What a year.
Let me begin with a little gratitude journaling.
While I know a number of people who have suffered and died from the Coronavirus, my immediate family members remain healthy.
We had a lovely summer, during which my yard grew and bloomed like crazy. My husband made repairs on and painted my studio and much of the exterior of the house. A series of breakdowns (plumbing, washing machine, car, I can’t even remember what else) forced upgrades and interior renovations as well. Also a huge amount of sorting, divesting of stuff, and organizing of those things that made the cut, projects that had been needed for years, maybe even decades.
I have zoomed and zoomed, teaching yoga and painting and hanging out with family. In August we arranged the very open corner of our front porch into an outdoor living space and had folks over at a safe distance while numbers were low in NYS and the weather held, catching up on each other’s Covid-era lives.
I am grateful to our governor for governing, and being an innovator in dealing with the Covid crisis. I have never much liked Cuomo in the past and may go back to disliking him in the future, but he stepped up and kept us as safe as he could. And I felt safer for it.
Also on my gratitude list is the greatly raised awareness created by the Black Lives Matter movement and resulting baby steps towards police reform. As I listened more intently to the stories being told and the history behind them, I learned a great deal. I also reread the three Toni Morrison novels that I have on my bookshelves and made myself really sit with the horror, understanding that it is not behind us.
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The whole year was rich creatively for me in my studio. While I feel that my life has a nice balance between painting and time spent with family and friends, practicing and teaching yoga, hiking, gardening, and reading, I also see the rewards of decades of obsessiveness about my creative practice. I have so much momentum and so many ideas to be followed up on that I don’t get blocked, and that has served me beautifully during quarantine. My studio continues to be my refuge, the place where a world of things are possible.
I am very grateful for this video, brainchild of Silver Hollow audio—who created it first as an audio project—and the Emerson Resort, who added the slideshow to make this wonderfully produced six-minute survey of my work as a landscape painter in the Catskills. It was featured during their remote Community Week offerings. They had to take it down and relaunch to correct a typo, and I am afraid that there were a number of folks who tried to go to it a few hours after the launch and found the link broken. Here is a working link:
Sales have been robust. I have also done six commissions in 2020, when some years I don’t do a single one.
The commissioned painting that I did during lockdown was the largest painting I have done to date, an incredible project to have at such a time. Above is the 6’x8′ painting after it was installed by Albert Shahinian Fine Art.
Fall has been busy, with folks returning indoors and seeking out new paintings to enjoy in their homes. Here is a sampling:
After months of Covid routine I still have moments of shock at where the world has landed. I was one of the folks who believed in the scientific predictions of an upcoming pandemic and had tracked the news about the H1N1, SARS, and Ebola outbreaks (the latter not over, by any means), feeling huge relief that they had been contained before a pandemic ensued.
So I was reading intently about Covid-19 from early January. (Thank-you NY Times. I have heard people say that there was no coverage early on but that is not true—they were reporting on it daily, but most readers were not paying attention.). It didn’t take more than a few articles, as the evidence emerged, for me to become convinced that this time we were in for it, all of us.
And yet, I could not conceive, really, of what that would look like. The wildfire spread and chaos in Wuhan wouldn’t happen here, right? We would learn from their mistakes and prepare, right? And then Italy’s mistakes and oh whoops it’s here and nobody has done a thing for containment, medical treatment, the economy…nada. No learning, no preparing, no leadership…and maybe worst of all, no efforts to create a national sense of community and responsibility towards each other.
But of course, we are shocked day after day by the poisonous indifference at the top, even marveling at our continued ability to be shocked at each ugly outburst, each new blatant lie and evidence of corruption and narcissistic failure to govern.
Cutting to the chase, I will summarize by saying that when we look back on this period, it will look like the Influenza Epidemic of 1918-20; the Great Depression, the McCarthy era, and the civil unrest of the late 1960s, all rolled into one.
Looking to the nearer future, I believe that we have to seek justice and redress for those who have committed crimes. And as for those who show signs of wanting to shake off the trance induced by the orange cool aid, we need to think about what deprogramming could look like. Shaming and raging (much as it would seem appropriate because many deaths have been caused) won’t help in that effort, and if we can recoup any citizens from this zombie apocalypse, we should.
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Images of my newest work:
Since last summer I have given a good deal of thought to this coming winter, mulling over ideas for how I can contribute to the comfort and engagement of others. With my back-to-back workshops for the Woodstock School of Art I have worked to inspire a creative spark, encouraging the kind of focus that is healing and invigorating. Nonetheless, I could envision winter, with its increased isolation and Covid anxiety, creating a bigger, deeper need.
So I dreamed up a workshop that I hope will bring us back to our most loved places. Going straight for the heart, it is called, “Love and Longing: Landscape and Mood”. Quite a departure from my roster of zoomed classes so far, which have focused on formal considerations, from color-mixing to composition.
