December 2020 Year-end Newsletter/Life and Art in the Time of Coronavirus
What a year.
Let me begin with a little gratitude journaling.
While I know a number of people who have suffered and died from the Coronavirus, my immediate family members remain healthy.
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We had a lovely summer, during which my yard grew and bloomed like crazy. My husband made repairs on and painted my studio and much of the exterior of the house. A series of breakdowns (plumbing, washing machine, car, I can’t even remember what else) forced upgrades and interior renovations as well. Also a huge amount of sorting, divesting of stuff, and organizing of those things that made the cut, projects that had been needed for years, maybe even decades.
I have zoomed and zoomed, teaching yoga and painting and hanging out with family. In August we arranged the very open corner of our front porch into an outdoor living space and had folks over at a safe distance while numbers were low in NYS and the weather held, catching up on each other’s Covid-era lives.
I am grateful to our governor for governing, and being an innovator in dealing with the Covid crisis. I have never much liked Cuomo in the past and may go back to disliking him in the future, but he stepped up and kept us as safe as he could. And I felt safer for it.
Also on my gratitude list is the greatly raised awareness created by the Black Lives Matter movement and resulting baby steps towards police reform. As I listened more intently to the stories being told and the history behind them, I learned a great deal. I also reread the three Toni Morrison novels that I have on my bookshelves and made myself really sit with the horror, understanding that it is not behind us.
A piece by my friend Veronica Lawlor from late May.
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Deep breath.
The whole year was rich creatively for me in my studio. While I feel that my life has a nice balance between painting and time spent with family and friends, practicing and teaching yoga, hiking, gardening, and reading, I also see the rewards of decades of obsessiveness about my creative practice. I have so much momentum and so many ideas to be followed up on that I don’t get blocked, and that has served me beautifully during quarantine. My studio continues to be my refuge, the place where a world of things are possible.
I am very grateful for this video, brainchild of Silver Hollow audio—who created it first as an audio project—and the Emerson Resort, who added the slideshow to make this wonderfully produced six-minute survey of my work as a landscape painter in the Catskills. It was featured during their remote Community Week offerings. They had to take it down and relaunch to correct a typo, and I am afraid that there were a number of folks who tried to go to it a few hours after the launch and found the link broken. Here is a working link:
Sales have been robust. I have also done six commissions in 2020, when some years I don’t do a single one.
The commissioned painting that I did during lockdown was the largest painting I have done to date, an incredible project to have at such a time. Above is the 6’x8′ painting after it was installed by Albert Shahinian Fine Art.
The surgeon’s lounge at a well-known Florida medical facility, through Forrest Scott Group.
Private Commission, 20″x60″.
Fall has been busy, with folks returning indoors and seeking out new paintings to enjoy in their homes. Here is a sampling:
Glowing Grasslands, 12″X12″, Sold by Butters Gallery.
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Shore with Still Mists, 18″x52″, studio sale.
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Earth & Sky, 24″30″, sold in the WSA instructors show at Lockwood Gallery.
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Snow Fields, 24″x30″, sold at the WSA Instructors show at Lockwood Gallery.
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“Windstorm”, 30″x40″, sold by Thomas Henry Gallery.
Summer Hillside, 30″x30″, Albert Shahinian Fine Art.
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Resting Grens, 12″x12″, studio sale.
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Magic Hour with Drifting Clouds, 24″x48″, sold by the Louisa Gould Gallery.
Provincetown, 20″X30″, studio sale.
After months of Covid routine I still have moments of shock at where the world has landed. I was one of the folks who believed in the scientific predictions of an upcoming pandemic and had tracked the news about the H1N1, SARS, and Ebola outbreaks (the latter not over, by any means), feeling huge relief that they had been contained before a pandemic ensued.
So I was reading intently about Covid-19 from early January. (Thank-you NY Times. I have heard people say that there was no coverage early on but that is not true—they were reporting on it daily, but most readers were not paying attention.). It didn’t take more than a few articles, as the evidence emerged, for me to become convinced that this time we were in for it, all of us.
And yet, I could not conceive, really, of what that would look like. The wildfire spread and chaos in Wuhan wouldn’t happen here, right? We would learn from their mistakes and prepare, right? And then Italy’s mistakes and oh whoops it’s here and nobody has done a thing for containment, medical treatment, the economy…nada. No learning, no preparing, no leadership…and maybe worst of all, no efforts to create a national sense of community and responsibility towards each other.
But of course, we are shocked day after day by the poisonous indifference at the top, even marveling at our continued ability to be shocked at each ugly outburst, each new blatant lie and evidence of corruption and narcissistic failure to govern.
Cutting to the chase, I will summarize by saying that when we look back on this period, it will look like the Influenza Epidemic of 1918-20; the Great Depression, the McCarthy era, and the civil unrest of the late 1960s, all rolled into one.
Looking to the nearer future, I believe that we have to seek justice and redress for those who have committed crimes. And as for those who show signs of wanting to shake off the trance induced by the orange cool aid, we need to think about what deprogramming could look like. Shaming and raging (much as it would seem appropriate because many deaths have been caused) won’t help in that effort, and if we can recoup any citizens from this zombie apocalypse, we should.
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Deep breath.
Images of my newest work:
September Light, 36″x48″.
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Things Past/Esopus Valley, 30″x30″.
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Things Past/Hunter Mountain, 30″x30″.
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Horizon with Rising Clouds, 30″x60″, $7,500.
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Sunset Light/Open Road, 24″x36″.
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Warm Fields, 30″x40″.
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Blue Mountain, 12″x12″.
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Mountain Road, 24″x24″.
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Fall Reflections, 24″x30″.
Since last summer I have given a good deal of thought to this coming winter, mulling over ideas for how I can contribute to the comfort and engagement of others. With my back-to-back workshops for the Woodstock School of Art I have worked to inspire a creative spark, encouraging the kind of focus that is healing and invigorating. Nonetheless, I could envision winter, with its increased isolation and Covid anxiety, creating a bigger, deeper need.
So I dreamed up a workshop that I hope will bring us back to our most loved places. Going straight for the heart, it is called, “Love and Longing: Landscape and Mood”. Quite a departure from my roster of zoomed classes so far, which have focused on formal considerations, from color-mixing to composition.
CHRISTIE SCHEELE LOVE AND LONGING: LANDSCAPE AND MOOD
Summer Cloudbank, 10″x30″.
Surging Swell, 48″x48″.
I have long had artwork at my friend Dave’s beautiful shop in Phoenicia, the Tender Land Home. This month we are offering a raffle for a framed oil-on-paper painting with all proceeds going to the Phoenicia Food Pantry. Tickets cost $20 and you can call in to enter if you can’t stop by, 845 688-7213. The drawing is on New Year’s Eve.
View from Little Mountain, 6″x8″.
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It is in the present that we are truly alive, so I wish you connection, engagement, focus, and yes, joy, in the upcoming months.
September Newsletter/Art and Life in the Time of Coronavirus
It has been a lovely summer, even within the unwelcome adjustments required by Covid-19. The outdoors is more important than ever before, with my yard functioning as an extension of my studio not just to dry paintings but also to accommodate a few private students and visitors to view artwork. We continue to be careful.
I have been as busy as ever in my studio, and zoom-teaching my workshops in a weekly class format, a more intense schedule of teaching than in the past. The prep of creating or converting workshop subject matter into these short classes is an engaging stretch of the brain for me, a kind of multi-faceted design problem. I can also reach more people with a remote version, and that feels like what is needed now. Check out the Woodstock School of Art website for details on the upcoming, beginning Monday October 5th.
