Art and Life in the Time of Coronavirus: June Newsletter
Our hot, dry June has been a boost for my studio work, and with some ample watering, my garden as well.
Paintings have been drying readily in the yard, allowing me to move onto painting another layer or dry a finished piece after just a day of sunshine.
Castle, 18″x52″, available for viewing in my yard/studio.
Tidal Creek with Mackerel Sky, 48″x24″, now safely delivered to the Louisa Gould Gallery on MV.
First up in my news, I am open to scheduling yard/studio visits. I have contemplated an open studio/yard event, but am not ready for that quite yet, and also continue to be busy with painting deadlines. Maybe I will feel ready in a few weeks, or in August.
One of the reasons that I hesitate is because I have seen many of my friends and neighbors relax their guard around closer contact with others and mask wearing. The more that happens the more we become, as a community, a network with multiple access points, as far as the virus is concerned. We need to circle back to what we have learned: we cannot trust anyone, not even ourselves, to not have the virus. The virus is entirely untrustworthy, and not in our control. And growing, nationwide. So, distancing and masks—same old lesson. Rinse, repeat.
That said, the outdoors now provides us with wonderful opportunities for safe encounters. So if you would like to visit my studio, we can select a nice-weather day, and with masks you can take a turn around my studio and ask to see particular pieces outside on one of my tables or an easel.
I have done quite a bit of this sort of contact, taking walks with friends and having a BYO everything picnic, 10-12 feet apart with masks and 3-4 feet with them. You get used to it, though it remains hard with family. And if this reminder is a downer, I am as weary of it as anyone, but see no other course that makes any sense but to stay the course…and live fully in every other possible way.
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In exciting June news, the delivery to Martha’s Vineyard of this season’s new pieces has been safely accomplished, and the Louisa Gould Gallery reopened a few weeks back, following the Massachusetts timeline and protocols.
Long Wave, 12″X48″.
Tidal Creek with Summer Greens, 24″x24″.
Soft Glow over Tidal Flats, 30″x60″.
My other galleries that have been able to reopen are Albert Shahinian Fine Art in Rhinebeck (weekends only), with a large selection of my work:
Overlook with Sparkling River, 16″x20″, 2019.
Summer Hillside, 30″x30″.
And Gallery Jupiter in Little Silver, NJ:
Summer Moors, 2 panels of 12″x12″/ea.
Affinity/On the Grid, 36″x48″.
My online show with Butters Gallery continues. A piece that they have in Portland, OR, was in my thoughts earlier today when we had a strong thunderstorm, complete with hail:
Catskills with Walking Rain, 36″x36″.
The View from Here, 24″x36″, in the online show and currently in my studio.
Link to the work in the show:
https://www.buttersgallery.com/Artist-Detail.cfm?ArtistsID=486&ppage=120
As I prepare to begin work on another commissioned painting, I still have a glow from the recently finished one, a 6’x8′ canvas installed in a private home at the beginning of this month. Here is my blog post on this ambitious piece created during the constraints of the shutdown, in case you missed it:
https://scheeleart.wordpress.com/2020/06/09/a-large-commission-art-in-the-time-of-coronavirus/
Recent sales have included these pieces, through the Louisa Gould Gallery:
Summer Marsh with Junipers, 40″x40″, 2019.
Seaview Dusk, 18″x24″.
And this one, through Albert Shahinian Fine Art:
Path, 48″x40″.
Last but most definitely not least, I am teaching my color-mixing workshop remotely through the Woodstock School of Art, 10-11 am for four Mondays in July, starting July 6th. It has been an enjoyable challenge consolidating the information to fit into the time frame; the live-stream requirements and limitations; and to a lecture/demo rubric (as opposed to my usual conversational style). You can see more here:
If you are an artist who works with color, how would you mix these greens? Green is very complex because it is to begin with a secondary color, made up of blue and yellow. So, it can go toward the yellow or toward the blue; also toward the brown; and then there are tints, tones, and shades. The below doesn’t even go very brown or yellow, but you could still mix a palette with dozens of colors to capture the nuance.
Happy greens of summer!
Atlas/Forms of Water 2019
As the finale of this show and thus this post, I offer a beautifully produced recording of my interview with audience Q&A by Brett Barry of Silver Hollow Audio. This discussion ranges from my decades of contemporary landscape painting to the environmental themes of this show to the gallery-artist relationship. You can listen here:
Water is ease, water is in our dreams, water kills. Water is 60% of our bodies and covers 71% of the planet. We float, swim, sink, ride on, drink, cook and grow with, own, fight over, drown in, boil, crave, gaze at, and are mesmerized by water. It bears repeating: Water is life.
Welcoming Sea, 24″x72″, oil on linen, one of the two largest pieces in the show, 2019.
Water use has also been political since the beginning of our time on earth. As thirst, water rights and fights; severe storms; droughts, fires, floods; and sea level rise become increasingly critical on much of the planet, I have been catapulted into creating an expanded rubric for water imagery in my work. This focuses in on our environment and the challenges it faces, while continuing to celebrate the beauty our planet provides.
After the Rains Came, 24″x36″, oil on linen, 2019.
Atlas /Forms of Water maps the environmental theme while mapping my body of work, revealing a web of meaning around and between the individual pieces that I create. The matrix that connects all of my landscape imagery is saturated with memory, both personal and collective. To make these connections, I have created a site map for the body of work on view.
Maps functions as an aid to find our way. In this context, I am mapping our bodies and states of water; the paintings in the exhibit; memory and self; and threats to our environment, among other, more elusive things.
Site Map/Forms of Water. mixed media/collage and printmaking, 48″x36″.
The Site Map has small monotypes running up both sides that are interpretations of the major paintings in the show. The four other prints are a conversation about threats from global warming: bigger hurricanes in upper left; sea-level rise in upper right: and stream/river flooding in the two at bottom, before and after.
At the top, I have included topographical contours, a loose and flattened version of the Escarpment that curves around Woodstock and then runs north parallel to the Hudson River.
Mountains are the first source of our surface water, and the painting below includes that form of water visible as the Catskill Mountains rising above the back shore, as well as mists, a cloud, and the Hudson River.
Light that Glows, 32″x60″, 2016. (Sold.)
Another new collaged map for the show is of the NYC watershed, water tunnels included. New York City has negotiated—and renegotiated, multiple times—a pass on national regulations that mandate the filtering of drinking water. This exemption is a huge deal, and requires constant monitoring and regulation of the watershed townships within the areas shown, and many mandates for property owners to keep the water flowing into NYC reservoirs clean. While this makes our relationship to our larger neighbor to the south a complex and co-dependent one, it also has transformed our stewardship of our land and streams.
Map Collage, Watershed. 12″x12″, 2019.
The below same-size collage from the year before is of the Hudson Canyon, which is essentially an underwater extension of the Hudson River, extending southeast until it drops off the continental shelf.
Hudson Canyon, collage on board, 12″x12″, 2018.
Also in mixed media/collage, “Forms of Water: A Taxonomy”. This small tintype drawer contains the following seven categories, from the top row moving down: states and phases of visible water; geographical bodies of water; wetlands; types of clouds; storms; waves; and human made forms of water.
Forms of Water: A Taxonomy, 17″x11.5″, 49 mixed media/collage pieces in a vintage tintype tray, 2019.
