Moody, Minimalist Landscape Painting

Posts tagged “moody landscape

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!

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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.

 

"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.

 

"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.

 

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.

 

 

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.

 

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

 

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.

 

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)

 


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.

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

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

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

Marie's studio

Marie’s studio

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

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

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

Inviation for MArie Vickerillas show.

Upcoming Shows:

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

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

The Shandaken Studio Tour, July 18-19.

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

A few new pieces:

"Perceived Acuity", 18"x52".

“Perceived Acuity”, 18″x52″.

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

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

A few of my recently sold pieces:

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

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

5 Trees

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

Turqiouse Light

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

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

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

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

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

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

At work on a frigid February day.

At work on a frigid February day.

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

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

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

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

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

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

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

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

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

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