Moody, Minimalist Landscape Painting

Posts tagged “moody landscape

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, March 27-29.

Sunday, March 29:

My twins birthday today!

Tessa called last night from a remote, safe house in Wisconsin. The group of eight came out of the woods and started reading the news, and now they really understand what is going on. They will stay together and not have contact with others, then go back in today and finish maple sugaring in the next few weeks. She is thinking that she might just stay with those who live in the house for the duration. She was very happy to hear about the federal $1,200, since her season to work is April-October, and that work is in VT and probably does not exist right now.

Early spring in the Catskills, my (forced) forsythia catching some golden light.

 

 

This is the first finished painting on board, 6″x12″. This version is on a deep board that can sit on a shelve or table, as requested by Jupiter Gallery.

 

 

 

One of my big frustrations in the past few days, besides of course dangerous mixed messages from Potus, is this wishful-thinking theme of “oh, I had it, I am sure that I did, and the whole neighborhood, as well.” In some cases, in December, even November…yeah, uhum. The sad sorry thing is…you think it went through your community like a gentle flu, with no deaths or hospitalizations? You are so blessed that of all communities worldwide, mind you (because there is no record of this happening, anywhere globally), that now your community is safe, done?

Many but not all of those indulging in this dangerous narrative are followers of Trump’s continued undermining of the measures needed for containment. But at least yesterday Fauci and Birx managed to convince him that easing stay-at-home restrictions by Easter — dear god —  would cost us thousands of lives and the guidelines were extended through April.

I’ll be zoom teaching my first online yoga class on Wednesday. It’s got its limitations, the modality, but it’s what we’ve got for now. After teaching the Zen Mountain Monastery classes with just a mat and a block per student and wrapping up in about 50 minutes, I am confident that I can safely adapt my classes.

This will be a gentle, basics 1-hour class, appropriate for beginners and those who have not practiced for a spell. Here is the link to the Catskills Yoga House website with instructions on how to sign up:

http://www.catskillsyoga.com/schedule


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.
 

 

 

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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″.

 

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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.

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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.

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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″.

_____________________________________________________

 

 

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″.

 

_______________________________________________________

 

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.

__________________________________________________

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/

__________________________________________________

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/

_____________  _______________________________________________________  _____________

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.
_____________  _______________________________________________________  ____________

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.

 

 


Atlas Project/Hudson River Valley and Catskills

My first fully realized Atlas Project installation opens at Thompson Giroux Gallery in Chatham, NY, on March 31st, 2018. Elaborating on my artist’s statement for my discussion below, I am also including photos of all of the work in the show.

 

Here is the gallery’s press release, nicely weaving together my previous artist’s statement about my paintings with my new Atlas Project statement. Thompson Giroux Gallery and I are very pleased to be pledging a donation from sales to benefit two local land conservancy organizations, a small thank-you to the earth for the beautiful vistas and open spaces that I have been painting for the past decades.

 


 

Forms of Water

Forms of Water, 30″x36″. (G)



The artworks in Christie Scheele‘s solo exhibition Atlas/Hudson River Valley take the viewer on a walk through the Hudson River Valley’s open spaces from Albany south to Manhattan.

In this exhibition Scheele brings together paintings, drawings, printmaking and mixed media and explores the personal and collective connection between our lives today and our increasingly fragile environment. Scheele continues her immersion into open spacious landscape painting. Using soft lines Scheele allows the viewer to sense and experience a particular place in our local environment; the way the light makes you feel at a specific time of day, how a place has it’s own color palette reflecting memory and process. Scheele’s use of color and atmosphere creates a suspended moment to experience the intangible power of nature.

With each destination on the “Site Map” we are invited to take an intimate look at how process, history and memory play a crucial role in our relationship to our natural environment.

In an effort to support our local land conservation initiatives, artist Christie Scheele and Thompson Giroux Gallery pledge 5% of any sales by the artist during Atlas/Hudson River Valley on view March 31-May 6, 2018 to benefit the Columbia Land Conservancy and the Woodstock Land Conservancy.

Please join us Saturday March 31st from 4-6pm for refreshments and live music by Josh Connors & Otto Gardnier.

For more information please visit www.thompsongirouxgallery.com or call 518-392-3336.
Thompson Giroux Gallery is located at 57 Main Street, Chatham NY 12037.

Gallery hours: Thursday – Monday 11am to 5pm, Friday 11am to 7pm.
Closed Tuesday & Wednesday
Closed Sunday April 1st

Image credit: Christie Scheele, “Forms of Water”, 2016, Oil on Linen, 30″ x 36″.


 

Land and water use have been political since the beginning of our time on earth. As these issues become increasingly critical, I have been catapulted —but also eased, nestled— into expanding the environmental discussion that until now has been mostly implied in my work, putting into context my decades-long celebration of the powerful beauty of our planet.

 

River with Lighthouse, 12″x36″, oil on linen.

 

Ebullient Winter, 18″x24″, oil on linen. (G)

My new Atlas Project maps my work while mapping the world, revealing a web of meaning around and between the individual pieces that I create. The matrix that connects all of my landscape imagery is saturated with memory, both personal and collective. To show these connections, I am working in one thematic grouping at a time, creating a legend, or site map, to each body of work. The Site Map is a key both to a given installation and to the region or theme that it explores.

 

 

The Site Map for Atlas/Hudson River Valley, the first of these exhibitions, is created with collage on a Rand McNally road map of the river valley, the Catskills, and our wider region. It contains numbered mini-monotypes of all of the oil paintings on view and corresponding map tacks showing the locale depicted on the map.

 

Site Map with Extensions, as it appears on the gallery wall.