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The benefit for the Island Food Bank that I have been participating in all season long with the Louisa Gould Gallery on Martha’s Vineyard has been extended into fall. Every sale contributes to mitigate food insecurity. This is our most recent:
Magic Hour with Drifting Clouds, 24″x48″.
This painting sits squarely in my-most-favorite-things category, the aspects to what I do that please me the most and that I am the most proud of. The color is unusual and heavily mixed to greys, with the cool and nearly flat grey/green of the marsh and blues, pinks, and a hint of purple in sky and water. The bit of a brighter cool blue, the brightest color in the painting, counterbalances with a certain cheeriness the otherwise dreamy and quiet mood. It illustrates something I say frequently when I teach color mixing: that you can harmonize more hues from the color wheel if they are desaturated then if they are all bright and strong.
In terms of composition, the triangular shape of the marsh is echoed in the clouds. The whole composition would tend to pull to the left, with the clouds either drifting or tumbling in that direction and the marsh also going off on that side: but the almost centered tree and and point of the marsh to the right pull in the opposite direction and keep the eye circulating within the piece.
In my workshops I have been analyzing dozens of artists’ paintings in the manner of the above. Such fun to do this with one of my own!
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I completed another large commission in July, through Forrest Scott Group and for the surgeon’s lounge in the Florida branch of a well-known medical facility.
This piece involved an unusual amount of effort and tuning, since I was doing a large version of my photo of an earlier piece. For that piece, I used my photo reference only glancingly, so it was of little use in the large version. In addition, the designer and art consultant selected the image based on a jpeg of the smaller painting, which had a bit of reflectivity in the sky that I had not noticed earlier and that they quite liked and expected to see, understandably, in the final piece.
It is a complicated sky by any standard, with translucent oranges transitioning to cooler reds into mauves and then a soft plum-color going from left to right: oranges into light naples yellows and into the purples going up. The clouds vary in the hue of their off-white, as well. Not hard to do, just hard to do the same way a second time!
The result was satisfying though. Here is the install pic.
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This 40″x40″ was done in August, a familiar bend in the Esopus Creek as seen from Route 28 just before Phoenicia. Fog had always been a beloved subject of mine, shapes that softly dissipate.
I have had a run of one commission after another since last November. I can’t really explain this since none of them are connected to each other, except the below; and that is a story way too long and convoluted to recount. Recently finished, 18″x52″, conveying perfect tranquility:
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I got an email from an old friend inquiring about this painting, which she had seen on social media earlier in the summer. She said that she had a dream about it the night before, and was it still available?
The View from Here, 24″x36″.
After a yard viewing with her and her husband and a welcome catch-up, the painting went home with her. A sweet sale in every way!
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A few years back Albert Shahinian Fine Art in Rhinebeck brought a grouping of work to a home in Bronxville, NY, where the family was just beginning to settle into a new home. They decided on one piece of mine, preferring to figure out their lighting and furniture before more art purchases. This past late August Albert brought to them another two pieces that they had viewed at the gallery, and those went up as well.
Summer at the Creeks, 36″x24″.
My benefit for regional food banks continues with Albert Shahinan Fine Art as well. The first one that we did was more of a give-away, in which people could make a donation to the food bank of their choice and we mailed them one—or more, in most cases—of these mini collages:
For our second one, we went up in size and with another grouping, my 6″x6″ oil-on-board pieces, of which there were twelve at the gallery. After Albert sold a 4″x12″ piece on board and folded it into the benefit, we added the two of that size that he had on hand. Each sale is discounted for the collector by $100 and the same amount is going to either the Phoenicia Food Pantry or the Hudson Valley Food Bank. Here is where we stand now.
These are a few pics of pieces still available:
Flooded Roadway, oil on 6″x6″ board.
Yellow Gleam, oil on 4″x12″ board.
Inquiries for bigger/better pics of other works still available can go to me or to the gallery.
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Just to introduce this with a quick peak, I have been working outdoors with found natural objects as part of my Atlas Project, creating small installations. This is a circle back to some creek workshops that I did with kids years back, finding the possibilities fascinating but not the time to pursue them. This summer I have allowed myself the gift of some time and focus on the process, which involves a lot or trial and error to come up with an arresting image. There will be more of these going forward, and a blog post soon.
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We have been involved in house and studio repair projects all season long, instigating a sorting and reorganizing of just about every living and storage space we have. A cascade of breakdowns starting mid-summer led to emergency U-turns from planned projects…but much progress has been made, including a new laptop, car (a newer used Volvo wagon that I can carry up to 48″ wide paintings in, just like the old!!), upstairs plumbing, side of studio, washing machine, and paint job progressing on the house. We have been in this place since 1990 and have not been keeping up, so the sorting will continue.
It is also getting to be time to bring my houseplants in from the yard. I started with this area at the top of the stairs, where I have settled them amidst some ceramic work of my mom’s, as well as two of her paintings. She passed away last December, and I selected these two 12″x12″s from her estate because they are two of her best and because she did them in my studio about twenty years ago. The mirror was also hers.
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This newsletter is almost entirely art-related, as I have had so much going on in that arena and feel that I cannot even bear to comment on the state of the nation/world. But here I go: I fervently hope that this worldwide trend towards right-wing dictatorship will turn around, starting here in November. Vote! Vote early and in person, if you can.
Art and Life in the Time of Coronavirus: June Newsletter
Our hot, dry June has been a boost for my studio work, and with some ample watering, my garden as well.
Paintings have been drying readily in the yard, allowing me to move onto painting another layer or dry a finished piece after just a day of sunshine.
Castle, 18″x52″, available for viewing in my yard/studio.
Tidal Creek with Mackerel Sky, 48″x24″, now safely delivered to the Louisa Gould Gallery on MV.
First up in my news, I am open to scheduling yard/studio visits. I have contemplated an open studio/yard event, but am not ready for that quite yet, and also continue to be busy with painting deadlines. Maybe I will feel ready in a few weeks, or in August.
One of the reasons that I hesitate is because I have seen many of my friends and neighbors relax their guard around closer contact with others and mask wearing. The more that happens the more we become, as a community, a network with multiple access points, as far as the virus is concerned. We need to circle back to what we have learned: we cannot trust anyone, not even ourselves, to not have the virus. The virus is entirely untrustworthy, and not in our control. And growing, nationwide. So, distancing and masks—same old lesson. Rinse, repeat.
That said, the outdoors now provides us with wonderful opportunities for safe encounters. So if you would like to visit my studio, we can select a nice-weather day, and with masks you can take a turn around my studio and ask to see particular pieces outside on one of my tables or an easel.
I have done quite a bit of this sort of contact, taking walks with friends and having a BYO everything picnic, 10-12 feet apart with masks and 3-4 feet with them. You get used to it, though it remains hard with family. And if this reminder is a downer, I am as weary of it as anyone, but see no other course that makes any sense but to stay the course…and live fully in every other possible way.
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In exciting June news, the delivery to Martha’s Vineyard of this season’s new pieces has been safely accomplished, and the Louisa Gould Gallery reopened a few weeks back, following the Massachusetts timeline and protocols.
Long Wave, 12″X48″.
Tidal Creek with Summer Greens, 24″x24″.
Soft Glow over Tidal Flats, 30″x60″.
My other galleries that have been able to reopen are Albert Shahinian Fine Art in Rhinebeck (weekends only), with a large selection of my work:
Overlook with Sparkling River, 16″x20″, 2019.
Summer Hillside, 30″x30″.
