Moody, Minimalist Landscape Painting

Posts tagged “Gold Gallery Boston

Approaches to Abstracting a Landscape Painting

The specifics of how to create a less literal landscape painting seem to be a constant topic of discussion with my students, especially those who don’t come from an art-school background where the artist spends formative years in the mix, constantly exploring or discussing different ways of making art.

I have previously written about the toggle between formal concerns and storytelling in representational work in the following post:

https://scheeleart.wordpress.com/2014/01/01/narrative-and-abstraction-in-representational-painting/

And about pure abstraction in this post discussing the shows of Ellsworth Kelly, Jenny Nelson, and Melinda Stickney-Gibson:

https://scheeleart.wordpress.com/2013/08/02/three-abstract-artists-ellsworth-kelly-jenny-nelson-and-melinda-stickney-gibson/

Stepping further into how to break down this discussion, I see that most non-realist landscape painters are combining several ways of achieving this, and that the methods fall broadly into the two categories of what you choose to paint (and leave out) and how you choose to paint it.

In the image selection arena, the artist can either choose a view that had reduced detail for an open, minimalist landscape, or a macro view that has a prominent pattern —-for example, a rock cliff , sundappled water, or a glen of tree trunks.

The tools that the artist then employs in the painting process to emphasize abstraction can include simplifying, flattening, or distorting the shapes: reducing the amount of elements included; changing naturalistic color to non-literal choices; and/or unifying the surface with brushstroke or other technique to create overall  texture or pattern.

I have selected pieces from a number of contemporary artists who explore this terrain, many of whom I know or am friends with. In most cases artists are combining several of the approaches mentioned above, using pictoral tools that we, in this generation, have been fortunate enough to inherit and absorb from centuries of painting. The contemporary landscape painter then draws from the smorgasbord that art history provides and, putting it all in a sort of personal artistic blender, comes forth (usually over time) with their own version of the abstracted landscape.

Because the combinations are personal and often subtle, I have chosen to discuss each painting on its own merits rather than sift them into the categories introduced above.

I should add that I love gestural and color field abstract painting and generally am not so interested in realist landscape work. But having long ago chosen for myself a stylistic swath that lands somewhere in the middle, I find these explorations to be endlessly exciting, both in my own studio and in the work of other artists.

 

Stuart Shils, Fields near Ballycastle I,

Stuart Shils, Fields near Ballycastle I, 6.5″x7″.

I couldn’t resist selecting this piece of Stuart Shils, as I have also painted this dramatic locale in Western Ireland. It is just clear enough that in foreground we have farm fields, but the second shape is so peculiar that the mind could read it as abstract. So, by choosing to paint this bit of cliff that wends its way out into the Atlantic in a long curve, the artist has chosen subject matter that lends itself to abstraction and has also painted it in a broad, loose, and painterly way, emphasizing the color field aspect of the shapes within.

 

Deborah Munson, "Sparkle Square", pastel on paper.

Deborah Quinn-Munson, “Sparkle Square”, 12″x12″, pastel on paper.

Deborah has selected as her subject matter in this painting broad areas —and only two–that lend themselves to a patterned surface. It is key to the painterly beauty of “Sparkle Square” that the flecks of reflected light are varied in placement and shape, as are the shallow waves and subtly shifting color. Mystery is created by the dark shape of the shore. This is an example of the artist both selecting an image that is abstract in its simplicity and rhythm, and enhancing those aspects in the surface treatment.

 

Hannah Bureau, "Windham", 30"x30".

Hannah Bureau, “Windham”, 30″x30″.

Hannah, who also paints pure abstraction, selects material for her landscapes that has a feel that suits her sense of shape—squared off rhythmic forms that repeat within simple divisions of sky and land. In “Windham” I love the way the sky is so different from the ground—the sky like a Rothko and the ground a de Stael. At the same time, the mind reads them perfectly as an ethereal sky and cultivated sweep of land.

 

Eric Aho, "Ice Field",

Eric Aho, “Ice Field”, 80″x100″.

In Eric Aho’s ice series, the view is more pulled in than expansive, creating opportunity for very strong compositions that play with the formal elements of shape and line within a reduced color composition. The black shapes have depth when the eye reads them as descriptive—cracks in the ice leading to water below—but also emphasize the directionality of the fractured shapes as they point toward each other and the center of the piece. My eye delights in the play of shapes with this piece every bit as much as it does with a completely abstract painting.

 

"Blue Tidal Pool", 20"x24".

Christie Scheele, “Blue Tidal Pool”, 20″x24″.

As I have long influenced by the mid-century generation of American color field painters, this piece of mine reads as near abstraction, sitting on top of the picture plane almost before it reads as landscape. My selection of tidal flats as subject matter—already so stark and minimalist—is the starting point, enhanced by flattened shapes with subtle variations in color but no descriptive textural detail. The strong horizon evokes a vista, but turn this piece on its side and you have an abstract painting.

 

 

Wolf Kahn, "Orange Radiance",

Wolf Kahn, “Orange Radiance”,

Brighter-than-literal color is not of itself abstract, but combined with the simple fields of color that Wolf Kahn is known for creates a painting that sits right up on the surface plane. In addition to his famous barns, Wolf has also worked extensively with the repeated motif of tree trunks moving across the canvas, creating the patterned effect discussed above. In some paintings this is a more regular and more pronounced repetition, but I particularly liked the color in this piece and the way that the folliage is treated as diffuse scrubs of color. Look carefully, though, and you can see that as soft-edged as these shapes are, they are very particular, varied, and elegant.

 

 

 

Arnold Levine,

Arnold Levine, “Waves at Jenner”, 16″x20″.

“Waves at Jenner” uses brush stroke to create both an energetic expressive field and at the same time capture the feel of big surf crashing on rock, all of this using low-key, tonalist color. To my eye, the mind reads the scene perfectly for what/where it is, but the white strokes are actually more abstract than descriptive, sitting up on the surface of the picture plane. Arnold works in both abstraction and landscape painting, and this piece falls beautifully somewhere close to the middle of that spectrum…but rather closer to abstraction.

 

Heather Bruce, Sea #3, 14"x16".

Heather Bruce, Sea #3, 14″x16″.

Heather very much starts with the first strategy, reducing the content not only by choosing the simplest sea and sky imagery but also by eliminating detail within that. The subject is just recognizable, mostly because of the horizon and the gleams of light in the sky. The color is dense and murky–and also gorgeous—evoking one of those heavy weather days, but even more so a color field painting that sits on top of the scumbled and blended surface.

 

Jeorg Dressler, "Outlook

Jeorg Dressler, “Outlook XVI”, 18″x36″.

In “Outlook XVI”, as in other work by this artist, the soft blend is a wet-into-wet technique starting with a little more detail than many of the pieces discussed here. The surface is so heavily blended, however, that the subject matter takes a back seat and the viewer’s attention is brought to the movement that Jeorg made to achieve this effect. The result, in a descriptive sense, feels both like moving weather and as if we are witnessing the scene from a moving vehicle. As a whole, the technique crates both dreamy narrative and energetic abstraction.