 

Extensions of the Site Map include Mapping Memory, lino/mono prints of regional flora and fauna with written personal observations; a collaged and monoprinted map of the source of the river in the Adirondacks; a collage of the Hudson Canyon, extending 400 miles out to sea from NY Harbor; and a fourth extension discussing climate change and local impacts.

 

 

 

Using drawing, printmaking, pasteling, writing, and mixed-media along with oil paintings, I am exploring the interrelationships of process, history, and memory. These are revealed not only by air, land, and water but also by my materials and personal history as an artist, family and community member, and frequent inhabitant of the outdoor world.

The Atlas Project text is therefore a blend of natural history and personal memory.  For the Atlas/Hudson River Valley site map I decided to tuck the text of my stories into an envelope that I created with rice paper. You can see these along the left-hand side of the Site Map, and an open one below:

 

Detail from left-hand panel, “Mapping Memory”.

Other bits of writing get more into the life-cycle of the wildlife depicted. I chose the species included in the map based on my interactions with them but also on a long-standing fascination. We probably all have these — how amazing, to me, is the Red Eft, so bright among the fauna of the NE United States? How cool is the life-cycle? Here is my story about these creatures:

It wasn’t until recently that I realized that the salamanders that I caught as a child near Oneonta, NY, are the same creatures as the Red Efts that I greet after every rain or heavy dew on the trails of the Catskills.

They have three life stages: the first after hatching in ponds; the second when they turn from brown to red and lose their gills, traveling on land for several years to find a new body of water. Finally, in their adult phase the tail widens, and they turn back into a greenish-brown color, living and breeding as aquatic animals with lungs to complete their 12-15-year life span.

At eight I was enamored of catching and releasing in a pond that we swam in during summer months. On one occasion I brought two newts home in a mayonnaise jar, stocked with moss and bits from the bottom of the pond. I changed the water every day with nearby creek water and left the jar under a big tree on our lawn, dropping in small insects from time to time.

One day I spotted eggs in the moss. Such anticipation!

A few days later we heard young voices coming from our front yard just after dark, and looked out to see two boys walking away. The next morning, I found my jar empty of water and newts, the eggs drying in the sun.

 

 

Reflected Suns, 32″x48″, oil on linen.

Printmaking become an integral part of Atlas/Hudson River Valley. Below are two monotype versions of the image used in “Reflected Suns”, exploring the more graphic possibilities of the medium.

 

MReflected Sun #2, 10″x16″, monotype. (Sold)

 

MReflected Sun #1, 10″x16″, monotype. (G)

And the mini-monotype on the Site Map (placement of these had to do with compositional concerns, as the numbers and map tacks are what identify the precise locales):

 

 

The first energy and ideas for this project evolved in 2016. That fall, I was experiencing profound grief over election results and their potential to set policy that will accelerate climate change. I was also contemplating a scheduled residency on Nantucket in February of 2017, and my upcoming 60th birthday later on that year. The second two factors prompted a question—how do I want to expand and deepen my range as an artist? The first, my accelerating concern over the health of our planet, gave me direction.

This extension to the Site Map addresses the issue of global warming:

 

 

These two recent monotypes reflect a view of a section of  the Schoharie Creek valley in summer and then during the massive storm flooding caused by Irene:

 

MVroman’s Nose/Green Fields, 8″x10″. (Sold)

 

Vroman’s Nose/Flooded Fields. (Sold)

And two additional monotypes of our region:

 

MSweeping Sky with Fields, 8″x10″, monotype. (Sold)

 

MWhite Field #1, 8″x10″, monotype. (Sold)

 

The Nantucket residency produced a prototype Site Map where I first used the idea of making small monotype prints of the oil paintings to be included in the grouping or show. It is a very rich process, artistically, entering a new world as you are creating it, and also full of the discomfort of facing the unknown. To read about my residency, go to this link to my blog post:

https://scheeleart.wordpress.com/2017/03/18/artists-residency-on-nantucketnew-atlas-project/

 

I so loved the collaging-on-a-map process while working on the Site Map that I decided to create some of these as stand-alone art pieces. The first, below, leaves much of the under-map showing, and in addition to pattern and magazine papers; samaras, wasp galls, and other bits and bobs, I hand dyed some of the green papers used for the Catskill Park area.

 

Atlas/Hudson River, 18″x14″, mixed media/collage on Rand McNally Road Map on board. (Sold)

 

I live in the High Peaks area of the Catskills, so many of the pieces in this show are images of the mountains, roadways, streams, and of course, the Ashokan Reservoir, seen above in blue within the Park.

 

Esopus Mists, 12″x12″, oil on linen. (G)

 

Indigos with Glowing Light, 18″x24″. (Sold)

 

Affinity/Dusk Road, 30″x30″, oil on linen with frayed edges on primed board overlaid with graphite gridding.

 

Another collage, also of the River, is more tightly composed and with more contrast than the first, and includes the small river towns of Kingston, Rhinebeck, Poughkeepsie, and Newburg.

 

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

 

For the third, following my own lead with the Site Map extension, I hand-died rice papers in varied blues to reinterpret the Hudson Canyon, the below-water extension of the river itself.

 

Hudson Canyon Collage, 12″x12″. (G)

 

The Hudson River originates in Lake Tear of the Clouds, in a remote area of the Adirondacks, as pinpointed in the upper extension, above. It empties out into New York Harbor:

 

Harbor with Soft Light, 13″x20″, pastel on paper.

 

Many images are Hudson views between NYC and Hudson, NY. The stretch between Poughkeepsie and and Saugerties is well-traveled in the summer by us in our small lake boat. Lower sections are often views from bridges and the train.