And Gallery Jupiter in Little Silver, NJ:
Summer Moors, 2 panels of 12″x12″/ea.
Affinity/On the Grid, 36″x48″.
My online show with Butters Gallery continues. A piece that they have in Portland, OR, was in my thoughts earlier today when we had a strong thunderstorm, complete with hail:
Catskills with Walking Rain, 36″x36″.
The View from Here, 24″x36″, in the online show and currently in my studio.
Link to the work in the show:
https://www.buttersgallery.com/Artist-Detail.cfm?ArtistsID=486&ppage=120
As I prepare to begin work on another commissioned painting, I still have a glow from the recently finished one, a 6’x8′ canvas installed in a private home at the beginning of this month. Here is my blog post on this ambitious piece created during the constraints of the shutdown, in case you missed it:
https://scheeleart.wordpress.com/2020/06/09/a-large-commission-art-in-the-time-of-coronavirus/
Recent sales have included these pieces, through the Louisa Gould Gallery:
Summer Marsh with Junipers, 40″x40″, 2019.
Seaview Dusk, 18″x24″.
And this one, through Albert Shahinian Fine Art:
Path, 48″x40″.
Last but most definitely not least, I am teaching my color-mixing workshop remotely through the Woodstock School of Art, 10-11 am for four Mondays in July, starting July 6th. It has been an enjoyable challenge consolidating the information to fit into the time frame; the live-stream requirements and limitations; and to a lecture/demo rubric (as opposed to my usual conversational style). You can see more here:
If you are an artist who works with color, how would you mix these greens? Green is very complex because it is to begin with a secondary color, made up of blue and yellow. So, it can go toward the yellow or toward the blue; also toward the brown; and then there are tints, tones, and shades. The below doesn’t even go very brown or yellow, but you could still mix a palette with dozens of colors to capture the nuance.
Happy greens of summer!
Sweetest Sales, Part Two
In 2011 I wrote a post describing some quirky and heartwarming stories that led to a sale or sales of my work:
https://scheeleart.wordpress.com/2014/11/11/sweetest-sales
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.
“Blue Ridges”, also in the family’s collection.
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She googled “Moody Greenscapes”:
“Hi,
Green Waves, 13″x76″ overall, oil on linen.
And the study for the piece:
Second and final small version of Green Wave., oil on paper, 5″x28″.
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:
Sisters painting, 40″x50″, 1987.
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!
Framing options—the final decision was the warm mat, since these two are printed on ochre-colored paper.
These are the other two that they acquired:
Monotype/Divided Fields.
Monotype/Mountain Stream.
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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.
Rolling Cloud, 44″x68″.
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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.
Atlas Project/Hudson River Valley and Catskills
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.
Forms of Water, 30″x36″. (G)
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.
For more information please visit www.thompsongirouxgallery.com or call 518-392-3336.
Thompson Giroux Gallery is located at 57 Main Street, Chatham NY 12037.
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.
River with Lighthouse, 12″x36″, oil on linen.
Ebullient Winter, 18″x24″, oil on linen. (G)
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.
Site Map with Extensions, as it appears on the gallery wall.
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:
Detail from left-hand panel, “Mapping Memory”.
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.
Reflected Suns, 32″x48″, oil on linen.
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.
MReflected Sun #2, 10″x16″, monotype. (Sold)
MReflected Sun #1, 10″x16″, monotype. (G)
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:
MVroman’s Nose/Green Fields, 8″x10″. (Sold)
Vroman’s Nose/Flooded Fields. (Sold)
And two additional monotypes of our region:
MSweeping Sky with Fields, 8″x10″, monotype. (Sold)
MWhite Field #1, 8″x10″, monotype. (Sold)
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:
https://scheeleart.wordpress.com/2017/03/18/artists-residency-on-nantucketnew-atlas-project/
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.
Atlas/Hudson River, 18″x14″, mixed media/collage on Rand McNally Road Map on board. (Sold)
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.
Esopus Mists, 12″x12″, oil on linen. (G)
Indigos with Glowing Light, 18″x24″. (Sold)
Affinity/Dusk Road, 30″x30″, oil on linen with frayed edges on primed board overlaid with graphite gridding.
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.
Atlas/HV Collage, 2 panels of 16″x8″/ea.
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.
Hudson Canyon Collage, 12″x12″. (G)
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:
Harbor with Soft Light, 13″x20″, pastel on paper.
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.
2 Shores/Reflected Sun, 12″x12″, oil on linen.
Refracted Golds, 20″x40″, oil on linen. (Sold)
Downriver, 24″x24″, oil on linen.
River with Big Sky, 24″x30″, oil on linen. (G)
Rare Summer Silence, 20″x30″, oil on linen. (Sold)
River Island with Castle, 9″x36″, oil on board.
Gleaming Bridge, 20″x40″. (Sold)
Affinity/Shore Lights, 16″x8″, oil/linen/board/graphite gridding.
Red River Shore, 20″x30″. (Sold)
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.
Triptych in Reds, 24″x24″/ea. panel, oil on linen.
Long Storm Cloud, 8″X28″, pastel on paper.
Meadow with Peaks, 14″X18″. (Sold)
Trees with Mists, 18″x48″, oil on linen. (G)
Mountain Sky/Blues, 24″x48″, oil on linen. (Sold)
“September Dawn”, 10″x28″, pastel on paper. (Sold)
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Particularity of Place, 36″x36″, oil on linen. (G)
Layers of Meaning, 30″x24″, oil on linen. (Sold)
Snow Fields, 12″x12″, oil on linen. (G)
Snow Shadows, 12″x12″, oil on linen. (G)
The final study done for a large piece in oil, now sold, inspired by the Maya Lin Wave Field at Storm King:
Green Waves, 5″x28.5″, oil on paper.
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.
Sweeping Greens/Jostling Trees, 28″x68″, oil on linen. (Sold)
A link to the Violet Snow article in the WoodstockTimes:
https://hudsonvalleyone.com/2018/04/02/artist-christie-scheeles-map-magic/
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.
2017 Late Spring News and Upcoming Events
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.
Mountain Sky/Blues, 24″x48″, newest piece, of the Catskills from the river.
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.
Red River Shore, 20″x30″.
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:
Work table with HV map in progress; site map for the Atlas/Island (Nantucket) grouping in the background.
Trees with Mists, 18″x48″.
Above and below are a few of the Hudson River & Valley/Catskills paintings that are part of the new sequence:
2 Shores, 12″x12″.
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:
https://scheeleart.wordpress.com/2015/11/18/available-workstudio/
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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.
Summer Inlet, 48″x24″, 2017.
Sengekontacket Greens, 12″x12″, 2017.
Katama Field, 12″x12″, 2017.
Summer Wave, 12″x12″, 2017.
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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):
https://scheeleart.wordpress.com/2017/03/18/artists-residency-on-nantucketnew-atlas-project/
The five monotypes hanging below are a the results of printing sessions in both Woodstock and Nantucket.
And a few others:
Monotype/Green Marsh, 8″x10″.
Monotype/White Field #2, monotype and pastel, 8″x10″.
Monotype/Wave#5, 8″x10″.
See more of my prints and pastels here:
https://scheeleart.wordpress.com/2016/11/03/available-workstudioworks-on-paper/
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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!).
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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:
http://www.poughkeepsiejournal.com/story/entertainment/2017/03/22/landscapes-art-artists/99454762/
March reception in my studio.
Several of the pieces that went to new homes from our show “Gallery/Studio: A Symbiosis”:
Glistening Greys, 10″X10″, oil on linen.
