In 2011 I wrote a post describing some quirky and heartwarming stories that led to a sale or sales of my work:
Since then, I have accumulated a few more that I want to share.
My seven-year-old collector:
Several years ago I was approached by acquaintances who live in our little hamlet. Could their younger daughter interview me for a school project on her favorite artist?
Juliet had accompanied her father Brett to an open studio I had hosted several months prior, and so thought of me (the other kids did mostly Picasso or Van Gogh, I think!).
So we did that, and then Juliet returned to my studio for a private art class. Her mom, Rebecca–who I barely knew, at that point—read in the yard while we did our session, and at the end she came into the studio and we chatted. Juliet was still quite shy at that time, but summoned her courage to ask me how much I charged for my paintings. Her mother feared that the question was rude, but I said, no, that asking for price in an artist’s studio was perfectly acceptable.
So I pointed to a 36″x36″ and said, “This painting will go out to one of my galleries shortly and is priced at $6,000”, and then I pointed to a few other pieces in a stack and continued, “but those pieces in this stack” and I pulled out one that had been in the possession of my sister for years, “are much, much older and I will sell to a friend for a few hundred dollars”.
Her mom and I continued chatting, and then Juliet tugged on her mothers clothing. “MOM, I want to buy a painting.” Rebecca was floored and a little embarrassed, so I picked up what I thought was just a conversational ball. “Juliet, if you were going to buy a painting, which one would it be?
“That one”—she pointed to the stack, where I had stashed the earlier piece behind a few others. I pulled it out again. “I want to buy THAT one.” Her mom tried to backtrack, or at least table the conversation for later, but Juliet was having none of it. “How much would you charge me for it?”
I thought quickly. I could certainly have happily gifted her the piece, it was clear that she wanted to purchase it. So I told her that I would sell that painting to her for $150. “MOM, she said, I have savings and I WANT to buy the painting.” It went back and forth like that for a bit, Juliet also insisting that they take the painting NOW.
And so they did.
Her parents made the great call to have her go with them to the bank and make her first ever withdrawal and then bring me the money herself.
The angelic-looking and very strong-willed young artist:
I have since enjoyed getting to know the whole family better, as Brett and Rebecca have acquired a few pieces of their own and we have shared a glass of wine or two.
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She googled “Moody Greenscapes”:
And the study for the piece:
So that was just about that for that, as she explained:
Painting from 1987:
A few months ago I received an email from a fellow asking about the inspiration for this painting:
I have to say, I was very excited to see this piece, to me a standout from my abstract figurative period in the 1980’s when I was living in NYC. I remembered the sale of it to a woman who was accustomed to collecting high-end work, and I had always wondered if/how long she had held onto it. Frankly, given what else she had on her walls in her Sutton Place apartment, I was afraid that it had ended up in a dumpster.
It turned out that she does indeed really love her art–all of it, no dumpsters—even those pieces that have been switched around to different residences and in and out of storage. A few years ago, she offered to gift this piece to her sometimes personal assistant/friend and her husband. And so, it ended up in their California home…and sparked the inquiry.
I was communicating with Rich, the husband, batting info back and forth. Eventually, it was his idea to purchase two small pieces to go on either side, accommodating their budget. After studying the photo of their living room with the painting (which we started calling simply the “Sisters” painting, as is is a stylized image of me with my sister Karin behind me), I realized that monotypes would be the best bet, both for color/affect and for price. I recommended going with the pop of warm color that is in the painting, rather than trying to match the greens.
Then the couple decided that they wanted two more prints, for other spots in the room. I sent the four of them off and the next day got the email below:
“Love them! Thank you. I can’t wait to get them framed!
These are the other two that they acquired:
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Does a gift qualify as a sale?
Some 12 or so years ago we had a holiday party and Gary Alexander, art and science writer from Woodstock, came with his girlfriend. He had been introduced to me years before by my then-gallery, the James Cox Gallery, and had gone on to, over time, write extensively about my work. (This included an 8 page article that got into Freud and brain science and required some serious focus, even for me.)
