Moody, Minimalist Landscape Painting

Posts tagged “Martha’s Vineyard paintings

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:

 

CHRISTIE SCHEELE COLOR MIXING FOR PAINTERS ONLINE COURSE

 

 

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!


Art and Life in the Time of Coronavirus, May 12.

May 9: I  had thought to leave off posting until I complete my 6’x8′ commission and finish the blog description of the process, but find that I miss the diary.

Snow last night and today, actually quite dark and blizzardy at intervals this afternoon, alternating with sun flurries. It seems almost cruel that our spring is so delayed, when we crave the comfort of warm sunshine and a softer outdoor experience. For me, key to that is our screened-in back porch, my warm-season living room. A day in which I can have my siding door open to the porch and take my meals and do my online work out there is a good day .

But, while cringing on behalf of my snowy flowers and leafed-out plantings today, it popped into my mind that this weather might have its uses in slowing the spread of the virus. Warm days have brought with them prematurely reckless behavior. So maybe this prolonged chill will allow the curve to turn from its current level to downward, and save a few lives.

The news is not good at all and makes me despair about human idiocy, American and otherwise. So I unashamedly grasp at straws.

May 10th:

On this Mother’s Day, the first without our mom, I am fortunate to be doing the things that I have always chosen on this spring day in which I feel free to pamper myself. Sometimes the weather has been 45 and rainy and put a damper on my busy-in-the-yard plans, and yesterday’s snow would have been the kicker…but today we have partly sunny and in the 5os.

Ordinarily, I would have gone to Oneonta with my sister Carla yesterday, the Saturday before Mother’s Day, to have lunch and a nursery visit for hanging pots and annuals with our mom. I always brought flowers from my yard on every visit from April through October.

 

Mother’s Day bouquet from 2019, in the front seat of my car.

 

And later in the season, another.

When we finally scatter her ashes in multiple places, I hope it is during the growing season so that I can include some flowers.

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The crumbling world around us cries out for help…socorro, socorro! I can only think in small, manageable bits about it, or it threatens hopelessness that sabotages action. So, to begin somewhere, I created a fundraiser last week in collaboration with Albert Shahinian Fine Art. I  offered to give a small collage from the eleven left at the gallery after an environmental fundraiser last fall to anyone who sent me a receipt for a donation of at least $40 to a food bank of their choosing. They all were spoken for very quickly and we raised about $500. Albert sent them all out a few days ago from the gallery.

Just a start. I’ll be thinking of more, and ASFA is on board for more collaborating. I do like to use my art to raise money because it is my ready resource that folks value. These little pieces went mostly to prior collectors and a few to a student or mentee not in a position to buy a market-priced piece. I used only social media so for the next thing could readily access my best outreach resource, which is my mailing list.

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I am also involved in a fundraiser for the Island Food Bank on Martha’s Vineyard through my gallery there, the Louisa Gould Gallery. Her shows this spring and summer are an opt-in for gallery artists to join her in donating 10% of sales for food security, with every dollar raised going for $7 worth of food.

We just made a nice sale of these two pieces, accomplished through shipping, as the gallery has not yet reopened.

 

Chillmark View, 40″x40″, 2019.

 

Summer Inlet, 48″x24″, 2019.

Here is a link to the current online show of new work at the gallery:

https://www.louisagould.com/exhibitions/2241/1/BENEFIT_Art_Show_for_Food_Pantry.html

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My big studio project continues to be the 6’x8′ commissioned version of this 30″x40″. I am creating an in-depth description of the process for an upcoming blog post.

 

Largest “study” I have ever done—and in fact, a fully realized smaller version of the large piece.

 

Stay healthy, y’all, and let’s keep each other safe!

 

 

 


Art and Life in the Time of Coronavirus, April 17.

April 12: Today is our Dad’s birthday. We had a sweet Zoom party with family, just missing Tessa among the grandkids. Tony is not in this screen shot, but he hung out for the latter half.

 

 

Then Tessa texted a few hours later that she is out of the woods and at Zac’s house. We should get some more detail tomorrow about her plans.

 

I am creating a zoom painting workshop for a few students who are, of course, stuck at home. Like so many others, they thought that there would be so much lovely down time, but the experience may instead present itself as a big void, punctuated only by anxiety-producing details. (Like, for one student, that she is self-quarantined in a small nyc apartment and her immediate neighbors have the virus, with at least one of them being taken to hospital. So this would make her fearful of her own hallway.)

I am looking forward to the challenge of connecting within the technology, which in this case will be much more intricate than with my hour-long yoga classes. But I’m aware that it doesn’t matter how much we have to muddle through. While I am always conscious the of the information I want to share with my students in any workshop that I teach, I think that just now, being together will be the best thing about it.

April 14: Talk is all about how we will come out of this confinement. It is clear that is will be tentative, messy, little-by little, and still involve infections and death. This virus is so very intricate in all of its details. This was clear from my early reading about Wuhan as they were fumbling about trying to get the first handle on it.

It seems that it can spray way beyond 6 or even 10 feet just through conversation. It appears possible that the incubation period is, on outside, more than 14 days. They worry that a vaccine will not be useful due to mutations, so a treatment is vital. They know that infected folks can be contagious while symptom-free or pre-symptomatic, and that tests often are false negative (not that we are doing nearly enough testing).

So, it seems that we cannot open back up again, or even maybe live in the next several years, with any assurance that the virus is gone. Maybe it is now a part of life on earth, going forward?

 

In studio, so busy! This is the edition of my first three color reduction linocut, though they are all inked differently and so technically not an edition.

 

I planned this print for my Atlas/Watershed site map, in progress. It shows the streams’ normal flow, along with flood zones areas and the extreme breach cause by Hurricane Irene in Phoenicia. Shown are the Esopus; north of it the  Stonyclove: Oxclove (which runs through our back yard) and Warner creeks.

I am thinking of one of these for the map, mostly as a color choice:

Still working on the oil-on-board pieces. What makes me happy? How I tweaked the line of the swash multiple times to create that subtle lift and almost vanishing to the right. Just that one thing, the last that I did, took me from liking to loving.

 

“Carrying On”, 6″x12″, oil on board.

 

Diagonal Shoreline, 4″x12″, $650.

It looks like Tessa will stay in Minnesota for the time being. Reentry into her VT community would include her roommate, who works with (essential businesses) farming and food security, self-isolating, and she could not see friends nor work (like all of the rest of us!). So she is better off in Minnesota with Zac and the 5 others with whom she has been in the woods maple sugaring for the past few months.

April 16th:

Trump is becoming more and more unhinged. I am amazed that it is even possible. He does love conflict, and has reverted—after a short spell of acting almost presidential a little bit of the time, due to national outrage at his irresponsibility over the Covid-19 suffering—to fomenting fights among our states and backing demonstrators against stay-at-home restrictions.

He is severely mentally ill and cannot sustain even the appearance of normalcy for more than a few hours. It makes those of us who are rational scared to death for the future of us all.

 

I did some color-mixing and related painting conversation via Zoom today with a few students with whom I am friendly. We worked out some bugs and they were happy to take steps forward in their painting practice, as they shelter in place.

This is a spiffed-up version of our chart for mixing blues, using just three colors and black and white:

 

 

April 17th:

I did a few last tweaks on the new Path painting this morning:

 

“Path over the Headlands”, 48″x40″, available through the Louisa Gould Gallery.

 

I’ll be starting a blog post that will document the process of creating a very large commissioned piece, 6’x8′. This is a multi-step process even for a smaller piece and in normal times, and is involving even more logistics due to the size and the constrictions that we are living with. I’ll  publish the post once the final piece is completed, some time in June.

 


Winter Studio

Snow Fields, 24″x30″.

 

This time of the year always brings of thoughts of change and transition, loss and renewal. As 2019 has rolled over into 2020, these reflections are much more intense, intricate, and prolonged for me, as I recently lost my mother…a major life event; a huge transition.

My father-in-law, not a religious man nor particularly self-reflective, used to have a timely  observation in times of trouble. It went something like this: “The chapters of the good book begin with ‘And it came to pass…’ They don’t begin with ‘And it came to stay…”

The things/people/practices that we love don’t always come to stay, any more than the difficult or painful situations. It is one of the things that is interesting about mindfulness practice, that as we focus on the moment, the moment is gone. And then the next, and the next, and the next…

My understanding of mindfulness is more like riding a wave, the mind following each moment along the way with focused attention. I discussed this form of happiness as it applies to a creative practice in an earlier blog post, “Creativity and Happiness”.

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

And this brings us to the winter studio. As life is quieter and the colors less vivid outside of it than  during the warmer months, the potency of the creative life inside intensifies.

Snow cover bounces light into the studio and makes a perfect neutral foil for open color exploration within. Instead of open windows and doors inviting in the sound of the stream and birds, I often play the radio or listen to podcasts or music. The summer feel of expansiveness is replaced by a distillation of energy as focus narrows and intensifies.

 

Embracing Pink, oil on board, 3 panels of 8″x8″/8″x10″/8″x8″.

My winter work often feels sunlit. Without the canopy of leaves covering our hamlet in the central Catskills, the sun streams at a dramatic slant into my house, my studio, and the yoga studio where I practice and teach…and then is gone, as day moves quickly into evening. We count the minutes of returning daylight…

 

Angle of Light, 48″x48″, recently finished.

In December I ordered an enticing assortment of custom-stretched linen for my winter work, and now have, at the ready, this stack of canvases in an array of sizes and formats:

 

 

I started work immediately on the largest one, a 44″x66″, almost finished:

 

 

I am also generating ideas for my next Atlas Project installation, this one focusing on rivers and streams, exploring the ecology of my local watershed. In my Atlas/Forms of Water show I solved several problems that I saw carry over from the previous Atlas Project installation. At issue now are verbal/written components more than visual ones: how to get my “Mapping Memory” stories in a more accessible form; and how to bring more natural history and climate change discussion into the installation.