I have long had artwork at my friend Dave’s beautiful shop in Phoenicia, the Tender Land Home. This month we are offering a raffle for a framed oil-on-paper painting with all proceeds going to the Phoenicia Food Pantry. Tickets cost $20 and you can call in to enter if you can’t stop by, 845 688-7213. The drawing is on New Year’s Eve.
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It is in the present that we are truly alive, so I wish you connection, engagement, focus, and yes, joy, in the upcoming months.
While teaching a four-week workshop focusing on composition for the Woodstock School of Art, I began this 12″x12″ painting.
Here is the reference.
I almost always eliminate some detail from my reference photos, and change the location, size, shape and color of elements so much that I am recreating the image. Much as I am taken with the view that I choose and the moment in time it captures, everything I do pictorially is in service of the overall painting.
Here is my first version.
When I took the above shot I had already moved the white stripe twice, ending in a spot in between the other two tries. As you can see, I eliminated the cars to the right and the center line, which veers so sharply left that is squeezes against the car with the headlights (which is the focus of my painting) and divides the picture plane oddly.
I included the phone pole to the right and a very faint indication of the yield sign on the left.
I had several critiques, at this point, as I got away from the piece for a bit and came back. One was that the upper edge of the mountain too closely follows the top edge of the treeline, creating a shape that is less interesting than it could be and also encourages the eye to roll down and off the side of the picture plane to the right.
A successful composition keeps the eye circulating, starting with a focal point and then allowing it to move around the painting. This is something that is not so much a road map from the outset, but explored each time through a combination of conscious decision-making—where am I putting these headlights?—and intuitive painting. Then, when something doesn’t look quite right, getting it to where it does is a process of trial and error.
In terms of color, the blues of the mountain and the off-white of the sky seemed too bright for the time of day that would throw the road into such deep shadow. It is hard to see this in the photograph, but this brightness drew attention away from the headlights.
The below is my next version. I am starting to get an edge at the top of the mountain that is more interesting—not so bumpity-bump. I tried painting in a faint back mountain above and then painted it back out again. I gave a little more height and brightness to the yield sign.
The interaction between the tree line and the top of the mountain still didn’t feel right, and the shape of the shadowy trees going off to the right left me dissatisfied. I had been thinking about lifting the phone poll a bit higher, and decided to do that, as well create a higher shape on the right that alludes more strongly to trees or bushes on the right side of the road.
In what turned out to be my final version, I changed the direction that the highest tree is leaning so that it points toward a flat spot on the ridge line (rather than being an upward bump that presses toward another upward bump) and raised the phone pole—much better!
The yield sign went in and out a few more times and then stayed out—-I felt that, much as I liked the shape of it, it fought with the headlights for attention.
The final color is deeper and softer, with the addition of some reds around the headlights that are very subtly echoed in the off-white of the sky.
And last, I changed the curve of the bottom of the bushes as they meet the verge on the right, from a down curve that follows the white line to an up curve as the shape goes off the picture plane. That small adjustment, really kind of an after-thought, was my favorite tweak of all. It created a satisfying shape with the shoulder that funnels the eye back into the painting and toward the headlights.
Because of all of the—to me, absolutely essential— changes, this small piece took more time to complete than the 30″x40″ that I did as a demo for the workshop, but which needed very little adjustment once I started painting. It is impossible to know at the beginning of the journey how long or complicated it will be!
The result of this particular journey is a simple painting, quietly moody.
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:
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?
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.
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:
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.
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.
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.
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.
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.
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.
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.
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.
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.
For decades now, I have been devoted to painting fog, suspended water that softens our landscapes, sometimes obscuring, sometimes defining:
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.
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.
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.
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.
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.
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.
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.
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.
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.
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.
This show builds upon my Atlas/Hudson River Valley show in March of 2017, which you can read about here:
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:
(Note: Raffle was drawn on 11-16. Tickets were $20. We raised almost $1,300 from the raffle alone!)
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.
For more, you can go to the gallery website:
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:
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.
This workshop feels like a slow flowering from tightly following direction early on to a much more open expression, integrating lessons learned along the way. I feel grateful for the trust that I am given to lead this guided work, since at the beginning of the workshop students feel a little hemmed in and have to go on faith that there are reasons for this, and that we are headed somewhere quite satisfying.
The first quarter of 2019 has been busy not just in the normal progression of events, projects, and deadlines, but also unusually so in the shear number and complexity of sales. Some of these required a fair bit of waltzing on my part, often accompanied by one of my galleries or consultants and assisted by my husband.
As you can imagine, each of these has a story.
A few of these stories:
In late February a designer I work with in Piermont NY, Ned Kelly, called in regard to the large painting below, wanting to show it to a client who already owned a smaller piece of mine. So off we went, my husband and I, that painting and a few others in tow, to meet up with the designer at the client’s home.
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.
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.
