So, celebrate the arts, and long live the artist trade.

I don't even like Cherry Turnovers

2010-02-10T04:02:00.000-08:00

"Tempting", 22" x 28", oil on canvas

As I stood staring at all of the options in the Publix bakery last night I repeatedly had a Publix employee approach me and ask if I needed any help. I could see from their point of view that a thin woman staring intently at a table full of pastries would raise some alarm, but I simply could not decide what would translate well on the canvas. I ended up choosing the cherry turnovers, their flaky crust and intensely red filling calling for me to take a bite- and I don't usually like cherry turnovers.

Regardless, while I enjoyed the color palette of this piece, I think I might be retiring the subject of sweets for a while. I miss painting my fruit, with their ticking clock (you'd be surprised how fast you have to paint fruit before they start turning) and dynamic compositions. Plus, I think what steers me away from the desserts now is that I truly like painting something that is ALIVE (or at least once was alive). As I said before, I believe people respond best to people and an image that strikes emotion. I realize now that at the core of that people respond best to life.

The Last Cupcake

2010-02-09T07:24:00.000-08:00

"The Last Cupcake", 36" x 36", oil on canvas

Inspired by Emily Eveleth's fabulous jelly doughnut paintings, I decided to venture into sweets. The last red velvet cupcake from Carlen's birthday ( you will remember Carlen from the Blood Orange birthday painting post) served as my tantalizing subject. My goal with this piece was to truly twist the image, show it in a very energetic light, but keep the richness and juiciness of the cupcake. It was a challenge painting this one (a combination of composition and my sweet tooth), but I don't think this is the last of the dessert paintings. Enjoy. Comments welcome.

Art in the Everyday

2010-02-07T19:24:00.000-08:00

"Tea and Orange", 16" x 20", oil on canvas

One of my goals with my work is to present a new concept of beauty to the viewer; to bring something ordinary into a different light. This was the main focus with the above piece, where my subject is my Sunday afternoon snack of a cup of tea from Starbucks (such a recognized item in itself) and an orange. Maybe it was the overall feeling of a gorgeous Sunday afternoon, lazy and peaceful, that really inspired the piece. Regardless, the ease and grace of something so ordinary I hope is shown in this quick study.

Composition Made Easy

2010-02-05T03:06:00.000-08:00

"Nectarine" 24" x 24", oil on canvas

I couldn't resist painting this nectarine last night. The composition created by the branch and leaves is no exaggeration, and I'm still in awe at mother nature. I often tend to over think a composition with my desire to always offer something new or make the viewer think. This little piece of fruit taught me a good lesson last night; sometimes you have to relax and enjoy the composition a subject naturally offers you. You have to stop trying to force the image. Enjoy.

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Happy Bloody Birthday

2010-02-03T03:57:00.000-08:00

As I am sure you have gathered from the title, above is my most recent work, a study of a blood orange, given to my dear friend Carlen for her birthday. I love giving paintings as gifts, partly because (hey, let's face it) painting is a nice go-to, but also because I am forced to really reflect on the recipient; their moods, habits, and things that they love.

Going back to my post about colors, it can be difficult in terms of what message I want to send. Are they a red person? Where in their home would the piece work? Will they appreciate my going a little outside the box with my abstractions, or shall I play it safe?

These questions I usually ask before every piece, regardless of a known recipient, but the exercise of a gift creates a dynamic that I think every artist either loves or hates. Finding the balance between your own expression and the intended owner's I think makes work better because of the intent, and of course can translate to other areas of life: being more mindful of others in everything that you do.

Thanks for the challenge, Carlen. Happy Birthday.

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*"A study of a Blood Orange", 9" x 9", oil on canvas

Experience vs. Statement

2010-01-31T07:16:00.000-08:00

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

Late Night Painting

2010-01-28T04:05:00.000-08:00

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.

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What color are you?

2010-01-26T04:05:00.000-08:00

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

The Forbidden Fruit

2010-01-21T19:38:00.000-08:00

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

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When the Mood Strikes

2010-01-20T19:36:00.000-08:00

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

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Palette Knife vs. Brush

2010-01-18T04:12:00.000-08:00

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

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Sometimes You have to Paint a Crab

2010-01-16T05:43:00.000-08:00

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.

Long Live the Pear

2010-01-12T19:05:00.000-08:00

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

Own Your Colors

2010-01-07T13:16:00.000-08:00

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.

Dipping my Toe in the Pond

2010-01-04T19:56:00.000-08:00

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.

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