 

Riverbed Map #3, linocut/monotype on paper, 6″x12″; a map image of the Esopus, Stonyclove, and Warner Creeks; and the Oxclove that runs behind my studio.

I am seeing stream-like formations wherever I go…including places I have been many (for this  image, thousands!) of times. Can you tell what we are looking at?

 

 

And the other day I saw this gorgeous Motherwell painting in a catalogue that I have in my studio. Viewed vertically rather than as the horizontal that it is…another stream…

 

 

A few paint-mixing sessions with my good friend Jenny Nelson in her winter studio have yielded new teaching tools. My color-mixing workshop (next held at the WSA, June 22-23) brings the student back to primaries and how all color evolves from there, which is a very complex undertaking.

Our intention with this collaboration was to pretty much do the opposite of that detailed breaking down of color, instead creating simple, limited palette exercises—using mixtures or primaries from the tube— for new students or those who feel color-blocked.

 

First up: mixing neutrals from just a few tubes of mixtures.

 

I will use some of these prompts in my next workshop at the WSA. Constructing/Deconstructing the Landscape (April 17-19) focuses on compositional strength, so a few structured color shortcuts to augment this emphasis are a welcome tool.

 

Blues, keeping it simple.

 

Mixing a warm palette, just two colors and black and white.

These were the palettes that evolved as we brainstormed and mixed, discarding some earlier versions. Now we will each re-do these on paper in our studios with better placement and clear labeling for sharing with our students.

 

Greens. This more for my students!

 

Our ongoing conversations about our classes and workshops always include the abstract/landscape discussion, since Jenny teaches abstraction. Mixing color is one thing when you are using a reference of any sort, including working from life, even if you will likely want to tweak and adjust. It is quite another when you have not even a  suggestion of a road map and mixing your palette is the first step in figuring out your abstract painting on the easel.

Longtime friends, some cross-mixing, some laughter.

 

The collage exploration continues to fascinate me. I went from earlier just-barely-landscape versions (about 8-10 years ago) with altered papers, book bits, pattern paper, a bit of paint:

 

Wetlands, 6″x6″.

 

To the collaged maps, made with many bits of hand-dyed rice papers and other things (wasp wing, samara, dried leaves, pattern paper, old books, a bit of paint):

 

Hudson Canyon, collage on board, 12″x12″, 2018.

 

To a simplified version of the above, where I am working more with effects created while dying the papers, and then using larger swaths of them. Here are some of my latest:

 

Dancing Trees, 4″x12″.

 

Wrapped up in a Bow, 4″x4″.

 

Lost and Found, 4″x4″.

 

Conga Line, 4″x4″.

 

I am very pleased with this beautifully produced recording of my December interview with audience Q&A at Albert Shahinian Fine Art, by Brett Barry of Silver Hollow Audio.  The discussion ranges from my decades  of contemporary landscape painting to the environmental themes of my Atlas/Forms of Water show to the gallery-artist  relationship.  You can listen here:

 

 

I am doing final updates on the blog post about this Atlas Project show, which was the highlight of my exhibition season for 2019. Here is the link:

https://scheeleart.wordpress.com/2019/08/16/atlas-forms-of-water-2019/

On this day of pouring snow, everything else I had planned has been canceled. And so, I get to be in here:

 

And soon enough, it will look like this:

 


Atlas/Forms of Water 2019

As the finale of this show and thus this post, I offer a beautifully produced recording of my interview with audience Q&A by Brett Barry of Silver Hollow Audio.  This discussion ranges from my decades  of contemporary landscape painting to the environmental themes of this show to the gallery-artist  relationship.  You can listen here:

 

 

 

 

Water is ease, water is in our dreams, water kills. Water is 60% of our bodies and covers 71% of the planet. We float, swim, sink, ride on, drink, cook and grow with, own, fight over, drown in, boil, crave, gaze at, and are mesmerized by water. It bears repeating: Water is life.

 

Welcoming Sea, 24″x72″, oil on linen, one of the two largest pieces in the show, 2019.

 

Water use has also been political since the beginning of our time on earth. As thirst, water rights and fights; severe storms; droughts, fires, floods; and sea level rise become increasingly critical on much of the planet, I have been catapulted into creating an expanded rubric for water imagery in my work. This focuses in on our environment and the challenges it faces, while continuing to celebrate the beauty our planet provides.

 

After the Rains Came, 24″x36″, oil on linen, 2019.

 

Atlas /Forms of Water maps the environmental theme while mapping my body of work, 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 make these connections, I have created a site map for the body of work on view.

Maps functions as an aid to find our way. In this context, I am mapping our bodies and states of water; the paintings in the exhibit; memory and self; and threats to our environment, among other, more elusive things.

 

Site Map/Forms of Water. mixed media/collage and printmaking, 48″x36″.

The Site Map has small monotypes running up both sides that are interpretations of the major paintings in the show. The four other prints are a conversation about threats from global warming: bigger hurricanes in upper left; sea-level rise in upper right: and stream/river flooding in the two at bottom, before and after.

At the top, I have included topographical contours, a loose and flattened version of the Escarpment that curves around Woodstock and then runs north parallel to the Hudson River.

Mountains are the first source of our surface water, and the painting below includes that form of water visible as the Catskill Mountains rising above the back shore, as well as mists, a cloud, and the Hudson River.

 

Light that Glows, 32″x60″, 2016. (Sold.)

Another new collaged map for the show is of the NYC watershed, water tunnels included. New York City has negotiated—and renegotiated, multiple times—a pass on national regulations that mandate the filtering of drinking water. This exemption is a huge deal, and requires constant monitoring and regulation of the watershed townships within the areas shown, and many mandates for property owners to keep the water flowing into NYC reservoirs clean. While this makes our relationship to our larger neighbor to the south a complex and co-dependent one, it also has transformed our stewardship of our land and streams.

 

Map Collage, Watershed. 12″x12″, 2019.

 

The below same-size collage from the year before is of the Hudson Canyon, which is essentially an underwater extension of the Hudson River, extending southeast until it drops off the continental shelf.

 

Hudson Canyon, collage on board, 12″x12″, 2018.

 

Also in mixed media/collage, “Forms of Water: A Taxonomy”. This small tintype drawer contains the following seven categories, from the top row moving down: states and phases of visible water; geographical bodies of water; wetlands; types of clouds; storms; waves; and human made forms of water.

 

Forms of Water: A Taxonomy, 17″x11.5″, 49 mixed media/collage pieces in a vintage tintype tray, 2019. 

 

Creating pieces in vintage boxes, drawers, muffin pans, and child’s blackboards has been one of my ongoing series for some years now. It requires a listening attitude to select and then bend the imagery to work with the support that I have chosen, starting the process in a different way from a blank canvas. In the below piece, the box and the piece of wood that I painted on had elements that determined both what imagery I chose and how I painted it.

Snowplows at Work, oil on board in vintage box, 3″x7″, 2018. (Sold.)

 

Dusk Drive in 12, oil on board in a vintage muffin pan, 18″x11″, 2018.

 

For decades now, I have been devoted to painting fog, suspended water that softens our landscapes, sometimes obscuring, sometimes defining:

 

Blue Dawn, 12″x36″, oil on linen. (Sold.)

 

Blue/Green Mountain Fog, oil on 4″x12″ board, 2019. (Sold.)

 

Many of my paintings depict wetlands, so gorgeous and vital for controlling flooding caused by excessive rain events, storms, tidal flooding, and sea-level rise; as well as filtering sediment in water and providing  habitat for wildlife. Visually, salt marshes in particular create color and shape that I return to paint over and over again.

 

Summer at the Creeks, 36″x24″, oil on linen, 2018.

 

Angle of Repose, 40″x30″, 2015.

 

Summer Reflected, 12″X12″, oil on linen, 2014.

 

Manmade forms of water are included in the show, as seen in the flood image near the top and in the vertical painting below, which depicts a wetland developed by humans to cultivate cranberries.

 

Cranberry Bog, 48″x24″, oil on linen.

 

The pieces in the show include landscape imagery in oil on linen; monotypes; small works in oil on board; water imagery using vintage boxes, blackboards, and other containers/support; and map collages.

 

Gale, 16″x16″, oil on linen, 2019. (Sold.)

 

Stillness, 16″x16″, oil on linen, 2019.

 

Flow, 16″x16″, oil on linen, 2019. (Sold.)

 

Drift, 16″x16″, oil on linen, 2019.

 

I was motivated in fall of 2016 to move towards creating shows that place my open, color-field landscapes within a complex experiential web. Three major factors came into play at just that time.

 

Sky Meets Water, 18″x24″, oil on linen.

 

The first was anticipation of a residency in Nantucket scheduled for that winter, and this dovetailed with the second, some thoughts about turning 60 later on in 2018. Given that my background is in contemporary art and that I have always viewed my progressions in landscape painting through that lens; my question to self was—what do I want to do, now, that I haven’t yet?

Among my answers to this question was learning monoprint and linocut techniques, which I now employ both for stand-alone prints and also for the Site Map. Below, some recent monotypes.

 

Color Field in Blue/Green, 16″x10″, Monotype, 2018.

 

Overlook with River, 8″x10″, Monotype, 2019.

 

Waterfall #2, Monotype, 14.25×7.5, 2019.

 

Reflected Sun #2, 10″x16″. (Sold.)

 

The third factor was key. Feeling profound grief over the outcome of the 2016 election, my mind returned repeatedly to the single biggest issue on the table, climate change. The conviction that time is running out here and that four years could be critical was decisive in determining the direction that my work has since taken. The acceleration of bad news in this arena since then is eye-popping—sea level rise predictions alone are much, much higher and sooner than was predicted while I was researching the topic in my February, 2017 Nantucket residency.

 

Moving Storm, 20″x62″, oil on linen.

 

Flooded Roadway, oil on 6″x6″ board, 2018.