I had my studio heated and lit that night for those who wanted to take a look, and Gary, of course, did. After a bit of circulating on his part, we went out together and he pretty quickly got snagged by a 36″x36″ painting that was almost totally in black and white, big stormy sky gleam over our Catskill mountains backlit to black.
I can’t find a jpeg of the piece, but it had a look very similar to this one, but with a black mountain range in front:
A bit later, when I went back out with another friend, Gary’s partner was kneeing on the floor, rapt, in front of the same painting.
A few months later, this piece began to—ugh!—develop fine cracks in the surface. It was a new brand of stretched linen I had tried, quite pricey, and I think now was actually stretched too tight, a rare thing. Sadly, this painting was not going out to one of my galleries, even though these cracks were not visible from a few yards back.
I knew immediately what to do. I called Gary and left a message on his machine. Can you come by the studio, I have a surprise for you?
He was there within the hour. A gentle, laconic fellow, he did not stay around to chat after I gave him the painting, but his face said it all.
I am quite sure that it was the last time I saw him. He passed away in 2017.
I hope his girlfriend is still enjoying the painting.
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To Madrid on the private jet:
One more, a quick one, because that is how the sale happened.
In June of 2017 a fellow was drawn into my gallery on Martha’s Vineyard, the Louisa Gould Gallery, by a very large marsh painting in the window. That piece was too big, but sitting still wrapped in the gallery was my season’s delivery, dropped by my husband earlier that day. The fellow, from Madrid, helped unwrap a new 44″x68″, and fell in love with the piece instantly. His wife concurred. Problem was, would it fit in their private jet?
Just then, his pilot walked by the front of the gallery and was promptly hailed. Would this piece fit? Hurried consultation in Spanish. Yes, it would!
The piece was wrapped back up and invoiced and paid for, and out the door it went.
The whole encounter took about 20 minutes.
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I have been steadily selling my work for decades, resulting in many hundreds of pieces going out to homes, offices, and public collections around the country and the world. These stories remind me to be grateful for each and every one of those sales, but you can see that most of the ones that stick with me are not necessarily big in dollar amount, but big in heart.
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.
My first fully realized Atlas Project installation opens at Thompson Giroux Gallery in Chatham, NY, on March 31st, 2018. Elaborating on my artist’s statement for my discussion below, I am also including photos of all of the work in the show.
Here is the gallery’s press release, nicely weaving together my previous artist’s statement about my paintings with my new Atlas Project statement. Thompson Giroux Gallery and I are very pleased to be pledging a donation from sales to benefit two local land conservancy organizations, a small thank-you to the earth for the beautiful vistas and open spaces that I have been painting for the past decades.
The artworks in Christie Scheele‘s solo exhibition Atlas/Hudson River Valley take the viewer on a walk through the Hudson River Valley’s open spaces from Albany south to Manhattan.
In this exhibition Scheele brings together paintings, drawings, printmaking and mixed media and explores the personal and collective connection between our lives today and our increasingly fragile environment. Scheele continues her immersion into open spacious landscape painting. Using soft lines Scheele allows the viewer to sense and experience a particular place in our local environment; the way the light makes you feel at a specific time of day, how a place has it’s own color palette reflecting memory and process. Scheele’s use of color and atmosphere creates a suspended moment to experience the intangible power of nature.
With each destination on the “Site Map” we are invited to take an intimate look at how process, history and memory play a crucial role in our relationship to our natural environment.
In an effort to support our local land conservation initiatives, artist Christie Scheele and Thompson Giroux Gallery pledge 5% of any sales by the artist during Atlas/Hudson River Valley on view March 31-May 6, 2018 to benefit the Columbia Land Conservancy and the Woodstock Land Conservancy.
Please join us Saturday March 31st from 4-6pm for refreshments and live music by Josh Connors & Otto Gardnier.
Gallery hours: Thursday – Monday 11am to 5pm, Friday 11am to 7pm.