There is something in this story that feels very rich to me, maybe starting with the fact that it spans decades of time. There is a lot of life-essence in it—changes, losses, new beginnings, time passing, reconnections, and tracing the timelines of entwined lives.
We did a pop-up house party, a big collaborative effort, in Riverdale, NY. I hadn’t done one of these since the several that I did about a decade ago with Asher Nieman Gallery:
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!
Below, a few of the pieces that departed for new homes:
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:
And in June, for more experienced painters looking to explore a different concept:
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.
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:
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.
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 email@example.com.
In 2011 I wrote a post describing some quirky and heartwarming stories that led to a sale or sales of my work:
Since then, I have accumulated a few more that I want to share.
My seven-year-old collector:
Several years ago I was approached by acquaintances who live in our little hamlet. Could their younger daughter interview me for a school project on her favorite artist?
Juliet had accompanied her father Brett to an open studio I had hosted several months prior, and so thought of me (the other kids did mostly Picasso or Van Gogh, I think!).
So we did that, and then Juliet returned to my studio for a private art class. Her mom, Rebecca–who I barely knew, at that point—read in the yard while we did our session, and at the end she came into the studio and we chatted. Juliet was still quite shy at that time, but summoned her courage to ask me how much I charged for my paintings. Her mother feared that the question was rude, but I said, no, that asking for price in an artist’s studio was perfectly acceptable.
So I pointed to a 36″x36″ and said, “This painting will go out to one of my galleries shortly and is priced at $6,000”, and then I pointed to a few other pieces in a stack and continued, “but those pieces in this stack” and I pulled out one that had been in the possession of my sister for years, “are much, much older and I will sell to a friend for a few hundred dollars”.
Her mom and I continued chatting, and then Juliet tugged on her mothers clothing. “MOM, I want to buy a painting.” Rebecca was floored and a little embarrassed, so I picked up what I thought was just a conversational ball. “Juliet, if you were going to buy a painting, which one would it be?
“That one”—she pointed to the stack, where I had stashed the earlier piece behind a few others. I pulled it out again. “I want to buy THAT one.” Her mom tried to backtrack, or at least table the conversation for later, but Juliet was having none of it. “How much would you charge me for it?”
I thought quickly. I could certainly have happily gifted her the piece, it was clear that she wanted to purchase it. So I told her that I would sell that painting to her for $150. “MOM, she said, I have savings and I WANT to buy the painting.” It went back and forth like that for a bit, Juliet also insisting that they take the painting NOW.
And so they did.
Her parents made the great call to have her go with them to the bank and make her first ever withdrawal and then bring me the money herself.
The angelic-looking and very strong-willed young artist:
I have since enjoyed getting to know the whole family better, as Brett and Rebecca have acquired a few pieces of their own and we have shared a glass of wine or two.
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She googled “Moody Greenscapes”:
And the study for the piece:
So that was just about that for that, as she explained:
Painting from 1987:
A few months ago I received an email from a fellow asking about the inspiration for this painting:
I have to say, I was very excited to see this piece, to me a standout from my abstract figurative period in the 1980’s when I was living in NYC. I remembered the sale of it to a woman who was accustomed to collecting high-end work, and I had always wondered if/how long she had held onto it. Frankly, given what else she had on her walls in her Sutton Place apartment, I was afraid that it had ended up in a dumpster.
It turned out that she does indeed really love her art–all of it, no dumpsters—even those pieces that have been switched around to different residences and in and out of storage. A few years ago, she offered to gift this piece to her sometimes personal assistant/friend and her husband. And so, it ended up in their California home…and sparked the inquiry.
I was communicating with Rich, the husband, batting info back and forth. Eventually, it was his idea to purchase two small pieces to go on either side, accommodating their budget. After studying the photo of their living room with the painting (which we started calling simply the “Sisters” painting, as is is a stylized image of me with my sister Karin behind me), I realized that monotypes would be the best bet, both for color/affect and for price. I recommended going with the pop of warm color that is in the painting, rather than trying to match the greens.
Then the couple decided that they wanted two more prints, for other spots in the room. I sent the four of them off and the next day got the email below:
“Love them! Thank you. I can’t wait to get them framed!
These are the other two that they acquired:
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Does a gift qualify as a sale?
Some 12 or so years ago we had a holiday party and Gary Alexander, art and science writer from Woodstock, came with his girlfriend. He had been introduced to me years before by my then-gallery, the James Cox Gallery, and had gone on to, over time, write extensively about my work. (This included an 8 page article that got into Freud and brain science and required some serious focus, even for me.)
I had my studio heated and lit that night for those who wanted to take a look, and Gary, of course, did. After a bit of circulating on his part, we went out together and he pretty quickly got snagged by a 36″x36″ painting that was almost totally in black and white, big stormy sky gleam over our Catskill mountains backlit to black.