 

2 Shores/Reflected Sun, 12"x12".

2 Shores/Reflected Sun, 12″x12″, oil on linen.

 

Refracted Golds, 20″x40″, oil on linen. (Sold)

 

Downriver, 24″x24″, oil on linen.

 

River with Big Sky, 24″x30″, oil on linen. (G)

 

Rare Summer Silence, 20″x30″, oil on linen. (Sold)

 

River Island with Castle, 9″x36″, oil on board.

 

Gleaming Bridge, 20″x40″. (Sold)

 

Affinity/Shore Lights, 16″x8″, oil/linen/board/graphite gridding.

 

RedRiverShore

Red River Shore, 20″x30″. (Sold)

 

This is not a catalogue of all of the wonderful views of the HV and Catskills, but rather an organically created collection of a number of the paintings that I have done over the past 10 years or so of our region. In this way, the grouping is a bit of a retrospective.

I am frequently hiking and driving around both the East side of the Hudson, into the Berkshires, as well as the West side, reaching into of the foothills of the Catskills, providing sources for some favorite views of the river itself as well as farm fields and hillsides.

Triptych in Reds, 24″x24″/ea. panel, oil on linen.

 

Long Storm Cloud, 8″X28″, pastel on paper.

 

Meadow with Peaks, 14″X18″. (Sold)

 

Trees with Mist, 18"x48", $4,200.

Trees with Mists, 18″x48″, oil on linen. (G)

 

Mountain Sky/Blues, 24″x48″, oil on linen. (Sold)

 

 

“September Dawn”, 10″x28″, pastel on paper. (Sold)

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ParticularityPlace

Particularity of Place, 36″x36″, oil on linen. (G)

 

layersofmeaning

Layers of Meaning, 30″x24″, oil on linen. (Sold)

 

Snow Fields, 12″x12″, oil on linen. (G)

 

Snow Shadows, 12″x12″, oil on linen. (G)

 

The final study done for a large piece in oil, now sold, inspired by the Maya Lin Wave Field at Storm King:

Green Waves, 5″x28.5″, oil on paper.

My upcoming groupings will include Atlas/Forms of Water, and Atlas/Cape Cod, the former creating overlap with the place-based themes and requiring a different solution for the map (I am thinking maps, actually).

I alternate between focusing on aspects of this work that I am currently inventing and my continued immersion in my open, spacious landscape paintings, looking to draw it all together into a cohesive whole, mirroring the wholeness of life on earth.

 

Sweeping Greens/Jostling Trees, 28″x68″, oil on linen. (Sold)

A link to the Violet Snow article in the WoodstockTimes:

https://hudsonvalleyone.com/2018/04/02/artist-christie-scheeles-map-magic/

Many thanks to those who have helped this project along: my husband, Jack, for design and paste-up help; Kate McGloughlin of the Woodstock School of Art for teaching me monotype techniques; Mary Emery for inspiring my rediscovery of printmaking; The Artists Association of Nantucket for hosting the residency that advanced this work; Polly Law for brainstorming titles (including “Atlas Project” itself) and language with me; Jenny Nelson for being my sounding board; Loel Barr for showing me some of her cool collage techniques; Thompson Giroux Gallery for planning and mounting this large and complex solo show; Geoffrey Rogers for his expert framing; and Mark Loete for the perfect photographs of the Site Map and extensions.


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!


2017 Late Spring News and Upcoming Events

This spring my mind has been on many of the seasonal imperatives, like creating new work for my galleries on the Cape and Islands and sorting through and shipping or delivering their selections. It has also, after a huge jump-start on my Atlas Project during my residency at the Nantucket Arts Association, been very much on advancing that exploration; and the spring has been spiced up by a few other new projects.

Mountain Sky/Blues, 24″x48″, newest piece, of the Catskills from the river.

I have scheduled a talk to discuss my Atlas Project for July 15 during the Shandaken Artists Studio Tour, 4:30-6pm. I am currently developing the third sequence, Atlas/Hudson Valley segment. This means that, in addition to other work in my studio,  I will hang a grouping of each of the sections that I have been working on this year: Atlas/Forms of Water/Snow; Atlas/Island (Nantucket); and the most extensive sequence to date, the Hudson River and Catskills work and mapping thereof.

 

Red River Shore, 20″x30″.

In my studio work progresses on my third prototype map for this grouping, which will include mini-monotypes of the paintings involved; maps of various sorts of the area; and a number of other elements, both descriptive and visual. I am hoping that this map will be the working template that clicks for me so that I can use it for new groupings/exhibitions going forward. This involves lots of trial and error, applied problem-solving and then experimenting with the materials (maps, acrylics, printmaking, rice paper, collage, river mud, etc.).

I have found that when I pose myself a complex creative problem to be solved, following a simple process works quite well. I start by seeing how far I can think my way into it, often using moments when I am driving or walking, and when I hit an aspect or aspects that stump me, I plant those as a seed, and then let go of the conscious effort. Some time later—usually weeks—the answer will pop into my head, my subconscious having been at work on it all the while, sometimes aided by new information that comes my way in the interval.

Here is where I am so far with the latest Site Map and associated prints:

 

Work table with HV map in progress; site map for the Atlas/Island (Nantucket) grouping in the background.

 

Trees with Mists, 18″x48″.

 

Above and below are a few of the Hudson River & Valley/Catskills paintings that are part of the new sequence:

 

2 Shores, 12″x12″.

 

My new series is bringing me ever closer to the many aspects of the natural world that I have in the past observed, researched and delighted in. Which of these things and how they can manifest in the work is the adventure. As is true of most meaningful new endeavors, the space this holds for me is both stimulating and disquieting.

