Water is ease, water is in our dreams, water kills. Water is 60% of our bodies and covers 71% of the planet. We float, swim, sink, ride on, drink, cook and grow with, own, fight over, drown in, boil, crave, gaze at, and are mesmerized by water. It bears repeating: Water is life.
Water use has also been political since the beginning of our time on earth. As thirst, water rights and fights; severe storms; droughts, fires and floods; and sea level rise become increasingly critical on much of the planet, I have been catapulted into creating an expanded rubric for water imagery in my work. This focuses in on our environment and the challenges it faces, while continuing to celebrate the beauty our planet provides.
Atlas /Forms of Water maps the environmental theme while mapping my body of work, revealing a web of meaning around and between the individual pieces that I create. The matrix that connects all of my landscape imagery is saturated with memory, both personal and collective. To make these connections, I have created a site map for the body of work on view.
Maps functions as an aid to find our way. In this context, I am mapping our bodies and states of water; the paintings in the exhibit; memory and self; and threats to our environment, among other, more elusive things.
The Site Map has small monotypes running up both sides that are interpretations of the major paintings in the show. The four other prints are a conversation about threats from global warming: bigger hurricanes in upper left; sea-level rise in upper right: and stream/river flooding in the two at bottom, before and after.
At the top, I have included topographical contours, a loose and flattened version of the Escarpment that curves around Woodstock and then runs north parallel to the Hudson River. Mountains are the first source of our surface water, and this painting includes fog, the Hudson River, and our Catskill Mountains:
Another new collaged map for the show is of the NYC watershed, water tunnels included. New York City has negotiated—and renegotiated, multiple times—a pass on national regulations that mandate the filtering of water. This exemption is a huge deal, and requires constant monitoring and regulation of the watershed townships within the areas shown, and many mandates for property owners to keep the water flowing south clean. While this may make our relationship to our larger neighbor to the south a complex and co-dependent one, it also has transformed out relationship to our land and streams.
Also in mixed media/collage, “Forms of Water: A Taxonomy”. This small tintype drawer contains the following categories, from top, moving left to right: states and phases of visible water; geographical bodies of water; wetlands; types of clouds; storms; waves; and human made forms of water.
For decades now, I have been devoted to painting fog, suspended water that softens our landscapes, sometimes obscuring, sometimes defining:
Many of my paintings depict wetlands, so gorgeous and vital for controlling flooding caused by excessive rain events, storms, tidal flooding, and sea-level rise; as well as filtering sediment in water and providing habitat for wild life.
Manmade forms of water are included in this exploration—Cranberry Bog depicts a wetland developed by humans to cultivate this coveted crop.
The pieces in the show include landscape imagery in oil on linen; monotypes; small works in oil on board; water imagery using vintage boxes, blackboards, and other containers/support; and map collages.
I was motivated in fall of 2016 to move towards creating shows that place my open, color-field landscapes within a complex experiential web. Three major factors came into play at just that time.
The first was anticipation of a residency in Nantucket scheduled for that winter, and this dovetailed with the second, some ruminations about turning 60 later on in 2018. Given that my background is in contemporary art and that I have always viewed my progressions in landscape painting through that lens; my question to self was—what do I want to do, now, that I haven’t yet?
Among my answers to this question was learning monoprint and linocut techniques, which I now employ both for stand-alone prints and also for the Site Map. Below, some recent monotypes.
The third factor was key. Feeling profound grief over the outcome of the 2016 election, my mind returned repeatedly to the single biggest issue on the table, climate change. The conviction that time is running out here and that four years could be critical was decisive in determining the direction that my work has since taken.
Snow and ice appear in my work and in the context of Atlas/Forms of Water, depict one of the main three phases of water, solid.
Water vapor, the gaseous state of water, is invisible. The closest thing that is visible is steam, such as the image of a geyser below.
Globally, precipitation has shifted so that many of the wet places are wetter and the dry locales are dryer. For this reason, I decided to create and include several pieces that depict water’s opposite, fire.
My imagery is heavily weighted toward the Northeast of the United States, as that is where I have spent much of my life. But I could be anywhere on the planet, exploring the same themes, and I bring with me memories of living in the arid Andes and central Castile; painting in rain-soaked Western Ireland; traveling Northern California to capture the coastal golden hillsides of late summer; and returning to the Nebraska flatlands of my early childhood. It all informs the matrix. It is all water.
This show builds upon my Atlas Project show in March of 2017, which you can read about here:
This blog post is a work-in-progress. As the show progresses, I will be including new installation pics and other news. I enjoy sharing my work far and wide with these posts, but hope you can see the exhibition, so that you can see the artwork in person and also experience the show as an installation.