I can’t find a jpeg of the piece, but it had a look very similar to this one, but with a black mountain range in front:
A bit later, when I went back out with another friend, Gary’s partner was kneeing on the floor, rapt, in front of the same painting.
A few months later, this piece began to—ugh!—develop fine cracks in the surface. It was a new brand of stretched linen I had tried, quite pricey, and I think now was actually stretched too tight, a rare thing. Sadly, this painting was not going out to one of my galleries, even though these cracks were not visible from a few yards back.
I knew immediately what to do. I called Gary and left a message on his machine. Can you come by the studio, I have a surprise for you?
He was there within the hour. A gentle, laconic fellow, he did not stay around to chat after I gave him the painting, but his face said it all.
I am quite sure that it was the last time I saw him. He passed away in 2017.
I hope his girlfriend is still enjoying the painting.
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To Madrid on the private jet:
One more, a quick one, because that is how the sale happened.
In June of 2017 a fellow was drawn into my gallery on Martha’s Vineyard, the Louisa Gould Gallery, by a very large marsh painting in the window. That piece was too big, but sitting still wrapped in the gallery was my season’s delivery, dropped by my husband earlier that day. The fellow, from Madrid, helped unwrap a new 44″x68″, and fell in love with the piece instantly. His wife concurred. Problem was, would it fit in their private jet?
Just then, his pilot walked by the front of the gallery and was promptly hailed. Would this piece fit? Hurried consultation in Spanish. Yes, it would!
The piece was wrapped back up and invoiced and paid for, and out the door it went.
The whole encounter took about 20 minutes.
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I have been steadily selling my work for decades, resulting in many hundreds of pieces going out to homes, offices, and public collections around the country and the world. These stories remind me to be grateful for each and every one of those sales, but you can see that most of the ones that stick with me are not necessarily big in dollar amount, but big in heart.
The surface of a body of water is a reflective, moving, open expanse. Beneath it, the water roils with life—rooted or crawling or burrowing or swimming, lifeforms going about their business of feeding off of each other and reproducing and eventually dying. Above it, life also carries on.
One day last July, while staying on Otsego Lake near Cooperstown, NY, I headed to the dock to sit and gaze at the water for a few moments. Looking down at the dock to find my seat, I heard a throaty, loud honk/squack. We had been enjoying visits all week from a mama duck and her nine ducklings, so my first thought as I turned my head was, “that was not a duck!”.
Nothing behind me, but as I straightened to face the side I was now seated at, I saw an adult eagle taking off from the water about 25 feet in front of me. It had been addressing my intrusion, I think!
Shortly after, I decided to make a call to my friend Jenny, with whom I had been playing phone tag. I got her voicemail, and the message went something like this: “Hi Jenny, we’re playing phone tag but I am around today so give a OH MY GOD THAT IT THE BIGGEST *#!%ING FISH I HAVE EVER SEEN IN A LAKE GOTTA GO BYE”.
The fish was directly below my dangling feet, at least two feet across, lit up by slanting sunlight. I know there are fish in these waters, despite an altered ecology due to Zebra mussels—my husband has caught some other years from our small boat and I have seen them feeding off of bugs at sunset. And yet, it was as if this big fish had crawled up on land and joined us on the deck for cocktails, such was my sense of worlds colliding.
I am puzzling out, ever since, what was so startling about this fish sighting. After all, I have been among whales in our 16 foot boat off Race Point in Provincetown—including a pod of killer whales; froliked with a mola and some dolphins in the harbor; snorkled off St. Thomas among all sorts and sizes of sea life.
I think that my jolt of surprise was about expectations, so often the case. I had for days been focused on the surface reflections, and I lost track of the awareness of how much is going on underneath and that during my daily swims, I was intruding upon their busy world. Seeing this large fish directly under my feet brought that crashing back.
As artists we are concerned with both surface appearance and deeper function and meaning. The surface is mesmerizing and ever-changing, feeding our visually-linked emotional hunger, and soothing our quotidian bumps and bruises. The complicated churn beneath, however, mirrors life in its day-to-day, demanding a nuanced and dedicated attention.
This summer has served to remind me of how much I appreciate my galleries. It can be rewarding, sometimes, to hop off that train and do something self-generated like an open studio or studio tour; or an event at a non-gallery venue. But ultimately, a gallery is where people go to view and buy art. It is a business whose purpose is to exhibit and sell art, and therefore all effort is going to that end.
Invitations generally go out in a timely fashion, instead of getting buried in the more pressing things that a non-gallery venue might have to attend to. The galleriest installs the show, with beautiful results based on years of experience. Folks walk in off the streets who are interested in art; search for the local galleries when visiting; respond to invites. A showing of a grouping of selected works in a collector’s home gets on the schedule without delay, follow-ups are done to inquiries as a matter of course…and so on.
That said, the mom-and-pop galleries struggle to stay afloat, with many more friends and lookers than buyers. So collectors, please support your favorite galleries!