 

Steve Dininno, "Boardwalk,

Steve Dininno, “Boardwalk, 7″x9”.

This monoprint of Steve Dininno’s is a study in monochromatic color and and reduced detail. To abstract an urban view—a scene that is inherently busy—certain light/weather phenomena are generally employed. In this case the image is being swallowed in fog, allowing the graphic elements to swim out of its implied depth even as the lines of perspective lead the eye forward into the scene. That there is so much interest in “Boardwalk” while at the same time so much empty space is a clear demonstration of the power of the less-is-more phenomenon, when skillfully done.

 

Donald Elder, "Untitled Landscape #0154, 12"x16".

Donald Elder, “Untitled Landscape #0154, 12″x16”.

These trees and, I presume, a light pole, are about as un-fussy as they could be. They, and the blended and scumbled surface relate to the Wolf Kahn piece. However, the eye here is funneled back in space, much like in the Steve Dininno above, and the analogous color composition is quietly moody. The foreground blacks help anchor the piece, creating contrast within the otherwise low-light scene. This piece balances beautifully between capturing the mood of a moment and place and pure, delicious painting.

 

Kate McGoughlin,

Kate McGoughlin, “Winter Sky Ashokan”, 8″x8″.

In this piece Kate uses surface texture to work the sky into a color field that is only just recognizable as a cloud bank. The shape of the shore is simplified, color exaggerated, though she did create a juicy reflection–so much a part of the land-into-water visual experience. The water is quieter than the sky, as is often the case. The white line that was scratched into the pigment on the left is a lovely graphic element that is entirely non-literal. Examining the elements, there is clear back and forth between those that are more descriptive of the scene and those that are more abstract.

 

Thomas Sarrantonio, "Transition",

Thomas Sarrantonio, “Transition”, 50″x60″.

Thomas is doing several painterly things in this piece that move it away from realism. There is clear patterning and brush stroke both in the field and the sky above that break up the surface into rhythmic abstraction. Combined with the soft band of fog in the middle distance,  this creates a duo perception of paint sitting on top of the picture plane and a recognizable field/sky with atmospheric perspective. The relative symmetry of this image also illustrates the point that when a painter reduces the number of elements, those that remain hold an enhanced interest.

 

Staats Fasoldt,

Staats Fasoldt, “Fair Street”, 11″x14″.

Staats is a master at relating shapes and creating light. Similar to my aesthetic, the number of shapes tend to be reduced and surface of them flattened, but the outlines of the shapes themselves have a good deal of subtle variation. In this piece, the paint handling within the shapes is also beautifully varied, the strip of light in a way that describes light itself and the shapes within the buildings in a more abstract manner. The blur on the left encroaching on the foreground building also seems to be more about the movement of the watercolor than about any recognizable visual phenomenon.

On the whole, what makes these all good paintings is that they are successful in capturing both the feel of the scene depicted and the surface, compositional, and color interest of pure painting, allowing the viewer to delight in both aspects. As for all painting, drawing ability is essential, since the artist needs the hand to do what the eye requires; creating dynamic compositions made of compelling—and usually highly edited— shapes, palettes, and surface.

Occasionally, there is an element that is barely or not quite recognizable…but interesting or gorgeous. My comment to my students when this emerges in their work is “I don’t know what that is…but I really like it so I don’t care”.  This observation would apply to the irregular light shape on the right in the Fasoldt piece and the field in the Sarrantonio. In many of the other pieces, there is an element or shape that we think is probably this or that…but we are not sure: the cliff in the Shils; the dark shore in the Munson; the orange band in the Kahn—field or hill?; the tidal pool in my piece; the light pole in the Elder, and so on. These mysteries serve to create complex interest as the mind works to accept the mixed metaphor that they provide.

 


 

I would like to mention the galleries that I share with many of these artists: Julie Haller Gallery in Provincetown, MA; Albert Shahinian Fine Art in Rhinebeck, NY; Gold Gallery in Boston’s South End; and Edgewater Gallery in Middlebury VT–check them out to see additional work!

 

 

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Small Studies in Oil on Primed Paper

I began using small oil-on-primed-paper studies as a teaching tool in my September 2013 workshop at the Provincetown Artists Association and Museum.

At work on one of the studies for

At work on one of the studies for “Blue Above”. (Photo courtesy of Carol Duke.)

As you can see above and below, I did several versions of the same image, moving elements around, encouraging my students to do the same.

Version

Simple version, tidal pool coming off the bottom and corner of the picture plane.

It is not just a question of what is included and what is left out–though that is always a major consideration in my work (see https://scheeleart.wordpress.com/2015/06/30/contoursdistillations-a-solo-show/   for more on that conversation). Even in this very reductive composition, there are many variables. What, exactly, is the shape of the tidal pool cutting toward us, and where does it leave the picture plane, both on the left and on the right? How high or low is the horizon line? Cool greens, warm greens, or both? Back shore more compressed and lighter, making it seem further away, or larger and darker, bringing it forward?

Version with suggestion of houses in back land form.

Version #2 with suggestion of houses in back land form, and Long Point lighthouse on the right.  Tidal pool moves off the right side. (Sold)

I decided to go very white with the sky in the large piece, since I love the shore phenomenon of bright blue sky overhead and white at the horizon, which is due to the many miles of atmosphere, denser close to earth, that we are looking through.

Blue Above, 12

Blue Above, 12″x36″ , currently at the Julie Heller Gallery, Provincetown, MA.

None of these versions is any better or worse than the other—they are just different. The choices that I made for the larger oil were largely mood-driven. For example, I opted to emphasize the simplicity of the major shapes by omitting the lighthouse and bits of detail on the back shore. Including them would have made it a more descriptive piece, which I do from time to time. But at heart I am a minimalist, enjoying the open feel that these compositions bring.

First set of small

First set of small studies. (Mostly sold; two are currently at Edgewater Gallery, Middlebury VT.)

I soon saw that the studies function nicely as small paintings in their own right if I finish them the same way I do a larger piece. They look great framed with a mat and under glass, though I have also exhibited and sold a number of them mounted on board, sealed to be airtight, and presented without glass, such as the below.  I did a grouping, example below, for a small works show without any intention to do them larger—some of them are images I already had done as pastels or larger oils. Switching it up!

Tidal Flats at Dusk, 6

Tidal Flats at Dusk, 6″x6″, sold by Thompson Giroux Gallery. (Sold)

 

Study/Triptych in Reds

Study/Triptych in Reds, 3 panels of 5″x5″/ea., private collection.

I decided to leave out the soft water-shape in the larger version, mostly because I knew that I was going to frame each panel separately and I felt that the simpler field dividers would work best, carrying the horizontal sweep of the composition through the strong verticals of the frames and the wall space between.

Triptych in Reds

Triptych in Reds, 3 panels of 24″x24″, currently at Gold Gallery, Boston.