 

Snow and ice appear in my work and in the context of Atlas/Forms of Water, depict one of the main three phases of water, solid.

 

Fields of Snow, 12″x12″, oil on linen, 2012. (Sold)

 

Ebullient Winter, 18″x24″, oil on linen, 2018.

 

Water vapor, the gaseous state of water, is invisible. The closest thing that is visible is steam, such as the image of a geyser below.

 

Geyser with Winter Sun, oil on paper, 3 panels of 4.5″/each, 2019.

 

Globally, precipitation has shifted so that many of the wet places are wetter and the dry locales are dryer. For this reason, I decided to create and include several pieces that depict water’s opposite, fire.

 

Fire #1, oil on 6″x6″ board. (Sold)

 

Fire #2, oil on 6″x6″ board. (Sold)

 

Fire Snake, oil on 4″x12″ board. (Sold)

 

My imagery is heavily weighted toward the Northeast of the United States, as that is where I have spent much of my life. But I could be anywhere on the planet, exploring the same themes, and I bring with me memories of living in the arid Andes and central Castile; painting in rain-soaked Western Ireland; traveling Northern California to capture the coastal golden hillsides of late summer; and returning to the Nebraska flatlands of my early childhood. It all informs the matrix. It is all water.

 

Red Sky over Tidal Flats, oil on 4″x12″ board.

 

Yellow Gleam, oil on 4″x12″ board.

 

Affinity/Dusk Shoreline, 12″x16″, 2014. (Sold.) My Affinity Series involves these steps: fraying the edges of a piece of raw linen and affixing it to a slightly larger board; priming the whole thing dark and then gridding with graphite; painting the image; selectively regridding over areas where the graphite got painted out.

 

Affinity/Lightening Storm, 16″x16″, oil on linen with distressed edges on board overlaid with graphite gridding, 2013.

 

2 Shores/Reflected Sun, 12″x12″.

 

Evening Shoreline, oil on linen, 12″X12″.

 

This show builds upon my Atlas/Hudson River Valley show in March of 2017, which you can read about here:

https://scheeleart.wordpress.com/2018/03/21/atlas-project-hudson-river-valley-and-catskills/

 

Serene Sea/Quirky Cloud, 40″x40″, oil on linen, 2005/2019.

 

Overlook with Sparkling River, 16″x20″, 2019.

 

Soft Greys from Peaked Hill, 10″X30″, 2015. (Sold.)

 

We are collaborating with Riverkeeper and Catskill Mountainkeeper on a fundraising benefit October 12th, 5-8. That evening, 15% of sales will go to these vital local environmental organizations, as well as the proceeds of a raffle for this 12″x12″ painting:

Stormy Sea, 12″X12″.

(Note: Raffle was drawn on 11-16. Tickets were $20. We raised almost $1,300 from the raffle alone!) 

I was delighted to co-host this benefit for Riverkeeper and Catskills Mountainkeeper, as tie in to the environmental discussion of my Atlas Project. This a small way of giving back to those who are fighting to protect the gorgeous, biodiverse open spaces of land and water that I have been frequenting and painting for decades.
A number of people came to help make this event a success, a gift to ourselves; our children and grandchildren; and our own, beloved habitat. I gave a short talk on how this project came about; followed by Kathy Nolan of CMK, who will give us some pointers on how to reduce waste and our carbon footprint.
In addition to the raffle funds and the 15% of sales we donated that evening to CMK and RK, I  created a special edition of a dozen of these 3″x3″ and 2″x4″ collages–inspired by the verticals that I did for the Taxonomy piece in a tintype box—to be sold for $135/ea. that night only, as a way of offering an accessible price point. $25 of the price will go to the keepers.
 

 

 

.

 


Spring 2019

This last week of April/first in May I am hard at work preparing paintings to go to Louisa Gould Gallery on Martha’s Vineyard. My sixth season with the gallery—and 20+ showing on the Vineyard—we are in a good groove together, and both excited about this line-up for the season.

 

Surging Swell, 48″x48″.

 

Menemsha Summer, 36″x66″.

 

Chillmark View, 40″x40″.

 

Summer Marsh with Junipers, 40″x40″.

 

Seaview Dusk, 18″x24″.

 

Setting Sun, 12″x12″.

 

For more, you can go to the gallery website:

http://www.louisagould.com/gallery/search/results/?q=Christie%20Scheele&exb_id=0&n=0&k=0&d=0&m=2&a=1&subject=0&medium=0&p=0&page=1

A recent sale at Louisa Gould Gallery was the winning selection of a fellow who thoroughly researched my galleries’ websites and then sent inquires about pieces that he liked to five different galleries. After careful consideration, this is what he chose:

 

Mutable Blues, 24″x36″.

 

______________________________________________________________

 

Reaching back to last winter…gone but not forgotten. I taught my Constructing/Deconstructing the Landscape workshop at the Woodstock School of Art. This is a very structured course, especially the first day+, dialing in on compositional shifts and how they affect movement, directionality, and mood. I always love what evolves, and this incarnation was no exception.

Here are a few of the student-executed exercises.

First, just hillside and tree or two in black gesso. Then move them around; change angle and division of picture plane; different type of tree. Several thought to break up the hillside.

 

These are all done by different students.

 

One student’s take during day #2, adding color and further tweaking the shapes.

 

Day #3, a another student’s painterly version.

 

This workshop feels like a slow flowering from tightly following direction early on to a much more open expression, integrating lessons learned along the way. I feel grateful for the trust that I am given to lead this guided work, since at the beginning of the workshop students feel a little hemmed in and have to go on faith that there are reasons for this, and that we are headed somewhere quite satisfying.

__________________________________________________________

The first quarter of 2019 has been busy not just in the normal progression of events, projects, and deadlines, but also unusually so in the shear number and complexity of sales. Some of these required a fair bit of waltzing on my part, often accompanied by one of my galleries or consultants and assisted by my husband.

As you can imagine, each of these has a story.

A few of these stories:

In late February a designer I work with in Piermont NY, Ned Kelly, called in regard to the large painting below, wanting to show it to a client who already owned a smaller piece of mine. So off we went, my husband and I, that painting and a few others in tow, to meet up with the designer at the client’s home.

 

Engaging Greens, 36″x66″.

The piece actually didn’t work in the planned spot, so Ned headed upstairs to look for another likely wall, finding it above the bed in the master bedroom, across from my smaller piece that they owned.

With five people in a huge house, conversations splintered off, grouping and regrouping. By the time the painting was settled upon and the below smaller piece brought in from the car and actually installed, we had ranged far and wide, through good-natured expletive-laced teasing and the performative appearance of a shot gun. Add in two gorgeous dogs and a couple of cute kids and you have the whole picture.

 

County Mayo in Summer, 10″x30″.

 

Shortly after that I picked up a phone message from a person unknown to me but with a familiar last name, inquiring about a piece on my website. She turned out to be the new wife of a long-time friendly acquaintance. He and his (now I am understanding) ex-wife had remained on my mailing list for some years since I had last seen them, and I had been picturing them together, with the visiting grown kids and grandkids, exactly where I had seen them every summer for about twenty years.

But big changes had taken place. His new wife wanted to purchase a piece for her husband for their 3rd wedding anniversary. Apparently, the first wife had gotten the painting that they owned in the divorce (something I hear fairly often, actually) and he had been forwarding my invitations and updates along to his new wife, expressing enthusiasm for my work.

I had assumed years of silence meant lack of interest. But this is why I don’t take anyone off my mailing list unless they ask to be removed—I never know who is looking and enjoying and who deletes without opening.

So, after much back-and-forth and a delivery of three pieces for a staged viewing on the anniversary itself, this five-part vertical seascape was selected. I even got to have lunch and catch up with my old friend when he brought the other two paintings back to my area.

 

Seablues with Sun, five panels of 8″x8″/ea.; 40″x8 overall.

There is something in this story that feels very rich to me, maybe starting with the fact that it spans decades of time. There is a lot of life-essence in it—changes, losses, new beginnings, time passing, reconnections, and tracing the timelines of entwined lives.

____________________________________________

 

We did a pop-up house party, a big collaborative effort, in Riverdale, NY. I hadn’t done one of these since the several that I did about a decade ago with Asher Nieman Gallery:

https://scheeleart.wordpress.com/2011/12/13/open-studio-house-party/

My co-conspirators this time were Albert Shahinian Fine Art, my husband, and my sister and brother-in-law, who opened up their apartment for the event. With this crew I had a driver; art handlers; a chef; a party planner; and a galleriest. Lucky me!

 

The living room with artwork installed for the party.

 

A low-light hallway where these three 12″x12″s worked very nicely.

 

Below, a few of the pieces that departed for new homes:

 

Sundrenched Saltmarsh, 20″x16″.

 

Blue Dusk, oil on board in vintage drawer, 12″x3″x2d”.

 

The View from There #2, monotype, 10″x16″.

 

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I have two very different workshops coming up in May and June in the Catskills.

At the Emerson Resort in Mount Tremper, for all levels, an exploration of the imagery of our beautiful Catskill Mountains in May color:

Arts & Culture Packages

And in June, for more experienced painters looking to explore a different concept:

 

https://woodstockschoolofart.org/course/multiple-panel-paintings/

 

On deck in my studio is another incarnation of my environmentally -themed Atlas Project.  Atlas/Forms of Water, a solo show, will open at Albert Shahinian Fine Art in Rhinebeck this September, exact date TBA.

This show will feature all sorts of water imagery along with a new site map, in progress below. Along with the oil paintings, look for map pieces in collage and lino/mono print exploring climate change and sea level rise/storm flooding.

Site map for Atlas/Forms of Water, 48″x36″, in progress.

This builds on the show that I had at Thompson Giroux Gallery last spring, Atlas/Hudson River Valley (you can see the site map for that show in the upper left background). If you missed seeing or reading about the show, here is the link to my blog post on it:

https://scheeleart.wordpress.com/2018/03/21/atlas-project-hudson-river-valley-and-catskills/

Forms of Water explores a more a global rather that locale-specific theme, though my personal forms of water have most often been experienced in the Northeast.