And if you are an artist with gallery representation, this is how you can help:
I had a lovely time teaching this past June in Woodstock and August on Nantucket, with a full house for my color-mixing workshop in both places.
These are the demo pieces that came out of the two landscape workshops:
My week on Nantucket was filled with not only with my wonderful students, but also with salt air and good food and warm friendship.
I organized an informal gathering at Thomas Henry Gallery so that my students could see my work there, all of the sea or the island:
The Woodstock School of Art invitational Monothon in July was a printmaker’s dream. Imagine having a printing staff at your beck and call, both master printmakers and monitors, facilitating your every move. Master printmaker Anthony Kirk guided and facilitated my hoped-for plan, my first monotype triptych (and then a few more).
One 8″x10″ was chosen from each participating artist, to be sold at the show there opening September 8th, 3-5pm This is my donation print that will be featured, followed by some of my other wave monotypes.
We will be featuring monotypes and my vintage series, along with oil paintings, in my grouping for the upcoming four-artist show at Albert Shahinian Fine Art in Rhinebeck, NY, their yearly Luminous Landscape exhibition. The show opens on September 29, 5-8pm.
Several of my summer sales:
One of my favorite pieces from the past decade, Perceived Acuity pleases me for its simplicity, movement, elegant shapes, and unusual color:
Link to in-studio available works in oil and on paper:
Coming right up, my teaching week in Provincetown, Sept. 17th for Color Mixing and 18-20th for the Landscape Painting Intensive. If you are feeling inspired and spontaneous, come and join us!
Also upcoming: another residency on Nantucket in November. My focus there and in my studio will be on Atlas/Forms of Water, from the sky to the land to the ocean, and everywhere in between.
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:
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:
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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.
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:
Sold, happily, as a pair:
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:
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Iconic Cloud recently came back to me and I just touched it up, brightening both hillside and sky. I’ve done that a few times recently—must be a shift in my mood.
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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.
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…
My first fully realized Atlas Project installation opens at Thompson Giroux Gallery in Chatham, NY, on March 31st, 2018. Elaborating on my artist’s statement for my discussion below, I am also including photos of all of the work in the show.
Here is the gallery’s press release, nicely weaving together my previous artist’s statement about my paintings with my new Atlas Project statement. Thompson Giroux Gallery and I are very pleased to be pledging a donation from sales to benefit two local land conservancy organizations, a small thank-you to the earth for the beautiful vistas and open spaces that I have been painting for the past decades.
The artworks in Christie Scheele‘s solo exhibition Atlas/Hudson River Valley take the viewer on a walk through the Hudson River Valley’s open spaces from Albany south to Manhattan.
In this exhibition Scheele brings together paintings, drawings, printmaking and mixed media and explores the personal and collective connection between our lives today and our increasingly fragile environment. Scheele continues her immersion into open spacious landscape painting. Using soft lines Scheele allows the viewer to sense and experience a particular place in our local environment; the way the light makes you feel at a specific time of day, how a place has it’s own color palette reflecting memory and process. Scheele’s use of color and atmosphere creates a suspended moment to experience the intangible power of nature.
With each destination on the “Site Map” we are invited to take an intimate look at how process, history and memory play a crucial role in our relationship to our natural environment.
In an effort to support our local land conservation initiatives, artist Christie Scheele and Thompson Giroux Gallery pledge 5% of any sales by the artist during Atlas/Hudson River Valley on view March 31-May 6, 2018 to benefit the Columbia Land Conservancy and the Woodstock Land Conservancy.
Please join us Saturday March 31st from 4-6pm for refreshments and live music by Josh Connors & Otto Gardnier.
Gallery hours: Thursday – Monday 11am to 5pm, Friday 11am to 7pm.
Closed Tuesday & Wednesday
Closed Sunday April 1st
Image credit: Christie Scheele, “Forms of Water”, 2016, Oil on Linen, 30″ x 36″.
Land and water use have been political since the beginning of our time on earth. As these issues become increasingly critical, I have been catapulted —but also eased, nestled— into expanding the environmental discussion that until now has been mostly implied in my work, putting into context my decades-long celebration of the powerful beauty of our planet.
My new Atlas Project maps my work while mapping the world, revealing a web of meaning around and between the individual pieces that I create. The matrix that connects all of my landscape imagery is saturated with memory, both personal and collective. To show these connections, I am working in one thematic grouping at a time, creating a legend, or site map, to each body of work. The Site Map is a key both to a given installation and to the region or theme that it explores.
The Site Map for Atlas/Hudson River Valley, the first of these exhibitions, is created with collage on a Rand McNally road map of the river valley, the Catskills, and our wider region. It contains numbered mini-monotypes of all of the oil paintings on view and corresponding map tacks showing the locale depicted on the map.