“White Trail”, 40″x30″.
Affinity/Duo/Palms, diptych of 2 paintings of 16″x8″/ea.
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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:
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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.
Turquoise Sky/White Cloud, 20″x20″.
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?
Cotue of the Scalloped Edges, 6″x10.5″.
“Gallery:Studio – A Symbiosis” Solo Show with Albert Shahinian Fine Art
Having a quiet chat during a lull in the reception…
Light that Glows, 32″x60″. $7,500.
Soft Greys from Peaked Hill, 10″x60″, $4,200.
Green Waves, 12″x75″, $8,000. (Sold)
https://scheeleart.wordpress.com/2015/03/24/the-evolution-of-a-new-concept/
Rare Summer Silence, 20″x30″, $3,200.
Cranberry Bog in Reds, 48″x24″, $5,000.
Affinity/WinterSunset, 36″x48″, $6,500. (Sold)
“Extravagant Sky”, 36″X60″. $8,000.
Triptych in Reds, 3 panels of 24″x24″/ea., $7,500.
White Field, 20″x40″, $3,600. (Sold)
Angle of Repose, 40″x30″, $5,000.
Drifting Clouds, 20″x20″, $2,200. (Sold)
“Affinity/Dusk Road”, 30″x30″, $4,000.
Sunset with Taillights, 40″x20″, $3,800.
Sunset Contours, 20″X20″, $2,200. (Sold)
Sunset Harbor, 20″X16″.
Hill Beyond Hill, 3 panels of 24″x20″/ea., $7,000. (Sold)
Height of Summer, 36″x48″, $6,500 (sold).
Summer Fields, 30″x30″, $4,000.
Moving Sky, 30″x36″, $4,500. (Sold)
Juncture, 18″x52″, $4,200.
Affinity/In Motion, 48″x12″, $4,000.
Sundrenched Field, 20″x24″. $2,500. (Sold)
Skyblues/Seablues, 10″x8″, $800.
Winter in Blue/White, 12″x12″, $1,300. (Sold)
Angular Tidal Flats, oil on paper on 12″x12″ board. (Sold.)
Mauve Sky, 6″x12″, oil on board, $650. (Sold)
Affinity/Duo/Palms, 2 paintings of 16″x8″/ea, $2,000. (Sold)
Glistening Greys, 10″X10″, oil on linen. (Sold.)
Gold Bush, 10″x10″. oil on board, $700. (Sold)
2 Suns, 10″x10″, oil on board, $700. (Sold.)
“Study/Sunset Sea”, 5″x5″, oil on primed paper, $550.
Study/Skyline, oil on paper, 7″x7″, $700.
“Factory at Work”, 7.5″x3.5″, $600.
Affinity/Boatyard, 10″x10″, 2014, oil on linen with frayed edges on board overlaid with graphite lines, $900. (Sold)
“Hilltop Contour”, oil on a vintage child’s slate, $750.
Additional works at the gallery:
Gleaming Bridge, 20″x40″, $3,600.
Summer Sky over Divided Fields, 20″x24″, $2,500 (sold).
Black Treeline, 36″x48″, $6,500. (Sold)
Sweeping Greens/Jostling Trees, 28″x68″, $7,500.
Mists from Palmer Hill, 12″X36″, $2,800. (Sold)
Dawn Headlights, 12″X36″, $2,800.
RefractedGolds, 20″x40″, $3,600.
Favorite Field/Soft Greens, 3 panels of 12″X12″/ea., $3,200.
“Intervening Space”, 20″X20″, $2,200 (sold).
Stormy Sea, 12″X12″, $1,300.
Evening Shoreline, 12″X12″, $1,300.
Study/Mountain Contours, oil on primed paper, 4″x14″, $800.
Affinity/Bridge at Sunset, 12″x24″, $2,000.
Green Waves, oil on paper, $1,600.
“Conviction of Beauty”, 12″x42″.
Red Sky with Gleam, pastel on paper, 5″x12″, $800.
River Sunset, pastel on paper, 11.5″x19″, $1,600.
Mountain Fields, pastel on paper, 20″X24″, $2,500. (Sold)
White Trail, 40″x30″, $5,000. (Sold)
As 2016 Rolls into 2017…
Calm Crossing, 32″x68″, oil on linen (at Louisa Gould Gallery, Vineyard Haven, MA).
Jagged Peaks, 10″x24″.
Brown Shoreline, 24″x20″.
Birdseye Shoreline, 10″x24″.
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Dark Road, monotype and pastel, 10″x8″.
Monotype, Wave #3, 8″x10″.
Monotype, Fall Marsh, 8″x10″.
Additional images can be viewed at:
https://scheeleart.wordpress.com/2016/11/03/available-workstudioworks-on-paper/
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Layers of Meaning, 30″x24″, oil on linen.
Glistening Greys, 10″X10″, oil on linen.
“Lingering”, 10″x10″, oil on linen (sold by Julie Heller Gallery).
Winter in Blue/White, 12″x12″, oil on linen (at Albert Shahinian Fine Art).
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I am very pleased to have new representation at Gallery 901 in Santa Fe, NM. Please check out the gallery if you are in town:
http://www.gallery901.org/christie-scheele/
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Trove:Atmospherics, 35 panels of 3″x5″/ea., 30″x48″ overall.
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I have just added some newly returned work to my data-base, and taken off the aforementioned holiday gifts. If you are looking for a large painting, this is a rare moment to peruse the many choices:
https://scheeleart.wordpress.com/2015/11/18/available-workstudio/
Since I sold the piece in October that was on my large living room wall, I have had the pleasure of replacing it, temporarily at least, with this favorite that I recently had returned to me:
“Rolling Cloud”, 44″x68″.
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Looking ahead, my thoughts are on the project I am developing for my residency in Nantucket in Feb.-March. This will involve an expanded and more experiential exploration of place, using drawing, printmaking, painting, writing…and who knows what else? Memory will be a theme.
Also coming up this winter, a special show/sale starting in early February at Albert Shahinian Fine Art in Rhinebeck, NY. More on this in a few weeks.
Finally, for those of you who do the drive from Kingston, NY up Route #28 to your home or weekend place, or if you just want to listen to a very well-produced culture/history/arts audio tour of the Catskills, check out this piece by neighbor and friend Brett Barry of Silver Hollow Audio (who Catskills/HV/Berkshires folks will know from the segments that he does on WAMC). My bit is about half-way into it, but with Brett’s interview prompts that created the individual discussions followed by skillful editing, the whole piece is beautifully interwoven and well worth listening to.
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I am wishing us, individually and collectively, a year of truth-seeking and compassion; of finding community; and exploring our deepest joys.
Available Work/Studio/Works on Paper
Almost all of the unframed pastels included in this data-base are now priced $200-$500. Inquire for details—-only the framed pieces are priced, so check in with me on the others.
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.
To see available oil-on-linen paintings, click here:
https://scheeleart.wordpress.com/2015/11/18/available-workstudio/
Pastels:
Warm Fields, 16″x25″.
Light/Dark Cloudbank, 13″x21″, $1,800 framed.
Trailing Fields, 4″x24″, framed with black molding, $800.
Summer Farm Fields, 6″x12″, $850 framed.
Magic Hour in the Mountains, 8″x10″, framed with off-black molding, $900.
Soft Greens, 5″x14″.
Gleam on Grey Sea, 14″x14″.
Triptych in Red/Black, 3 panels of 7″x13″.
River Lighthouse, 14″x21″.
Rusty Crane, 14″x21″.