 

 When I do these studies, I don’t do them to copy them later in a big piece, but rather to familiarize myself with some of the elements. I have my students do several of the same image, and until they do they really don’t get the concept. It isn’t to come up with the perfect study to be copied, but to move things around and look at the results to see what sections work best, comparing all of the studies. Having done that, choices will still need to evolve organically with a larger piece–and just the size difference can really influence this process— but you now have the advantage of  having posed key questions to yourself.
Study/Intervening Bay

Study/Intervening Bay, 7″x7″, private collection.

In this recent piece I moved the front tidal pool a bit over toward center in the larger piece and had more room to play with the blues. It became clear that in the 24″x24″ version I needed to clearly differentiate between the three groupings of marsh grasses to indicate far, middle, and close proximity, using color to establish distance. Why? It just didn’t look right to have them all on the same plane in this particular image. This, though, is something that in another painting I might love—allowing all of the shapes to sit right on top of the picture plane, functioning as a color field painting.

Intervening Bay, 24″x24″, private collection.

The study and the large version each ended up where they needed to, and different from each other in subtle ways.
Study/Open Road #1, 4.5

Study/Open Road #1, 4.5″x14″. (Sold)

These two are quite similar, the main difference being the enhanced distance in the road that I created with the larger piece.

Open Road, 20

Open Road, 20″x60″, available at Gallery 901, Santa Fe, NM.

 

Sometimes after both—or all of—the pieces are finished there are things that I prefer about the study. In the following two, it is the differences in size and materials themselves that create a somewhat divergent feel.

Study/Sunset Sea, 5″x5″ (at Thompson Giroux Gallery).
One element to be considered is that the texture of the paper is more assertive in a small piece, and often a bit more matte, even though my linen also has tooth and the paint is applied to the same dark, absorbent ground. Here I feel that the study is more painterly and the oil-on-linen more photographic.

Yellow Band, 36″x36″ (at Julie Heller Gallery).
With the following pair, the study is simpler and more illustrative than the larger piece that came after.
Study/Skyline

Study/Skyline, 7″x7″,  (at Thompson Giroux Gallery).

In the larger size I needed to add more buildings, and I opted to make it more atmospheric. It turned out to be very useful to have established the front detail in the small piece, since I wasn’t at all sure how it was going to work out or even if I wanted to include it. I liked it well enough in the study to follow my own lead in the larger oil.

Skyline with Lifting Rain

Skyline with Lifting Rain, 20″x20″ (sold by Edgewater Gallery).

Here are some pieces from my current collection of studies that I haven’t yet done large. I will do this with some, and others will remain in small format only.
What I choose to paint next is driven by a complex set of considerations, partly mood-driven and partly tending to the needs of my galleries. Yet sometimes I love to not over-think it, changing direction at the spur of the moment. Any of these could be explored in large canvas at any time, and/or my next large piece might be of an image that I did not approach first in small format.
Study/Mountain Contours

Study/Mountain Contours, 4.5″x14″, currently at Albert Shahinian Fine Art in Rhinebeck, NY.

 

Study/View from Little Mountain, 6

Study/View from Little Mountain, 6″x8″, currently at Edgewater Gallery, Middlebury VT.

Study/Lake Mists, 5

Study/Lake Mists, 5″x5″ (currently at the Tenderland Home, Phoenicia, NY).

 

Study?Gleam over Tidal Flats,

Study/Gleam over Tidal Flats, 6″X10″. (Sold.)

 

Study/Green Valley

Study/Green Valley, 6″x10″.

 

Study/Late Summer Light, 5"x7.5".

Study/Late Summer Light, 5″x7.5″.

 

Study/Meadowlands with Mists.

Study/Meadowlands with Mists, 3.5″x10.5″. (Sold.)

I was so enjoying the color on the above that I decided to do a version without the industrial detail in the back landform.

Study/Fall Marsh Mists, 4

Study/Fall Marsh Mists, 4″X8″. (Sold)

And then I wanted to simplify even more and use the soft lavender with greens instead.

Soft Summer Light, 4"x8".

Soft Summer Light, 4″x8″.

Additional pieces (updated since the publication of this post):

 

Study?Yellow Bush, 4"x14.5", Edgewater Gallery.

Study/Yellow Bush, 4″x14.5″ (at the Tenderland Home).

 

Study/Waterspouts, 6"x9".

Study/Waterspouts, 6″x9″ (at Julie Heller Gallery.

 

Study/It Looks Like Rain, 6"x9".

Study/It Looks Like Rain, 6″x9″.

 

Study/Summer Marsh, 5"x12".

Study/Summer Marsh, 5″x12″ .

 

Study/ClusteredCLouds, 5"x12".

Study/ClusteredClouds, 5″x12″. (Sold.)

 

Study/White Fields, 5"x11".

Study/White Fields, 5″x11″ (Sold).

 

Study/Grey Dawn, 5"x7".

Study/Grey Dawn, 5″x7″.

 

Study/Winter Warmth, 7"x7".

Study/Winter Warmth, 7″x7″ (sold).

 

Study/Se.rene Winter, 5"x11"

Study/Serene Winter, 5″x11″ .

 

Study?Reservoir from Little Mountain, 4"x12".

Study/Reservoir from Little Mountain, 4″x12″ (sold).

 

Study/Green Fields, 5"x13".

Study/Green Fields, 5″x13″.

 

Study/Glowing Sky over Fall Marsh, 6"x8".

Study/Glowing Sky over Fall Marsh, 6″x8″ (at Tenderland Home).

 

The study below illustrates another use for the small format, as it was a a study for a commissioned painting (something that I have always done in a small pastel or oil to iron out the imagery that has been chosen by the collector):

 

Study/Resting Clouds, 4"x14".

Study/Resting Clouds, 4.5″x12″ (sold).

 

Lifting Clouds, 18"x42".

Lifting Clouds, 18″x42″, (private collection).

 

You may have noticed that some of the oil-on-paper pieces have a deckled edge and some have a clean edge. This does not translate with the large oil-on-linen work, but instead is something that I’ve been playing with in my pastels for a number of years. Some images have shapes within that relate to the uneven edge, and others have a more linear sweep to the composition. Those that have the deckled edge are framed showing it, and the others have the mat coming right up to the edge of the image.

I never like to over-plan. But even though I got along just fine without these studies for years and years, I have to say that for myself and for my students, they can have a liberating effect. Once you have internalized some aspects of what you are doing, it is much easier to proceed with confidence and an exploratory attitude.

What’s been Going on/Is Coming Up, Spring 2015

After a hard and busy winter I am so very happy to be in transition to the warmer season ahead. The work in my studio and recent events gave me a wonderful distraction from the relentless weather in the Northeast, but all logistics and movement are so much easier and more enjoyable with warm sunshine, no snow or ice, and planning that can be relied upon.

My solo show at Gold Gallery in Boston remains up through April 25th.

Everyone has heard how massively hit Boston was with snow this past winter, and the reports were no exaggeration. We had planned a February show, agreeing that since they had February traffic and business, we should go for it.

Sometimes I just love the expression: “Man plans. God laughs.”