 

My first gallery show of Atlas/Hudson Valley is scheduled for 2018 at Thompson Giroux Gallery in Chatham, NY.

To view more oil paintings that are currently in my studio, click here:

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

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During spring I am always preparing to deliver or ship new work to my galleries in Martha’s Vineyard, Nantucket, and/or Cape Cod. Below are some new pieces at the Louisa Gould Gallery in Vineyard Haven on Martha’s Vineyard. She always has a beautifully installed grouping of my work on display throughout the year, so please stop by if you are on the island.

 

Summer Inlet, 48″x24″, 2017.

 

Sengekontacket Greens, 12″x12″, 2017.

 

Katama Field, 12″x12″, 2017.

 

Summer Wave, 12″x12″, 2017.

 

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My residency at the Arts Association of Nantucket in February resulted in many advancements in my problem-solving curve for the Atlas Project; a number of small paintings; and some monotypes (see my blog post on the residency):

https://scheeleart.wordpress.com/2017/03/18/artists-residency-on-nantucketnew-atlas-project/

The five monotypes hanging below are a the results of printing sessions in both Woodstock and Nantucket.

 

 

And a few others:

 

Monotype/Green Marsh, 8″x10″.

 

Monotype/White Field #2, monotype and pastel, 8″x10″.

 

Monotype/Wave#5, 8″x10″.

See more of my prints and pastels here:

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

 

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In April I flew to South Florida to do a large painting for friends with a new house there. I managed to pack in one big suitcase everything I needed, including the 16″x20″ version of the wave image that I had painted ahead of time. The one thing that did not fit in my suitcase was the 48″x60″ stretched linen canvas, which we had shipped from my wonderful stretcher-makers in Vermont, Brickyard Enterprises.

I had exactly one week to do this large piece and so, concerned about the possibility of things going wrong, I put in long days for the first several, working under an overhang in the pool enclosure.

 

 

Happily, nothing did go wrong, so we had a finished piece on the wall ahead of deadline and then I got to play, spending time at the Morikami Gardens and the beach (more wave paintings to come!).

 

 

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My winter-spring show with Albert Shahinian Fine Art wrapped up in early April. We had a nice run of of two receptions—one at the gallery and one at my studio; a number of sales of pieces small and large, old and new; and an interview with the Poughkeepsie Journal containing questions that I quite enjoyed:

http://www.poughkeepsiejournal.com/story/entertainment/2017/03/22/landscapes-art-artists/99454762/

 

March reception in my studio.

Several of the pieces that went to new homes from our show “Gallery/Studio: A Symbiosis”:

 

Glistening Greys, 10″X10″, oil on linen.

 

“White Trail”, 40″x30″.

 

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

 

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I am teaching four more workshops in 2017, several of them new. In my workshops I emphasize composition as well as color, and share not only my techniques, but also an eclectic delight in many styles and aspects of contemporary and historical art.

The Woodstock School of Art:

June 17-19, Sat.-Mon, 9-4pm, Form and Content: A Landscape Painting Intensive
Oct.28-30, Sat.-Mon. 9-4pm, Color Mixing for Landscape Painters.
The Nantucket Arts Association July 18-20,Constructing/Deconstructing the Landscape;  and Mentoring for Artists, July 21.
Provincetown Artist Association and Museum, Sept. 11-14, Mon.-Thurs. 9:30-1:30, Abstraction and Narrative in the Landscape.

 

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I have plans for some new pastels in the near future—its a good time of year to approach these, with the studio windows wide open (ah, and I must mention sounds of birds and the creek behind my studio), mitigating any effects of flying dust. Below is a fairly recent one, in which I was pushing the color somewhat.

 

Turquoise Sky/White Cloud, 20″x20″.

 

Over the years I have at times felt pressure from some of my galleries to work brighter. I am very often a moody painter, though I don’t ever want to limit myself to any palette, locale, format, or mood. I do love a bright sunny day, but painting dramatic clouds and subtle, tonal color often draws me, and many of my collectors will follow me into that terrain.

With the pastel above, I set myself the intention of not going as dark along the horizon as I often do in a seascape, and in general keeping the colors more saturated or desaturated with white instead of grey. I wanted to see if I could make myself happy with a lower contrast, brighter image. And I did.

This is turning a request, essentially, into a creative problem. When people ask me how and whether being a full time, self-supporting artist affects my decision-making in the studio, that is part of the answer—that if I feel that I am being nudged in a particular direction, can I turn that into an interesting problem? And after I work that one out, what else can I do that is generated exclusively by, to use Kandinsky’s term, inner necessity?

 

Cotue of the Scalloped Edges, 6″x10.5″.


Artist’s Residency on Nantucket/New Atlas Project

As soon as my  residency at the Nantucket Artists Association was scheduled early last fall I launched into planning. I decided to work with exclusively Nantucket imagery while there, and this dovetailed with a larger plan to spread out into a fresh creative endeavor starting in 2017.
And so, I began developing a new rubric for my work that frames groupings of it thematically, calling it my Atlas Project.
Knowing that I would have access to the print studio at the AAN, and after having been reintroduced to printmaking by program coordinator and printmaker Mary Emery while on Nantucket teaching the summer before, I also began exploring printmaking in earnest, studying with Kate McGloughlin at the Woodstock School of Art.
 My new Atlas Project, just several months in, engages in a process of revealing the web of meaning around and between the individual pieces that I create. The matrix that connects all of my landscape imagery is saturated with memory, both personal and collective. To show these connections, I am working with individual but overlapping thematic groupings. The biggest challenge is to then create a legend, or site map, to the bodies of work.