Red Sun, 11″X18″.
“Gleam over Island”, 7″x11″.
Mountain Fall, 6″x16″.
Moody Mountain Sky, 12″X13″.
Warm Light, 9″X20″.
Mists over Fields, 5″x8.5″.
Green Hills, 15″X18″.
4 Trees, pastel on paper, 13″x21″.
Oil on paper:
Study/Still Mists, 4″x12″, $750 framed.
Study/Ptown Marsh, 3″x9″, $600 framed.
Study/Skyline, 7″x7″, $750, framed with black molding.
Sunset Flats, 5×8, oil on paper, $650 framed.
Bay Marsh, oil on paper, 5″x8″.
Ocean Blues, 6″x12″, $850 framed.
Study/Red Fields, 5″x10″, $700 framed in vintage cherry.
Sunset Sea, oil on paper, 3″x9″.
Autumn Hillside, oil on paper, 5″x7″.
Mixed Media/Collage (Of paper and other things, on board):
Hudson Canyon Collage, 12″x12″, $1,200.
Watershed Map, 12″x12″, $1,200.
Atlas/HV Collage, 2 panels of 16″x8″/ea., $1,800.
So There, 4″x12″, $550.
Actively Seeking, 7″x5″, $450.
Stand Alone, 5″x5″, $400.
Growing Tall, 5″x5″., $400
Path, 7×5, $450.
Waterways/Arial, 5″x5″.
Seeing Through, 4″x4″
Linocuts
Riverbed Map #1, 6″x12″, $125.
Riverbed Map #3, 6″x12″, $125.
Rverbed Map #2, linocut print on rice paper, 6″x12″, $125.
Four Nantucket Maps.
Nantucket Map #2, 12.5″x18″, hand-colored, $400.
Monotypes:
8″x10″s framed monotypes are $750 framed and $600 unframed. Larger sizes go up to $1,800—please inquire.
Five prints.
Cloud over Green Valley, 8″10.
Waterfall #5, 14″x7.5″.
Waterfall #3.
Overlook with River, 8″x10″.
M/White Wedge, 10″x8″, 2018.
M/White Wedge #3, 10″x8″, 2018.
Wave Triptychs #1 & #2, 3 panels of 8″x10″/ea.
Wave, lg. 10″x16″.
The View from Here, 10″x16″, 2018, $1,400 unframed.
M/Wave #6, 8″x10″, 2018.
M/Dark Road, monotype and pastel, 2016.
Sunset prints as they came out, the AAN, 2017.
Winter at the Creeks, 10″x8″.
M/Mountain Travel, 2016.
Moors #3, 8″x10″.
Moors #1, 8″x10″.
M/Waterspouts with Walking Rain, 8″x10″, 2016.
M/Mountain Stream, 2016, through LGG.
M/Marsh with House, 8″x10″, 2017, through LGG.
M/Wave, 8″x10″, 2016.
M/FallMarsh1, 8″x10″, 2017, through LGG.
M/FallMarsh3, 8″x10″, 2017.
Fall Grasses with Fogbank, 8″x10″, 2018, through LGG.
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:
Evening Travel #2, 8″x10″.
Evening Travel, 8″x10″.
Evening Travel #3, 8″x10″.
Three framed prints, 8″x10″/ea.:
And how a collector framed his:
Available Work/Studio/Oil on linen and board
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 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.
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/
“Linked Pleasures”, 36″x48″, $7,000.
Blue: Rising Mists, 14″x48″, $4,000.
“Entering Marshlands”, 30″x58″, $7,000.
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: scheeleart@gmail.com.
Boundless Sky, 20″X30″, $3,200.
“Catskills Walking Rain”, 36″x36″, $5,000.
“Forest”, 20″x40″, $4,000.
“Light on the Ridge”, 15″x30″, $3,000.
Additional work can be found at my galleries: Albert Shahinian Fine Art in Rhinebeck, NY; Gallery Jupiter in Little Silver, NJ; 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.
Moving Sky, 24″x48″, $5,000.
“Joy of the Familiar”, 16″x20″, $2,000.
Summer Mists, 40″x40″, $7,000.
Contrasting Sunset, 18″x52″, $4,800.
“Taking the Back Way”, 18″x24″, $2,400.
Harbor with Shifting Light, 18″x24″.
“Sundrenched” 40″x40″, $7,000.
Affinity/Return at Dusk, 12″x24″, $2,000.
Layered Clouds, 20″x16″, $2,000.
“Smokey Sky”, oil on a vintage slate.13.5×9,5, $1,000.
Affinity/Dual Twister, 10″x10″, $900.
“Affinity/Smokey Sky”, 18″x18″, $2,000.
“Storm over the Lake”, 20″x24″, $2,800.
“Skyline at Sunset”, 14″x22″, $1,800.
“2 Shores/Reflected Sun”, 12″x12″, $1,400.
“Contours/Distillations”: a Solo Show
“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.
“Blue Tidal Pool”, 20″x24″.
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.
Tree/Mist, 18″X48″.
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.
Layered Clouds, 20″X16″.
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.
Diagonal Flux, 36″X36″.
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.
“Affinity/Dusk Road”, 30″x30″.
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.
“Affinity/Black Trees”, 30″x30″. (Sold)
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.
“Tender Reds”, 32″x70″.
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.
“White Trail”, 40″x30″.
I have been exploring for this show how a large composition can be successful in small format with these oil-on-paper pieces.
“Study/Gleam over Tidal Flats”, 6″x10″.
“Study/Mountain
Contours”, 4″x14″.
“Study/Sunset Sea”, 5″x5″, oil on primed paper.
Quiet, tonal color is most often my choice, as it tends to sit back, creating emotional space and allowing for introspection.
“Autumn Bay Mists”, 18″x52″.
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.
“Sunset Reflected”, 12″x36″.
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.
Evening Shoreline, 12″X12″.
“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.
Continuing Progression, 24″x48″. (sold)
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:
Installation shot, wall with Affinities.
With my old friend Deb at the reception.
Installation shot, wall with postcard piece.
Additional work in the show:
Drifting Clouds, 20″x20″.
Approach in November, 6″x24″.
“Lush Mists”, 12″X36″.
Hill Beyond Hill, 3 panels of 24″x20″.
Winter Field, 10″x30″. (Sold)
Dawn Headlights, 12″X36″.
Cranberry Bog, 48″x24″.
Stormy Sea, 12″X12″.
Glowing Mountain Mists, 20″X30″. (Sold)
“Mutable/Immutable”: Solo Show at Chace-Randall Gallery
mu·ta·ble
ˈmyo͞otəbəl/
adjective
1.
liable to change.
“the mutable nature of fashion”
synonyms: changeable, variable, varying, fluctuating, shifting, inconsistent,unpredictable, inconstant, fickle, uneven, unstable, protean.
This word is by far the more important of the two, though oddly the less well understood.
im·mu·ta·ble
iˈmyo͞otəbəl/
adjective
1.
unchanging over time or unable to be changed.
“an immutable fact”
synonyms: fixed, set, rigid, inflexible, permanent, established, carved in stone.
“Affinity/Winter Sunset”, 36″x48″, 2014.
This body of work explores themes of change and the eternal in the landscape, nature revealing the mutable and the immutable.
Fleeting moments of weather and light have long been my focus. Time of day or year and interplay with clouds; light and shadow on landforms or water; and serious weather events continue to visually intrigue and inspire, making no two scenes alike.
Beyond the always shifting moments of dramatic or calm atmospherics and the impact of humankind on the land is also, however, the immutable. However changing, the earth has always been there for us.