 

Harbor with Shifting Light, 18″x24″.

 

Also upcoming, a small duo show with my friend Polly Law at the Roxbury Arts Group; more workshops; and fresh work heading to Nantucket. More on all of this soon!

 

If you are not on my mailing list and would like to be, contact me at scheeleart@gmail.com.

 


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.

 

__________________    _____________________________________________    ____________________

 

She googled “Moody Greenscapes”:

 

“Hi,

I was wondering if Green Waves was available?  I have a perfect spot for this painting in my new home and love the story behind this piece on your blog.”
Here is the post that she found:
This sort of email often leads to a discussion about the shipper because…you guessed it…it is a scam.
But of course, I answered politely, not knowing that for sure:
“Yes, the piece is at my gallery in Rhinebeck, Albert Shahinian Fine Art. Someone has been nibbling on it, but has not yet moved.
I am glad that you like the story, as of course, do I!
Where do you live? Would we be delivering (nyc metro area) or shipping? I will loop the gallery in as soon as we figure a few things like that out.”
Then it became clear that we had a price misunderstanding, because there was the big piece itself:

 

 

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:

 

“Unfortunately I was hoping the price of the piece was the other one I had seen online since $8,000 is definitely beyond our budget.  This would only be my second piece of original art so we are just now starting out.
I certainly appreciate your response though and congratulate you on beautiful work.  I found you from doing a google image search. I knew I wanted a moody greenscape and from one click to another I found Green Waves.”
Meanwhile, I did offer to look for a different piece:
“If I charged that price for the larger one, it would not even cover the cost of the frame, I am afraid, after gallery commission. This is an expensive business to be in!
If you would like to carry this a little further (I would be honored to be represented in your second piece of original art), we might be able to find something more affordable that you like.”
And then, some communication–she really did love that piece, and it was perfect for her spot—some silence—a bit of dickering— discussion with her husband—much back and forth between me and my galleriest Albert Shahinian—but only about a month later, altogether:
“I can’t believe I get to have Green Waves in our home.  I am so excited. I still cannot believe that not only did I spend so much on a piece of real actual art (instead of all the TJmaxx wall decor I have going on), but that I did so on a piece without first seeing it in person.  All that being said there is no doubt in my mind.  I LOVE love this piece and know i will love it even more in our home.”
And then finally, after Albert packed and shipped the long, heavy piece:
“It’s breath taking.
Thank-you”
____________    ______________________________________________    _____________

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!

Love them, love them, love them!”

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.

 

________________    ______________________________________________    _______________

 

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.

 

________    _______________________________________________________    _________

 

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″.

 

_______________     _____________________________________________________________    ______________

 

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.

 


Eagle Above, Fish Below: Summer 2018

The surface of a body of water is a reflective, moving, open expanse. Beneath it, the water roils with life—rooted or crawling or burrowing or swimming, lifeforms going about their business of feeding off of each other and reproducing and eventually dying. Above it, life also carries on.

Sky Meets Water, 18″x24″.

One day last July, while staying on Otsego Lake near Cooperstown, NY, I headed to the dock to sit and gaze at the water for a few moments. Looking down at the dock to find my seat, I heard a throaty, loud honk/squack. We had been enjoying visits all week from a mama duck and her nine ducklings, so my first thought as I turned my head was, “that was not a duck!”.

Nothing behind me, but as I straightened to face the side I was now seated at, I saw an adult eagle taking off from the water about 25 feet in front of me. It had been addressing my intrusion, I think!

Shortly after, I decided to make a call to my friend Jenny, with whom I had been playing phone tag. I got her voicemail, and the message went something like this: “Hi Jenny, we’re playing phone tag but I am around today so give a  OH MY GOD THAT IT THE BIGGEST *#!%ING FISH I HAVE EVER SEEN IN A LAKE GOTTA GO BYE”.

The fish was directly below my dangling feet, at least two feet across, lit up by slanting sunlight. I know there are fish in these waters, despite an altered ecology due to Zebra mussels—my husband has caught some other years from our small boat and I have seen them feeding off of bugs at sunset. And yet, it was as if this big fish had crawled up on land and joined us on the deck for cocktails, such was my sense of worlds colliding.

I am puzzling out, ever since, what was so startling about this fish sighting. After all, I have been among whales in our 16 foot boat off Race Point in Provincetown—including a pod of killer whales; froliked with a mola and some dolphins in the harbor; snorkled off St. Thomas among all sorts and sizes of sea life.

I think that my jolt of surprise was about expectations, so often the case. I had for days been focused on the surface reflections, and I lost track of the awareness of how much is going on underneath and that during my daily swims, I was intruding upon their busy world. Seeing this large fish directly under my feet brought that crashing back.

As artists we are concerned with both surface appearance and deeper function and meaning. The surface is mesmerizing and ever-changing, feeding our visually-linked emotional hunger, and soothing our quotidian bumps and bruises. The complicated churn beneath, however, mirrors life in its day-to-day, demanding a nuanced and dedicated attention.

 

Indigos with Glowing Light, 18″x24″.

 

________________________________________________________

 

This summer has served to remind me of how much I appreciate my galleries. It can be rewarding, sometimes, to hop off that train and do something self-generated like an open studio or studio tour; or an event at a non-gallery venue. But ultimately, a gallery is where people go to view and buy art. It is a business whose purpose is to exhibit and sell art, and therefore all effort is going to that end.

Invitations generally go out in a timely fashion, instead of getting buried in the more pressing things that a non-gallery venue might have to attend to. The galleriest installs the show, with beautiful results based on years of experience. Folks walk in off the streets who are interested in art; search for the local galleries when visiting; respond to invites. A showing of a grouping of selected works in a collector’s home gets on the schedule without delay, follow-ups are done to inquiries as a matter of course…and so on.

Rokeby Meadow, 24″x30″, at Albert Shahinian Fine Art in Rhinebeck, NY.

That said, the mom-and-pop galleries struggle to stay afloat, with many more friends and lookers than buyers. So collectors, please support your favorite galleries!

 

Familiar Reds, 11″X14″, at Butters Gallery in Portland, OR.

And if you are an artist with gallery representation, this is how you can help:

https://scheeleart.wordpress.com/2012/04/06/the-art-ethicist-your-relationship-with-your-gallery/

 

Forms of Water, 30″x36″, at Thompson Giroux Gallery in Chatham, NY.

 

Harbor with Sunset Mists, 24″x36″, at Thomas Henry Gallery, Nantucket.

________________________________________________________

 

I had a lovely time teaching this past June in Woodstock and August on Nantucket, with a full house for my color-mixing workshop in both places.

My Woodstock group.

These are the demo pieces that came out of the two landscape workshops:

 

Summer Haze, pastel on paper, 12″x18″.

 

Saltmarsh with Soft Sky, 24″x36″.

 

Seablues with Brilliant Fog, 16″x20″.

 

Three Posts, 12″x24″.

My week on Nantucket was filled with not only with my wonderful students, but also with salt air and good food and warm friendship.

I organized an informal gathering at Thomas Henry Gallery so that my students could see my work there, all of the sea or the island:

A grouping of my work at Thomas Henry Gallery.

_______________________________________________________

 

The Woodstock School of Art invitational Monothon in July was a printmaker’s dream. Imagine having a printing staff at your beck and call, both master printmakers and monitors, facilitating your every move. Master printmaker Anthony Kirk guided and facilitated my hoped-for plan, my first monotype triptych (and then a few more).

 

 

Wave Triptych, three panels of 8″x10″, headed for a show at Albert Shahinian Fine Art.

 

One 8″x10″ was chosen from each participating artist, to be sold at the show there opening September 8th, 3-5pm This is my donation print that will be featured, followed by some of my other wave monotypes.

https://woodstockschoolofart.org/event/woodstock-monoprint-invitational-exhibition-2/

 

8″x10″.

 

10″x16″.

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We will be featuring monotypes and my vintage series, along with oil paintings, in my grouping for the upcoming four-artist show at Albert Shahinian Fine Art in Rhinebeck, NY, their yearly Luminous Landscape exhibition. The show opens on September 29, 5-8pm.

 

 

Cloud over Green Valley, monotype, 8″x10″.

 

Dusk Drive in 12, oil on board in a vintage muffin pan, 18″x11″.

 

Reflected Sun, 32″x48″.

 

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Several of my summer sales:

 

Gleaming, 12″x24″, sold by the Julie Heller Gallery, Provincetown, MA.

 

Swirling Winter Sky, 20″x24″, sold by the Woodstock School of Art.

 

One of my favorite pieces from the past decade, Perceived Acuity pleases me for its simplicity, movement, elegant shapes, and unusual color:

“Perceived Acuity”, 18″x52″, sold by the Louisa Gould Gallery, Vineyard Haven, MV.

 

Serene Sengie, 44″x68″, sold by the Louisa Gould Gallery.

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Link to in-studio available works in oil and on paper:

https://scheeleart.wordpress.com/2015/11/18/available-workstudio/

https://scheeleart.wordpress.com/2016/11/03/available-workstudioworks-on-paper/

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Coming right up, my teaching week in Provincetown, Sept. 17th for Color Mixing and 18-20th for the Landscape Painting Intensive. If you are feeling inspired and spontaneous, come and join us!

 

Provincetown, 20″X30″, at the Julie Heller Gallery, Provincetown.

 

Also upcoming: another residency on Nantucket in November. My focus there and in my studio will be on Atlas/Forms of Water, from the sky to the land to the ocean, and everywhere in between.

 

Affirmation in Blues, 36″x72″ overall, at Louisa Gould Gallery, MV.

 

 


Spring into Summer 2018: News and Updates

Deep, happy, exhalation—spring is here!