Closed Tuesday & Wednesday
Closed Sunday April 1st
Image credit: Christie Scheele, “Forms of Water”, 2016, Oil on Linen, 30″ x 36″.
Land and water use have been political since the beginning of our time on earth. As these issues become increasingly critical, I have been catapulted —but also eased, nestled— into expanding the environmental discussion that until now has been mostly implied in my work, putting into context my decades-long celebration of the powerful beauty of our planet.
My new Atlas Project maps my work while mapping the world, 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 show these connections, I am working in one thematic grouping at a time, creating a legend, or site map, to each body of work. The Site Map is a key both to a given installation and to the region or theme that it explores.
The Site Map for Atlas/Hudson River Valley, the first of these exhibitions, is created with collage on a Rand McNally road map of the river valley, the Catskills, and our wider region. It contains numbered mini-monotypes of all of the oil paintings on view and corresponding map tacks showing the locale depicted on the map.
Extensions of the Site Map include Mapping Memory, lino/mono prints of regional flora and fauna with written personal observations; a collaged and monoprinted map of the source of the river in the Adirondacks; a collage of the Hudson Canyon, extending 400 miles out to sea from NY Harbor; and a fourth extension discussing climate change and local impacts.
Using drawing, printmaking, pasteling, writing, and mixed-media along with oil paintings, I am exploring the interrelationships of process, history, and memory. These are revealed not only by air, land, and water but also by my materials and personal history as an artist, family and community member, and frequent inhabitant of the outdoor world.
The Atlas Project text is therefore a blend of natural history and personal memory. For the Atlas/Hudson River Valley site map I decided to tuck the text of my stories into an envelope that I created with rice paper. You can see these along the left-hand side of the Site Map, and an open one below:
Other bits of writing get more into the life-cycle of the wildlife depicted. I chose the species included in the map based on my interactions with them but also on a long-standing fascination. We probably all have these — how amazing, to me, is the Red Eft, so bright among the fauna of the NE United States? How cool is the life-cycle? Here is my story about these creatures:
It wasn’t until recently that I realized that the salamanders that I caught as a child near Oneonta, NY, are the same creatures as the Red Efts that I greet after every rain or heavy dew on the trails of the Catskills.
They have three life stages: the first after hatching in ponds; the second when they turn from brown to red and lose their gills, traveling on land for several years to find a new body of water. Finally, in their adult phase the tail widens, and they turn back into a greenish-brown color, living and breeding as aquatic animals with lungs to complete their 12-15-year life span.
At eight I was enamored of catching and releasing in a pond that we swam in during summer months. On one occasion I brought two newts home in a mayonnaise jar, stocked with moss and bits from the bottom of the pond. I changed the water every day with nearby creek water and left the jar under a big tree on our lawn, dropping in small insects from time to time.
One day I spotted eggs in the moss. Such anticipation!
A few days later we heard young voices coming from our front yard just after dark, and looked out to see two boys walking away. The next morning, I found my jar empty of water and newts, the eggs drying in the sun.
Printmaking become an integral part of Atlas/Hudson River Valley. Below are two monotype versions of the image used in “Reflected Suns”, exploring the more graphic possibilities of the medium.
And the mini-monotype on the Site Map (placement of these had to do with compositional concerns, as the numbers and map tacks are what identify the precise locales):
The first energy and ideas for this project evolved in 2016. That fall, I was experiencing profound grief over election results and their potential to set policy that will accelerate climate change. I was also contemplating a scheduled residency on Nantucket in February of 2017, and my upcoming 60th birthday later on that year. The second two factors prompted a question—how do I want to expand and deepen my range as an artist? The first, my accelerating concern over the health of our planet, gave me direction.
This extension to the Site Map addresses the issue of global warming:
These two recent monotypes reflect a view of a section of the Schoharie Creek valley in summer and then during the massive storm flooding caused by Irene:
And two additional monotypes of our region:
The Nantucket residency produced a prototype Site Map where I first used the idea of making small monotype prints of the oil paintings to be included in the grouping or show. It is a very rich process, artistically, entering a new world as you are creating it, and also full of the discomfort of facing the unknown. To read about my residency, go to this link to my blog post:
I so loved the collaging-on-a-map process while working on the Site Map that I decided to create some of these as stand-alone art pieces. The first, below, leaves much of the under-map showing, and in addition to pattern and magazine papers; samaras, wasp galls, and other bits and bobs, I hand dyed some of the green papers used for the Catskill Park area.