Our source of nourishment in every way, our lands, rivers and seas are the visual imprint that I work from every day, every week, and every year. Attempting not to judge but rather to see, I adapt imagery that is only sometimes classically beautiful. The paintings then become another immutable, as I have distilled that image into a moment of time, offering it to others for contemplation.
The work in the show
Choosing the piece that will go on the postcard for a solo show is always a juggle. Generally speaking, though, the artist and galleriest select a piece that is not only a stand-out painting, but also sits stylistically and thematically near the center of the body of work, thus representing it well. We settled on “Turquoise Light”, below.
“Turquoise Light” , 30″x40″, 2014.
Often when there is water in an image, I work the detail of waves and currents just enough so that it reads as such, preferring to let the eye skim over the water and settle on other spots in the painting.
One consideration is similar to having a field in the foreground: where is the viewer in this scene? If the water, marsh or field start basically at the viewer’s feet, there needs to be more foreground detail or vignetting than if the picture plane starts further off.
In “Turquoise Light”, we are sitting (in our boat, presumably!) right on the water, which is a major focus of the piece. Far from encouraging the viewer past it, the water catches the eye with an array of subtle color shifts, reflections, and movement. When I paint an area with this much complexity I look at it as an abstract painting, surrendering to the process.
I also enjoyed that the sky and water are so different, even though clearly the sky is throwing light on the water.
“Mountain Road/Fireflies”, 30″x20″, 2013. (Sold)
“Intervening Space”, 20″X20″, 2014.
The square format of “Intervening Space” is echoed in the composition, which leads the eye back into the painting with every shape and line. There is also a back-and-forth between the painterly illusion of depth created by arial perspective that draws the eye toward the distant hills, and the feel that the composition and relatively flat shapes create of the whole painting being right up on the picture plane.
I love playing with those two ways of experiencing a painting, counterbalancing the illusion of space in a landscape with the reminder that this is also a two-dimensional, abstract object comprised of areas of color.
For more discussion of the narrative and the abstract, see my post on the topic:https://scheeleart.wordpress.com/2014/01/01/narrative-and-abstraction-in-representational-painting/
“Mountain Sky with Mists”, 24″x30″, 2014.
An interpretation of the view from the fire tower on Overlook Mountain, “Mountain Mists with Sky” reveals the transitory and the solid. Fog is a beloved subject, shifting even faster than clouds, and mountains feel eternal even if, geologically, they are not.
Mists from Palmer Hill, 12″X36″, 2014.
The farm fields that you see from Route #28 at the base of Palmer Hill in Andes are a favorite subject of mine, and no show at Chace-Randall is complete without some fresh version of this scene. In the interpretation above, we are in a lovely misty summer day, rain and fog just beginning to lift but still obscuring a mountain that rises behind the horizon of the fields.
“Interwoven Stories”, 30″x60″, 2014.
“Memory’s Waters”, 16″x20″, 2013. (Sold)
“Memory’s Waters” brings me back to moments of contemplating water during every summer I have ever known. I was also taken with the way the sun catches on the front shore on the right and then moves back into shadow on the left in this image of Cooper Lake in Woodstock.
“Cloud over Shoreline,” 12″X12″.
A dark cloud in front of the sun over the Hudson River shoreline. These high-contrast images are both brooding and ethereal.
“Sunlit Sandflats”, 12″X12″, 2014.
Stormy Sea, 12″X12″.
The most minimalist piece in the show, and very low contrast. I love exploring this terrain.
“Affinity/Return at Dusk”, 12″x24″, 2014.
“Affinity?Flatlands Drive”, 18″X18″.
“Affinity/Stepping Out”, 8″X8″. (Sold)
“Affinity?Storm at Sea”, 8″x8″.
“Westerly Sky”, 16″X20″.
I also like to include an urban landscape in my shows. “Westerly Sky” captures the view from lower Manhattan that I have painted a number of times, along with another favorite view of the West Side Highway and Hudson River.
In abstract terms the piece plays with the right angles and straight lines of the foreground buildings in strong silhouette interacting with the soft diagonals of the sky. The foreground feels very stationary against the sweep of the clouds.
“White Light/ Red Light”, 24″x24″, 2014. (Sold by the gallery on 5/14.)
“Soft Summer Greens”, 30″X36″, 2012.
Staying Fresh
How do we do it?
I have been working exclusively with landscape imagery since 1990, and painting full time since about 2004. I like nothing better than to be in my studio working, and since I have multiple galleries that all need work, that means a good number of landscape paintings over the course of the years.
So how do I keep it fresh, avoid being bored (which would surely show up in the work), not fall into painting the same painting over and over again?
This is a big question for artists who have a market for their work. Some do just that—paint the same thing, essentially, for decades on end, though realists and plein air painters often have a great love for minute changes in subject matter and locale and keep themselves happy and entertained with these shifts. No judgement here from me–the happy or engrossed artist is the key to good work.
We have all seen artists in the blue chip realm who disappoint with a new body of work (will Susan Rothenberg ever be able to delight me as much as she did with the early horse series?) And yet, the custom of many decades now is for an artist to work serially, ideally moving gracefully and yet compelingly from one body of work to another, maybe over the course of a few years (and often marked by the solo at their major gallery, when it is assumed that that work will leave their studio and never come back, making it easy to start a fresh series). Preferably, from the market standpoint, there is some stylistic or thematic continuity from one series to the next.
I found my true niche with my minimalist mode of landscape painting back in 1990, and a few years later felt a need for opening up my explorations. I addressed it then by expanding the range of my subject matter and palette. Initially, I had avoided anything overtly dramatic, keeping to tonalist color and flat light, and the first shift brought me into a complex sky, or a brighter, blue-sky day.
(The photos in this post may be more current examples, since I have not even begun to get all of my pre-digital slides and photos scanned.)
“Rare Summer Silence”, 20″x30″, (courtesy Gold Gallery), an example of the sort of palette and light that has drawn me from the beginning.
“Sky in Motion”, 24″X20″ (sold by Gold Gallery), which shows the kind of complex sky that beckoned a little later on.
As the years passed and I felt ever more firmly in the saddle of my approach, I dared take on subject matter that borders on the cliche for a landscape painter—sunsets, a beach path, fluffy white clouds, even a sailboat at rest. I enjoyed the challenge of painting these subjects while avoiding the melodramatic or sentimental, at first by aided by instinct and later with a clearer understanding—which I now teach—of how this can be achieved.
“Sunset Sea in Red/Gold”, 20″x60″, (private collection).
I also played with format. The first time I did a vertical landscape I had never actually seen it done, and I found it quite daring. Later, I explored extreme verticals, as well as horizontals.
“Cranberry Bog in Reds”, 48″x24″ (courtesy Gold Gallery).
The next time I felt restless, I still thought of subject matter, now manmade elements. I started with phone poles, and moved on to urban images, road imagery, and then grittier industrial imagery. In 2003 I had a show at Albert Shahinian Fine Art, then in Poughkeepsie, called “Manmade”.
“Exuberant Storm, 30″x36” (sold by Chace-Randall Gallery).
“Conviction of Beauty”, 14″x40″ (courtesy Albert Shahinian Fine Art).
“Bridge Crossing in Violets”, 12″x12″ (courtesy Butters Gallery).
A few years later, I pondered how to get my love for the grid into my work (bearing in mind that my background is in contemporary, not traditional, art). On first glance, it seemed that there were only a few ways to incorpoarate this with landscape imagery. But I decided to just get started doing these first ideas, and eventually it became clear that there were many ways to bring the landscape and the grid together.