The first sequence that I approached, before going to Nantucket, was Atlas/Forms of Water/Snow. Using drawing, printmaking, pasteling, writing, and mixed-media along with oil paintings, I am exploring with these sequences the interrelationships of process, history, and memory, as revealed not only by air, land, and water but also by my materials and personal history as an artist, family and community member, and frequent inhabitant of the outdoor world.

In late February, all set up in my studio on Nantucket,  I began work on Atlas/Island with painting in oil so that, in my process of layering wet over dry, I would have time to finish and safely bring home the pieces accomplished.


“Coatue of the Scalloped Edges”, oil on board in vintage drawer, 6″x10.5″ overall.

For some of these locales, I wrote a bit about them and later included these observations in the Site Map. Coatue is a stunning landform, and the perfect image for my box with the circular pull. These unusual scalloped edges of sand have been held in place for centuries. In perfect equalibrium, prevailing winds create waves that push sand out to the points, while currents move it in the opposite direction, depositing it on the bends.

“Moors with Mists”, oil on board in vintage tray, 5.5″x24″ overall.

The pieces on board in vintage boxes were not framed that way but rather painted to go inside of those particular boxes, adjusting color and feel of imagery to meld with the tray. I liked the lovely old boxes for this project as a nod to Nantucket’s intricate and unique history.

“Night Harbor”, oil on board in vintage tray, 5.5″x24″ overall.

With Night Harbor my observations turn to a personal memory of the sweet evening last summer when I experienced the view depicted. During the day, while I was teaching, my husband was catching fish. We cooked the fish at our friend’s modest house that looks out on the harbor from the outskirts of town,  the Creeks to our right. The three of us sat watching the fog roll in and out of the harbor for hours, barely speaking, until well after nightfall. Night Harbor is an image of the view off to the left of the lights on the wharves and Brandt Point.

 

“Dunes with Snow”, (Steps Beach), oil on board in vintage tray, 5.5″x24″, overall.

Steps Beach appears a few times in this body of work. I researched and wrote a bit about interdune ecology, described below after the second dune painting, a summer image in greens.

I did one piece using my Affinity format, since this image called for it both in color and in the strong horizontal and diagonal compositional elements.

Affinity/Madaket Dusk, oil on linen with frayed edges on primed board overlaid with graphite gridding, 11″x14″.

This pastel is a view from the ferry of Tuckenuck, the island just visible on the right, the sky a late-day winter sunset:

“Gleam over Tuckernuck”, 7″x11″, pastel on paper.

 

After several days at work on imagery with grey/blues or warmer color, I had a yen for some greens, so I did these three pieces, using reference collected last summer while I was there teaching.

 

“House on Madaket Marsh”, oil on linen, 11″x14″.

Madaket also appears a few times, as I am endlessly drawn to its varied topography.  I include the famous story of the formation of Esther Island during hurricane Esther in 1961, and it’s reattachment and detachment in relation to Smith’s Point over the years since then.

SummerDune

“Summer Dunes”, (Steps Beach entrance) oil on linen, 8″x20″.

The steep dunes on the north side of the island can be safely traipsed through and enjoyed going into Steps Beach. The scene above, a view off to the left between the two large dunes above the beach, is a thriving interdune habitat with just about every shade of green within. The mists tamp the colors down just enough to appeal to my subtle color sensibility.

I knew that dune grasses hold dunes and that marsh grasses both hold ground from eroding seas and clean water passing through; but I didn’t really understood how. Thanks mostly to several articles that I read from Yesterday’s Island by Dr. Sarah Oktay, formerly of the Nantucket Field Station, I now get it and am suitably impressed.

Dune grasses not only anchor sand that is there, they also trap windborn sand and hold it, building dune height. Then, due to their extensive system of underground stems, they are able to grow right up on top of themselves to trap more sand, and so on. Further, as the grasses below decay, soil begins to be built and other plants and small deciduous shrubs can colonize the dune. As these seasonally drop leaves that compost, more soil is built and plants with larger roots can attain purchase and now you have a healthy, diverse, interdune system that protects the shore from erosion during winter storms.

 

“Quaise Marsh”, oil on linen, 11″x14″.

Now, for marsh grasses, perhaps my most frequently painted subject in the past several decades. These grasses trap sediment and organic matter with every tide—cleansing the water—creating a kind of peat at their roots. They, too, can then grow up on top of themselves and this peat and gain height to keep pace with sea level rise,  protecting the shoreline from erosion. That is, they have been able to so far. It is unlikely that they will continue to succeed with the potential six foot rise predicted, at this juncture, by 2100.

Back to the residency. Finally in the print studio, I dialed in on which sorts of my landscape imagery work well in a medium that has a very lively feel. I had previously noted that the soft-focus of my pantings does not translate as well as my emphasis on very strong, minimalist compositions with bold shapes intersecting the picture plane, so I headed straight into this terrain. As before, the first two or three prints that I pull of a given subject matter are not wholly successful, so each print is very much a process of trial and error. This is quite different from my painting process, where I can and do always persist and tweak anything I am not completely happy with.

The imagery for the first two monotypes below came out of walks I did on Nantucket during my first week of the residency, at the Creeks, a lovely marshy area on the harbor near town; and the Moors. The third is an image of Madaket from last summer that I both painted and explored in monotype.

MWinter Creek, 10″x8″, monotype.

 

MMoors, 8″x10″, monotype.

 

MMarsh with House, 8″x10″, monotype.