I live in the High Peaks area of the Catskills, so many of the pieces in this show are images of the mountains, roadways, streams, and of course, the Ashokan Reservoir, seen above in blue within the Park.
Another collage, also of the River, is more tightly composed and with more contrast than the first, and includes the small river towns of Kingston, Rhinebeck, Poughkeepsie, and Newburg.
For the third, following my own lead with the Site Map extension, I hand-died rice papers in varied blues to reinterpret the Hudson Canyon, the below-water extension of the river itself.
The Hudson River originates in Lake Tear of the Clouds, in a remote area of the Adirondacks, as pinpointed in the upper extension, above. It empties out into New York Harbor:
Many images are Hudson views between NYC and Hudson, NY. The stretch between Poughkeepsie and and Saugerties is well-traveled in the summer by us in our small lake boat. Lower sections are often views from bridges and the train.
This is not a catalogue of all of the wonderful views of the HV and Catskills, but rather an organically created collection of a number of the paintings that I have done over the past 10 years or so of our region. In this way, the grouping is a bit of a retrospective.
I am frequently hiking and driving around both the East side of the Hudson, into the Berkshires, as well as the West side, reaching into of the foothills of the Catskills, providing sources for some favorite views of the river itself as well as farm fields and hillsides.
The final study done for a large piece in oil, now sold, inspired by the Maya Lin Wave Field at Storm King:
My upcoming groupings will include Atlas/Forms of Water, and Atlas/Cape Cod, the former creating overlap with the place-based themes and requiring a different solution for the map (I am thinking maps, actually).
I alternate between focusing on aspects of this work that I am currently inventing and my continued immersion in my open, spacious landscape paintings, looking to draw it all together into a cohesive whole, mirroring the wholeness of life on earth.
A link to the Violet Snow article in the WoodstockTimes:
Many thanks to those who have helped this project along: my husband, Jack, for design and paste-up help; Kate McGloughlin of the Woodstock School of Art for teaching me monotype techniques; Mary Emery for inspiring my rediscovery of printmaking; The Artists Association of Nantucket for hosting the residency that advanced this work; Polly Law for brainstorming titles (including “Atlas Project” itself) and language with me; Jenny Nelson for being my sounding board; Loel Barr for showing me some of her cool collage techniques; Thompson Giroux Gallery for planning and mounting this large and complex solo show; Geoffrey Rogers for his expert framing; and Mark Loete for the perfect photographs of the Site Map and extensions.
This spring my mind has been on many of the seasonal imperatives, like creating new work for my galleries on the Cape and Islands and sorting through and shipping or delivering their selections. It has also, after a huge jump-start on my Atlas Project during my residency at the Nantucket Arts Association, been very much on advancing that exploration; and the spring has been spiced up by a few other new projects.
I have scheduled a talk to discuss my Atlas Project for July 15 during the Shandaken Artists Studio Tour, 4:30-6pm. I am currently developing the third sequence, Atlas/Hudson Valley segment. This means that, in addition to other work in my studio, I will hang a grouping of each of the sections that I have been working on this year: Atlas/Forms of Water/Snow; Atlas/Island (Nantucket); and the most extensive sequence to date, the Hudson River and Catskills work and mapping thereof.
In my studio work progresses on my third prototype map for this grouping, which will include mini-monotypes of the paintings involved; maps of various sorts of the area; and a number of other elements, both descriptive and visual. I am hoping that this map will be the working template that clicks for me so that I can use it for new groupings/exhibitions going forward. This involves lots of trial and error, applied problem-solving and then experimenting with the materials (maps, acrylics, printmaking, rice paper, collage, river mud, etc.).