“River in 5”, 5 panels of 10″x10″/ea., (sold by Albert Shahinian Fine Art), one image stretched over a number of panels.
“Trove”, 35 3″x5″ oil-on-panel paintings (private collection). In order to make these separate images hang together and not be too busy, I used at least some reds in each piece, and toward the end I painted six or seven very minimalist black-and-red images to create a sort of matrix for the brighter, more complex pieces. Also, some of the images had already been explored in larger pieces, usually in a different format, and revisiting them was a pleasure.
“Rainy Road/Fireflies”, 3 panels of 12″x12″/ea. (sold by Gold Gallery), three versions of the same stretch of road and close to the same moment in time, with implied movement and a non-linear nod to film.
Somewhere around 2002, once again contemplating my next move, I began to use vintage boxes and other distressed objects as my support, selecting imagery and palette to mesh with the elements already present in the object.
“Approach”, oil on vintage blackboard, 11″x13.5″ (courtesy Chace-Randall Gallery). Elements and color in the image reflect grain, texture and color present in the frame of the blackboard.
This series sometimes requires applied problem-solving in to addition visual/aesthetic decision making, and I enjoy the stretch of the brain.
Many of these pieces have been set in lovely old compartmentalized boxes, trays, or pans, which means that they also explore multiple-panel imagery.
“Mountain Fall in 6, 5″x18” (courtesy Albert Shahinian Fine Art). This appears to be an old coin drawer from a cash register. At first I thought of putting small panels within the compartments, but that obscured the lovely curve at the back. Finally, I created flexible pieces of backed linen that follow the curve. I had to take them in and out a number of times while I was painting them, since being set back changed the light and therefore the color substantially.
When I was preparing to do my Cyclone Sampler, I spent a great deal of time just figuring out what I was going to paint on before nestling the tiny panels into the compartments of the box (I settled on bevel-cut 8-ply matboard—bless my framer—that I sealed front and back with multiple coats of matte medium, since I did not want to put glass over this piece). A spontaneous decision at the end, purely aesthetic, was to leave a few compartments empty, avoiding the feel of a catalogue.
- “Cyclone Sampler”,21.5″x10.5″, (collection of the Tyler Museum of Art). Unlike the expansive feel of my single-image landscapes , this piece shows the vast energy of many twisters tightly contained within the grid.
This series has as many possibilities as the amazing things that I come across that fire my imagination, though I often have to stare at the object for up to a year before I decide what I want to do with it.
Irrigated Fields, 4″x18″(sold by Albert Shahinian Fine Art).
- My most recent addition is the Affinity Series, oil paintings on linen with frayed edges on board overlaid with graphite gridding. I don’t even remember the exact thought process that brought these into being, but it started with the idea of manipulating the support. I was enjoying both selecting and adjusting the subject matter to the individual vintage object that I was using in the pieces in that series, and was interested in creating a more specific support myself, forcing a considered mesh between it and the painted imagery.
Generally the imagery that works best with the frayed edges and gridding in the Affinity Series is either very minimalist or has strong linear elements.
Affinity/Boatyard, 10″x10″, 2014, oil on linen with frayed edges on board overlaid with graphite lines.
That I ended up with graphite gridding as an overlay was a circle-back to my longstanding interest in the grid, bringing the viewer’s eye to the surface of the piece and creating mixed associations. Some of the latter I hadn’t even thought of, like the historical use of gridding to aid with proportions while transferring a small image, or maquette, into the larger finished piece, an association that other artists have pointed out to me.
Affinity/On the Grid, 36″x48″, (courtesy Gold Gallery). In this very recent piece I pushed the gridding quite a bit, moving to black instead of graphite and actually spending more time very selectively gridding than on the earlier painting portion.
Many pieces now are some combination of these series. For example, often the frayed linen on board of the Affinity series works well in an old box.
“Factory at Work”, 7.5″x3.5″ (courtesy Julie Heller Gallery).
All the while, I have continued to paint my wide-open landscapes on linen. Doing all these other explorations makes a small new slant on a salt marsh or hillside painting feel exciting and fresh, even though I have been painting this imagery for 24 years.
“Blue Light”, 20″x60″, 2014.
I love expanding the repertoire, adding both new versions within a body of work that reflects longstanding interests and, every so often, a whole new series. In my week-to-week, month-to-month, I juggle these series simultaneously, rather than consecutively, keeping myself riveted to what is developing in my studio.
The constant is the landscape.
“White Light/ Red Light”, 24″x24″, (Courtesy Chace-Randall Gallery). Sneak peak at a new piece going into my upcoming solo, opening May 24th!
What is next? (I have several ideas just taking shape, so not sharing yet!)
Landscape and Mood
I recently taught a workshop at the Woodstock School of Art emphasizing mood in landscape painting. Since then I have continued to ponder the subject.
The course description.
All painting is about mood, and the landscape as subject matter sublimely so. In this workshop, we will break down what elements of a painting create strong currents of serenity, nostalgia, joy, melancholy, and subtle combinations of these. Color, content, and composition all contribute to the mood of a painting, so we will do exercises in color-mixing and composition, as well as discussing how these elements coalesce into the feel of a landscape in front of reproductions of some of my favorite landscape painters. In the studio, using photographic reference, we will be free to explore the mood of any palette, season, or time of day, aiming not to manipulate but to be sensitive to the mood we are creating.
Some of my ponderings.
I dislike art (in amy medium, including writing) that is sentimental. So the comment above about not manipulating the mood is key, since that might be a good working definition of artistic sentimentality–art that overtly tugs on the heartstrings. Also, art that sets out to evoke one emotional response, instead of a complex response.
Further, when the artist dials in very specifically on one emotional narrative, the viewer is not given room to project their own feelings, as too many doors have been closed. In my workshop, I observed that in bringing mood into our decision making, we are not setting about, for example, to do a painting that evokes bittersweet-nostalgia-at-the-end-of-a-long-day, but instead something much more open. Since we are working in a visual medium, we can work viscerally in part, and then use our skills in composition and color to enhance the feel that we are developing in a painting.
An analysis of the mood of eight paintings (as I see it).
The new painting below is clearly a mood piece. Dusk tends to do that, and the headlights imagery is realtively specific within my vocabulary. It is a poigniant time of day to be driving by oneself, and that is what the imagery evokes, so in this case we have a strong narrative, made dramatic by the highly contrasted darks and lights, warmed by the reds. The composition also affirms the story, since all of the shapes and lines either point to or frame the headlights.
“Crossing at Dusk”, 24″X48″, courtesy Thompson/Giroux Gallery.
“Counterlit Blues” is a mood piece of a different type, dreamier and less specific. Still, no sentimentality! The shapes all glow, and have horizontal/diagonal lines that are inherently elegant and lead the eye gently around the canvas.
“Counterlight Blues”, 16″X20″, courtesy Albert Shahinian Gallery.
A sunny summer day, green/blue palette in the Northeast, does not have the softening effects of mist, nor the mood of dusk or a thunderstorm. The challenge is to capture the sense of joy that such a day can provide, something that can be difficult—and if you fall short, it becomes just a pretty painting.
“Summer Sky over Sesuit” has a certain dreamy quality, but the pointy cloud shapes counterbalance the mood with their incisiveness. Also, anchoring the soft greens with the blacks of the marsh shapes gives the piece power. The joy of this summer day has a great deal with sense of place, as well as the towering sky.
“Summer Sky over Sesuit”, 48″X24″, courtesy Julie Heller Gallery.