We are collaborating with Riverkeeper and Catskill Mountainkeeper on a fundraising benefit October 12th, 5-8. That evening, 15% of sales will go to these vital local environmental organizations, as well as the proceeds of a raffle this 12″x12″ paintings:
Tickets are $20. You can contact the gallery for purchase.
Additional images can be viewed at:
I am very pleased to have new representation at Gallery 901 in Santa Fe, NM. Please check out the gallery if you are in town:
I have just added some newly returned work to my data-base, and taken off the aforementioned holiday gifts. If you are looking for a large painting, this is a rare moment to peruse the many choices:
Since I sold the piece in October that was on my large living room wall, I have had the pleasure of replacing it, temporarily at least, with this favorite that I recently had returned to me:
Looking ahead, my thoughts are on the project I am developing for my residency in Nantucket in Feb.-March. This will involve an expanded and more experiential exploration of place, using drawing, printmaking, painting, writing…and who knows what else? Memory will be a theme.
Also coming up this winter, a special show/sale starting in early February at Albert Shahinian Fine Art in Rhinebeck, NY. More on this in a few weeks.
Finally, for those of you who do the drive from Kingston, NY up Route #28 to your home or weekend place, or if you just want to listen to a very well-produced culture/history/arts audio tour of the Catskills, check out this piece by neighbor and friend Brett Barry of Silver Hollow Audio (who Catskills/HV/Berkshires folks will know from the segments that he does on WAMC). My bit is about half-way into it, but with Brett’s interview prompts that created the individual discussions followed by skillful editing, the whole piece is beautifully interwoven and well worth listening to.
I am wishing us, individually and collectively, a year of truth-seeking and compassion; of finding community; and exploring our deepest joys.
An open studio and house party are alternative ways to share and sell art. The artist communicates directly with the collector or visitor, creating a scenario where stories can be shared and feedback absorbed in an immediate fashion.
I have done several of these events in the past weeks, two in my studio and one at my biggest collector’s apartment in NYC. It is my pleasure to share my work with collectors, friends, and newcomers in this one-on-one manner.
In my studio I try to have as much work out and visible as possible, so the look is quite crowded. When someone is considering a particular piece, I clear a spot for it on my easel, where the light is the best, for better viewing. Despite the fact that I have many pieces to choose from at these events, I often hear requests for something specific (size, color, or locale of imagery) that I might not have on hand. For this reason, I keep my laptop handy with my files so that I can show folks other available work that is out in my galleries, and either send them to see the piece there, if geographically possible, or find another way for them to check it out in person.
The very best way to make a decision between pieces is to bring, or have my gallery bring, a small grouping of work to the collector’s home. One look at the right piece on the wall in question is a great solution to any dithering.
Arranging my studio or my host’s apartment with all of my work is a favorite part of the process (this is true of all the good galleriests that I know, as well). Not all paintings of mine go with each other well, either due to color or feel of the piece, and of course there are different sized walls, easels, and shelves to consider, so getting it right is a time-consuming process involving a good deal of trial and error.
When folks make an appointment privately to come to my studio they encounter a different situation—work on the walls and stacked on the floor, works-in-progress on the easels, and tables covered with tools of the trade. This is fun in a different way, as I pull work out from stacks and flat files, paying close attention to their description of what they have in mind. I will be doing more of this than usual in the upcoming months, since I recently created a program called “Artists in Their Studios” through our local four-star inn, the Emerson Resort and Spa.
For the artist, hosting these visits hones communication skills, helping to create the habit of talking about the work with ease, fluency, and pleasure. And for the collector or visitor, a chance to sit for a bit, view the body of work in a leisurely way, ask questions, and browse the various articles about and photos of my paintings in magazines, books, and newspapers that I have accumulated.
Moving on to the home party—really a pop-up show—that I did at my biggest collector’s apartment (she owns 35 pieces!). I partnered with my galleriest Emily, of Asher Neiman Gallery. We took all the collector’s work (of mine) off of the walls, and put up new work of mine, 34 pieces. She did not—understandably—want additional nail holes in her walls, so we needed to be creative to get as much onto the walls as possible.
You will see many of the same pieces that were in my studio, but looking quite different in a modern apartment. Once again, doing the set-up was thoroughly entertaining, and over the next several days we enjoyed the interaction with our visitors, who came from her mailing list and mine.
There is another way to do a home party, where the host is present and invites friends and acquaintances who love art. The fun for them is in seeing their home transformed, and often they will want to keep a piece or two for themselves.
These events are a tremendous amount of work to organize and execute, so I am ready to be back in my studio as the working artist.