Creating pieces in vintage boxes, drawers, muffin pans, and child’s blackboards has been one of my ongoing series for some years now. It requires a listening attitude to select and then bend the imagery to work with the support that I have chosen, starting the process in a different way from a blank canvas. In the below piece, the box and the piece of wood that I painted on had elements that determined both what imagery I chose and how I painted it.
Snowplows at Work, oil on board in vintage box, 3″x7″, 2018. (Sold.)
Dusk Drive in 12, oil on board in a vintage muffin pan, 18″x11″, 2018.
For decades now, I have been devoted to painting fog, suspended water that softens our landscapes, sometimes obscuring, sometimes defining:
Blue Dawn, 12″x36″, oil on linen. (Sold.)
Blue/Green Mountain Fog, oil on 4″x12″ board, 2019. (Sold.)
Many of my paintings depict wetlands, so gorgeous and vital for controlling flooding caused by excessive rain events, storms, tidal flooding, and sea-level rise; as well as filtering sediment in water and providing habitat for wildlife. Visually, salt marshes in particular create color and shape that I return to paint over and over again.
Summer at the Creeks, 36″x24″, oil on linen, 2018.
Angle of Repose, 40″x30″, 2015.
Summer Reflected, 12″X12″, oil on linen, 2014.
Manmade forms of water are included in the show, as seen in the flood image near the top and in the vertical painting below, which depicts a wetland developed by humans to cultivate cranberries.
Cranberry Bog, 48″x24″, oil on linen.
The pieces in the show include landscape imagery in oil on linen; monotypes; small works in oil on board; water imagery using vintage boxes, blackboards, and other containers/support; and map collages.
Gale, 16″x16″, oil on linen, 2019. (Sold.)
Stillness, 16″x16″, oil on linen, 2019.
Flow, 16″x16″, oil on linen, 2019. (Sold.)
Drift, 16″x16″, oil on linen, 2019.
I was motivated in fall of 2016 to move towards creating shows that place my open, color-field landscapes within a complex experiential web. Three major factors came into play at just that time.
Sky Meets Water, 18″x24″, oil on linen.
The first was anticipation of a residency in Nantucket scheduled for that winter, and this dovetailed with the second, some thoughts about turning 60 later on in 2018. Given that my background is in contemporary art and that I have always viewed my progressions in landscape painting through that lens; my question to self was—what do I want to do, now, that I haven’t yet?
Among my answers to this question was learning monoprint and linocut techniques, which I now employ both for stand-alone prints and also for the Site Map. Below, some recent monotypes.
Color Field in Blue/Green, 16″x10″, Monotype, 2018.
Overlook with River, 8″x10″, Monotype, 2019.
Waterfall #2, Monotype, 14.25×7.5, 2019.
Reflected Sun #2, 10″x16″. (Sold.)
The third factor was key. Feeling profound grief over the outcome of the 2016 election, my mind returned repeatedly to the single biggest issue on the table, climate change. The conviction that time is running out here and that four years could be critical was decisive in determining the direction that my work has since taken. The acceleration of bad news in this arena since then is eye-popping—sea level rise predictions alone are much, much higher and sooner than was predicted while I was researching the topic in my February, 2017 Nantucket residency.
Moving Storm, 20″x62″, oil on linen.
Flooded Roadway, oil on 6″x6″ board, 2018.
Snow and ice appear in my work and in the context of Atlas/Forms of Water, depict one of the main three phases of water, solid.
Fields of Snow, 12″x12″, oil on linen, 2012. (Sold)
Ebullient Winter, 18″x24″, oil on linen, 2018.
Water vapor, the gaseous state of water, is invisible. The closest thing that is visible is steam, such as the image of a geyser below.
Geyser with Winter Sun, oil on paper, 3 panels of 4.5″/each, 2019.
Globally, precipitation has shifted so that many of the wet places are wetter and the dry locales are dryer. For this reason, I decided to create and include several pieces that depict water’s opposite, fire.
Fire #1, oil on 6″x6″ board. (Sold)
Fire #2, oil on 6″x6″ board. (Sold)
Fire Snake, oil on 4″x12″ board. (Sold)
My imagery is heavily weighted toward the Northeast of the United States, as that is where I have spent much of my life. But I could be anywhere on the planet, exploring the same themes, and I bring with me memories of living in the arid Andes and central Castile; painting in rain-soaked Western Ireland; traveling Northern California to capture the coastal golden hillsides of late summer; and returning to the Nebraska flatlands of my early childhood. It all informs the matrix. It is all water.
Red Sky over Tidal Flats, oil on 4″x12″ board.
Yellow Gleam, oil on 4″x12″ board.
Affinity/Dusk Shoreline, 12″x16″, 2014. (Sold.) My Affinity Series involves these steps: fraying the edges of a piece of raw linen and affixing it to a slightly larger board; priming the whole thing dark and then gridding with graphite; painting the image; selectively regridding over areas where the graphite got painted out.
Affinity/Lightening Storm, 16″x16″, oil on linen with distressed edges on board overlaid with graphite gridding, 2013.
2 Shores/Reflected Sun, 12″x12″.
Evening Shoreline, oil on linen, 12″X12″.
This show builds upon my Atlas/Hudson River Valley show in March of 2017, which you can read about here:
https://scheeleart.wordpress.com/2018/03/21/atlas-project-hudson-river-valley-and-catskills/
Serene Sea/Quirky Cloud, 40″x40″, oil on linen, 2005/2019.
Overlook with Sparkling River, 16″x20″, 2019.
Soft Greys from Peaked Hill, 10″X30″, 2015. (Sold.)
We are collaborating with Riverkeeper and Catskill Mountainkeeper on a fundraising benefit October 12th, 5-8. That evening, 15% of sales will go to these vital local environmental organizations, as well as the proceeds of a raffle for this 12″x12″ painting:
Stormy Sea, 12″X12″.
(Note: Raffle was drawn on 11-16. Tickets were $20. We raised almost $1,300 from the raffle alone!)
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Sweetest Sales, Part Two
In 2011 I wrote a post describing some quirky and heartwarming stories that led to a sale or sales of my work:
https://scheeleart.wordpress.com/2014/11/11/sweetest-sales
Since then, I have accumulated a few more that I want to share.
My seven-year-old collector:
Several years ago I was approached by acquaintances who live in our little hamlet. Could their younger daughter interview me for a school project on her favorite artist?
Juliet had accompanied her father Brett to an open studio I had hosted several months prior, and so thought of me (the other kids did mostly Picasso or Van Gogh, I think!).
So we did that, and then Juliet returned to my studio for a private art class. Her mom, Rebecca–who I barely knew, at that point—read in the yard while we did our session, and at the end she came into the studio and we chatted. Juliet was still quite shy at that time, but summoned her courage to ask me how much I charged for my paintings. Her mother feared that the question was rude, but I said, no, that asking for price in an artist’s studio was perfectly acceptable.
So I pointed to a 36″x36″ and said, “This painting will go out to one of my galleries shortly and is priced at $6,000”, and then I pointed to a few other pieces in a stack and continued, “but those pieces in this stack” and I pulled out one that had been in the possession of my sister for years, “are much, much older and I will sell to a friend for a few hundred dollars”.
Her mom and I continued chatting, and then Juliet tugged on her mothers clothing. “MOM, I want to buy a painting.” Rebecca was floored and a little embarrassed, so I picked up what I thought was just a conversational ball. “Juliet, if you were going to buy a painting, which one would it be?