After a few postponements, we did open with a reception on March 13th. It was a lovely time for me, with many in-depth questions, especially about my Affinity Series and the multiple-panel pieces.

Gold Gallery

Gold Gallery

The gallery brought my work to the AD 20/21 Fair down the street from them a few weeks later. I love the way the work pops on the grey walls.

Work at AD 20/21

Work at AD 20/21 with Gold Gallery

I wrote a blog post about this multiple-panel piece in the show as an example of how a new idea evolves. This piece has quite a story, involving photos of my son Tony; Maya Lin; Storm King; and many sketches and studies.

Green Waves, oil on canvas, 14"X82" framed.

“Green Waves”, oil on canvas, 14″X82″ framed.

https://scheeleart.wordpress.com/2015/03/24/the-evolution-of-a-new-concept/

Edgewater Gallery of Middlebury, Vermont brought my work to the Affordable Art Fair NYC at the end of March, so I decided to attend. I hadn’t been in several years, and found the whole fair to be well-organized and accessible, a kind of bubble of positive energy. This year was very successful, not surprising with with the quality and variety of work and the good vibe.

I was meeting up with friends and collectors at different intervals for three days running, so I spent quite a bit of time there. The first day I decided to get further involved by collecting information on some of my favorite artists being exhibited at the fair in order to write a blog post about it. This is a review of the work of the five artists that I selected:

https://scheeleart.wordpress.com/2015/04/12/a-review-of-the-affordable-art-fair-in-nyc/

A few pieces of mine

A few pieces of mine at the Edgewater booth at the AAF.

I got a first-hand look at how hard the galleriests at these events work as I returned often to the Edgewater booth,  enjoying the chance to get to know Kate, Rachel, and Zoe a little better in between their many conversations with fair-goers and invoicing and wrapping sold work. The days were up to 12 hours of standing and smiling and chatting, and they had a great attitude throughout.

I have had several commissions in the first months of this year.  Although I am a tonalist by instinct, over the years I have found that I like to meander this way and that with my palette. These five pieces are about as bright as I can imagine going, but I am pleased to see how “me” they look, even with more saturated color.

Installation shot of four pastels commissioned through Megan p eter Fine Art.

Installation shot of four pastels commissioned through Megan 
Peter Fine Art.

"Saltmarsh in August", headed soon to it's hone on Martha's Vineyard, commissioned through the Louisa Gould Gallery.

“Saltmarsh in August”, headed soon to its home on Martha’s Vineyard, commissioned through the Louisa Gould Gallery.

I recently enjoyed a visit at my friend Marie Vickerilla’s studio. She had new work finished for her upcoming show in New Jersey that I was determined to see before it left her studio.

Marie's studio

Marie’s studio

Our conversation about this body of work had a lot to do with mixed associations (see my discussion of this in the blog post reviewing the Affordable Art Fair) and complexities of surface. I have always loved Marie’s more minimalist work, and found this new series to be exciting in a different way–lost and found edges and layers; unusual color juxtapositions; and stories begun one place and and finished in another.

From her statement about this series: “Not until after the work is complete do I realize from where the painting has come. From shifting lines holding up a shape, lines and bars moving from place to place, a kind of organization emerges from the randomness, and I find a correlation to some slow-moving event in life.”

Actually, I’ll just say it, since I have before in conversation: I think Marie is a genius. It’s not always apparent to me where and how her decisions are made, but they have amazing clarity, subtlety, and depth—“unique voice” is an understatement.

Inviation for MArie Vickerillas show.

Upcoming Shows:

May 9th: Chace-Randall Gallery (upstairs space), Andes, NY, 10th Anniversary show, 5 – 7 p.m.

A solo at Albert Shahinian Fine Art in Rhinebeck, NY, July 16-Labor Day, reception July 25.

The Shandaken Studio Tour, July 18-19.

A solo or duo at Louisa Gould in Vineyard Haven, MA, August 13-26:

A few new pieces:

"Perceived Acuity", 18"x52".

“Perceived Acuity”, 18″x52″.

"Blue/GreenSea", 3 panels of 12"x12"; 12"x16"; & 12"x12"

“Blue/GreenSea”, 3 panels of 12″x12″; 12″x16″; & 12″x12″

A few of my recently sold pieces:

"Skyline with Lifting Rain", 20"X20", oil on linen.

“Skyline with Lifting Rain”, 20″X20″, Edgewater Gallery at the Affordable Art Fair.

5 Trees

“5 Trees”, 20″x60″, Albert Shahinian Fine Art.

Turqiouse Light

“Turquoise Light”, 30″x30″, Gold Gallery.

My February workshop “Constructing/Deconstructing the Landscape” at the Woodstock School of Art managed to come off, despite terrible weather, and succeeded in what I had set out to do. A new workshop, it involved an unprecedented amount of planning for me, as I was determined to develop exercises that would lead my students into a deeper analysis of composition and color, and a more conscious understanding how the elements form the whole.

The landscape itself is so seductive that it can actually get in the way of crafting a good painting, so much so that often I see artists plateau in their skill-building, finding it hard to advance to the next level. This workshop was designed for those artists, though I think it also works well for beginners as a step-by-step.

Day #2, working with color (those touchy greens!)

Day #2, working with color (those touchy greens!)

I was concerned that the artists in this workshop would feel constrained by so much structure, but they all surrendered to the process and felt that they learned way more than in a workshop with more open painting time. The exercises are also really fun—I did them myself first to make sure of that.

At work on a frigid February day.

At work on a frigid February day.

I will be teaching the same workshop in Provincetown in September, as well as these others coming up in 2015:

Woodstock School of Art, “Landscape in Large Scale” , June 20-23:

http://www.woodstockschoolofart.org/scheele_landscape_in_large_scale2015.html

Artists Association of Nantucket, “Landscape and Mood”, July 13-15:

https://apm.activecommunities.com/nantucketarts/Activity_Search/landscape-and-mood-with-christie-scheele/300

Provincetown Artists Association and Museum, “Constructing/Deconstructing the Landscape”, September 14th-17th.

https://www.paam.org/workshops/summer-2015/?course_detail=constructingdeconstructing-the-landscape&start_date=9-14-15

Woodstock School of Art, “Interpreting the Landscape in Oil and Pastel”, October 17-19

http://www.woodstockschoolofart.org/scheele_interpreting_the_landscape_in_oil_and_pastel2015.html

I hope to see many friends and followers this spring and summer at a reception, a workshop, or my studio. Many of you have been students, collectors, and friends, in one order or another, and I love to see you show up.


The Evolution of a New Concept

Following up on the ideas that first led me to multiple-panel imagery,  (see my blog post on this subject )

https://scheeleart.wordpress.com/2015/01/18/multiple-panel-paintings/

I recently completed an 8-part painting comprised of panels 12″ high and of differing widths.

Green Waves, oil on canvas, 14"X82" framed.

Green Waves, oil on canvas, 14″X82″ framed.

I am always on the lookout for new ways to present multiple-panel pieces, whether they are parts of a whole, variations on a theme (as above) or completely different images united in a frame.