I have found that when I pose myself a complex creative problem to be solved, following a simple process works quite well. I start by seeing how far I can think my way into it, often using moments when I am driving or walking, and when I hit an aspect or aspects that stump me, I plant those as a seed, and then let go of the conscious effort. Some time later—usually weeks—the answer will pop into my head, my subconscious having been at work on it all the while, sometimes aided by new information that comes my way in the interval.
Here is where I am so far with the latest Site Map and associated prints:
Above and below are a few of the Hudson River & Valley/Catskills paintings that are part of the new sequence:
My new series is bringing me ever closer to the many aspects of the natural world that I have in the past observed, researched and delighted in. Which of these things and how they can manifest in the work is the adventure. As is true of most meaningful new endeavors, the space this holds for me is both stimulating and disquieting.
My first gallery show of Atlas/Hudson Valley is scheduled for 2018 at Thompson Giroux Gallery in Chatham, NY.
To view more oil paintings that are currently in my studio, click here:
During spring I am always preparing to deliver or ship new work to my galleries in Martha’s Vineyard, Nantucket, and/or Cape Cod. Below are some new pieces at the Louisa Gould Gallery in Vineyard Haven on Martha’s Vineyard. She always has a beautifully installed grouping of my work on display throughout the year, so please stop by if you are on the island.
My residency at the Arts Association of Nantucket in February resulted in many advancements in my problem-solving curve for the Atlas Project; a number of small paintings; and some monotypes (see my blog post on the residency):
The five monotypes hanging below are a the results of printing sessions in both Woodstock and Nantucket.
And a few others:
See more of my prints and pastels here:
In April I flew to South Florida to do a large painting for friends with a new house there. I managed to pack in one big suitcase everything I needed, including the 16″x20″ version of the wave image that I had painted ahead of time. The one thing that did not fit in my suitcase was the 48″x60″ stretched linen canvas, which we had shipped from my wonderful stretcher-makers in Vermont, Brickyard Enterprises.
I had exactly one week to do this large piece and so, concerned about the possibility of things going wrong, I put in long days for the first several, working under an overhang in the pool enclosure.
Happily, nothing did go wrong, so we had a finished piece on the wall ahead of deadline and then I got to play, spending time at the Morikami Gardens and the beach (more wave paintings to come!).
My winter-spring show with Albert Shahinian Fine Art wrapped up in early April. We had a nice run of of two receptions—one at the gallery and one at my studio; a number of sales of pieces small and large, old and new; and an interview with the Poughkeepsie Journal containing questions that I quite enjoyed:
Several of the pieces that went to new homes from our show “Gallery/Studio: A Symbiosis”:
I am teaching four more workshops in 2017, several of them new. In my workshops I emphasize composition as well as color, and share not only my techniques, but also an eclectic delight in many styles and aspects of contemporary and historical art.
The Woodstock School of Art:
I have plans for some new pastels in the near future—its a good time of year to approach these, with the studio windows wide open (ah, and I must mention sounds of birds and the creek behind my studio), mitigating any effects of flying dust. Below is a fairly recent one, in which I was pushing the color somewhat.
Over the years I have at times felt pressure from some of my galleries to work brighter. I am very often a moody painter, though I don’t ever want to limit myself to any palette, locale, format, or mood. I do love a bright sunny day, but painting dramatic clouds and subtle, tonal color often draws me, and many of my collectors will follow me into that terrain.
With the pastel above, I set myself the intention of not going as dark along the horizon as I often do in a seascape, and in general keeping the colors more saturated or desaturated with white instead of grey. I wanted to see if I could make myself happy with a lower contrast, brighter image. And I did.
This is turning a request, essentially, into a creative problem. When people ask me how and whether being a full time, self-supporting artist affects my decision-making in the studio, that is part of the answer—that if I feel that I am being nudged in a particular direction, can I turn that into an interesting problem? And after I work that one out, what else can I do that is generated exclusively by, to use Kandinsky’s term, inner necessity?