“That one”—she pointed to the stack, where I had stashed the earlier piece behind a few others. I pulled it out again. “I want to buy THAT one.” Her mom tried to backtrack, or at least table the conversation for later, but Juliet was having none of it. “How much would you charge me for it?”
I thought quickly. I could certainly have happily gifted her the piece, it was clear that she wanted to purchase it. So I told her that I would sell that painting to her for $150. “MOM, she said, I have savings and I WANT to buy the painting.” It went back and forth like that for a bit, Juliet also insisting that they take the painting NOW.
And so they did.
Her parents made the great call to have her go with them to the bank and make her first ever withdrawal and then bring me the money herself.
The angelic-looking and very strong-willed young artist:
I have since enjoyed getting to know the whole family better, as Brett and Rebecca have acquired a few pieces of their own and we have shared a glass of wine or two.
“Blue Ridges”, also in the family’s collection.
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She googled “Moody Greenscapes”:
“Hi,
Green Waves, 13″x76″ overall, oil on linen.
And the study for the piece:
Second and final small version of Green Wave., oil on paper, 5″x28″.
So that was just about that for that, as she explained:
Painting from 1987:
A few months ago I received an email from a fellow asking about the inspiration for this painting:
Sisters painting, 40″x50″, 1987.
I have to say, I was very excited to see this piece, to me a standout from my abstract figurative period in the 1980’s when I was living in NYC. I remembered the sale of it to a woman who was accustomed to collecting high-end work, and I had always wondered if/how long she had held onto it. Frankly, given what else she had on her walls in her Sutton Place apartment, I was afraid that it had ended up in a dumpster.
It turned out that she does indeed really love her art–all of it, no dumpsters—even those pieces that have been switched around to different residences and in and out of storage. A few years ago, she offered to gift this piece to her sometimes personal assistant/friend and her husband. And so, it ended up in their California home…and sparked the inquiry.
I was communicating with Rich, the husband, batting info back and forth. Eventually, it was his idea to purchase two small pieces to go on either side, accommodating their budget. After studying the photo of their living room with the painting (which we started calling simply the “Sisters” painting, as is is a stylized image of me with my sister Karin behind me), I realized that monotypes would be the best bet, both for color/affect and for price. I recommended going with the pop of warm color that is in the painting, rather than trying to match the greens.
Then the couple decided that they wanted two more prints, for other spots in the room. I sent the four of them off and the next day got the email below:
“Love them! Thank you. I can’t wait to get them framed!
Framing options—the final decision was the warm mat, since these two are printed on ochre-colored paper.
These are the other two that they acquired:
Monotype/Divided Fields.
Monotype/Mountain Stream.
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Does a gift qualify as a sale?
Some 12 or so years ago we had a holiday party and Gary Alexander, art and science writer from Woodstock, came with his girlfriend. He had been introduced to me years before by my then-gallery, the James Cox Gallery, and had gone on to, over time, write extensively about my work. (This included an 8 page article that got into Freud and brain science and required some serious focus, even for me.)
I had my studio heated and lit that night for those who wanted to take a look, and Gary, of course, did. After a bit of circulating on his part, we went out together and he pretty quickly got snagged by a 36″x36″ painting that was almost totally in black and white, big stormy sky gleam over our Catskill mountains backlit to black.
I can’t find a jpeg of the piece, but it had a look very similar to this one, but with a black mountain range in front:
A bit later, when I went back out with another friend, Gary’s partner was kneeing on the floor, rapt, in front of the same painting.
A few months later, this piece began to—ugh!—develop fine cracks in the surface. It was a new brand of stretched linen I had tried, quite pricey, and I think now was actually stretched too tight, a rare thing. Sadly, this painting was not going out to one of my galleries, even though these cracks were not visible from a few yards back.
I knew immediately what to do. I called Gary and left a message on his machine. Can you come by the studio, I have a surprise for you?
He was there within the hour. A gentle, laconic fellow, he did not stay around to chat after I gave him the painting, but his face said it all.
I am quite sure that it was the last time I saw him. He passed away in 2017.
I hope his girlfriend is still enjoying the painting.
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To Madrid on the private jet:
One more, a quick one, because that is how the sale happened.
In June of 2017 a fellow was drawn into my gallery on Martha’s Vineyard, the Louisa Gould Gallery, by a very large marsh painting in the window. That piece was too big, but sitting still wrapped in the gallery was my season’s delivery, dropped by my husband earlier that day. The fellow, from Madrid, helped unwrap a new 44″x68″, and fell in love with the piece instantly. His wife concurred. Problem was, would it fit in their private jet?
Just then, his pilot walked by the front of the gallery and was promptly hailed. Would this piece fit? Hurried consultation in Spanish. Yes, it would!
The piece was wrapped back up and invoiced and paid for, and out the door it went.
The whole encounter took about 20 minutes.
Rolling Cloud, 44″x68″.
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I have been steadily selling my work for decades, resulting in many hundreds of pieces going out to homes, offices, and public collections around the country and the world. These stories remind me to be grateful for each and every one of those sales, but you can see that most of the ones that stick with me are not necessarily big in dollar amount, but big in heart.
Atlas Project/Hudson River Valley and Catskills
My first fully realized Atlas Project installation opens at Thompson Giroux Gallery in Chatham, NY, on March 31st, 2018. Elaborating on my artist’s statement for my discussion below, I am also including photos of all of the work in the show.
Here is the gallery’s press release, nicely weaving together my previous artist’s statement about my paintings with my new Atlas Project statement. Thompson Giroux Gallery and I are very pleased to be pledging a donation from sales to benefit two local land conservancy organizations, a small thank-you to the earth for the beautiful vistas and open spaces that I have been painting for the past decades.
Forms of Water, 30″x36″. (G)
The artworks in Christie Scheele‘s solo exhibition Atlas/Hudson River Valley take the viewer on a walk through the Hudson River Valley’s open spaces from Albany south to Manhattan.
In this exhibition Scheele brings together paintings, drawings, printmaking and mixed media and explores the personal and collective connection between our lives today and our increasingly fragile environment. Scheele continues her immersion into open spacious landscape painting. Using soft lines Scheele allows the viewer to sense and experience a particular place in our local environment; the way the light makes you feel at a specific time of day, how a place has it’s own color palette reflecting memory and process. Scheele’s use of color and atmosphere creates a suspended moment to experience the intangible power of nature.
With each destination on the “Site Map” we are invited to take an intimate look at how process, history and memory play a crucial role in our relationship to our natural environment.
In an effort to support our local land conservation initiatives, artist Christie Scheele and Thompson Giroux Gallery pledge 5% of any sales by the artist during Atlas/Hudson River Valley on view March 31-May 6, 2018 to benefit the Columbia Land Conservancy and the Woodstock Land Conservancy.
Please join us Saturday March 31st from 4-6pm for refreshments and live music by Josh Connors & Otto Gardnier.
For more information please visit www.thompsongirouxgallery.com or call 518-392-3336.
Thompson Giroux Gallery is located at 57 Main Street, Chatham NY 12037.
Gallery hours: Thursday – Monday 11am to 5pm, Friday 11am to 7pm.