A few years ago, while chatting with my son Tony about his visit to Storm King Art Center (an expansive sculpture park located near Newburg, NY on beautiful, hilly terrain), I noticed a screen shot on his laptop.

Screen shot of a number of photos that my son Tony took of Maya Lin's Wavefield.

Screen shot of a number of photos that my son Tony took of Maya Lin’s Wavefield.

It was a sequence of photos that he had shot of the Maya Lin earth installation Wavefield at Storm King, with which he was quite taken.

I immediately asked for him to forward me the screen shot, and filed the idea away for future use, thinking I would eventually apply it to some other imagery—ocean; field; or marsh.

Two years later, I visited Storm King with Tony and my sister Carla  and niece Audri on a glorious fall day with a bright blue sky. When we finally wended our way down to the Wavefield, they had a sign up asking viewers not to walk out on it due to fragility from recent rains.

So this is my pic from the sidelines, not at all what my son had come up with from tromping around inside it and shooting it with his photographer’s eye. Our bright fall day also didn’t have the color of his original photos with a soft green-grass and white-sky palette that is a favorite of mine.

Wavefield as viewed from the side.

Wavefield as viewed from the side.

I, too, was intrigued by the installation, and got to thinking that maybe I would do a long, unequal-width-panel multiple using Tony’s earlier green/white palette photos after all, instead of some other view or hillside.

Back in my studio, I started planning and prepping.

First, I needed to establish the order of the panels, which I knew had  importance as an element completely void of any imagery—-a horizontal grid of unequal-width units creating rhythm. After I cut apart the units and moved them around, I planned my hillside sequence. 

Constructing panel border for the first small color version.

Constructing panel border for the first small color version.

Then, I was ready to move onto the small painting phase. When I do this I call it a color sketch, but it is really a finished small painting done to scale.

First version of small painting, oil on paper.

First version of small painting, oil on primed paper.

The first version I liked but found it didn’t have the horizontal extension that had captured my attention with the original image. I was worried about the larger final piece being too long and thin to be transportable and actually work in someone’s home, but had to set this concern aside and forge ahead.

Sketching Green Waves.

Sketching Green Waves, version #2..

Even in the pencil sketch phase of version #2, I was excited to see that I was creating a whole new sensation of wave with my varied placement of sky-meets-land horizon lines, and soon realized that this was the most salient feature of the evolving piece.

Second small painted version in prep stage.

Second small painted version in prep stage.

 

In progress, version #2.

In progress, color sketch version #2.

With more panels to work with, the horizon line creates a wave that, from left to right, sweeps across the piece. This was what I was after, so this became the final color sketch for the larger painting.

Second and final small version of Green Wave., oil on paper

Second and final small version of Green Wave, oil on paper.

 As I got deeper into the process, I loved the idea that while I was riffing off the work of another artist (first time as a mature artist), and that said artist had created artificial and mesmerizing waves within a landscape, I was also creating in my piece a new, 2-dimensional wave.

 In version #2 I also enhanced the waves within the hillsides–Lin’s waves— more than they were visible in the photos and the first color sketch.

Viewers would mostly only experience this viscerally as the various waves in my painting move gently up and down across the panels. The soft green diagonal lines within the hillside are not the most noticeable part, but add interest compositionally and, upon scrutiny, are clearly not naturally occurring.

Next, onto the larger piece.

Using two easels, I painted the panels two and three at a time so that I could always ascertain how each one was interacting with its neighbor, and used my sketch as a guide.

Large piece in progress.

Large piece in progress.

 When I use a color sketch as a basis for a larger piece (and this is only a fraction of the time) I proceed the way I always do, blocking in large areas of paint and painting detail with smaller brushes, rather than using any form of projecting or measuring. The pleasure of creating a painting lies in the process of using my painterly/drawerly hand, so I don’t use shortcuts. This way, I also keep my drawing skills sharp.

First assembled, the panels not yet finished.

First assembled, the panels not yet finished.

I had worked things out quite well with the second color sketch, but scale does make a difference. In the large painting, I found that panel #5 didn’t completely please me, so I added a low back mountain on the left, which you can see below in the final version.

Why?

If you look individually at these paintings of slanting hillsides, it is easy to imagine that the composition could feel unbalanced and visually slide off the picture plane on the downhill side. In each of them, I have counterbalanced the downhill slope with trees, treelines, back mountains, and the Maya Lin hill lines below the top hill.

Green Waves, oil on canvas, 14"X82" framed.

Green Waves, oil on canvas, 14″X82″ framed.

In my wave—where the white sky meets the land—the eye goes down; then up to panel #5; and then gently back down and slightly up again in the last panel. The fifth panel is really the acme painting in the grouping, being the highest horizon and almost centered (that almost is important, too). By adding the back mountain and adjusting the top line of the hillside just a hair, I flattened out the horizon and made it sit better as an independent piece while also transitioning more successfully to its neighbors.

This piece was first shown in 2015 in my solo show at Gold Gallery in Boston’s South End, and then made its way to Albert Shahinian Fine Art in Rhinebeck, where it is hanging in my solo show there, up through April 23rd, 2017. Here is my blog post on the body of work:

https://scheeleart.wordpress.com/2017/02/11/gallerystudio-a-symbiosis-solo-show-with-albert-shahinian-fine-art/

I may very well return to this theme in the future with an entirely different type of image/locale which will require fresh problem-solving. One of the gifts that comes from decades of moving deeper and wider into a body of work is the pleasure that this brings—a complex universe, all my own.


Multiple Panel Paintings and the Grid

The Grid.

Those caps are not an accident.

If you were in a BFA program in the late 70’s, as I was, conversation turned frequently to the various methods of exploring the ubiquitous grid by our hero-artists, from Sol LeWitt to Chuck Close. Two great loves of mine in this pantheon were, and still are, Agnes Martin and Louise Nevelson, both of whom used grid imagery in the most moving way possible.

What are the associations with the grid that hold our attention? Order, containment, rhythm, vibration, line and edge, surface and depth…and then all of the artistic possibilities of using it as a framework to break out of.

Agnes Martin, for example, applied the lines on her paintings free hand. It is the subtle variation in those lines that convey the meditative moments of their creation. In the  lithograph below the lines were clearly ruled, but there is all kinds of lovely variation in the surface. (Basic tenant of minimalism—reduce the amount of information in the piece and what is left becomes supremely, gorgeously important.)

Agnes Martin, Trumpet, 1967.

Agnes Martin, Trumpet, 1967.

Agnes

Agnes Martin, Untitled, litho, 1998.

Louise Nevelson, often worked with  constructions of irregular boxes painted black or white, asymmetrical sculptures creating an off-hand sort of grid; and other times adhered to a more organized grid, as in “Ancient Secrets”, both below.

Louise Nevelson, Untitled, 1968.

Louise Nevelson, Untitled, 1968.

Louise Nevelson, Ancient Secrets, 1964.

Louise Nevelson, Ancient Secrets, 1964.