Additional works at the gallery:
SALE!! Almost all of the work included in this data-base is now priced $200-$500. Inquire for details. (Through the end of May.)
These are works on paper, many of them unframed, currently in my studio. Often works on paper are an option that is more affordable than oil paintings. Several of my galleries and consultants also have a selection of framed or unframed pastels and monotypes, most notably Albert Shahinian Fine Art in Rhinebeck, NY; JSO ART Associates in Westport CT, and Gallery Jupiter in Little Silver, NJ.
Oil on paper:
Mixed Media/Collage (Of paper and other things, on board):
The three below show the pressed edge and different colored papers. Prints are normally framed showing the distinctive edge, and a little float of the paper, where they are signed:
Three framed prints, 8″x10″/ea.:
And how a collector framed his:
This post, designed primarily for the galleries and consultants that I work with, serves as a data-base for oil-on-linen paintings that are currently in my studio. As work sells or is consigned I will remove it, and new or returned work will be added.
My website– created by Stephanie Blackman Design—was beautifully designed as a calling card. Since I create/sell/move work around frequently, it was never my plan to keep it current at all times. With this data-base I will have a comprehensive selection for you all to peruse and can reduce the number of emails that I send showing dealers my currently available work, as those become outdated quickly also.
Often I am expecting some work back imminently or have a painting on the easel that is almost finished, so please feel free to inquire if you have a particular need: email@example.com.
For works on paper (pastel; oil on paper; mixed media/collage; monotype) consult this blog post: https://scheeleart.wordpress.com/2016/11/03/available-workstudioworks-on-paper/
Additional work can be found at my galleries: Albert Shahinian Fine Art in Rhinebeck, NY; Julie Heller Gallery in Provincetown, MA; Louisa Gould Gallery on Martha’s Vineyard, MA; Butters Gallery in Portland, OR; Thomas Henry Gallery on Nantucket, MA; and Thompson-Giroux Gallery in Chatham, NY.
Oil on Board
“Contour/Distillations” has been extended to October 11th.
We are tremendously drawn by stuff. The content of our lives—acquiring possessions; taking care of or replacing said possessions; packed schedules; busy brains—loudly demands attention. What we need the most for balance is intervals of the absence of our stuff, and yet it is hard to reset and choose openness over content.
Creating space in my life is an ongoing project, and has long drawn me both to spend a great deal of time outdoors and to paint my landscapes in an open and minimalist manner. This approach quiets the mind, evoking a direct response. Abstract elements can elicit deep, complex feelings, (a theme beautifully explored in Vassily Kandinsky’s 1910 “Concerning the Spiritual in Art”) and larger, flatter shapes with soft edges awaken the wide-open feeling of being outdoors in our atmospheric world.
Delving further into the less-is-more discussion, I think that less is different. If there are many details to look at in a painting they tend to compete for attention, creating an experience that remains purely visual or intellectual without going deeper. With fewer elements and more open space, both the emotional and formal content have enormous impact, often visceral. At the same time, what is there has to hold up under analysis, as there is no hiding.
My process in the studio is comprised of long swaths of time in which I am intensely focused and living within the emerging painting, punctuated by intervals of scrutiny and analysis during which I observe the elements with as much distance as possible. This rigor is, ultimately, what allows the viewer to sink into the piece—-many small just-so decisions to create a seamless whole.
The landscape inevitably holds powerful associations, so painting it becomes a back-and-forth between exploring the narrative and focusing on the formal elements of shape, composition, surface, color, and edge. In this body of work, drawn from the past several years, I am presenting the most open, color-field aspect of my work. Viewers can bring their own memories to these paintings, as mine are only suggested, or simply experience them as a conduit for feeling.
Both the above and below are from my Affinity Series. These pieces start with fraying the edges of raw linen; gluing it down to the board; priming with dark primer, and gridding the whole thing with graphite. Then I do the actual painting, and when it dries some selective regridding. The series evolved from the desire to manipulate my support in a way that moves my other choices in a more abstract direction, and brings attention to the surface.