Closed Tuesday & Wednesday
Closed Sunday April 1st
Image credit: Christie Scheele, “Forms of Water”, 2016, Oil on Linen, 30″ x 36″.
Land and water use have been political since the beginning of our time on earth. As these issues become increasingly critical, I have been catapulted —but also eased, nestled— into expanding the environmental discussion that until now has been mostly implied in my work, putting into context my decades-long celebration of the powerful beauty of our planet.
River with Lighthouse, 12″x36″, oil on linen.
Ebullient Winter, 18″x24″, oil on linen. (G)
My new Atlas Project maps my work while mapping the world, revealing a web of meaning around and between the individual pieces that I create. The matrix that connects all of my landscape imagery is saturated with memory, both personal and collective. To show these connections, I am working in one thematic grouping at a time, creating a legend, or site map, to each body of work. The Site Map is a key both to a given installation and to the region or theme that it explores.
The Site Map for Atlas/Hudson River Valley, the first of these exhibitions, is created with collage on a Rand McNally road map of the river valley, the Catskills, and our wider region. It contains numbered mini-monotypes of all of the oil paintings on view and corresponding map tacks showing the locale depicted on the map.
Site Map with Extensions, as it appears on the gallery wall.
Extensions of the Site Map include Mapping Memory, lino/mono prints of regional flora and fauna with written personal observations; a collaged and monoprinted map of the source of the river in the Adirondacks; a collage of the Hudson Canyon, extending 400 miles out to sea from NY Harbor; and a fourth extension discussing climate change and local impacts.
Using drawing, printmaking, pasteling, writing, and mixed-media along with oil paintings, I am exploring the interrelationships of process, history, and memory. These are revealed not only by air, land, and water but also by my materials and personal history as an artist, family and community member, and frequent inhabitant of the outdoor world.
The Atlas Project text is therefore a blend of natural history and personal memory. For the Atlas/Hudson River Valley site map I decided to tuck the text of my stories into an envelope that I created with rice paper. You can see these along the left-hand side of the Site Map, and an open one below:
Detail from left-hand panel, “Mapping Memory”.
Other bits of writing get more into the life-cycle of the wildlife depicted. I chose the species included in the map based on my interactions with them but also on a long-standing fascination. We probably all have these — how amazing, to me, is the Red Eft, so bright among the fauna of the NE United States? How cool is the life-cycle? Here is my story about these creatures:
It wasn’t until recently that I realized that the salamanders that I caught as a child near Oneonta, NY, are the same creatures as the Red Efts that I greet after every rain or heavy dew on the trails of the Catskills.
They have three life stages: the first after hatching in ponds; the second when they turn from brown to red and lose their gills, traveling on land for several years to find a new body of water. Finally, in their adult phase the tail widens, and they turn back into a greenish-brown color, living and breeding as aquatic animals with lungs to complete their 12-15-year life span.
At eight I was enamored of catching and releasing in a pond that we swam in during summer months. On one occasion I brought two newts home in a mayonnaise jar, stocked with moss and bits from the bottom of the pond. I changed the water every day with nearby creek water and left the jar under a big tree on our lawn, dropping in small insects from time to time.
One day I spotted eggs in the moss. Such anticipation!
A few days later we heard young voices coming from our front yard just after dark, and looked out to see two boys walking away. The next morning, I found my jar empty of water and newts, the eggs drying in the sun.
Reflected Suns, 32″x48″, oil on linen.
Printmaking become an integral part of Atlas/Hudson River Valley. Below are two monotype versions of the image used in “Reflected Suns”, exploring the more graphic possibilities of the medium.
MReflected Sun #2, 10″x16″, monotype. (Sold)
MReflected Sun #1, 10″x16″, monotype. (G)
And the mini-monotype on the Site Map (placement of these had to do with compositional concerns, as the numbers and map tacks are what identify the precise locales):
The first energy and ideas for this project evolved in 2016. That fall, I was experiencing profound grief over election results and their potential to set policy that will accelerate climate change. I was also contemplating a scheduled residency on Nantucket in February of 2017, and my upcoming 60th birthday later on that year. The second two factors prompted a question—how do I want to expand and deepen my range as an artist? The first, my accelerating concern over the health of our planet, gave me direction.
This extension to the Site Map addresses the issue of global warming:
These two recent monotypes reflect a view of a section of the Schoharie Creek valley in summer and then during the massive storm flooding caused by Irene:
MVroman’s Nose/Green Fields, 8″x10″. (Sold)
Vroman’s Nose/Flooded Fields. (Sold)
And two additional monotypes of our region:
MSweeping Sky with Fields, 8″x10″, monotype. (Sold)
MWhite Field #1, 8″x10″, monotype. (Sold)
The Nantucket residency produced a prototype Site Map where I first used the idea of making small monotype prints of the oil paintings to be included in the grouping or show. It is a very rich process, artistically, entering a new world as you are creating it, and also full of the discomfort of facing the unknown. To read about my residency, go to this link to my blog post:
https://scheeleart.wordpress.com/2017/03/18/artists-residency-on-nantucketnew-atlas-project/
I so loved the collaging-on-a-map process while working on the Site Map that I decided to create some of these as stand-alone art pieces. The first, below, leaves much of the under-map showing, and in addition to pattern and magazine papers; samaras, wasp galls, and other bits and bobs, I hand dyed some of the green papers used for the Catskill Park area.
Atlas/Hudson River, 18″x14″, mixed media/collage on Rand McNally Road Map on board. (Sold)
I live in the High Peaks area of the Catskills, so many of the pieces in this show are images of the mountains, roadways, streams, and of course, the Ashokan Reservoir, seen above in blue within the Park.
Esopus Mists, 12″x12″, oil on linen. (G)
Indigos with Glowing Light, 18″x24″. (Sold)
Affinity/Dusk Road, 30″x30″, oil on linen with frayed edges on primed board overlaid with graphite gridding.
Another collage, also of the River, is more tightly composed and with more contrast than the first, and includes the small river towns of Kingston, Rhinebeck, Poughkeepsie, and Newburg.
Atlas/HV Collage, 2 panels of 16″x8″/ea.
For the third, following my own lead with the Site Map extension, I hand-died rice papers in varied blues to reinterpret the Hudson Canyon, the below-water extension of the river itself.
Hudson Canyon Collage, 12″x12″. (G)
The Hudson River originates in Lake Tear of the Clouds, in a remote area of the Adirondacks, as pinpointed in the upper extension, above. It empties out into New York Harbor:
Harbor with Soft Light, 13″x20″, pastel on paper.
Many images are Hudson views between NYC and Hudson, NY. The stretch between Poughkeepsie and and Saugerties is well-traveled in the summer by us in our small lake boat. Lower sections are often views from bridges and the train.
2 Shores/Reflected Sun, 12″x12″, oil on linen.
Refracted Golds, 20″x40″, oil on linen. (Sold)
Downriver, 24″x24″, oil on linen.
River with Big Sky, 24″x30″, oil on linen. (G)
Rare Summer Silence, 20″x30″, oil on linen. (Sold)
River Island with Castle, 9″x36″, oil on board.
Gleaming Bridge, 20″x40″. (Sold)
Affinity/Shore Lights, 16″x8″, oil/linen/board/graphite gridding.
Red River Shore, 20″x30″. (Sold)
This is not a catalogue of all of the wonderful views of the HV and Catskills, but rather an organically created collection of a number of the paintings that I have done over the past 10 years or so of our region. In this way, the grouping is a bit of a retrospective.