Mark Rothko, my biggest influence ever, worked with a very reduced grid, just a few rectangles—the epitome of less-is-more. There is a remarkable amount of emotion in these canvases, and they allow the viewer to bring personal experience to the moment of contemplation. This is another aspect of minimalism— open, non-specific imagery invites the viewer to interact rather than being told exactly what to think or feel.

Mark Rothko, 1960

Mark Rothko, No. 7, 1960.

  Like all of my classmates, I ate it all up, exploring the grid myself in my earnest art-student manner. After I got over the most derivative phase, I used architectural plans as a basis for a series and a few years later did several abstract triptychs while attending the Royal Academy in Madrid.

When I was looking to bring my exploration of the landscape into new terrain back in the late 1990’s, I circled back to my longstanding affection for the grid and pondered multiple panel imagery. Thinking, at that point, from the outside, I could only see two possibilities, and they seemed a little bit obvious—either dividing one image into multiple panels (an illusion of window panes) or joining several related images into one piece.

This was, kind of blissfully, pre-internet, so I had no idea if/what other landscape painters were doing in this arena. I decided just to jump in and see what evolved. (I still tend to leap before I look at what others have done when exploring a concept that is new to me. It keeps it fresher.)

Below is a recent example of one of these options, and, as so often happens, once immersed in the process I found it anything but ho-hum.

Triptych in Reds

“Triptych in Reds”, 3 panels of 24″x24″/ea., 2013, an example of one image spread over 3 panels with each framed individually.

I have explored the divided field imagery repeatedly over the years, and just now understand that it, too, is loosely grid-based. We’ re seeing it in perspective, which creates the slanting diagonal lines that I love so much.

Returning to my comment about minimalism, I am including the triptych below because I feel that it illustrates well my version of of less-is-more.

One of my handful of favorite paintings ever. The divided frame serves to remind that  this is a painting, so that you can be both in the moment of the wave and enjoying the abstraction of the piece..

“Exuberant Wave”, panels are 30″x30″/ea., 2010, framed in one frame with dividers. (Private Collection.)

“River in 5” is an example of one image in five parts, exploring the more extreme horizontal. In single image multiple-panel pieces the subject wants to be quite simple, so often I begin with the size and format and then look for imagery to suit. The landscape that I choose generally has a strong horizon and often other elements that visually link the panels.

I am frequently asked if each panel should be able to stand alone as an individual piece. My answer is that this is not something I look for—often one panel might need to be quieter to serve the composition as a whole. In the piece below, the far left would not work on its own; in the wave piece above the right hand panel would be too static as a single. “Triptych in Reds”, in contrast, is comprised of panels that would each stand alone quite nicely…but it just so-happened that way.

River in 5, 5 panels of 10"x10"/ea.

River in 5, 5 panels of 10″x10″/ea. (Private Collection.)

The piece below explores the other option, three separate images. In this case they are of the same stretch of road minutes or seconds apart and so are tightly linked. This also creates a film strip feel, though without a progression that moves the action from point A to point B. Each of these panels would most definitely function well as a single piece, something that I do look for in multi-image pieces.

"Rainy Road/Fireflies", 3 panels of 12"x12"/ea. (sold)

“Rainy Road/Fireflies”, 3 panels of 12″x12″/ea.,2008. (Private Collection.)

Starting around 2000 I did a series of four “Samplers”, named after the quilt style, 16 square 5″x5″‘s in pastel. I debated doing them individually and then moving them around until I liked the order, but decided that I liked the integrity and challenge of figuring out the order as I went along and then committing to it. Thus, these  were all done on a single sheet of paper.

Sampler #4, 16 5" panels on black pastel paper,

Sampler #4, 16 5″ panels on black pastel paper, the last Sampler completed. (Privaye Collection.)

There were questions of composition (both within each small piece and for the piece as a whole), color (which in landscape painting is related to season, locale, and time of day), directionality, and type of imagery (manmade objects? more detail or more open?). Simple things like placement of a horizon line had to be carefully considered to create variety and enhance the whole.

From 2009 to 2011 I did a series of  five vertical triptychs in a wide black frame that I titled “Colorcode”, related color being the unifying factor. I have a few more of these frames, so I may pick this format back up again.

Colorcode, 3 panels of 3"x5", vertical arrangement of 3 images united by color.

Colorcode #2,  3 panels of 3″x5″, vertical arrangement of 3 images united by color and composition. (Private collection.)

In 2002 I created the Cyclone Sampler, 37 tiny pieces in a vintage tintype box. Below the image is an excerpt from notes that I made about the piece when it was acquired by the Tyler Museum of Art in east Texas in 2009.

Cyclone Sampler

Cyclone Sampler, 21.5″x10.5″. (Museum Collection.)

“The Cyclone Sampler reflects a synthesis of my interests in the landscape as narrative, the listening aspect of working with vintage, distressed objects/frames, and the postmodern use of the grid and serial imagery.

The result of my investigations, these multiple-image pieces are about a sense of contained energy (unlike my single-image landscapes, which most often have a feel of expansive energy), the telling of multiple stories, and the rhythm of the grid.

The narrative in my landscapes is ever-present, though often second to abstract concerns. The image of the cyclone fascinates me on a very formal level—the shapes are varied and gorgeous, with the complex, soft, scumbled edges that I love, and often have unusually juxtaposed colors. The story that they tell is equally riveting — nature at its most intense, both deadly and awe-inspiring. The Cyclone Sampler projects the feeling of energy tightly controlled within the grid, since the images are tiny, but the energy of the twister that they depict is vast. The final decision I needed to make while assembling the piece was to leave some sections empty; after trying it out with all of the spots filled, it became clear that to avoid seeming like a dry and busy cataloguing of twisters, the empty sections were essential to give space and emphasis to the 41 that I chose to include.” 

In 2007 I did a larger piece in oil that is similar to my Sampler series, made possible by a lucky find with a frame that came with dividers for 35 images. The finish on the frame has tones of red, so each piece in it has at least some red, and a number of them quite a lot of it.

Like the Cyclone Sampler, I found that it was becoming too busy, but I knew that with this presentation I couldn’t leave compartments open. I opted to include six very minimalist images using only black and red, inviting the viewer in by creating depth and encouraging the eye to travel around the piece.

"Trove", 30"X48" overall.

“Trove”, 35 3″x5″ paintings, 30″X48″ overall. (Private Collection.)

I found a smaller version of the same frame, and did 16 images with a road theme. Using fewer panels allowed the detail in the many manmade objects to create a rhythm of alternating focal points that doesn’t feel overly busy.

Trove #2: From the Road, 16 panels of 3"x5"/ea.

Trove #2: From the Road, 16 panels of 3″x5″/ea, 2010.. (Private Collection.)

I am currently working on one last version of Trove, this with a weather theme, which I will exhibit in my solo show at Gold Gallery, February 18-March 21, 2015.

Final Trove in progress.

Final Trove in progress a few weeks ago in my studio.