Sometimes, as in the new postcard piece, “Tender Reds”, there are more shapes included. I see this as being a rhythmic approach—repetition of similar shapes moving across the surface of the painting.
This piece is less minimalist, but just as abstract. The reduced palette with a white sky allows it to hover between a dreamy in-the-moment being there and an on-the-surface color-field painting.
If one were to consider this as a totally abstract piece, the exercise would be to turn it sideways, or upside down. Compositionally, upside down would work very well, but not sideways—too strong of a horizon line, now going vertical. This would be true of every painting I do—abstracted, but not abstract, and usually with a clear horizon line as an anchor.
“White Trail” has a number of horizons, but the strong line in this piece moves on a skipping, slightly diagonal vertical, emphasizing the format. This piece, too, has a sense of rhythmic repetition of forms.
I have been exploring for this show how a large composition can be successful in small format with these oil-on-paper pieces.
Quiet, tonal color is most often my choice, as it tends to sit back, creating emotional space and allowing for introspection.
But every so often I like to move to stronger color to intensify the timbre of the experience. Whites work well—like a thirst-quenching drink of water— when paired with strong, saturated color.
Most of my pieces have quite a bit of contrast, moving from an atmospheric white or off-white (often tinged with a bit of Mars Violet) to a true black. I find, though, that low-contrast pieces can be intensely riveting in a different way, kind of like a full-throated, low hum. “Evening Shoreline”, below, is an example of this.
“Continuing Progression” is really a study in monochromes. The detail of the row of trees on the right, seemingly very subtle, actually pops more because of the reduced palette.
The body of work presented represents the core of my thinking, my base of operations. Albert Shahinian Fine Art, my gallery of longest standing, is the perfect venue for this theme-based exhibition, having shown, over the years, every possible exploration that I have launched from this base.
I hope you can join us for the reception on July 25th and my talk on August 2nd to see all 40 pieces and hear more about landscape, form and mood.
Link to a short but sweet article on the show by Paul Smart in the Almanac:
The installation and reception, below:
Additional work in the show:
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.)
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.
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.
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.
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.
“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.
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.
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.
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.
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.
“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.
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.
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.
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/).
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.
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.
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
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.
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:
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:
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.
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.
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.
Some spring sales:
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.
I have been puzzling over what makes a piece a standout within my body of work. It is not a question of “better”, nor of “favorite”. There is consensus around these pieces, and the five I have selected (more in future posts!) have also withstood the test of time—they date from 1993 to 2008.
A major attribute that makes these paintings stand out is that they all push a particular direction to the furthest point along my spectrum. There are a number of avenues of exploration that have held my interest over the course of years, allowing for many subtle permutations along the way. These five paintings epitomize the categories that they represent—signposts, in their way, whether they came early or later .
My plan for this piece was to do a scene of Castille, complete with red soil and olive trees. (I much later did the image with additional detail as a pastel, which I also consider a marker piece, as discussed below.) This was all before I started working on the dark ground that has long been part of my technique, so I created an underpainting with black oil to create the mass of the the large landform and used a light grey in the sky. I carefully scumbled the top line to embed the tree shapes and hill into the sky.
When I returned to my studio ready to work back into the now dry first layer, I was struck by how powerful the piece was in just black and white, and so decided to find a way to honor that simplicity. Brushing a little thin almost white into the sky created a soft vibration there, and setting the piece on the floor, I added a wash of deep green, leaving the edges of the piece black.
This piece went so far in the direction of a totally abstract, minimalist color field painting that once it was finished, I felt thoroughly satisfied and never again felt the need to take another piece quite so far in that direction. With “Dark Castille”, I managed to wed landscape imagery with the open feel of a Rothko.
“Red Fields”, hewing more closely to the original reference, pushes my palette in exactly the opposite direction as “Dark Castille”. It is not only one of my brightest pieces ever, but also has a larger range than most—quite bright blue in the sky. resounding reds, then into rusts and greens, both olive and sage. The matte surface of pastel on paper is ideal for creating a brighter and more inclusive palette that feels rich rather than jarring. Like the first version above, the treeline at the top of the hillside is the kind of focal point that I find absolutely delicious to paint. The detail and rich color in “Red Fields” makes me profoundly happy.