I am frequently hiking and driving around both the East side of the Hudson, into the Berkshires, as well as the West side, reaching into of the foothills of the Catskills, providing sources for some favorite views of the river itself as well as farm fields and hillsides.
Triptych in Reds, 24″x24″/ea. panel, oil on linen.
Long Storm Cloud, 8″X28″, pastel on paper.
Meadow with Peaks, 14″X18″. (Sold)
Trees with Mists, 18″x48″, oil on linen. (G)
Mountain Sky/Blues, 24″x48″, oil on linen. (Sold)
“September Dawn”, 10″x28″, pastel on paper. (Sold)
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Particularity of Place, 36″x36″, oil on linen. (G)
Layers of Meaning, 30″x24″, oil on linen. (Sold)
Snow Fields, 12″x12″, oil on linen. (G)
Snow Shadows, 12″x12″, oil on linen. (G)
The final study done for a large piece in oil, now sold, inspired by the Maya Lin Wave Field at Storm King:
Green Waves, 5″x28.5″, oil on paper.
My upcoming groupings will include Atlas/Forms of Water, and Atlas/Cape Cod, the former creating overlap with the place-based themes and requiring a different solution for the map (I am thinking maps, actually).
I alternate between focusing on aspects of this work that I am currently inventing and my continued immersion in my open, spacious landscape paintings, looking to draw it all together into a cohesive whole, mirroring the wholeness of life on earth.
Sweeping Greens/Jostling Trees, 28″x68″, oil on linen. (Sold)
A link to the Violet Snow article in the WoodstockTimes:
https://hudsonvalleyone.com/2018/04/02/artist-christie-scheeles-map-magic/
Many thanks to those who have helped this project along: my husband, Jack, for design and paste-up help; Kate McGloughlin of the Woodstock School of Art for teaching me monotype techniques; Mary Emery for inspiring my rediscovery of printmaking; The Artists Association of Nantucket for hosting the residency that advanced this work; Polly Law for brainstorming titles (including “Atlas Project” itself) and language with me; Jenny Nelson for being my sounding board; Loel Barr for showing me some of her cool collage techniques; Thompson Giroux Gallery for planning and mounting this large and complex solo show; Geoffrey Rogers for his expert framing; and Mark Loete for the perfect photographs of the Site Map and extensions.
News, Pictures, and a big Save-the-Date as we Launch into 2018
Hello all, happy oncoming 2018! I have quite a lot to report in this year-end update, both from 2017 and about events on the schedule so far for the coming year.
Atlas Project
Many folks have asked me to send out a save-the-date for my Atlas/Hudson River Valley show opening on Match 31 at the Thompson Giroux Gallery in Chatham New York. I’ll do a separate email soon so that it’s easy to find in the inbox, but here on my blog I can talk about the exhibition in more detail.
This will be the first full-size installation of one of my Atlas Project-themed exhibitions. Later themes might be Atlas/Cape Cod or Atlas/Forms of Water, but I an delighted to be launching this within my own Hudson River Valley/Catskills, both as the theme and the locale of the show. Included will be monoprints, mixed media/collages, and pastels along with the oils, and the Site Map that explains it all.
Downriver, 24″x24″, oil on linen.
The Site Map is an integral part of an Atlas Project installation, a map of the show itself which includes tiny monoprints of all of the oil paintings in the show overlaid on a collaged map of the Hudson River Valley. It includes numbered map tacks that show the locales of the scenes depicted; river towns and bridges and a key to the map and the show.
This map will have to be finished and photographed at the last minute, when I am sure of exactly which oil paintings are going into the show.
A side panel is Mapping Memory/Wildlife of Particular Interest that includes lino-monoprints and some text of my associated personal memories. Three panel extensions coming asymmetrically off the right side and top and bottom of the main map include a collage/lino/mono of the upper Hudson, the source of the river in the Adirondaks; another of Hudson Canyon, which continues out to sea from New York Harbor for 400 miles; and a third comprised of short discussion and collage/prints of three local trees endangered by climate change.
Hudson Canyon collage in progress, mixed papers (including hand-dyed rice papers) on map on board.
New Blog Post
In current news, I have recently published a blog post on the intersecting themes of teaching, independent studio practice, and group dynamic for the artist:
https://scheeleart.wordpress.com/2017/12/28/teaching-creating-community-and-fostering-independence/
I welcome any comments on the post!
Many Things Nantucket
In January I will again be part of an exchange between artists of Woodstock and Nantucket, this time to take place at the Woodstock School of Art. We will be working together for three days in the graphics studio; doing a few studio visits and looking at the historical connection between the two arts colonies; eating and schmoozing. (What could be better?)
Part I of this exchange took place in September at the Artists Association of Nantucket with a show of the four Woodstock-area artists seen below, who had all taught and/or done a residency there:
The plan was for the four of us to show up for a closing reception and artist’s talk on September 23rd, and my plan was to to do a tour of the Cape and Islands with my husband, starting in Provincetown, checking in with and delivering to or picking up from my three galleries in the area.
Just as we were coming onto the Cape Tropical Storm Jose was approaching the area, causing concern over the Cape bridges closing as well as cancelled ferries. From Provincetown we saw some amazing sights during the storm, particularly the surf from the high dunes on Longnook Beach.
We had a ferry reservation to continue on to Martha’s Vineyard, and from there I had another res for the fast ferry to Nantucket a day later.
Three of the four artists did manage to get on Cape, or in my case, to Martha’s Vineyard, and then reschedule ferries to arrive for our reception at the AAN. We suffered a rocky crossing and then enjoyed a lovely evening of spirited discussion and camaraderie.
I also arrived in time to pay a visit to my new gallery on Nantucket, Thomas Henry Gallery. I am looking forward to painting some large, open seascape and marsh imagery for the 2018 season there:
http://thomashenrygallery.com/Christie_Scheele.html
My residency at the Artists Association of Nantucket in February was one of the highlights of 2017 for me, beautifully intensive and key in advancing the rubric for my Atlas Project:
Summer Dune, 9″x24″, oil on linen.
The below was my second prototype for a site map for a grouping of Atlas Project work. From here I was able to take what works best (the monotype thumbnails of paintings that I had done) and change things that I didn’t (particularly the text) for the next map, for Atlas/Hudson River Valley. I would also love to return to Nantucket for a more fleshed-out exploration of of the theme.
Site Map with lino map of Nantucket; monotype thumbnails; tracings; writing and letterpress.
Fall Studio Demonstrations
This fall I did three second-Saturday demo/open studios, starting in October. During the first I worked on small oil-on-paper pieces, like this:
Study/Headlights, oil on primed paper, 5″x12″.
The below I developed during the November demo, which had the theme of working large in oil. I had a nice group who I can only describe as riveted, watching for about two and a half hours while I painted and explained. Then the mood shifted to jolly when I called for a break and lively conversation ensued over a glass of wine.
The slightly textured surface of this piece is something I love to do every so often, allowing a little more of the underpainting to show through, creating a subtle vibration.
Reflected Suns, 32″x48″, to be included in my spring Atlas/Hudson River Valley show.