I recently delivered fresh work to Louisa Gould Gallery on the Vineyard. She is currently hanging her first show of the season, including my new work, and then plans a big 15th anniversary show with a reception mid-summer. Here are a few of my additions to the gallery walls:

Brilliant Fog, 24″x36″.

 

Affirmation in Blues, 36″x72″ overall.

 

Meandering, 24″x36″.

 

In other shore news, I am very pleased to announce new representation on Nantucket at the Thomas Henry Gallery. I am still working on the pieces that will be delivered in early June, but here is a sneak preview:

Summer at the Creeks, 36″x24″.

 

Angle of the Cloud, 30″x36″.

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My solo show at Thompson Giroux Gallery in Chatham, NY, Atlas/Hudson River Valley, was very well received. I will continue updating the blog post on the show to label what has been been purchased, as the gallery has kept many pieces for follow-up viewing and acquisition. I have also labeled with a G the pieces still at the gallery.

https://scheeleart.wordpress.com/2018/03/21/atlas-project-hudson-river-valley-and-catskills/

Most of my spring sales have naturally come from this Chatham show, and have included oils, a pastel, monotypes, and a collage—a nice affirmation for all of these explorations. Here a is a handful of examples:

 

“September Dawn”, 12″x28″, pastel, the first with a red dot.

 

Sweeping Greens, 32″x68″, sold to the Emerson Resort and Spa.

Sold, happily, as a pair:

 

MVroman’s Nose/Green Fields, 8″x10″.

 

MSweeping Sky with Fields, 8″x10″.

 

Atlas/Hudson Valley Collage, 18″x14″, sold to the Emerson Resort and Spa.

This show was a wonderful experience for me from every standpoint. Parting words from them when I was done with pick-up—after expressing my deep appreciation for how well-handled every aspect of our interaction was—“happy artist, happy gallery”.

Those works that have returned to my studio are back on my available work post, as well a number of other pieces:

https://scheeleart.wordpress.com/2015/11/18/available-workstudio/

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Iconic Cloud recently came back to me and I just touched it up, brightening both hillside and sky. I’ve done that a few times recently—must be a shift in my mood.

Iconic Cloud, 20″x40″.

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Here is a schedule of my workshops in Woodstock, Nantucket, and Provincetown. My color-mixing workshop has become very popular with painters of all levels and styles, so some version of that is being offered in the three locales.

JUNE 16-18, WSA: My last landscape painting workshop in Woodstock for 2018 is coming right up in June. Last year we had a really lovely time in this workshop for students with landscape painting experience. It’s a good one to repeat, too:
AUGUST 7-10, Nantucket at the AAN: A full-day color-mixing and 3 short-day Form and Content
SEPTEMBER 17-20, Provincetown at the PAAM: Also a one-day color mixing followed by 3 short days of of Form and Content
This will be followed by my show opening on the 21st at Julie Heller East, across from the PAAM.
My fabulous color-mixing group in Woodstock in April provided the feedback that the class would be even better as a two-day workshop. I also have wanted to extend the information by immediately applying it to painting, mixing and critquing palettes. So I altered the theme of my October WSA workshop to this:
OCTOBER 27-29, WSA: New workshop: Color Mixing and Composition for Painters:
Anyone who has taken my color-mixing workshop can join us for day #3 of this workshop, to explore more deeply the practice of color.
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I will participate in the Shandaken Studio Tour July 21-22. More on this as it approaches—it is such a pleasure for me to set up my studio as a gallery and host visitors both new and known.

Moving forward, a September show at Julie Heller East in Provincetown and the Luminous Landscape at Albert Shahinian Fine Art in Rhinebeck later in the fall. Plus some as yet unknown opportunities will likely arise, as they usually do…

 

Blue Dusk, oil on board in vintage drawer.

 

 


News, Pictures, and a big Save-the-Date as we Launch into 2018

Hello all, happy oncoming 2018! I have quite a lot to report in this year-end update, both from 2017 and about events on the schedule so far for the coming year.

Atlas Project

Many folks have asked me to send out a save-the-date for my Atlas/Hudson River Valley show opening on Match 31 at the Thompson Giroux Gallery in Chatham New York. I’ll do a separate email soon so that it’s easy to find in the inbox, but here on my blog I can talk about the exhibition in more detail.

This will be the first full-size installation of one of my Atlas Project-themed exhibitions. Later themes might be Atlas/Cape Cod or Atlas/Forms of Water, but I an delighted to be launching this within my own Hudson River Valley/Catskills, both as the theme and the locale of the show. Included will be monoprints, mixed media/collages, and pastels along with the oils, and the Site Map that explains it all.

 

Downriver, 24″x24″, oil on linen.

The Site Map is an integral part of an Atlas Project installation, a map of the show itself which includes tiny monoprints of all of the oil paintings in the show overlaid on a collaged map of the Hudson River Valley. It includes numbered map tacks that show the locales of the scenes depicted; river towns and bridges and a key to the map and the show.

This map will have to be finished and photographed at the last minute, when I am sure of exactly which oil paintings are going into the show.

A side panel is Mapping Memory/Wildlife of Particular Interest that includes lino-monoprints and some text of my associated personal memories. Three panel extensions coming asymmetrically off the right side and top and bottom of the main map include a collage/lino/mono of the upper Hudson, the source of the river in the Adirondaks; another of Hudson Canyon, which continues out to sea from New York Harbor for 400 miles; and a third comprised of short discussion and collage/prints of three local trees endangered by climate change.

 

Hudson Canyon collage in progress, mixed papers (including hand-dyed rice papers) on map on board.

 

New Blog Post

In current news, I have recently published a blog post on the intersecting themes of teaching, independent studio practice, and group dynamic for the artist:

https://scheeleart.wordpress.com/2017/12/28/teaching-creating-community-and-fostering-independence/

I welcome any comments on the post!

Many Things Nantucket

In January I will again be part of an exchange between artists of Woodstock and Nantucket, this time to take place at the Woodstock School of Art. We will be working together for three days in the graphics studio; doing a few studio visits and looking at the historical connection between the two arts colonies;  eating and schmoozing. (What could be better?)

Part I of this exchange took place in September at the Artists Association of Nantucket with a show of the four Woodstock-area artists seen below, who had all taught and/or done a residency there:

 

 

The plan was for the four of us to show up for a closing reception and artist’s talk on September 23rd, and my plan was to to do a tour of the Cape and Islands with my husband, starting in Provincetown, checking in with and delivering to or picking up from my three galleries in the area.

Just as we were coming onto the Cape Tropical Storm Jose was approaching the area, causing concern over the Cape bridges closing as well as cancelled ferries. From Provincetown we saw some amazing sights during the storm, particularly the surf from the high dunes on Longnook Beach.

We had a ferry reservation to continue on to Martha’s Vineyard, and from there I had another res for the fast ferry to Nantucket a day later.

Three of the four artists did manage to get on Cape, or in my case, to Martha’s Vineyard, and then reschedule ferries to arrive for our reception at the AAN. We suffered a rocky crossing and then enjoyed a lovely evening of spirited discussion and camaraderie.

I also arrived in time to pay a visit to my new gallery on Nantucket, Thomas Henry Gallery. I am looking forward to painting some large, open seascape and marsh imagery for the 2018 season there:

http://thomashenrygallery.com/Christie_Scheele.html

 

My residency at the Artists Association of Nantucket in February was one of the highlights of 2017 for me, beautifully intensive and key in advancing the rubric for my Atlas Project:

 

Summer Dune, 9″x24″, oil on linen.

The below was my second prototype for a site map for a grouping of Atlas Project work. From here I was able to take what works best (the monotype thumbnails of paintings that I had done) and change things that I didn’t (particularly the text) for the next map, for Atlas/Hudson River Valley. I would also love to return to Nantucket for a more fleshed-out exploration of of the theme.

 

Site Map with lino map of Nantucket; monotype thumbnails; tracings; writing and letterpress.

 

Fall Studio Demonstrations

 

This fall I did three second-Saturday demo/open studios, starting in October. During the first I worked on  small oil-on-paper pieces, like this:

Study/Headlights, oil on primed paper, 5″x12″.

The below I developed during the November demo, which had the theme of working large in oil. I had a nice group who I can only describe as riveted, watching for about two and a half hours while I painted and explained. Then the mood shifted to jolly when I called for a break and lively conversation ensued over a glass of wine.

The slightly textured surface of this piece is something I love to do every so often, allowing a little more of the underpainting to show through, creating a subtle vibration.

 

Reflected Suns, 32″x48″, to be included in my spring Atlas/Hudson River Valley show.

Here is a link to the video created by the Woodstock School of Art from a painting demonstration that I did there a few summers back:

https://woodstockschoolofart.org/author/christie-scheele/

For the last demo, in December, I worked in pastel, completing both of these during the two afternoons:

 

Oak Bluffs/Lights/Fog, 10″x10″, pastel on paper.

 

Trailing Fields, 6″x22″, pastel on paper.

 

Other Highlights from 2017

I had a successful show last winter/spring with my gallery of 20 years, Albert Shahinian Fine Art in Rhinebeck. It is such a pleasure to work with Albert and Joanna, who are also friends and neighbors in our Hudson Valley arts community.

Hill Beyond Hill, 3 panels of 24″x20″/ea., sold by Albert Shahinian Fine Art

Here is a link to my post on the show, updated to label pieces that sold later in the year, as well as those that went during the show (the others are, of course, still available):

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

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In April I went to Florida to do a large painting for my friends Karen and Len:

 

Working in the pool enclosure, enjoying the April warmth and humidity. Last touches.

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During my third year with Louisa Gould Gallery and my 18th or so showing on the Vineyard, we had the kind of year that the artist really looks for. I had some relaxing off-season visits that gave us more time to connect. The crazy Cape and Islands tour in September with Hurricane Jose was followed by several days of sun/fog/sun/fog, rolling in and out, that had even islanders exclaiming. This started as I was leaving Nantucket on the ferry, included a wild rainbow at sea, and continued into the next day while I photographed favorite and new locales on MV and Chappy with my husband. There will be paintings to follow!