Alternatively, “Divided Fields” is more a color field painting, capturing the universal, than a moment in time. The movement created by the diagonal lines of the field divisions and the upward movement of the clouds contribute to the feeling that the image extends indefinitely up and out the sides. The sense of activity contributes to the energetic mood.
“Divided Fields”, 24″X72″.
One of my all-time favorite pieces, the older “Dark Cloud” goes beyond moody, flirting with ominous. The feel of stormy dread is counterbalanced by the oddly friendly way that the cloud converses with the silhouetted tree poking up above the hillside.
“Dark Cloud”, 40″X50″, private collection.
The following two pieces were done within a few weeks of each other, are the same size. and of similar subject matter.
“October Saltmarsh” has a a much more intense feel, however, and “Hazy/Lazy Saltmarsh” a dreamier sensibility, largely due to color. The first creates intrigue by simultaneously providing serenity and incisive moodiness, while the second allows you to relax entirely into the hazy greens and tidal creek shape zigzagging gently toward you.
Both of these pieces have already been much admired…but always with a strong preference for one over the other.
“October Saltmarsh”, 24″X48″.
“Hazy/Lazy Saltmarsh”, 24″X48″, courtesy Gold Gallery.
What is the difference between the sublime and the melodramatic in a landscape painting?
I would go back to the specificity of the story, and perhaps to the number of seductive elements in the piece. So, sun through the clouds is entirely enough, and more does not make for bigger impact. Not too many colors, no need for a boat or sun flare, and darks running to black or almost black lend contrast and weight to the sublime sun.
“Summer Storm”, courtesy the Julie Heller Gallery.
Mixed metaphor in art is usually much more interesting than the overt message. Furthermore, all good art should allow for the viewer to project some of their own thoughts and feelings into the mix, as art is about questions as much as answers.
So, feel free to disagree with any of my interpretations!
Roads and Bridge Views
Fine snow creates the atmospherics in this piece, with tiny far-off headlights providing the only warmth. (Private Collection.)
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.
- The road piece that has it all, “Trove: From the Road”. 16 separate oil paintings of 3″X5″/each. Some are images from the road, of the road, and others are looking off from bridges and roadways. Unlike some of my work that captures a mood more than the details of a spot, each one of these is of a particular locale—the West Side Highway; Route #28 near Phoenicia; New Jersey; Nebraska; Cape Cod, New Paltz, and so on.
Angles and rosey light... (Private collection.)
One of my first urban landscapes, and still a favorite, an off-ramp on the West Side Highway with winter light on the Hudson. (Private Collection.)
One of my Affinity Series, with frayed linen and graphite gridding. The extreme vertical format was the most fun for me---a compositional challenge.
One type of triptych, three variations on a theme. A rainy evening on Route #28 near Phoenicia. The cropping and placement of the headlights cause the eye to move up and down diagonally as it reads the image left to right, contributing to an overall sense of movement.
An Affinity that also uses a vintage support for a frame---I believe an old sign. One of my favorite bridge crossings, heading over to the Mass Pike. (Private Collection.)
- Sunset/dusk is often bittersweet, even more so when the image is of a car on a lonely road. You can sense the solitary feeling of the driver, perhaps mitigated by a promise of home. Both the abstract and the narrative have strong presences in this piece.
Another small piece using a vintage support, the image as simple as can be. The crack on the slate to the right serves as a nonliteral compositional element.
Crazy, tilting angles of road and power lines, counterlit black trees in front with sun and fog breaking on the fall foliage behind. (Private collection.)
One very early morning on the way to catch the ferry to Martha's Vineyard, the fog and the sky kept changing for the longest time, from warm to blue/green, but consistantly with wild gleams and glows. It went on and on... lightshow after lightshow. I have been painting that dawn ever since, here with the road in front occupied by vehicles with taillights, a manmade element to play off of the amazing sky. (Private Collection.)
An Affinity, the headlights and their reflections the focus.
From the George Washington Bridge. (Private Collection.)
Another kind of triptych, one image divided into three panels, in a soft, red-green palette.
My very recent road painting, another moment during that same dawn drive.
Collectors Comment
I asked some of the folks who bought paintings from me last summer to comment on why they decided upon the piece(es) that they selected. I will let these collectors be the voice of this post, and share my own thoughts about acquiring original art when I do a post on my modest but lovely collection of art by friends whose work I love.
About these pieces and others that found homes over the summer, I will say that I am delighted with the variety of work that was selected.
“The best part of living with my very evocative Blue Night painting is the way its flavor and its mood changes during the course of the day as the light moves around it. Sometimes I feel as if I have bought not one painting but five or fifteen for all that it has to say. I loved it from the moment I saw it because it generated both peacefulness and seriousness, simplicity and power. It is a small but very strong painting and I have hung it where it catches my eye as I move through my home. The blue calls for my attention when I walk into the room where it hangs. I like that because for a fleeting instant I am reminded of beauty contained, of nature and its rewards. It takes me out of myself and the whirring in my brain.”
“This most recent piece that I bought from Christie, “Gleaming Sky” leapt out at me the same way the 27 other pieces that I own did. You’d think by now there is something specific that brings me back to her work time and time again. But that’s just it – there ISNT anything in particular that grabs me – it ALL does. At this point Christie could even pick out ahead of time which of her pieces I will love and add to my “Must Buy” list and which pieces I will enjoy, but aren’t quite my style. That is a gift that she has considering we have already established there isn’t really a consistent pattern to my selections. This particular one I chose for a new bathroom in my house in Woodstock.”
“And when you are looking at the painting, and have the windows open listening to the stream, for a second you can actually imagine that the magnificent sound is coming directly from the canvas…It is those kind of intangibles that will keep my collection going for many years.”
“(I actually can’t wait to hang your piece … there is a spot on one of my bedroom walls yearning for it.) I remember being so refreshed by this little piece of life — usually, it’s the mist and its depth, the textures in the wetness that I adore in your work. But, the laundry is so fresh! And the textures of the wood and fabric raveling delicately remind me of the depth of the mist. And! … the sun! On the line and in the sunset. I also remember that red/orange warmth. It already had my name on it…”
“I am drawn to Christie’s work by the way she captures the sense of depth and magic in her landscapes. The paintings allow me to bring something of what I love of the Catskills into my home.” (Piece #1 of four.}
{Another vertical, this one a pastel, piece #2.}
“When I first saw “River Sunset in 3,” it stopped me in my tracks. The deep orange of the sunset, the mystery of the reflection in the water, strikes a chord deep within me.”
{August Tidal Creek, 36″X72″, piece #4 acquired by the above collector last summer.}
“What attracts me to her pieces are her use of light and color and shading. You get the feeling of the image without any distinct lines or definition of space, it registers because of the mood the use of shading and lighting creates. The paintings are soft and warm and comforting, even if it’s a painting of what looks to be a rainy night on a dark road. You still feel safe and warm in the painting.”
“The box seemed an enigma to me—I was attracted to the warm palette within the warm wooden box. I loved the compositional arrangement within the independent compartments. The piece has an architectural tone to it, yet in a painterly way.”
“In my south facing dining room I have an east window, where the sun rises, and a west window where the sun sets. Above each of these windows I positioned two 14X38 Christie Scheele paintings. One landscape pictures calm, yet vibrant day light… “
“…and the other landscape shows a warm golden evening light at dusk. I really enjoy how these two paintings interact with each other and complement the space and natural light in my dining area …allowing me to enjoy the mystery of daybreak and dusk at anytime.”
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