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:
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, most notably Albert Shahinian Fine Art in Rhinebeck, NY; JSO ART Associates in Westport CT, and Megan Peter Fine Art in Redbank, NJ.
Oil on paper:
To see the blog post on my smallest oil-on-paper pieces showing currently available works along with a discussion of their genesis, click on the link below:
Mixed Media/Collage (Of paper and other things, on board):
Monotypes (these are all 8″x10″ or 10″x8″):
I recently had an invitation to place my work in the newly renovated space of Terrapin Restaurant in Rhinebeck, NY. The designer, also a collector of mine, thought that my work work be perfect to bring views of the Hudson Valley into the restaurant, long known for its locally sourced food.
Immediately looping my gallery—Albert Shahinian Fine Art, located just a few blocks away— into the process, we came up with solutions to some of my concerns. Lighting, in restaurants, is always a big one, as well as how to make clear to diners the names of the artist and gallery; that the work is available for purchase; and that a price list is available, without overly obtrusive wall cards and signage.
At chef Josh’s suggestion, we settled on using mostly farm field and meadow imagery.
Fast forward several weeks and the designer, JT, and Albert and I arrived for the installation. Dodging the still working painters; metal fabricators; and workers with a lift to do the lights in this vaulted space, we commenced hanging on the walls that we could, and Albert finished the job through the course of that week.
After all was said and done, the space looks like this:
Before the launch party, Abbe Aronson, PR person for the event, asked for comments from us and composed this:
MODERN UPDATE OF “FARM TO TABLE MEETS BARN TO TABLE”
RHINEBECK, NY – After drawing gasps of appreciation for food, décor and setting for 15 years in its current location in the historic circa 1825 “First Baptist Church,” award-winning Terrapin restaurant is undergoing a stunning renovation in its main dining room, to be unveiled on Thursday, May 5th at a “First Look, First Taste” cocktail party.
“First Look, First Taste” celebrates not only the redesigned space but also the new spring menus in both the dining room and adjacent Bistro. The party takes place from 6-8 p.m. by invitation only, after which the dining room opens for reservations. As always, emphasis on organic, local cuisine shines at Terrapin, but now will be presented in a chic new setting that, while refreshed, still evokes key sensibilities of the Hudson Valley.
“It was time for a change,” said Chef Josh Kroner who said long-time restaurant patrons as well as new guests were defaulting more and more to Bistro, not because they necessarily preferred the casual menu there but because the dining room had become known as ‘formal’ – “and that’s not the way I intend for people to eat at Terrapin.”
Enter JT McKay of bluecashew Design, an offshoot of neighboring bluecashew Kitchen Pharmacy and longtime friend of Kroner’s. “Josh was ‘farm to table’ before farm to table became a marketing term. That sort of food wasn’t a gimmick for him. So when we began to discuss the dining room redesign, we decided to give a proverbial ‘nod’ to this world.”
McKay continued, “There’s a real sense of bringing the outside inside with the new look here. We’re focusing on modern earth tones in the palette and using furnishings and design elements that evoke history and substance, so the two-inch thick red and white oak tables, which are old barn wood with contemporary finishes, are more than just reclaimed materials – they have real presence. Their age and history inform the energy of the entire room.”
Kroner added with a laugh, “I’ve wanted to collaborate with JT for years. The first time he came to my house, he rearranged all of the furniture and the lighting, so I know he was dying to get his hands on this place!”
Nearly all the key elements in the redesigned Terrapin dining room are new, including the lighting scheme, carpeting, place settings, metal railings and chairs, much of which are sourced locally and some of which are available for purchase through bluecashew Wabi Sabi Wood (WSW), based here in Rhinebeck, was tapped to create the dining tables, the true anchor of the room now that the restaurant is abandoning tablecloths in lieu of a more updated look. Company co-owner Patrick Neri explained that in this project, Terrapin and WSW “have focused on bringing the highest quality ingredients into the hands of skilled craftsmen. WSW uses wood reclaimed from the hand-hewn beams of 18th century barns. These beams once stood as trees in the Hudson Valley’s long forgotten old growth forests. The material represents some of the finest wood that ever grew from American soil. With these ingredients we built tables to be the foundation on which the craftsmanship of Terrapin will be displayed. Beneath every dinner plate lays a stunning display of hundreds of years etched in wood grain and patina. This truly will be ‘farm to table meets barn to table.’”
Paintings from Hudson Valley artist Christie Scheele will grace the new walls, curated and installed by Albert Shahinian he of the eponymously named fine art gallery also located in the village of Rhinebeck. Says Scheele, “The single most distinctive aspect to what I do as a landscape painter lies in my ability to reduce a scene to its essentials. This gives the viewer what is important, without the distraction, or visual clutter, of too much detail. Both by providing this overview and by using soft ‘scumbled’ edges, my paintings can quiet a viewer’s mind and evoke a direct response.”
She continued, “My work is, above all, about creating space—within the image of the painting, most often a wide-open vista—but also emotional and mental space for the viewer. The large, open space of the restaurant and the new color scheme in soft cream and a deep, slightly grayed green are perfect for my work. The elegance of the off-black metalwork that accents the room, with its strong, clean lines, also meshes beautifully with my strong, albeit soft-edged, shapes and sweeping contours.”
Shahinian said working with Kroner and Terrapin was a very natural and important collaboration for the neighboring businesses. “Many of our gallery visitors ask us about dining in the village. For years we’ve suggested Terrapin as one of the top places to dine. It seems logical that part of a Terrapin ‘experience’ could suggest a visit to the gallery! There is synergy between such diverse businesses: we both present high standards of quality, presentation, respect for our product and clientele, and offer high value for our visitors. One could say, ‘It takes a village to support a village!’”
Rhinebeck is a great town for a day trip, which could include a glorious stroll to the Hudson at Poet’s Walk; a visit to Albert Shahinian Fine Art; and dinner at Terrapin, where my work will be up for at least the next six months. Hope you make it!
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 by hand. It is the subtle variation in those lines that betray 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 each 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.