“Fireflies” is simply the blurriest painting I have done to date. The softness captures the resonant beauty of a rainy summer day in the Catskills, tonalist greens and blues deepened by the low light. Since I have been doing paintings incorporating approaching headlights, I have been astounded at how different the points of light can be, depending on atmospherics. Here, they are oh-so-soft, and yet they buzz around the picture plane with a great deal of energy.
This effect is achieved because this triptych is, rather than one image divided into three panels, actually three different paintings. As I was working on them separately, I repeatedly brought them together to check on how they were interacting, establishing variation in placement of headlights, horizon, roadway, and other elements. The eye is thus invited to travel around laterally between the panels, complimenting the implied movement of the headlights moving toward the viewer..
“Divided Fields” sparks two of my favorite discussions. One is about the summer palette of blue sky and green field or grass, and the other is about minimalism and color field painting.
This piece explores flatness and abstraction in a manner different from “Dark Castille” . The picture plane is divided up into long, horizontal wedges within the hillside, and the sky functions partly as one horizontal shape, and partly as clouds/blue sky. The upward direction of the clouds brings the eye back down to the horizon, while their diagonal directionality creates a rhythm that helps the eye sweep along the expanse of the entire piece, almost like reading—left to right. The flatness is far from absolute, with lots of soft scumbling and hue variation to create vibration within the planes of color.
All of my pieces create mood, though I do not aim to create narrow, specific emotions so much as broad, subtle and complex resonance. Moody, tonalistic paintings are second nature to me, loving as I do weather and dense atmospherics.After some years of that exploration, however, I wanted to be able to also capture the sheer joy of a sunny summer day. The open, abstract nature of “Divided Fields” pairs strong blues and greens with the assertive lines of the field divisions to walk exactly the line that I am after—a duality of delight in time/place/season along with the pure pleasure that planes of composed color can provide.
“Dark Cloud” also has a reductive, color field affect, but departs from the pieces discussed so far in the dynamic of the cloud. There are only three shapes in the whole piece, including the negative space of the sky, and the cloud is the most assertive of them.
Clouds can be, and be painted, in countless ways. In this painting I pushed the cloud into the most dominant position of any piece that I have done, partly by creating just a single cloud, and partly by its size and color. I worked the subtle variations within and at the edges the way I do with any cloud, so that they are embedded in the sky rather than seeming to float on top of it. Yet, this cloud is clearly read as a shape that dialogues aggressively with the wedge of hillside below. The landform holds its own, in turn, by being totally black and having a tree lifting into the sky in such a way that the cloud seems halted by it. With this strong play of elements, “Dark Cloud” contains an edge of tension resulting from both narrative and formal elements.
For years I edited out of my paintings all reference to vehicles, and often even the roads themselves. As I started to become interested in objects created by humankind, first power lines, then a skyline, and eventually exploring smokestacks and watertowers, far-off lights and even the occasional barn, headlights started to intrigue me.
I painted my first headlights piece in 2001, a pastel of an SUV with looming headlights fleeing a tornado, which I exhibited the summer of that year, entitled “Ahead of the Storm”. I have been credited with prescience for that timing (we also called the exhibition by the same name), but feel instead that the title describes a sort of state of existence that is not constant but reoccurring. The storm might symbolize the real threats that we face in life, or it could be the accumulation of all of our “to-do”s, threatening to run amuck.
As I have continued to explore headlights more extensively, I have discovered how unique they are, each set with differing halos, color around the white of the center, shapes, and symmetry between the pairs. Some reflect on the road, some not.
I often prefer a lonely pair or two of headlights on a rural road, partly because I am, at heart, a minimalist, and partly because this seems to be quite unexplored terrain for the landscape painter. A friend once characterized these pieces as “Country Noir”.
Below, I have included a brief commentary on some of my favorites, of the road and from the road.