Here is a link to the video created by the Woodstock School of Art from a painting demonstration that I did there a few summers back:
https://woodstockschoolofart.org/author/christie-scheele/
For the last demo, in December, I worked in pastel, completing both of these during the two afternoons:
Oak Bluffs/Lights/Fog, 10″x10″, pastel on paper.
Trailing Fields, 6″x22″, pastel on paper.
Other Highlights from 2017
I had a successful show last winter/spring with my gallery of 20 years, Albert Shahinian Fine Art in Rhinebeck. It is such a pleasure to work with Albert and Joanna, who are also friends and neighbors in our Hudson Valley arts community.
Hill Beyond Hill, 3 panels of 24″x20″/ea., sold by Albert Shahinian Fine Art
Here is a link to my post on the show, updated to label pieces that sold later in the year, as well as those that went during the show (the others are, of course, still available):
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In April I went to Florida to do a large painting for my friends Karen and Len:
Working in the pool enclosure, enjoying the April warmth and humidity. Last touches.
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During my third year with Louisa Gould Gallery and my 18th or so showing on the Vineyard, we had the kind of year that the artist really looks for. I had some relaxing off-season visits that gave us more time to connect. The crazy Cape and Islands tour in September with Hurricane Jose was followed by several days of sun/fog/sun/fog, rolling in and out, that had even islanders exclaiming. This started as I was leaving Nantucket on the ferry, included a wild rainbow at sea, and continued into the next day while I photographed favorite and new locales on MV and Chappy with my husband. There will be paintings to follow!
This piece, which I delivered to LGG the next month, was of a moment just after the fog cleared.
Big Sky over Sengekontacket, 44″x68″.
In 2017 Louisa and I sold work big, medium, and small and in a range of palettes and formats. When this happens, I feel truly appreciated and at home in the gallery. The below are a few that found new homes since my last post.
Gleaming Sunset, 24″x24″.
Whispering Marsh, 12″x36″. sold by Louisa Gould Gallery.
Older Favorites Find New Homes
In the past several months I have been delighted to see a number of pieces that, despite generating admiration, have lingered too long in gallery or studio leave my walls for others:
Winter Light, 24″x30″, from my December demo/open studio; a view of the Jersey Turnpike with the gorgeous, polluted light of a winter afternoon.
Height of Summer, 36″x48″, from my September demo/open studio; a romantic piece with unusual color that has received much attention.
Mountain Fields, 20″x24″pastel on paper, a subtle-bright interpretation, sold by Albert Shahinan Fine Art.
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The Luminous Landscape at Albert Shahinian Fine Art continues through the month of January, closing with a last reception on January 27th. I have several pieces in the show and many more in inventory, accessible for viewing. I look forward to the reception, which is also a 20th-year anniversary party, an opportunity to enjoy the warmth of our arts community during the winter months.
http://www.shahinianfineart.com/ChristieScheele.html
En Masse, the dynamic small works show at Thompson Giroux Gallery in Chatham, NY, continues to January 7th. They have been generating anticipation for my spring show with the many small works they have of mine seeded throughout the gallery, as well as larger pieces in inventory. One of my last sales of 2017 was Blue Tidal Pool, one of my favorite paintings from the past decade:
BlueTidal Pool, 20″X24″, sold by Thompson Giroux Gallery.
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I have a new workshop at the Woodstock School of Art, rescheduled for March 3rd-4th. The theme, somewhat more descriptive than my workshops that emphasize formal elements, is for students to create a suite of paintings of the four seasons.
Many representational painters explore a zone on the spectrum of realism, on one end, and very abstracted imagery, on the other. I have often emphasized the abstract in my teaching, feeling that the go-to for landscape painters early on is to try to copy everything they see within a scene. So my approach is to encourage students to think instead about the needs of the painting, inventing an image that is not a copy but a new reality.
In the past year I have been closely examining my connection to place through my Atlas Project. The theme of this new workshop, more descriptive than abstract, may have emerged from these musings. That said, students will be focusing their attention, with my help, on all of those formal elements in order to create compelling, personal paintings.
https://woodstockschoolofart.org/course/form-color-narrative-landscape-painting-seasons/
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I look forward to a focused, productive year ahead. We have much work to do on the national level, and also need our creative retreats more than ever. I hope you enjoy yours, and am filled with gratitude that you have supported mine. ♥
Late Summer 2017 Newsletter
June brought two great-story sales. The first was of this piece, a favorite of mine since I did it a few years back. My husband delivered it to Louisa Gould Gallery on Martha’s Vineyard in early June and a few days later it was headed to Madrid on a private jet. The collector even helped unwrap it after being drawn into the gallery by my 50″x90″ piece in the window.
Rolling Cloud, 44″x62″.
This octych has received a great deal of attention, including a blog post of its own. It was shown and appreciated at Gold Gallery in Boston, and then at Albert Shahinian Fine Art in Rhinebeck this past winter.
Green Waves, 13″x76″ overall, oil on linen.
https://scheeleart.wordpress.com/2015/03/24/the-evolution-of-a-new-concept/
In May I was contacted by a woman in NC who told me that she wanted to buy it, and had the perfect spot for it. She had read the blog post and loved the story. She had never bought original art before, except for one print. She found me through a google search.
After much back and forth, it turned out that she had seen the price on the small oil-on-paper study that I had done leading up to the final piece, and the actual cost was way beyond what she had anticipated or budgeted for. So I offered her some other, smaller pieces in the green palette that she prefers…and then didn’t hear back from her for a few weeks.
This happens with some frequency. For a discussion of why original art created by a career artist costs what it does, you can read this blog post:
https://scheeleart.wordpress.com/2014/11/02/this-painting-costs-what/
In the end, she could not resist the piece and I could not resist making a price accommodation to enable her to have it, though it was still a huge leap for her both in cost and in faith, as she hadn’t set eyes on the actual piece.
My galleriest Albert Shahinian, who had the piece and is also an expert art handler, did the packing and shipping, and here is Green Waves in its perfect spot:
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My Atlas Project is gaining momentum and focus. I earlier began a description of the evolution of this endeavor and got so carried away that I found I needed a separate post, which I will be working on going forward.
In brief, motivated last fall by a number of factors including an upcoming residency on Nantucket and my fears over an acceleration of climate change with the new administration in Washington, I decided I needed to marry more concretely my deep love of the outdoor world and its complexities with my visual expression.
The third and most complex grouping, Atlas/Hudson River Valley had a trial run during a recent studio tour/open studio. Each site map circles closer to what I want, this most recent one being a collaged road map with map pins showing the locations of the paintings in the grouping and monotype thumbnails of the same. Like the earlier versions, this folds up into a small map.
I ran out of time—this was an excruciatingly slow process, with many design elements and much trial and error—and didn’t get any of the written piece figured out, but in discussion during the open studio I figured out how to approach this in a way that has integrity with the map.
This will all coalesce into a large solo show at Thompson Giroux Gallery in Chatham, NY, March 31-May 6 in 2018, of Atlas/Hudson river Valley and Atlas/Forms of Water. There will be many more paintings and therefore more thumbnails on the map; most likely an off-center extension at top right to show the source of the river in the Adirondacks; and a narrow extension the length of the left side to add written and visual detail about our area. The show will feature monotypes, collages, and pastels as well as oil paintings.
Overlook with River, 24″x36″, the last piece finished before the July Tour.