A vintage box or tray that has several compartments always provides an enticing challenge for a multi-panel piece, even more so because no two are alike.  My choice of imagery follows the same idea of strong horizontal or vertical elements to link that panels, and also needs to visually mesh perfectly with that vehicle (for more on this, see my earlier post: https://scheeleart.wordpress.com/2013/02/18/vintage-boxes-slates-and-siftersthe-occasional-found-object/).

Winter in 6,

Winter in 6, 2013. (Private Collection.)

"Smoke in Four",  a distressed, compartmentalized box that was a lucky find. (Sold by ANG)

“Smoke in Four”, 2007. (Private Collection.)

Recently I did a commissioned piece in two trays from a vintage  fishing tackle box. Many of the  images are from places of significance for the couple, and I worked with a combination of diptychs and single panel pieces, which created an interesting challenge while finalizing placement. The view of Opus 40 on the upper right was the only panel that didn’t get moved around repeatedly in the process.

Commissioned piece in two trays, 2014.

Commissioned piece in two trays, 2014.

 With multi-image paintings, concept and execution are both complex. They generally are thematic, and I always find that these pieces are a wonderful balance to the more open minimalism that I normally work with.

 Finally, my Affinity Series, oil on linen with frayed/distressed edges on board overlaid with graphite gridding—about which I will write a separate post another day—can be expressed in the diptych and triptych format as well. In this series I have incorporated gridding into the image itself.

Affinity/Duo/Palms, 2 paintings of 16"x8"/ea.

Affinity/Duo/Palms, 2 paintings of 16″x8″/ea.

Recently, I had a vision for a different type of multiple image piece, now almost finished (and also headed for my Boston show). But that, too, I’ll describe in another blog post—exploring how a new idea is conceived and executed.

 I choose to do a multiple panel painting for several reasons. Most importantly, I like variety in the studio, so today’s choice of format, color, and type of imagery is likely to be different from the piece I just finished. That is also why I feel the need to come up with new series from time to time (see my post on this subject:  https://scheeleart.wordpress.com/2014/03/20/staying-fresh/).

And then there is the reference to the grid, an association that is interwoven through my own history as an artist and is, much like with food, my
“comfort art”.


December Newsletter 2014

It has been a busy, fruitful year, but I am not dwelling too much on the past! My sights are set on 2015, when I will have several shows that I am very excited about.

The first will be in March at Gold (Au) Gallery in Boston, my second solo show with the gallery. My solo in fall of 2012 was quite successful, but I am looking forward to this show taking place in a better economy. Below is the piece we have used for advance PR, just finished less than a month ago.

"Rolling Cloud", 44"x68".

“Rolling Cloud”, 44″x68″.

There will be another version of “Trove”, 35 3″x5″ paintings in a divided frame—here is the one that I did and sold in 2007. This second frame is the last that I have been able to find, so only one more of these! The new one will have a weather theme.

"Trove", 30"X48" overall.

“Trove”, 30″X48″ overall.

I am working on a new idea for a multiple-panel piece, waiting for the delivery of canvas to begin work on the final version, which will come in (framed) at something like 14″x82″. A planning stages photo is below.

Studies for "Green Waves".

Studies for “Green Waves”.

 

Some recent highlights have included three blog posts that I quite enjoyed writing. These often generate quite a bit of discussion on FB that I wish was taking place on the blog where more folks could enjoy it, so feel free to jump in.

Most recent, this short one about how grounding a creative process is:

https://scheeleart.wordpress.com/2014/12/10/creativity-and-happiness/

Some stories that I love (and a few of you might recognize them!):

https://scheeleart.wordpress.com/2014/11/11/sweetest-sales/

And my version of a rant  about the costs, hidden to many, of making an artwork and bringing it to the public eye:

https://scheeleart.wordpress.com/2014/11/02/this-painting-costs-what/

My early fall was well-occupied with this commissioned piece which was challenging in certain ways. My clients–who are also friends–wanted a piece that was most definitely in my signature style, but that also included a fairly large structure.

 

44"x68".

44″x68″.

The small pastel looked great with some loose detail for the building, but when I got to the large oil, there was just too much of it to leave open. So I hunkered down and went after the architectural detail, surrendering to process. Then, however, the building looked too linear and didn’t fit with the rest of the painting. Finally, I made it all sit together by putting a fairly translucent layer of a lighter brown over the whole castle and embedding it with more blend into the white sky.

This is what makes each piece an adventure. I thought that the large Rhododendrons flanking the pond would be difficult to pull off/make interesting, but they fell right into place.

The reflection, however, was always going to be the star of the piece!

One other observation about process is that when it comes to a section that has quite a lot of  of detail, I think of it as an abstract painting within a painting. This slows me down and enables me to focus with pleasure and patience, eventually backing up and scrutinizing how the area is working with the whole.

Below, a few recent pieces.

"Green Horizons", 12"x48", oil on canvas.

“Green Horizons”, 12″x48″, oil on canvas. (Studio.)

 

"Marsh at Dusk", 12"x16". oil on linen.

“Marsh at Dusk”, 12″x16″. oil on linen. (Studio.)

 

Five oil-on-paper paintings of just 3.25"x3"/ea.

Five oil-on-paper paintings of just 3.25″x3″/ea. (Studio.)

 

"Affinity/Sunset Reflected", 12"x36". Oil on linen with frayed edges overlaid with graphite gridding.

“Affinity/Sunset Reflected”, 12″x36″. Oil on linen with frayed edges overlaid with graphite gridding. (At Albert Shahinian Fine Art.)

 

And this piece that I repainted last summer, brightening the color.

"Endless Sky", 36"x72", oil on linen.

“Endless Sky”, 36″x72″, oil on linen. (At Gold Gallery.)

 

Some work that has sold recently through my galleries.

 

"Lifting Rain, 20"x60". Sold by Louisa Gould Gallery.

“Lifting Rain, 20″x60”. Sold by Louisa Gould Gallery.

 

"Mountain Sky with Mists", 24"x30". Sold by Chace-Randall Gallery.

“Mountain Sky with Mists”, 24″x30″. Sold by Chace-Randall Gallery.

 

Seaside Reds, 20"x20". Sold by Edgewater Gallery, to my dear and recently   rediscovered friend from my year in Bolivia as an exchange student!)

“Seaside Reds”, 20″x20″. (Sold by Edgewater Gallery, to my dear and recently rediscovered friend from my year in Bolivia as an exchange student!)

 

"Counterlight BLues, 16"x20". Sold by Albert Shahinian Fine Art.

“Counterlight Blues, 16″x20”. Sold by Albert Shahinian Fine Art.

 

"Sunset Sea with Sailboat", 5"x14", oil on paper. (Sold by the Julie Heller Gallery.)

“Sunset Sea with Sailboat”, 5″x14″, oil on paper. (Sold by the Julie Heller Gallery.)

My other shows coming up in 2015 are with the Louisa Gould Gallery on Martha’s Vineyard and a show exploring my most minimalist, color-field imagery with my gallery of longest-standing, Albert Shahinian Fine Art in Rhinebeck.