Extensions of the Site Map include Mapping Memory, lino/mono prints of regional flora and fauna with written personal observations; a collaged and monoprinted map of the source of the river in the Adirondacks; a collage of the Hudson Canyon, extending 400 miles out to sea from NY Harbor; and a fourth extension discussing climate change and local impacts.
Using drawing, printmaking, pasteling, writing, and mixed-media along with oil paintings, I am exploring the interrelationships of process, history, and memory. These are revealed not only by air, land, and water but also by my materials and personal history as an artist, family and community member, and frequent inhabitant of the outdoor world.
The Atlas Project text is therefore a blend of natural history and personal memory. For the Atlas/Hudson River Valley site map I decided to tuck the text of my stories into an envelope that I created with rice paper. You can see these along the left-hand side of the Site Map, and an open one below:
Other bits of writing get more into the life-cycle of the wildlife depicted. I chose the species included in the map based on my interactions with them but also on a long-standing fascination. We probably all have these — how amazing, to me, is the Red Eft, so bright among the fauna of the NE United States? How cool is the life-cycle? Here is my story about these creatures:
It wasn’t until recently that I realized that the salamanders that I caught as a child near Oneonta, NY, are the same creatures as the Red Efts that I greet after every rain or heavy dew on the trails of the Catskills.
They have three life stages: the first after hatching in ponds; the second when they turn from brown to red and lose their gills, traveling on land for several years to find a new body of water. Finally, in their adult phase the tail widens, and they turn back into a greenish-brown color, living and breeding as aquatic animals with lungs to complete their 12-15-year life span.
At eight I was enamored of catching and releasing in a pond that we swam in during summer months. On one occasion I brought two newts home in a mayonnaise jar, stocked with moss and bits from the bottom of the pond. I changed the water every day with nearby creek water and left the jar under a big tree on our lawn, dropping in small insects from time to time.
One day I spotted eggs in the moss. Such anticipation!
A few days later we heard young voices coming from our front yard just after dark, and looked out to see two boys walking away. The next morning, I found my jar empty of water and newts, the eggs drying in the sun.
Printmaking become an integral part of Atlas/Hudson River Valley. Below are two monotype versions of the image used in “Reflected Suns”, exploring the more graphic possibilities of the medium.
And the mini-monotype on the Site Map (placement of these had to do with compositional concerns, as the numbers and map tacks are what identify the precise locales):
The first energy and ideas for this project evolved in 2016. That fall, I was experiencing profound grief over election results and their potential to set policy that will accelerate climate change. I was also contemplating a scheduled residency on Nantucket in February of 2017, and my upcoming 60th birthday later on that year. The second two factors prompted a question—how do I want to expand and deepen my range as an artist? The first, my accelerating concern over the health of our planet, gave me direction.
This extension to the Site Map addresses the issue of global warming:
These two recent monotypes reflect a view of a section of the Schoharie Creek valley in summer and then during the massive storm flooding caused by Irene:
And two additional monotypes of our region:
The Nantucket residency produced a prototype Site Map where I first used the idea of making small monotype prints of the oil paintings to be included in the grouping or show. It is a very rich process, artistically, entering a new world as you are creating it, and also full of the discomfort of facing the unknown. To read about my residency, go to this link to my blog post:
I so loved the collaging-on-a-map process while working on the Site Map that I decided to create some of these as stand-alone art pieces. The first, below, leaves much of the under-map showing, and in addition to pattern and magazine papers; samaras, wasp galls, and other bits and bobs, I hand dyed some of the green papers used for the Catskill Park area.
I live in the High Peaks area of the Catskills, so many of the pieces in this show are images of the mountains, roadways, streams, and of course, the Ashokan Reservoir, seen above in blue within the Park.
Another collage, also of the River, is more tightly composed and with more contrast than the first, and includes the small river towns of Kingston, Rhinebeck, Poughkeepsie, and Newburg.
For the third, following my own lead with the Site Map extension, I hand-died rice papers in varied blues to reinterpret the Hudson Canyon, the below-water extension of the river itself.
The Hudson River originates in Lake Tear of the Clouds, in a remote area of the Adirondacks, as pinpointed in the upper extension, above. It empties out into New York Harbor:
Many images are Hudson views between NYC and Hudson, NY. The stretch between Poughkeepsie and and Saugerties is well-traveled in the summer by us in our small lake boat. Lower sections are often views from bridges and the train.
This is not a catalogue of all of the wonderful views of the HV and Catskills, but rather an organically created collection of a number of the paintings that I have done over the past 10 years or so of our region. In this way, the grouping is a bit of a retrospective.
I am frequently hiking and driving around both the East side of the Hudson, into the Berkshires, as well as the West side, reaching into of the foothills of the Catskills, providing sources for some favorite views of the river itself as well as farm fields and hillsides.
The final study done for a large piece in oil, now sold, inspired by the Maya Lin Wave Field at Storm King:
My upcoming groupings will include Atlas/Forms of Water, and Atlas/Cape Cod, the former creating overlap with the place-based themes and requiring a different solution for the map (I am thinking maps, actually).