The Studio Tour overall was a sweet weekend with folks from my mailing list coming through as well as those who were new to me. Usually it is a low-pressure event for me and I have a lovely time at the outset setting up my studio for viewing. I had knocked myself out working on the Site Map and printing linocut wall tags for the Atlas Project this time around, but it was well worth it for how the deadline brought the project together enough for me to hone many aspects and trouble-shoot the things that are not yet quite right.
Front wall of studio arranged as Atlas/Hudson River Valley, for Studio Tour 2017.
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The day after the Studio Tour ended I was off for a week to teach on Nantucket. So lovely to see the island wearing its summer color, after spending two weeks there in February! I taught my composition workshop, Constructing/Deconstructing the Landscape, to a receptive and able group of six. These are the exercises that they had finished at the end of day #2.
For demo purposes I did several small oil-on-paper pieces, choosing subject matter according to the requests of my students:
Horizontal Wave, 5″x12″.
Warm Fall Fields, 5″x12″.
Dusk Palms, 5″x5″.
After my workshop was over I spent a long afternoon in the print shop, rediscovering what works for my imagery in monotype (there are always a row of failures before some successes). This is my favorite of the batch:
Monotype Sunset over Tidal Flats, 8″x10″.
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In June I had a discussion with some of the artists who I mentor about curating a show of their artwork, and got a very positive response. I contacted what I thought would be the perfect venue for a show of such an eclectic group of artists, the ArtBar in Kingston. The only slot Allie had open in 2017 was for August, so this exhibition of 18 artists had to come together very quickly!
It was interesting switching hats back and forth from mentor to curator, and there will be follow-up in my groups on my experience with the artists as curator. I have heard repeatedly from gallery owners that it is their quality-of-life choice to represent talented artists who are also easy and responsive to work with, so this is a theme that I pass along.
On the card, top to bottom: Betsy Jacaruso, Rebecca Darlington, Elizabeth Panzer, and Sandra Nystrom.
I selected the work and Allie, who owns the venue, hung the show. The opening reception was busy and the the comments very enthusiastic. The list of all of the artists involved: Polly Law, Sandra Nystrom, Rebecca Darlington, Linda Lynton, Linda Puiatti, Al Desetta, Betsy Jacaruso, Patti Gibbons, Lois Linet, Stacie Flint, Elizabeth Panzer, Dave Channon, Karen Schaffel, Julia Santos Solomen, Mary Katz, Loel Barr, Mark Loete, Cathy Metitchecchia.
This is my short description of the work I have done with these, and many other, artists over the years:
My mentoring work began as a way of helping other artists enter or expand their presence in the art market by providing support for both studio practice and exhibiting. The groups are a blend of coaching, support group, and targeted career advice for emerging and mid-level artists.
An article, written by Lynn Woods, will be coming out shortly on the show in the Kingston Times and I will add the link.
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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:
And the Woodstock School of Art October 28-30, also a stunning time of year for the locale:
http://woodstockschoolofart.org/course/color-mixing-landscape-painters/
Enjoy your rest of summer season and beginning of fall!
2017 Late Spring News and Upcoming Events
This spring my mind has been on many of the seasonal imperatives, like creating new work for my galleries on the Cape and Islands and sorting through and shipping or delivering their selections. It has also, after a huge jump-start on my Atlas Project during my residency at the Nantucket Arts Association, been very much on advancing that exploration; and the spring has been spiced up by a few other new projects.
Mountain Sky/Blues, 24″x48″, newest piece, of the Catskills from the river.
I have scheduled a talk to discuss my Atlas Project for July 15 during the Shandaken Artists Studio Tour, 4:30-6pm. I am currently developing the third sequence, Atlas/Hudson Valley segment. This means that, in addition to other work in my studio, I will hang a grouping of each of the sections that I have been working on this year: Atlas/Forms of Water/Snow; Atlas/Island (Nantucket); and the most extensive sequence to date, the Hudson River and Catskills work and mapping thereof.
Red River Shore, 20″x30″.
In my studio work progresses on my third prototype map for this grouping, which will include mini-monotypes of the paintings involved; maps of various sorts of the area; and a number of other elements, both descriptive and visual. I am hoping that this map will be the working template that clicks for me so that I can use it for new groupings/exhibitions going forward. This involves lots of trial and error, applied problem-solving and then experimenting with the materials (maps, acrylics, printmaking, rice paper, collage, river mud, etc.).
I have found that when I pose myself a complex creative problem to be solved, following a simple process works quite well. I start by seeing how far I can think my way into it, often using moments when I am driving or walking, and when I hit an aspect or aspects that stump me, I plant those as a seed, and then let go of the conscious effort. Some time later—usually weeks—the answer will pop into my head, my subconscious having been at work on it all the while, sometimes aided by new information that comes my way in the interval.
Here is where I am so far with the latest Site Map and associated prints:
Work table with HV map in progress; site map for the Atlas/Island (Nantucket) grouping in the background.
Trees with Mists, 18″x48″.
Above and below are a few of the Hudson River & Valley/Catskills paintings that are part of the new sequence:
2 Shores, 12″x12″.
My new series is bringing me ever closer to the many aspects of the natural world that I have in the past observed, researched and delighted in. Which of these things and how they can manifest in the work is the adventure. As is true of most meaningful new endeavors, the space this holds for me is both stimulating and disquieting.
My first gallery show of Atlas/Hudson Valley is scheduled for 2018 at Thompson Giroux Gallery in Chatham, NY.
To view more oil paintings that are currently in my studio, click here:
https://scheeleart.wordpress.com/2015/11/18/available-workstudio/
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During spring I am always preparing to deliver or ship new work to my galleries in Martha’s Vineyard, Nantucket, and/or Cape Cod. Below are some new pieces at the Louisa Gould Gallery in Vineyard Haven on Martha’s Vineyard. She always has a beautifully installed grouping of my work on display throughout the year, so please stop by if you are on the island.
Summer Inlet, 48″x24″, 2017.
Sengekontacket Greens, 12″x12″, 2017.
Katama Field, 12″x12″, 2017.
Summer Wave, 12″x12″, 2017.
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My residency at the Arts Association of Nantucket in February resulted in many advancements in my problem-solving curve for the Atlas Project; a number of small paintings; and some monotypes (see my blog post on the residency):
https://scheeleart.wordpress.com/2017/03/18/artists-residency-on-nantucketnew-atlas-project/
The five monotypes hanging below are a the results of printing sessions in both Woodstock and Nantucket.
And a few others:
Monotype/Green Marsh, 8″x10″.
Monotype/White Field #2, monotype and pastel, 8″x10″.
Monotype/Wave#5, 8″x10″.
See more of my prints and pastels here:
https://scheeleart.wordpress.com/2016/11/03/available-workstudioworks-on-paper/
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In April I flew to South Florida to do a large painting for friends with a new house there. I managed to pack in one big suitcase everything I needed, including the 16″x20″ version of the wave image that I had painted ahead of time. The one thing that did not fit in my suitcase was the 48″x60″ stretched linen canvas, which we had shipped from my wonderful stretcher-makers in Vermont, Brickyard Enterprises.
I had exactly one week to do this large piece and so, concerned about the possibility of things going wrong, I put in long days for the first several, working under an overhang in the pool enclosure.
Happily, nothing did go wrong, so we had a finished piece on the wall ahead of deadline and then I got to play, spending time at the Morikami Gardens and the beach (more wave paintings to come!).