This piece, which I delivered to LGG the next month, was of a moment just after the fog cleared.

Big Sky over Sengekontacket, 44″x68″.

In 2017 Louisa and I sold work big, medium, and small and in a range of palettes and formats. When this happens, I feel truly appreciated and at home in the gallery. The below are a few that found new homes since my last post.

Gleaming Sunset, 24″x24″.

 

Whispering Marsh, 12″x36″. sold by Louisa Gould Gallery.

 

Older Favorites Find New Homes

In the past several months I have been delighted to see a number of pieces that, despite generating admiration, have lingered too long in gallery or studio leave my walls for others:

 

Winter Light, 24″x30″, from my December demo/open studio; a view of the Jersey Turnpike with the gorgeous, polluted light of a winter afternoon.

 

Height of Summer, 36″x48″, from my September demo/open studio; a romantic piece with unusual color that has received much attention.

 

Mountain Fields, 20″x24″pastel on paper, a subtle-bright interpretation, sold by Albert Shahinan Fine Art.

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The Luminous Landscape at Albert Shahinian Fine Art continues through the month of January, closing with a last reception on January 27th. I have several pieces in the show and many more in inventory, accessible for viewing. I look forward to the reception, which is also a 20th-year anniversary party, an opportunity to enjoy the warmth of our arts community during the winter months.

http://www.shahinianfineart.com/ChristieScheele.html

En Masse, the dynamic small works show at Thompson Giroux Gallery in Chatham, NY,  continues to January 7th. They have been generating anticipation for my spring show with the many small works they have of mine seeded throughout the gallery, as well as larger pieces in inventory. One of my last sales of 2017 was Blue Tidal Pool, one of my favorite paintings from the past decade:

BlueTidal Pool, 20″X24″, sold by Thompson Giroux Gallery.

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I have a new workshop at the Woodstock School of Art, rescheduled for March 3rd-4th. The theme, somewhat more descriptive than my workshops that emphasize formal elements, is for students to create a suite of paintings of the four seasons.

Many representational painters explore a zone on the spectrum of realism, on one end, and very abstracted imagery, on the other. I have often emphasized the abstract in my teaching, feeling that the go-to for landscape painters early on is to try to copy everything they see within a scene. So my approach is to encourage students to think instead about the needs of the painting, inventing an image that is not a copy but a new reality.

In the past year I have been closely examining my connection to place through my Atlas Project. The theme of this new workshop, more descriptive than abstract, may have emerged from these musings. That said, students will be focusing their attention, with my help, on all of those formal elements in order to create compelling, personal paintings.

https://woodstockschoolofart.org/course/form-color-narrative-landscape-painting-seasons/

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I look forward to a focused, productive year ahead. We have much work to do on the national level, and also need our creative retreats more than ever. I hope you enjoy yours, and am filled with gratitude that you have supported mine. ♥

 


Late Summer 2017 Newsletter

June brought two great-story sales. The first was of this piece, a favorite of mine since I did it a few years back. My husband delivered it to Louisa Gould Gallery on Martha’s Vineyard in early June and a few days later it was headed  to Madrid on a private jet. The collector even helped unwrap it after being drawn into the gallery by my 50″x90″ piece in the window.

Rolling Cloud, 44″x62″.

 

This octych has received a great deal of attention, including a blog post of its own. It was shown and appreciated at Gold Gallery in Boston, and then at Albert Shahinian Fine Art in Rhinebeck this past winter.

Green Waves, 13″x76″ overall, oil on linen.

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

In May I was contacted by a woman in NC who told me that she wanted to buy it, and had the perfect spot for it. She had read the blog post and loved the story. She had never bought original art before, except for one print. She found me through a google search.

After much back and forth, it turned out that she had seen the price on the small oil-on-paper study that I had done leading up to the final piece, and the actual cost was way beyond what she had anticipated or budgeted for. So I offered her some other, smaller pieces in the green palette that she prefers…and then didn’t hear back from her for a few weeks.

This happens with some frequency. For a discussion of why original art created by a career artist costs what it does, you can read this blog post:

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

In the end, she could not resist the piece and I could not resist making a price accommodation to enable her to have it, though it was still a huge leap for her both in cost and in faith, as she hadn’t set eyes on the actual piece.

My galleriest Albert Shahinian, who had the piece and is also an expert art handler, did the packing and shipping, and here is Green Waves in its perfect spot:

 

 

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My Atlas Project is gaining momentum and focus. I earlier began a description of the evolution of this  endeavor and got so carried away that I found I needed a separate post, which I will be working on going forward.

In brief, motivated last fall by a number of factors including an upcoming residency on Nantucket and my fears over an acceleration of climate change with the new administration in Washington, I decided I needed to marry more concretely my deep love of the outdoor world and its complexities with my visual expression.

The third and most complex grouping, Atlas/Hudson River Valley had a trial run during a recent studio tour/open studio. Each site map circles closer to what I want, this most recent one being a collaged road map with map pins showing the locations of the paintings in the grouping and monotype thumbnails of the same. Like the earlier versions, this folds up into a small map.

I ran out of time—this was an excruciatingly slow process, with many design elements and much trial and error—and didn’t get any of the written piece figured out, but in discussion during the open studio I figured out how to approach this in a way that has integrity with the map.

This will all coalesce into a large solo show at Thompson Giroux Gallery in Chatham, NY,  March 31-May 6 in 2018, of Atlas/Hudson river Valley and Atlas/Forms of Water. There will be many more paintings and therefore more thumbnails on the map; most likely an off-center extension at top right to show the source of the river in the Adirondacks; and a narrow extension the length of the left side to add written and visual detail about our area. The show will feature monotypes, collages, and pastels as well as oil paintings.

Overlook with River, 24″x36″, the last piece finished before the July Tour.

 

The Studio Tour overall was a sweet weekend with folks from my mailing list coming through as well as those who were new to me. Usually it is a low-pressure event for me and I have a lovely time at the outset setting up my studio for viewing. I had knocked myself out working on the Site Map and printing linocut wall tags for the Atlas Project this time around, but it was well worth it for how the deadline brought the project together enough for me to hone many aspects and trouble-shoot the things that are not yet quite right.

 

Front wall of studio arranged as Atlas/Hudson River Valley, for Studio Tour 2017.

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The day after the Studio Tour ended I was off for a week to teach on Nantucket. So lovely to see the island wearing its summer color, after spending two weeks there in February! I taught my composition workshop, Constructing/Deconstructing the Landscape, to a receptive and able group of six. These are the exercises that they had finished at the end of day #2.

For demo purposes I did several small oil-on-paper pieces, choosing subject matter according to the requests of my students:

Horizontal Wave, 5″x12″.

 

Warm Fall Fields, 5″x12″.

 

Dusk Palms, 5″x5″.

 

After my workshop was over I spent a long afternoon in the print shop, rediscovering what works for my imagery in monotype (there are always a row of failures before some successes). This is my favorite of the batch:

Monotype Sunset over Tidal Flats, 8″x10″.

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In June I had a discussion with some of the artists who I mentor about curating a show of their artwork, and got a very positive response. I contacted what I thought would be the perfect venue for a show of such an eclectic group of artists, the ArtBar in Kingston. The only slot Allie had open in 2017 was for August, so this exhibition of 18 artists had to come together very quickly!

It was interesting switching hats back and forth from mentor to curator, and there will be follow-up in my groups on my experience with the artists as curator. I have heard repeatedly from gallery owners that it is their quality-of-life choice to represent talented artists who are also easy and responsive to work with, so this is a theme that I pass along.

On the card, top to bottom: Betsy Jacaruso, Rebecca Darlington, Elizabeth Panzer, and Sandra Nystrom.

I selected the work and Allie, who owns the venue, hung the show. The opening reception was busy and the the comments very enthusiastic. The list of all of the artists involved: Polly Law, Sandra Nystrom, Rebecca Darlington, Linda Lynton, Linda Puiatti, Al Desetta, Betsy Jacaruso, Patti Gibbons, Lois Linet, Stacie Flint, Elizabeth Panzer, Dave Channon, Karen Schaffel, Julia Santos Solomen, Mary Katz, Loel Barr, Mark Loete, Cathy Metitchecchia.

This is my short description of the work I have done with these, and many other, artists over the years:

My mentoring work began as a way of helping other artists enter or expand their presence in the art market by providing support for both studio practice and exhibiting. The groups are a blend of coaching, support group, and targeted career advice for emerging and mid-level artists.

An article, written by Lynn Woods, will be coming out shortly on the show in the Kingston Times and I will add the link.

 I love two things the most, I think, about working with artists in this way. One is that the artwork is so varied, and as my artistic taste is too, it is a huge pleasure watching and sometimes helping these artists hone their voices into bodies of work that have depth and impact.
The other is that, in our overly busy and complicated lifestyle, I can inform, simplify and advise. So, while every venue, gallery-artist relationship and even many sales have their own unique wrinkles that make generalization difficult, there are guidelines that can help emerging artists streamline their approach and be more decisive in their responses—and feel better about the process.

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Coming up, very soon, this four-person show at the Nantucket Artists Association, a brainchild of Program Coordinator Mary Emery: Due East, 4 Woodstock Artists on Nantucket, featuring the work of Polly Law, Kate McGloughlin, Jenny Nelson, and myself; all artists who teach and/or have done residencies at the AAN. Dates are September 1-22.

https://www.nantucketarts.org/dues-east-woodstock-artists-on-nantucket1.html

A medium-sized oil-on-linen that will be featured in the show:

Color Field/Incoming Tide, 30″x30″.

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Recently finished, my second Atlas/Hudson River Valley mixed-media/collage:

Atlas/HV Collage, 2 panels of 16″x8″/ea.