I also worked on small monotype thumbnails, as well as a linocut map of Nantucket, to incorporate into my Site Map, printing one thumbnail each for the oil paintings that I did for this grouping of Atlas/Island. The map is the new element for me, still very much a work-in-progress, that knits each thematic sequence of paintings, drawings, and prints together, and gives info about the work and the locales. The below is the second prototype–the first was for Atlas/Forms of Water/Snow—and most definitely not the final template. The idea is to map both the subject matter I am working from and the body of work that results.

Site Map with linoprint map and map fragments of Nantucket; monotype thumbnails; tracings; writing and letterpress. The blue areas on the map show parts of the island that will be underwater                                                                 when sea levels rise 3 meters.

 

I am now, at home, hard at work on a third prototype of the site map, trying to integrate the thumbnails, maps, and writing in a more visually lush way. I’ll add it to the post when I am finished.

 To mount a cohesive show of the Nantucket sequence, or any other, of Atlas Project I will want to include some medium-sized and large oil paintings, something I couldn’t do in a short period of time and when all of my supplies and then finished work had to be carried back and forth by foot on the ferry.
I have been fairly obsessive about my work for many years. This very intense two weeks, however, brought my focus to a new high, working morning, noon and night. I broke it up with walks to see the island and my yoga practice…and that was it. I came up with solutions to things I was pondering about the Site Map in the middle of the night—and otherwise slept quite well— and arranged my waking work hours to feel a focused fullness; a kind of (mostly) calm momentum.

In my work I have always seesawed back and forth between the universal and the particular. With a new framework for the work I can continue to do this with individual pieces, while exploring an expanded conversation. Land and and water use has been political since the beginning of our time on earth. As these issues continue to become increasingly critical, I have been catapulted —and also eased, nestled— into creating the Atlas Project, a love-letter to our planet.

 I am grateful to the staff at the AAN, especially Mary Emery, for providing this opportunity and for all of their help. And deepest thanks to my husband Jack, who facilitated it all.

“Gallery:Studio – A Symbiosis” Solo Show with Albert Shahinian Fine Art

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A quiet chat during a lull...

Having a quiet chat during a lull in the reception…

 

 “GALLERY:STUDIO – A SYMBIOSIS” is a retrospective and a culmination, presenting over 60 works drawn from a broad range of Scheele’s recent output – including paintings, pastels, monoprints and mixed-media.  In designing this show, artist and gallery were keen on making more accessible to visitors and collectors the opportunity to acquire a painting (hence the special sale).  As a culmination, the exhibit and sale end a significant period of Scheele’s aesthetic explorations, making time and space available for her focus on, and movement toward, a complex new project.  Finally, important to both parties, this exhibit celebrates a friendship born, but not limited by, their respective callings as artist and art venue.
Light that Glows, 32"x60".

Light that Glows, 32″x60″. $7,500.

 

Soft Greys from Peaked Hill, 10"x60".

Soft Greys from Peaked Hill, 10″x60″, $4,200.

 

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

Green Waves, 12″x75″, $8,000. (Sold)

 

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

 

Rare Summer Silence, 20"x30".

Rare Summer Silence, 20″x30″, $3,200.

 

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

Cranberry Bog in Reds, 48″x24″, $5,000.

 

Affinity/WinterSunset, 36"x48", $6,500.

Affinity/WinterSunset, 36″x48″, $6,500. (Sold)

 

"Extravagant Sky", 36"X60".

“Extravagant Sky”, 36″X60″. $8,000.

 

TriptychinReds

Triptych in Reds, 3 panels of 24″x24″/ea., $7,500.

 

White Field, 20"x40".

White Field, 20″x40″, $3,600. (Sold)

 

Angle of Repose, 40"x30",

Angle of Repose, 40″x30″, $5,000.

 

Drifting CLouds, 20"x20".

Drifting Clouds, 20″x20″, $2,200. (Sold)

 

"Affinity/Dusk Road", 30"x30".

“Affinity/Dusk Road”, 30″x30″, $4,000.

 

SunsetonTremont

Sunset with Taillights, 40″x20″, $3,800.

 

SunsetContours

Sunset Contours, 20″X20″, $2,200. (Sold)

 

dawnharbor

Sunset Harbor, 20″X16″.

 

 

HiiiBeyondHill

Hill Beyond Hill, 3 panels of 24″x20″/ea., $7,000. (Sold)

 

Height of Summer, 36"x48".

Height of Summer, 36″x48″, $6,500 (sold).

 

 

summerfields

                         Summer Fields, 30″x30″, $4,000.

Moving Sky, 30"x36".

Moving Sky, 30″x36″, $4,500. (Sold)

 

Juncture, 18"x60".

Juncture, 18″x52″, $4,200.

 

 

affinityinmotion

Affinity/In Motion, 48″x12″, $4,000.

 

Sundrenched Field, 20"x24".

Sundrenched Field, 20″x24″. $2,500. (Sold)

 

 

Skyblues/Seablues, 10"x8".

Skyblues/Seablues, 10″x8″, $800.

 

Winter in Blue/White, 12"x12", oil on linen (at Albert Shahinian Fine Art).

Winter in Blue/White, 12″x12″, $1,300. (Sold)

 

Angular Tidal Flats, oil on paper on 12″x12″ board. (Sold.)

 

Mauve Sky, 6"x12", oil on board, $650.

Mauve Sky, 6″x12″, oil on board, $650. (Sold)

 

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

Affinity/Duo/Palms, 2 paintings of 16″x8″/ea, $2,000. (Sold)

 

Glistening Greys, 10"X10", oil on linen.

Glistening Greys, 10″X10″, oil on linen. (Sold.)

 

Gold Bush, 10"x10". oil on board, $700.