My fall workshops on in Provincetown and Woodstock were very focused and great fun. For 2015, I have two new themes on the schedule. (Contact me for a full course description.)

 Constructing/Deconstructing the Landscape, WSAFebruary 14-16 Sat-Mon

Landscapes in Large Scale, WSA, June 20-23, Sat-Tues

Provincetown Artist’s Association and Museum, Sept. September 14-18 Mon-Thurs(Workshop will be similar to Constructing/Deconstructing the Landscape.)

Interpreting the Landscape in Oil or Pastel, WSA, October 17-19 Sat-Mon

https://scheeleart.wordpress.com/2013/10/02/painting-workshop-considering-composition/

Last comment for now is that I have been doing quite a bit of mentoring/coaching of other artists this past year and especially recently, enjoying working with both early career and experienced artists. I developed my mentoring programs years ago after meeting and conversing with many artists who had so much hope and conviction, but didn’t understand the ropes. The work is satisfying to me because I can clarify and demystify, and thus take some of the emotional weight out of the process of bringing artwork into the marketplace. I am grateful to the many artists who have trusted me to help them rewrite artist’s statements, brainstorm new series, scrutinize resumes for old contacts, and open themselves up to advice.

https://scheeleart.wordpress.com/2013/01/15/mentoring-for-artists-for-career-and-work-support/

Happy holidays, happy 2015!


So much happening! Summer Season 2014.

Over the top busy this spring and summer, with new galleries, a solo show in place and several other shows coming up between now and August.

We had a lovely, packed opening reception at Chace-Randall Gallery in Andes, NY. I will be updating the blog post I created about the work in the show as pieces continue to sell—but you really should see the show in person, if you couldn’t make the opening! Thank-you to Zoe Randall for the party and especially for a great job hanging the work. The show will be up through July 7th.

https://scheeleart.wordpress.com/wp-admin/post.php?post=2657&action=edit

With the largest painting in this show,

With the largest painting in this show, “Interwoven Stories”.

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Host Tom Lavazzi pouring wine…and tons of nice conversation passing around.

Owner/driector Zoe Randall and I in front of the [postcard piece, "Turquoise Light".

Owner/director Zoe Randall and I in front of the postcard piece, “Turquoise Light”.

I am showing again at Butters Gallery in Portland Oregon— and so  pleased to add this reputable gallery in a new locale to my list. I participated in the “Line” show there last winter, curated by Melinda Stickney-Gibson, and have remained on the roster. Opening June 5th is a 4-artsist landscape show, invitation below. For my work in the show, see their website:

http://www.buttersgallery.com/Artist-Detail.cfm?ArtistsID=486&sr=1&ppage=6

eastwest143

BUTTERS GALLERY LTD 520 NW DAVIS PORTLAND OREGON 97209 (503) 248-9378 (800) 544-9171 gallery hours: tuesday-friday 10-5:30 saturday 11-5 http://www.buttersgallery.com

East / West

June 5th – 28th 2014

Opening Reception: Thursday June 5th, 6 – 9 pm

My newest gallery is Edgewater Gallery in Middelbury, VT. This happened the way we artists love it to happen—a phone call offering representation. A beautiful space and locale, I am happy to be on the walls, and look forward to events there, starting with a visit and meet-and-greet in October. I just shipped off this triptych, painted with them in mind. See their website for additional work:

http://www.edgewatergallery-vt.com/scheele-christie.html

"Hill beyond Hill, 3 panels of 24"x20"/ea.

“Hill beyond Hill, 3 panels of 24″x20″/ea.

Up next is my duo show (with  M.J. Levy Dickenson)  at Julie Heller East in Provincetown, July 18-31, with an opening reception on July 19th from 6pm on. That same night we are also hosting a reception through the gallery at the Anchor Inn with larger pieces of mine and the work of Polly Law, 7-9pm. The idea is that viewers can go from East End to West End and see both shows.

Arriving at the Anchor Inn/JHG on June 5th, this new piece.

"Entering Province Lands", 30"X60".

“Entering Province Lands”, 30″X60″.

In August I will be showing with Louisa Gould Gallery on Martha’s Vineyard in a show with Louisa herself and Paul Beebe. Dates are August 7-27. with opening reception August 9th, 5-7pm. I am new to this beautiful gallery in Vineyard Haven, though I have been showing on the island since 1998, beginning with Carol Craven Gallery and most recently with Dragonfly (thank-you, Carol, Don, and Susan!). The show will include several large-formeat pieces of Vineyard locales.

Here are a few pieces hanging now in her Memorial Day show, including several new ones recently delivered.

"Lifting Rain, 20"x60".

“Lifting Rain, 20″x60”.

"Summer Sunset/Tidal Creek", 36"x12".

“Summer Sunset/Tidal Creek”, 36″x12″.

Tucked in among all of these shows with my galleries is a very sweet happening, a show called “Three Generations” at Cano (Community Arts Network of Oneonta) in Oneonta, NY. This show will feature my mother, Gerri Scheele, with the ceramics that she was so well known for and the landscapes that followed; myself; and my daughter and son Tessa and Tony Scheele Morelli. This will be a special family affair staged at the Wilbur mansion, where I did my first oil painting at age 11 and where my mother showed extensively for many years.

Heading next week to Gold Gallery in Boston, this newly repainted piece. I am looking forward to my second solo show there in March of 2015.

"Endless Sky", 36"x72".

“Endless Sky”, 36″x72″.

Some spring sales:

"Bridge Crossing in Violets", 12"X12". (Sold by Butters Gallery.)

“Bridge Crossing in Violets”, 12″X12″. (Sold by Butters Gallery.)

 

Sunset River Expanse", 20"x62". (Sold by Albert Shahinian Fine Art.)

Sunset River Expanse”, 20″x62″. (Sold by Albert Shahinian Fine Art.)

 

"Approach," oil on vintage blackboard, 11"x13.5". (Sold by Chace-Randall Gallery.)

“Approach,” oil on vintage blackboard, 11″x13.5″. (Sold by Chace-Randall Gallery.)

ALL of my galleries have work of mine at all times, so wherever you are or travel to among these locales, check them out!

Workshops are upcoming at the Woodstock School of Art June 23-25  and Provinctown Artists Association and Museum, September 15-18.

Abstraction and Narrative in the Landscape
Working in Oil or Pastel
Using photograhic reference, we will investigate how the elements in a landscape painting serve the whole, accessing the formal qualities of color, shape, edge, and composition to create compelling imagery. The first day we will explore these tools and how they impact the implied narrative of the painting through exercises in oil or pastel on paper. In these studies we will add, subtract, move elements around and change color using our painterly hand. Instead of painting over changes, each study will remain intact while we start a new one so that all variations can be rigorously critiqued and compared before being used as a springboard for a larger painting.
Days 2-4 will include a demo of color-mixing from primaries; more compositional studies, and pursuing fully realized landscape paintings on canvas or larger pastels. Instruction will emphasize the reduction of detail to create a strong, clean composition, along with discussion of both the abstract and the narrative qualities brought out in individual paintings.