 

And in oil, an image of the tide coming in over the tidal flats mid-Cape, always a moment of bliss for me:

Sky Meets Water, 18″x24″.

 

This piece fits into the Atlas/Forms of Water segment. It is a different type of category from Atlas/Hudson River Valley, and there will be overlap, making for a more dynamic installation.

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A few of my other sales so far this season:

 

Calm Crossing, 38″x70″, sold by the Louisa Gould Gallery.

 

Monotype/Wave#5, 8″x10″, sold by the Julie Heller Gallery.

 

Haybales, 8″x24″, pastel on paper, studio sale.

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Upcoming workshops are at the PAAM September 11-14, the loveliest time of the year to be on the Cape:

https://www.paam.org/workshops/summer-2017/?course_detail=abstraction-and-narrative-in-the-landscape&start_date=9-11-17

And the Woodstock School of Art October 28-30, also a stunning time of year for the locale:

http://woodstockschoolofart.org/course/color-mixing-landscape-painters/

Enjoy your rest of summer season and beginning of fall!


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. (Through 2020.)

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.

Pastels:

Summer Haze, pastel on paper, 12″x18″.

Blue/Green Range, 10″x16″.

Warm Fields, 16″x25″, available through the Louisa Gould Gallery.

Resting Cloudbank, 8″x9″, (framed with mat and black moulding), $700.

River Sunset, 11″x18″, (framed with mat and black molding), $1,200.

Red Sky with Gleam, 5″x12″, $600 (Matted and framed with cherry molding).

Trailing Fields, 4″x24″, framed with black molding, $800.

Summer Farm Fields,

Summer Farm Fields, 6″x12″, available through he Louisa Gould Gallery.

Magic Hour in the Mountains, 8″x10″, framed with off-black molding, $900.

Red Field/White Sky, 10″x26″, available through the Louisa Gould Gallery.

Soft Greens,

Soft Greens, 5″x14″.

GleamonGreySea

Gleam on Grey Sea, 14″x14″.

Triptych in Red/Black, 3 panels of

Triptych in Red/Black, 3 panels of 7″x13″.

River Lighthouse, 14″x21″.

Rusty Crane, 14″x21″.

Red Sun, 12"X18", $1,400 (uf).

Red Sun, 11″X18″.

“Gleam over Island”,  7″x11″. Available framed through Gallery Jupiter.

MOuntain Fall

Mountain Fall, 6″x16″.

Mountain Trio, 6.5x13.5.

Mountain Trio, 6.5×13.5.

Moody Mountain Sky, 12"X13", $1,200 (uf).

Moody Mountain Sky, 12″X13″.

Warm Light, 9"X20", $1,200 (uf).

Warm Light, 9″X20″.

Mists over Fields, 5"x8.5".

Mists over Fields, 5″x8.5″.

Green Hills, 15"X18".

Green Hills, 15″X18″.

4 Trees, pastel on paper, 13″x21″.

Oil on paper:

“Study/Yellow Band”, 5″x5″, oil on primed paper, $550 framed.

Study/Still Mists, 4.5″x13.5″.

Study/Ptown Marsh, 3″x9″, $550 framed.

Study/Skyline, 8″x8″, $700, framed with black molding.

 

Ocean Blues, 6″x12″, available through the Louisa Gould Gallery.

Study/View from Little Mountain, 6.5″x8″, $600, framed with walnut..

Study/Red Fields, 5″x10″, $550 framed in vintage cherry,.

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.

 

CSoThere4x12

So There, 4″x12″, $500.

Actively Seeking, 7″x5″, $450.

Stand Alone, 5″x5″, $400.

Growing Tall, 5″x5″., $400

CPAth7x5

Path, 7×5, $750.

Cloud, 6"x6".

Cloud, 6″x6″.

Wetlands, 6"x6".

Wetlands, 6″x6″.

Waterways, 6"x4".

Waterways, 6″x4″.

Waterways/Arial, 5"x5".

Waterways/Arial, 5″x5″.

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 $900 framed and $750 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 Triptych, 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.

M/Dark Road, monotype and pastel, 2016.

Sunset prints as they came out, the AAN, 2017.

M/Mountain Travel.

M/Mountain Travel, 2016.

Moors #3, 8″x10″.

Moors #1, 8″x10″.

M/Waterspouts with Walking Rain.

M/Waterspouts with Walking Rain, 8″x10″, 2016.

Creeks # 2, 10″x8″. through LGG.

M/Creeks#4, 10″x8″, framed.

M/Mountain Stream.

M/Mountain Stream, 2016, through LGG.

M/Marsh with House, 8″x10″, 2017, through LGG.

M/Wave1

M/Wave, 8″x10″, 2016.

mfallmarsh1

M/FallMarsh1, 8″x10″, 2017, through LGG.

mfallmarsh3

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 or returned work will be added.

My website– created by Stephanie Blackman Design—was beautifully designed as a calling card. Since I create/sell/move work around frequently, it was never my plan to keep it current at all times. With this data-base I will have a comprehensive selection for you all to peruse and can reduce the number of emails that I send showing dealers my currently available work, as those become outdated quickly also.

HorizonwithRisingClouds30x60

Horizon with Rising Clouds, 30″x60″, $7,500.

________

BlueMountain

Blue Mountain, 12″x12″, $.1,300

_______

Commanding Angles, 12″x24″, $2,200.

_________

Sunset Reflected, 12″x36″., $2,800

______

_____

Approach at Day’s End, 12″x36″, $2,800.

_______

Boats @ Rest, 12″X36″, $2,800.

_______

_______

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.

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/

ThingsPastEsopusValley

Things Past/Esopus Valley, 30″x30″, $4,000.

_____

 

Things Past/Hunter Mountain, 30″x30″, $4,000.

________

MountainRoad

Mountain Mists, 24″x24″, $3,200.

_______

WarmFields

Winter Brilliance, 30″x40″, $5,000.

________

_________

ShorelinewithBLues30x40

Shoreline with Blues, 30″x40″, $5,000

______

Tree with Mists, 18″x48″, $4,600.

_____

Interwoven Stories, 30″x60″, $7,500.

_____

Layered Reds, 30″x40″, $5,000.

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.

______

Sunset in 5, five panels of 8″x8″/ea., $3,400.

______

Summer Mists, 40″x40″, $6,500.

______

Turquoise Light, 30″x40″, $5,000.

_____

______

Contrasting Sunset, 18″x52″, $4,800.

______

Downriver, 24″x24″, $3,200.

______

___________

Affinity/Flatland's Drive, 18"x18", $2,000.

Affinity/Flatland’s Drive, 18″x18″, $1,800.

______

Embracing Pink, oil on board, 3 panels of 8″x8″/8″x10″/8″x8″, $1,800.

______

Marsh at Dusk, 14"x16",

Marsh at Dusk, 14″x16″, $1,500.

______

Affinity/Return at Dusk, 12"x24".

Affinity/Return at Dusk, 12″x24″, $2,000.

______

Light into Dark, 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/Dual Twister, 10″x10″, $900.

____

GleamingSkyoverProvincetown

Gleaming Sky over Provincetown 11″x14″, $1,300.

____

River Gleam, 12″X20″, $1,600.

______


Small Studies in Oil on Primed Paper

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

At work on one of the studies for

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

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

Version

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

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

Version with suggestion of houses in back land form.

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

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

Blue Above, 12

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

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

First set of small

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

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

Tidal Flats at Dusk, 6

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

 

Study/Triptych in Reds

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

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

Triptych in Reds

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

 

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

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

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

Intervening Bay, 24″x24″, private collection.

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

Study/Open Road #1, 4.5″x14″. (Sold)

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

Open Road, 20

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

 

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

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

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

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

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

Skyline with Lifting Rain

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

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

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

 

Study/View from Little Mountain, 6

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

Study/Lake Mists, 5

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

 

Study?Gleam over Tidal Flats,

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

 

Study/Green Valley

Study/Green Valley, 6″x10″.

 

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

Study/Late Summer Light, 5″x7.5″.

 

Study/Meadowlands with Mists.

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

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

Study/Fall Marsh Mists, 4

Study/Fall Marsh Mists, 4″X8″. (Sold)

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

Soft Summer Light, 4"x8".

Soft Summer Light, 4″x8″.

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

 

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

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

 

Study/Waterspouts, 6"x9".

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

 

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

Study/It Looks Like Rain, 6″x9″.

 

Study/Summer Marsh, 5"x12".

Study/Summer Marsh, 5″x12″ .

 

Study/ClusteredCLouds, 5"x12".

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

 

Study/White Fields, 5"x11".

Study/White Fields, 5″x11″ (Sold).

 

Study/Grey Dawn, 5"x7".

Study/Grey Dawn, 5″x7″.

 

Study/Winter Warmth, 7"x7".

Study/Winter Warmth, 7″x7″ (sold).

 

Study/Se.rene Winter, 5"x11"

Study/Serene Winter, 5″x11″ .

 

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

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

 

Study/Green Fields, 5"x13".

Study/Green Fields, 5″x13″.

 

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

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

 

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

 

Study/Resting Clouds, 4"x14".

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

 

Lifting Clouds, 18"x42".

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

 

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

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

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

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

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

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

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

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

Gold Gallery

Gold Gallery

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

Work at AD 20/21

Work at AD 20/21 with Gold Gallery

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

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

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

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

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

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

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

A few pieces of mine

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

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

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

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

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

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

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

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

Marie's studio

Marie’s studio

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

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

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

Inviation for MArie Vickerillas show.

Upcoming Shows:

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

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

The Shandaken Studio Tour, July 18-19.

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

A few new pieces:

"Perceived Acuity", 18"x52".

“Perceived Acuity”, 18″x52″.

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

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

A few of my recently sold pieces:

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

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

5 Trees

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

Turqiouse Light

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

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

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

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

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

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

At work on a frigid February day.

At work on a frigid February day.

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

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

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

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

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

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

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

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

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

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


December Newsletter 2014

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

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

"Rolling Cloud", 44"x68".