Gold Bush, 10″x10″. oil on board, $700. (Sold)

 

2 Suns, 10"x10", oil on board, $700.

2 Suns, 10″x10″, oil on board, $700. (Sold.)

 

"Study/Sunset Sea", 5"x5", oil on primed paper.

“Study/Sunset Sea”, 5″x5″, oil on primed paper, $550.

 

Study/Skyline, oil on paper, 5"x5", $550.

Study/Skyline, oil on paper, 7″x7″, $700.

 

"Factory at Work", 7>5"x3.5" (courtesy Julie Heller Gallery).

“Factory at Work”, 7.5″x3.5″, $600.

 

Affinity/Boatyard, 10"x10", 2014, oil on linen with frayed edges on board overlaid with graphite lines.

Affinity/Boatyard, 10″x10″, 2014, oil on linen with frayed edges on board overlaid with graphite lines, $900. (Sold)

 

"Hilltop Contour", oil on a vintage child's slate. (Courtesy JHG)

“Hilltop Contour”, oil on a vintage child’s slate, $750.

 

Additional works at the gallery:

 

Gleaming Bridge, 20"x40", $3,600.

Gleaming Bridge, 20″x40″, $3,600.

 

 

Summer Sky over Divided Fields, 20"x24".

Summer Sky over Divided Fields, 20″x24″, $2,500 (sold).

 

Black Treeline, 36"x48", $6,500

Black Treeline, 36″x48″, $6,500. (Sold)

 

Sweeping Greens/Jostling Trees, 28"x68", $7,500.

Sweeping Greens/Jostling Trees, 28″x68″, $7,500.

 

Mists from Palmer Hill, 12"X36", 2014.

Mists from Palmer Hill, 12″X36″, $2,800. (Sold)

 

Dawn Headlights, 12"X36".

Dawn Headlights, 12″X36″, $2,800.

 

RefractedGolds, 20"x40", $3,600.

RefractedGolds, 20″x40″, $3,600.

 

Favorite Field/Soft Greens, 3 panels of 12"X12"/ea., $3,200. (CRG)

Favorite Field/Soft Greens, 3 panels of 12″X12″/ea., $3,200.

 

"Intervening Space", 20"X20".

“Intervening Space”, 20″X20″, $2,200 (sold).

 

Stormy Sea, 12"X12".

Stormy Sea, 12″X12″, $1,300.

 

Evening Shoreline, 12"X12", $1,300. (ASFA)

Evening Shoreline, 12″X12″, $1,300.

 

Study/Mountain Contours, oil on paper

Study/Mountain Contours, oil on primed paper, 4″x14″, $800.

 

Affinity/Bridge at Sunset, 12"x24".

Affinity/Bridge at Sunset, 12″x24″, $2,000.

 

Green Waves, oil on paper,

Green Waves, oil on paper, $1,600.

 

 

 

"Conviction of Beauty", 12"x

“Conviction of Beauty”, 12″x42″.

 

Red Sky with Gleam, 5"x12", $800.

Red Sky with Gleam, pastel on paper, 5″x12″, $800.

 

River Sunset, 9.5"x19".

River Sunset, pastel on paper, 11.5″x19″, $1,600.

 

Mountain Fields, pastel on paper, 20"X24", $2,500.

Mountain Fields, pastel on paper, 20″X24″, $2,500. (Sold)

 

White Trail, 40"x30", $5,000.

White Trail, 40″x30″, $5,000. (Sold)

 


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.

The grouping below was added to the post in October, 2020. It is the work that had been (mostly in storage) at my Provincetown gallery and which I now prefer to have in my studio, until it goes out to another gallery or is sold. I am very excited to  have this work back, and I hope you enjoy perusing!

Forms of Discussion, 12″x36″, $2,800. 

________

Provincetown, 20″X30″, $3,200. (Sold)

_______

Commanding Angles, 12″x24″, $2,200.

_________

Sunset Reflected, 12″x36″., $2,800

______

Fall Marsh, 6″x12″, $900. (Sold)

_____

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

_______

Boats @ Rest, 12″X36″, $2,800.

_______

Summer Sunset/Tidal Creek, 36″x12″, $2,800.

_______

Resting Grens, 12″x12″, $1,200. (Sold.)

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/

Castel, 18″x52″, $5,000.

________

Earth & Sky, 24″30″, $3,600.

_____

Shore with Still Mists, 18″x52″, $5,000. (Sold.)

_____

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.

_____

Winter Sky, 24″x30″, $3,600.

_____

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.

_____

Meandering, 24″x36″, $4,000.

______

Contrasting Sunset, 18″x52″, $4,800.

______

Downriver, 24″x24″, $3,200.

______

From the Lighthouse, 20″x20″, $2,200.

______

River with Lighthouse, 12″x36″, $2,600.

______

Sunset Roofline, 24"x23".

Sunset Roofline, 24″x30″, $3,600.

______

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.

____

Moors with Mists, 6″x24″, $1,400.

GleamingSkyoverProvincetown

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

____

River Gleam, 12″X20″, $1,600.

______

SummerCloudbank

Summer Cloudbank, 10″x30″, $2,200.

____

Favorite Field/Soft Greens, 3 panels of 12″X12″/ea., $3,200.


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.

“Contours/Distillations”: a Solo Show

“Contour/Distillations” has been extended to October 11th.

contours:distillations

We are tremendously drawn by stuff. The content of our lives—acquiring possessions; taking care of or replacing said possessions; packed schedules; busy brains—loudly demands attention. What we need the most for balance is intervals of the absence of our stuff, and yet it is hard to reset and choose openness over content.