I alternate between focusing on aspects of this work that I am currently inventing and my continued immersion in my open, spacious landscape paintings, looking to draw it all together into a cohesive whole, mirroring the wholeness of life on earth.
A link to the Violet Snow article in the WoodstockTimes:
Many thanks to those who have helped this project along: my husband, Jack, for design and paste-up help; Kate McGloughlin of the Woodstock School of Art for teaching me monotype techniques; Mary Emery for inspiring my rediscovery of printmaking; The Artists Association of Nantucket for hosting the residency that advanced this work; Polly Law for brainstorming titles (including “Atlas Project” itself) and language with me; Jenny Nelson for being my sounding board; Loel Barr for showing me some of her cool collage techniques; Thompson Giroux Gallery for planning and mounting this large and complex solo show; Geoffrey Rogers for his expert framing; and Mark Loete for the perfect photographs of the Site Map and extensions.
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.
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.
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.
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:
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:
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:
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.
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:
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.
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:
For the last demo, in December, I worked in pastel, completing both of these during the two afternoons:
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.
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):
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In April I went to Florida to do a large painting for my friends Karen and Len:
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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.
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.
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:
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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.
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:
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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.
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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. ♥
This spring my mind has been on many of the seasonal imperatives, like creating new work for my galleries on the Cape and Islands and sorting through and shipping or delivering their selections. It has also, after a huge jump-start on my Atlas Project during my residency at the Nantucket Arts Association, been very much on advancing that exploration; and the spring has been spiced up by a few other new projects.
I have scheduled a talk to discuss my Atlas Project for July 15 during the Shandaken Artists Studio Tour, 4:30-6pm. I am currently developing the third sequence, Atlas/Hudson Valley segment. This means that, in addition to other work in my studio, I will hang a grouping of each of the sections that I have been working on this year: Atlas/Forms of Water/Snow; Atlas/Island (Nantucket); and the most extensive sequence to date, the Hudson River and Catskills work and mapping thereof.
In my studio work progresses on my third prototype map for this grouping, which will include mini-monotypes of the paintings involved; maps of various sorts of the area; and a number of other elements, both descriptive and visual. I am hoping that this map will be the working template that clicks for me so that I can use it for new groupings/exhibitions going forward. This involves lots of trial and error, applied problem-solving and then experimenting with the materials (maps, acrylics, printmaking, rice paper, collage, river mud, etc.).
I have found that when I pose myself a complex creative problem to be solved, following a simple process works quite well. I start by seeing how far I can think my way into it, often using moments when I am driving or walking, and when I hit an aspect or aspects that stump me, I plant those as a seed, and then let go of the conscious effort. Some time later—usually weeks—the answer will pop into my head, my subconscious having been at work on it all the while, sometimes aided by new information that comes my way in the interval.
Here is where I am so far with the latest Site Map and associated prints:
Above and below are a few of the Hudson River & Valley/Catskills paintings that are part of the new sequence:
My new series is bringing me ever closer to the many aspects of the natural world that I have in the past observed, researched and delighted in. Which of these things and how they can manifest in the work is the adventure. As is true of most meaningful new endeavors, the space this holds for me is both stimulating and disquieting.
My first gallery show of Atlas/Hudson Valley is scheduled for 2018 at Thompson Giroux Gallery in Chatham, NY.
To view more oil paintings that are currently in my studio, click here:
During spring I am always preparing to deliver or ship new work to my galleries in Martha’s Vineyard, Nantucket, and/or Cape Cod. Below are some new pieces at the Louisa Gould Gallery in Vineyard Haven on Martha’s Vineyard. She always has a beautifully installed grouping of my work on display throughout the year, so please stop by if you are on the island.
My residency at the Arts Association of Nantucket in February resulted in many advancements in my problem-solving curve for the Atlas Project; a number of small paintings; and some monotypes (see my blog post on the residency):
The five monotypes hanging below are a the results of printing sessions in both Woodstock and Nantucket.
And a few others:
See more of my prints and pastels here:
In April I flew to South Florida to do a large painting for friends with a new house there. I managed to pack in one big suitcase everything I needed, including the 16″x20″ version of the wave image that I had painted ahead of time. The one thing that did not fit in my suitcase was the 48″x60″ stretched linen canvas, which we had shipped from my wonderful stretcher-makers in Vermont, Brickyard Enterprises.
I had exactly one week to do this large piece and so, concerned about the possibility of things going wrong, I put in long days for the first several, working under an overhang in the pool enclosure.
Happily, nothing did go wrong, so we had a finished piece on the wall ahead of deadline and then I got to play, spending time at the Morikami Gardens and the beach (more wave paintings to come!).
