The surface of a body of water is a reflective, moving, open expanse. Beneath it, the water roils with life—rooted or crawling or burrowing or swimming, lifeforms going about their business of feeding off of each other and reproducing and eventually dying. Above it, life also carries on.
One day last July, while staying on Otsego Lake near Cooperstown, NY, I headed to the dock to sit and gaze at the water for a few moments. Looking down at the dock to find my seat, I heard a throaty, loud honk/squack. We had been enjoying visits all week from a mama duck and her nine ducklings, so my first thought as I turned my head was, “that was not a duck!”.
Nothing behind me, but as I straightened to face the side I was now seated at, I saw an adult eagle taking off from the water about 25 feet in front of me. It had been addressing my intrusion, I think!
Shortly after, I decided to make a call to my friend Jenny, with whom I had been playing phone tag. I got her voicemail, and the message went something like this: “Hi Jenny, we’re playing phone tag but I am around today so give a OH MY GOD THAT IT THE BIGGEST *#!%ING FISH I HAVE EVER SEEN IN A LAKE GOTTA GO BYE”.
The fish was directly below my dangling feet, at least two feet across, lit up by slanting sunlight. I know there are fish in these waters, despite an altered ecology due to Zebra mussels—my husband has caught some other years from our small boat and I have seen them feeding off of bugs at sunset. And yet, it was as if this big fish had crawled up on land and joined us on the deck for cocktails, such was my sense of worlds colliding.
I am puzzling out, ever since, what was so startling about this fish sighting. After all, I have been among whales in our 16 foot boat off Race Point in Provincetown—including a pod of killer whales; froliked with a mola and some dolphins in the harbor; snorkled off St. Thomas among all sorts and sizes of sea life.
I think that my jolt of surprise was about expectations, so often the case. I had for days been focused on the surface reflections, and I lost track of the awareness of how much is going on underneath and that during my daily swims, I was intruding upon their busy world. Seeing this large fish directly under my feet brought that crashing back.
As artists we are concerned with both surface appearance and deeper function and meaning. The surface is mesmerizing and ever-changing, feeding our visually-linked emotional hunger, and soothing our quotidian bumps and bruises. The complicated churn beneath, however, mirrors life in its day-to-day, demanding a nuanced and dedicated attention.
This summer has served to remind me of how much I appreciate my galleries. It can be rewarding, sometimes, to hop off that train and do something self-generated like an open studio or studio tour; or an event at a non-gallery venue. But ultimately, a gallery is where people go to view and buy art. It is a business whose purpose is to exhibit and sell art, and therefore all effort is going to that end.
Invitations generally go out in a timely fashion, instead of getting buried in the more pressing things that a non-gallery venue might have to attend to. The galleriest installs the show, with beautiful results based on years of experience. Folks walk in off the streets who are interested in art; search for the local galleries when visiting; respond to invites. A showing of a grouping of selected works in a collector’s home gets on the schedule without delay, follow-ups are done to inquiries as a matter of course…and so on.
That said, the mom-and-pop galleries struggle to stay afloat, with many more friends and lookers than buyers. So collectors, please support your favorite galleries!
And if you are an artist with gallery representation, this is how you can help:
I had a lovely time teaching this past June in Woodstock and August on Nantucket, with a full house for my color-mixing workshop in both places.
These are the demo pieces that came out of the two landscape workshops:
My week on Nantucket was filled with not only with my wonderful students, but also with salt air and good food and warm friendship.
I organized an informal gathering at Thomas Henry Gallery so that my students could see my work there, all of the sea or the island:
The Woodstock School of Art invitational Monothon in July was a printmaker’s dream. Imagine having a printing staff at your beck and call, both master printmakers and monitors, facilitating your every move. Master printmaker Anthony Kirk guided and facilitated my hoped-for plan, my first monotype triptych (and then a few more).
One 8″x10″ was chosen from each participating artist, to be sold at the show there opening September 8th, 3-5pm This is my donation print that will be featured, followed by some of my other wave monotypes.
We will be featuring monotypes and my vintage series, along with oil paintings, in my grouping for the upcoming four-artist show at Albert Shahinian Fine Art in Rhinebeck, NY, their yearly Luminous Landscape exhibition. The show opens on September 29, 5-8pm.
Several of my summer sales:
One of my favorite pieces from the past decade, Perceived Acuity pleases me for its simplicity, movement, elegant shapes, and unusual color:
Link to in-studio available works in oil and on paper:
Coming right up, my teaching week in Provincetown, Sept. 17th for Color Mixing and 18-20th for the Landscape Painting Intensive. If you are feeling inspired and spontaneous, come and join us!
Also upcoming: another residency on Nantucket in November. My focus there and in my studio will be on Atlas/Forms of Water, from the sky to the land to the ocean, and everywhere in between.
Deep, happy, exhalation—spring is here!
I recently delivered fresh work to Louisa Gould Gallery on the Vineyard. She is currently hanging her first show of the season, including my new work, and then plans a big 15th anniversary show with a reception mid-summer. Here are a few of my additions to the gallery walls:
In other shore news, I am very pleased to announce new representation on Nantucket at the Thomas Henry Gallery. I am still working on the pieces that will be delivered in early June, but here is a sneak preview:
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My solo show at Thompson Giroux Gallery in Chatham, NY, Atlas/Hudson River Valley, was very well received. I will continue updating the blog post on the show to label what has been been purchased, as the gallery has kept many pieces for follow-up viewing and acquisition. I have also labeled with a G the pieces still at the gallery.
Most of my spring sales have naturally come from this Chatham show, and have included oils, a pastel, monotypes, and a collage—a nice affirmation for all of these explorations. Here a is a handful of examples:
Sold, happily, as a pair:
This show was a wonderful experience for me from every standpoint. Parting words from them when I was done with pick-up—after expressing my deep appreciation for how well-handled every aspect of our interaction was—“happy artist, happy gallery”.
Those works that have returned to my studio are back on my available work post, as well a number of other pieces:
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Iconic Cloud recently came back to me and I just touched it up, brightening both hillside and sky. I’ve done that a few times recently—must be a shift in my mood.
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Here is a schedule of my workshops in Woodstock, Nantucket, and Provincetown. My color-mixing workshop has become very popular with painters of all levels and styles, so some version of that is being offered in the three locales.
I will participate in the Shandaken Studio Tour July 21-22. More on this as it approaches—it is such a pleasure for me to set up my studio as a gallery and host visitors both new and known.
Moving forward, a September show at Julie Heller East in Provincetown and the Luminous Landscape at Albert Shahinian Fine Art in Rhinebeck later in the fall. Plus some as yet unknown opportunities will likely arise, as they usually do…