“Blue Tidal Pool”, 20″x24″.

Creating space in my life is an ongoing project, and has long drawn me both to spend a great deal of time outdoors and to paint my landscapes in an open and minimalist manner. This approach quiets the mind, evoking a direct response. Abstract elements can elicit deep, complex feelings, (a theme beautifully explored in Vassily Kandinsky’s 1910 “Concerning the Spiritual in Art”) and larger, flatter shapes with soft edges awaken the wide-open feeling of being outdoors in our atmospheric world.

Tree/Mist, 18

Tree/Mist, 18″X48″.

Delving further into the less-is-more discussion, I think that less is different. If there are many details to look at in a painting they tend to compete for attention, creating an experience that remains purely visual or intellectual without going deeper. With fewer elements and more open space, both the emotional and formal content have enormous impact, often visceral. At the same time, what is there has to hold up under analysis, as there is no hiding.

Layered Clouds, 20

Layered Clouds, 20″X16″.

My process in the studio is comprised of long swaths of time in which I am intensely focused and living within the emerging painting, punctuated by intervals of scrutiny and analysis during which I observe the elements with as much distance as possible. This rigor is, ultimately, what allows the viewer to sink into the piece—-many small just-so decisions to create a seamless whole.

Diagonal Flux, 36

Diagonal Flux, 36″X36″.

The landscape inevitably holds powerful associations, so painting it becomes a back-and-forth between exploring the narrative and focusing on the formal elements of shape, composition, surface, color, and edge. In this body of work, drawn from the past several years, I am presenting the most open, color-field aspect of my work. Viewers can bring their own memories to these paintings, as mine are only suggested, or simply experience them as a conduit for feeling.

“Affinity/Dusk Road”, 30″x30″.

Both the above and below are from my Affinity Series. These pieces start with fraying the edges of raw linen; gluing it down to the board; priming with dark primer, and gridding the whole thing with graphite. Then I do the actual painting, and when it dries some selective regridding. The series evolved from the desire to manipulate my support in a way that moves my other choices in a more abstract direction, and brings attention to the surface.

“Affinity/Black Trees”, 30″x30″. (Sold)

Sometimes, as in the new postcard piece, “Tender Reds”, there are more shapes included. I see this as being a rhythmic approach—repetition of similar shapes moving across the surface of the painting.

“Tender Reds”, 32″x70″.

This piece is less minimalist, but just as abstract. The reduced palette with a white sky allows it to hover between a dreamy in-the-moment being there and an on-the-surface color-field painting.

If one were to consider this as a totally abstract piece, the exercise would be to turn it sideways, or upside down. Compositionally, upside down would work very well, but not sideways—too strong of a horizon line, now going vertical. This would be true of every painting I do—abstracted, but not abstract, and usually with a clear horizon line as an anchor.

“White Trail” has a number of horizons, but the strong line in this piece moves on a skipping, slightly diagonal vertical, emphasizing the format. This piece, too, has a sense of rhythmic repetition of forms.

“White Trail”, 40″x30″.

I have been exploring for this show how a large composition can be successful in small format with these oil-on-paper pieces.

“Study/Gleam over Tidal Flats”, 6″x10″.

“Study/Mountain
Contours”, 4″x14″.

“Study/Sunset Sea”, 5″x5″, oil on primed paper.

Quiet, tonal color is most often my choice, as it tends to sit back, creating emotional space and allowing for introspection.

“Autumn Bay Mists”, 18″x52″.

But every so often I like to move to stronger color to intensify the timbre of the experience. Whites work well—like a thirst-quenching drink of water— when paired with strong, saturated color.

“Sunset Reflected”, 12″x36″.

Most of my pieces have quite a bit of contrast, moving from an atmospheric white or off-white (often tinged with a bit of Mars Violet) to a true black. I find, though, that low-contrast pieces can be intensely riveting in a different way, kind of like a full-throated, low hum. “Evening Shoreline”, below, is an example of this.

Evening Shoreline, 12

Evening Shoreline, 12″X12″.

“Continuing Progression” is really a study in monochromes. The detail of the row of trees on the right, seemingly very subtle, actually pops more because of the reduced palette.

Continuing Progression, 24

Continuing Progression, 24″x48″. (sold)

The body of work presented represents the core of my thinking, my base of operations. Albert Shahinian Fine Art, my gallery of longest standing, is the perfect venue for this theme-based exhibition, having shown, over the years, every possible exploration that I have launched from this base.

I hope you can join us for the reception on July 25th and my talk on August 2nd to see all 40 pieces and hear more about landscape, form and mood.

Link to a short but sweet article on the show by Paul Smart in the Almanac:

New paintings by Christie Scheele on view in Rhinebeck

The installation and reception, below:

Installation shot, wall with Affinities.

Installation shot, wall with Affinities.

With and old friend at the reception.

With my old friend Deb at the reception.

Installation shot, wall with postcard piece.

Installation shot, wall with postcard piece.

Additional work in the show:

Drifting CLouds, 20

Drifting Clouds, 20″x20″.

Approach in November, 6

Approach in November, 6″x24″.

“Lush Mists”, 12″X36″.

Hill Beyond Hill, 3 panels of

Hill Beyond Hill, 3 panels of 24″x20″.

Winter Field, 10

Winter Field, 10″x30″. (Sold)

Dawn Headlights, 12

Dawn Headlights, 12″X36″.

Cranberry Bog, 48

Cranberry Bog, 48″x24″.

Stormy Sea, 12

Stormy Sea, 12″X12″.

Glowing Mountain Mists, 20

Glowing Mountain Mists, 20″X30″. (Sold)


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.