My winter-spring show with Albert Shahinian Fine Art wrapped up in early April. We had a nice run of of two receptions—one at the gallery and one at my studio; a number of sales of pieces small and large, old and new; and an interview with the Poughkeepsie Journal containing questions that I quite enjoyed:
Several of the pieces that went to new homes from our show “Gallery/Studio: A Symbiosis”:
I am teaching four more workshops in 2017, several of them new. In my workshops I emphasize composition as well as color, and share not only my techniques, but also an eclectic delight in many styles and aspects of contemporary and historical art.
The Woodstock School of Art:
I have plans for some new pastels in the near future—its a good time of year to approach these, with the studio windows wide open (ah, and I must mention sounds of birds and the creek behind my studio), mitigating any effects of flying dust. Below is a fairly recent one, in which I was pushing the color somewhat.
Over the years I have at times felt pressure from some of my galleries to work brighter. I am very often a moody painter, though I don’t ever want to limit myself to any palette, locale, format, or mood. I do love a bright sunny day, but painting dramatic clouds and subtle, tonal color often draws me, and many of my collectors will follow me into that terrain.
With the pastel above, I set myself the intention of not going as dark along the horizon as I often do in a seascape, and in general keeping the colors more saturated or desaturated with white instead of grey. I wanted to see if I could make myself happy with a lower contrast, brighter image. And I did.
This is turning a request, essentially, into a creative problem. When people ask me how and whether being a full time, self-supporting artist affects my decision-making in the studio, that is part of the answer—that if I feel that I am being nudged in a particular direction, can I turn that into an interesting problem? And after I work that one out, what else can I do that is generated exclusively by, to use Kandinsky’s term, inner necessity?
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.
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.
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.
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.
This pastel is a view from the ferry of Tuckenuck, the island just visible on the right, the sky a late-day winter sunset:
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.
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.
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.
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.
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.
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.
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.
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.
Additional works at the gallery:
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.
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/
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: firstname.lastname@example.org.
Shoreline with Blues, 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.
“Contour/Distillations” has been extended to October 11th.
We are tremendously drawn by stuff. The content of our lives—acquiring possessions; taking care of or replacing said possessions; packed schedules; busy brains—loudly demands attention. What we need the most for balance is intervals of the absence of our stuff, and yet it is hard to reset and choose openness over content.
Creating space in my life is an ongoing project, and has long drawn me both to spend a great deal of time outdoors and to paint my landscapes in an open and minimalist manner. This approach quiets the mind, evoking a direct response. Abstract elements can elicit deep, complex feelings, (a theme beautifully explored in Vassily Kandinsky’s 1910 “Concerning the Spiritual in Art”) and larger, flatter shapes with soft edges awaken the wide-open feeling of being outdoors in our atmospheric world.
Delving further into the less-is-more discussion, I think that less is different. If there are many details to look at in a painting they tend to compete for attention, creating an experience that remains purely visual or intellectual without going deeper. With fewer elements and more open space, both the emotional and formal content have enormous impact, often visceral. At the same time, what is there has to hold up under analysis, as there is no hiding.
My process in the studio is comprised of long swaths of time in which I am intensely focused and living within the emerging painting, punctuated by intervals of scrutiny and analysis during which I observe the elements with as much distance as possible. This rigor is, ultimately, what allows the viewer to sink into the piece—-many small just-so decisions to create a seamless whole.
The landscape inevitably holds powerful associations, so painting it becomes a back-and-forth between exploring the narrative and focusing on the formal elements of shape, composition, surface, color, and edge. In this body of work, drawn from the past several years, I am presenting the most open, color-field aspect of my work. Viewers can bring their own memories to these paintings, as mine are only suggested, or simply experience them as a conduit for feeling.
Both the above and below are from my Affinity Series. These pieces start with fraying the edges of raw linen; gluing it down to the board; priming with dark primer, and gridding the whole thing with graphite. Then I do the actual painting, and when it dries some selective regridding. The series evolved from the desire to manipulate my support in a way that moves my other choices in a more abstract direction, and brings attention to the surface.
Sometimes, as in the new postcard piece, “Tender Reds”, there are more shapes included. I see this as being a rhythmic approach—repetition of similar shapes moving across the surface of the painting.
This piece is less minimalist, but just as abstract. The reduced palette with a white sky allows it to hover between a dreamy in-the-moment being there and an on-the-surface color-field painting.
If one were to consider this as a totally abstract piece, the exercise would be to turn it sideways, or upside down. Compositionally, upside down would work very well, but not sideways—too strong of a horizon line, now going vertical. This would be true of every painting I do—abstracted, but not abstract, and usually with a clear horizon line as an anchor.
“White Trail” has a number of horizons, but the strong line in this piece moves on a skipping, slightly diagonal vertical, emphasizing the format. This piece, too, has a sense of rhythmic repetition of forms.
I have been exploring for this show how a large composition can be successful in small format with these oil-on-paper pieces.
Quiet, tonal color is most often my choice, as it tends to sit back, creating emotional space and allowing for introspection.