“Rolling Cloud”, 44″x68″.

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

"Trove", 30"X48" overall.

“Trove”, 30″X48″ overall.

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

Studies for "Green Waves".

Studies for “Green Waves”.

 

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

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

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

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

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

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

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

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

 

44"x68".

44″x68″.

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

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

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

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

Below, a few recent pieces.

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

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

 

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

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

 

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

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

 

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

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

 

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

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

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

 

Some work that has sold recently through my galleries.

 

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

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

 

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

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

 

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

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

 

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

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

 

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

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

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

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

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

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

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

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

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

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

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

Happy holidays, happy 2015!


Autumn 2013 Newsletter

“Art is not meat. It does not go bad”,  to quote Albert Shahinian.

I was thinking about that comment (again!) while assembling this post because I noticed that some recent sales have been of paintings that are not at all new.

So, why does a much-admired piece hang around, sometimes for years?

Usually the answer to that is that they have had many near-misses, and that something has come up at the last minute that has nixed the sale…each time. Bearing in mind that there is always a ratio of success to failure in every business, often in this one there are more almost-sales than sales. Bringing an object into the home that is not functional or strictly decorative, and that is also not cheap is, rightly, a big decision for potential collectors.

So, to put it another way, if you don’t have lots of nibbles you are unlikely to have lots of sales.

If there are no near-sales on a given piece it could mean that the painting doesn’t have wide appeal (which also doesn’t mean that it isn’t a good piece or that it won’t sell when the right person finds it) or that it is in the wrong gallery.  But all of this is another story.

Here are two pieces that are a bit older and had been nibbled on many times before they recently found their wall in a new home. I will use them as examples of what can happen along the way.

Winter Brilliance just came under discussion in a recent blog post:

https://scheeleart.wordpress.com/2013/09/12/bearing-bad-news-the-emotional-content/

I will quote from that, but before all of the below happened this past year, this piece also was sold and unsold in a day. It went out on approval for three days from my (now closed) gallery in Redbank, NJ, to an NYC apartment. On the second day they called and said that they loved it and were keeping it. On the third day they called and said that they were being transferred by the husband’s job to San Francisco, where a fully furnished and decorated house awaited them, so they had to return the piece. Since this was all within the agreed upon three day approval period, back it came.

Later…

 “…the piece below, recently sold, had quite a busy time of it this year before reaching its new home. In March, it went to Chicago, where it was selected for viewing in a home. Much as they would have liked it, the piece didn’t fit the budget at that time, so a smaller piece was settled upon. Then, it was vetted for a possible swap with one of my dealers for a coveted Milton Avery print. But before I could bring it to her for her to decide, a private dealer asked me to hold it back for a likely sale through a designer. Months later and no word, I let it back out again to my gallery in Rhinebeck, and from there it went out to a home (through an architect, this time) where it looked as if I had painted it for the room in question.”

Winter Brilliance, 40"x50".

Winter Brilliance, 40″x50″. 2004.

River in 5 received a great deal of attention when I first stated showing it 2006. Not so exciting a history as Winter Brilliance, but I kept hearing from gallereists that this person or that couple had it under consideration. That was true also when it arrived at Albert Shahinian Fine art, with one collector of mine admiring both the soft monochromatic palette and the way it evoked the views he enjoyed while kayaking across the Hudson River from this spot.

Then…very quiet. Other work coming and going, but no nibbles on this piece for at least a few years…until last summer, when all at once two collectors spotted it in the gallery or on my website and were planning on buying it the next time they made it to Rhinebeck. First couple fell in love with a different piece and couldn’t manage both, and the second collector was still planning on acquiring the piece when it went out to the same apartment as Winter Brilliance and stayed there.

River in 5, 5 panels of 10"x10"/ea.
River in 5, 5 panels of 10″x10″/ea., 2006.

Below, a few sales of recent pieces.

Affinity/Narrow Road, 48"x12", sold by Gold Gallery.

Affinity/Narrow Road, 48″x12″, sold by Gold Gallery.

Mutable Mists, 20"x20", sold by Chace-Randall Gallery.

Mutable Mists, 20″x20″, sold by Chace-Randall Gallery.

Wave, 24"x48", sold by Van Ward Gallery.

Wave, 24″x48″, sold by Van Ward Gallery.

Mists off the River, 12"X36", $2,600. (CRG)

Mists off the River, 12″X36″, 2013,  sold by Chace-Randall Gallery.

A few newly finished pieces:

Triptych in Reds

Triptych in Reds, 3 panels of 24″x24″/ea., just packed off to Gold Gallery in Boston.

Moving Light, oil on vintage blackboard, 9.5"x5.5".

Moving Light, oil on vintage blackboard, 9.5″x5.5″.

"Blue Above", 12"X36".

“Blue Above”, 12″X36″.

Soft Summer Sky, 30"x36".

Soft Summer Sky, 30″x36″.

I have recently introduced a series of small oil-on-paper compositional/color studies in my painting workshops. I did this preliminary series beforehand, and now have others following—a wonderful way to work out placement of elements, using your painterly hand (instead of photoshop, which is a great tool but doesn’t help with the aforementioned!). I will be offering these small pieces for sale from my studio, tidbits that can be framed/hung individually or as a grouping, and are a great way to come up with an original—for yourself or as a gift—for the price of a print.

Small oil-on-parer studies, 6"x6" or 5"x7" or 3"x8".

Small oil-on-paper studies, 6″x6″ or 5″x7″ or 3″x8″.

My recent workshop at the PAAM in Provincetown, with a wonderful group:

Color-mixing from primaries.

Color-mixing from primaries. (Photo credit Carol Duke.)

Last day.

Last day. (Photo credit Carol Duke.)

 

See my blog post on how the workshop runs, with emphasis on composition:

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

In other news:

I am sad to announce the closing of my gallery on Martha’s Vineyard, Dragonfly, but happy for Don and Susan as they move onto the next phase for them (more time for artmaking!).

Also happy to have joined the Louisa Gould Gallery, located the next town over in Vineyard Haven. I look forward to a long and successful relationship with my new MV gallery! (And a big thank-you to Don and Susan for connecting us.)

Upcoming:

Boston International Art Fair, with Gold Gallery, Nov. 21-24

2014:

“LINE…”, Butters Gallery, Portland, OR, curated by Melinda Stickney-Gibson, Feb. 6-March 1

Solo show at Chace-Randall Gallery, Andes, NY, May21-July 4th.

Duo show at Julie Heller East, Provincetown, MA, summer or fall, TBA

Workshops at the Woodstock School of Art: Feb. 15-17 & late June: PAAM, Sept., dates TBA

2015:

Solo show at Gold Gallery in Boston, early March.


Summer Preview

Summer Trees, 16"X20", $1,600 (uf). (JSO)

Summer Trees, 16″X20″.

The pleasures of late spring and early summer as they affect my studio experience and the tasks related to showing and selling my work are too many to list. Must-mentions: painting with windows and door open to the yard and the stream behind my studio; drying my paintings in the sun in my yard so that I can resume work on a second layer within just a day; doing my daily work on the computer sitting on my screened-in back porch with the sound of the stream as accompaniment; and driving my work around for deliveries surrounded by the visual joy of many-colored lilacs, poppies creating a splash of brilliant orange next to purple dame’s rocket, and amazing, shifting, spring-soft greens.

Ellsworth Kelly at Thompson Giroux Gallery

I had the pleasure of attending an exhibition and 90th birthday party for Ellsworth Kelly on May 31st, the day of his actual birthday, at my gallery in Chatham, NY,  Thompson Giroux. Chatham is familiar turf for Ellsworth– the dinner  was thrown in the same space that he rented for his first upstate studio back in the early ’70s, and is of course the source for the title of his “Chatham Series”.

Ellsworth

It was lovely to see again the botanical prints that we studied and admired back when I was in art school as iconic line drawings from life—spare, fluid, and subtly quirky.

EKShowTGG

I was most interested to read that Ellsworth based his abstract paintings on “observed reality”, a departure from the ethic of the day. Comparing this with the work of the abstract artists that I am closest to, Jenny Nelson, Melinda Stickney-Gibson and Marie Vickerilla,, whose imagery evolves from within the process of developing each canvas (and whose shows I have also recently seen) has set me thinking. I plan a blog post on this discussion, coming up next.

Then, I may not be able to resist jumping into the issue of prices and how crazy the art market is. Discussing an artist whose work brings some of the highest prices of any living artist in the same breath as three mid-level artists makes it hard to avoid that particular elephant in the room.

What is the realtionship between quality and price in the art market? Why do these four artists have such different price points?

Shandaken Art Studio Tour July 20-21

Save-the-date for the Shandaken Studio Tour, when it is my pleasure to arrange and open up my studio to new folks doing the tour, my collectors, fellow artists, and friends. This is a busy weekend for me, though oddly grouped sometimes (last year about half the people who came by seemed to be there just after 2pm on Sunday!). Here are a few of the pieces that I plan on showing.

"Rare Summer Silence", 20"x30".

“Rare Summer Silence”, 20″x30″.

"Mountain Vista", 24"x48", $5,000.

“Mountain Vista/Max Patch”, 24″x48″.

Unreservedly Summer, 10"X30", 2013, $2,000.

“Unreservedly Summer”, 10″X30″.

Favorite Pieces at my Galleries

Within the past month six of my galleries have either received new work or been delivered the whole grouping that they will show for the season. I have chosen a favorite piece from each location to show you below—I hope you get a chance to visit these wonderful galleries!

Ongoingness of Summer, 3 panels of 24"X30"/ea., $9,000. (GG)

“Ongoingness of Summer”, 3 panels of 24″X30″/ea., at Gold Gallery in Boston.

Cranberry Bog in Reds, 48"x24", 2013.

“Cranberry Bog in Reds”, 48″x24″, Van Ward Gallery, Ogunquit, ME.