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My winter-spring show with Albert Shahinian Fine Art wrapped up in early April. We had a nice run of of two receptions—one at the gallery and one at my studio; a number of sales of pieces small and large, old and new; and an interview with the Poughkeepsie Journal containing questions that I quite enjoyed:
http://www.poughkeepsiejournal.com/story/entertainment/2017/03/22/landscapes-art-artists/99454762/
March reception in my studio.
Several of the pieces that went to new homes from our show “Gallery/Studio: A Symbiosis”:
Glistening Greys, 10″X10″, oil on linen.
“White Trail”, 40″x30″.
Affinity/Duo/Palms, diptych of 2 paintings of 16″x8″/ea.
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I am teaching four more workshops in 2017, several of them new. In my workshops I emphasize composition as well as color, and share not only my techniques, but also an eclectic delight in many styles and aspects of contemporary and historical art.
The Woodstock School of Art:
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I have plans for some new pastels in the near future—its a good time of year to approach these, with the studio windows wide open (ah, and I must mention sounds of birds and the creek behind my studio), mitigating any effects of flying dust. Below is a fairly recent one, in which I was pushing the color somewhat.
Turquoise Sky/White Cloud, 20″x20″.
Over the years I have at times felt pressure from some of my galleries to work brighter. I am very often a moody painter, though I don’t ever want to limit myself to any palette, locale, format, or mood. I do love a bright sunny day, but painting dramatic clouds and subtle, tonal color often draws me, and many of my collectors will follow me into that terrain.
With the pastel above, I set myself the intention of not going as dark along the horizon as I often do in a seascape, and in general keeping the colors more saturated or desaturated with white instead of grey. I wanted to see if I could make myself happy with a lower contrast, brighter image. And I did.
This is turning a request, essentially, into a creative problem. When people ask me how and whether being a full time, self-supporting artist affects my decision-making in the studio, that is part of the answer—that if I feel that I am being nudged in a particular direction, can I turn that into an interesting problem? And after I work that one out, what else can I do that is generated exclusively by, to use Kandinsky’s term, inner necessity?
Cotue of the Scalloped Edges, 6″x10.5″.
“Gallery:Studio – A Symbiosis” Solo Show with Albert Shahinian Fine Art
Having a quiet chat during a lull in the reception…
Light that Glows, 32″x60″. $7,500.
Soft Greys from Peaked Hill, 10″x60″, $4,200.
Green Waves, 12″x75″, $8,000. (Sold)
https://scheeleart.wordpress.com/2015/03/24/the-evolution-of-a-new-concept/
Rare Summer Silence, 20″x30″, $3,200.
Cranberry Bog in Reds, 48″x24″, $5,000.
Affinity/WinterSunset, 36″x48″, $6,500. (Sold)
“Extravagant Sky”, 36″X60″. $8,000.
Triptych in Reds, 3 panels of 24″x24″/ea., $7,500.
White Field, 20″x40″, $3,600. (Sold)
Angle of Repose, 40″x30″, $5,000.
Drifting Clouds, 20″x20″, $2,200. (Sold)
“Affinity/Dusk Road”, 30″x30″, $4,000.
Sunset with Taillights, 40″x20″, $3,800.
Sunset Contours, 20″X20″, $2,200. (Sold)
Sunset Harbor, 20″X16″.
Hill Beyond Hill, 3 panels of 24″x20″/ea., $7,000. (Sold)
Height of Summer, 36″x48″, $6,500 (sold).
Summer Fields, 30″x30″, $4,000.
Moving Sky, 30″x36″, $4,500. (Sold)
Juncture, 18″x52″, $4,200.
Affinity/In Motion, 48″x12″, $4,000.
Sundrenched Field, 20″x24″. $2,500. (Sold)
Skyblues/Seablues, 10″x8″, $800.
Winter in Blue/White, 12″x12″, $1,300. (Sold)
Angular Tidal Flats, oil on paper on 12″x12″ board. (Sold.)
Mauve Sky, 6″x12″, oil on board, $650. (Sold)
Affinity/Duo/Palms, 2 paintings of 16″x8″/ea, $2,000. (Sold)
Glistening Greys, 10″X10″, oil on linen. (Sold.)
Gold Bush, 10″x10″. oil on board, $700. (Sold)
2 Suns, 10″x10″, oil on board, $700. (Sold.)
“Study/Sunset Sea”, 5″x5″, oil on primed paper, $550.
Study/Skyline, oil on paper, 7″x7″, $700.
“Factory at Work”, 7.5″x3.5″, $600.
Affinity/Boatyard, 10″x10″, 2014, oil on linen with frayed edges on board overlaid with graphite lines, $900. (Sold)
“Hilltop Contour”, oil on a vintage child’s slate, $750.
Additional works at the gallery:
Gleaming Bridge, 20″x40″, $3,600.
Summer Sky over Divided Fields, 20″x24″, $2,500 (sold).
Black Treeline, 36″x48″, $6,500. (Sold)
Sweeping Greens/Jostling Trees, 28″x68″, $7,500.
Mists from Palmer Hill, 12″X36″, $2,800. (Sold)
Dawn Headlights, 12″X36″, $2,800.
RefractedGolds, 20″x40″, $3,600.
Favorite Field/Soft Greens, 3 panels of 12″X12″/ea., $3,200.
“Intervening Space”, 20″X20″, $2,200 (sold).
Stormy Sea, 12″X12″, $1,300.
Evening Shoreline, 12″X12″, $1,300.
Study/Mountain Contours, oil on primed paper, 4″x14″, $800.
Affinity/Bridge at Sunset, 12″x24″, $2,000.
Green Waves, oil on paper, $1,600.
“Conviction of Beauty”, 12″x42″.
Red Sky with Gleam, pastel on paper, 5″x12″, $800.
River Sunset, pastel on paper, 11.5″x19″, $1,600.
Mountain Fields, pastel on paper, 20″X24″, $2,500. (Sold)
White Trail, 40″x30″, $5,000. (Sold)
Available Work/Studio/Works on Paper
SALE!! Almost all of the work included in this data-base is now priced $200-$500. Inquire for details. (Through the end of May.)
These are works on paper, many of them unframed, currently in my studio. Often works on paper are an option that is more affordable than oil paintings. Several of my galleries and consultants also have a selection of framed or unframed pastels and monotypes, most notably Albert Shahinian Fine Art in Rhinebeck, NY; JSO ART Associates in Westport CT, and Gallery Jupiter in Little Silver, NJ.
Pastels:
Summer Haze, pastel on paper, 12″x18″.
Blue/Green Range, 10″x16″.
Long Storm Cloud, 8″X28″, (Matted and framed with a black molding) $1,200.
Warm Fields, 16″x25″, available through the Louisa Gould Gallery.
Resting Cloudbank, 8″x9″, (framed with mat and black moulding), $700.
River Sunset, 11″x18″, (framed with mat and black molding), $1,000.
Red Sky with Gleam, 5″x12″, $700 (Matted and framed with cherry molding).
Trailing Fields, 4″x24″.
Summer Farm Fields, 6″x12″, available through he Louisa Gould Gallery.
Magic Hour in the Mountains, 8″x10″, framed.
Red Field/White Sky, 10″x26″, available through the Louisa Gould Gallery.
Soft Greens, 5″x14″.
Gleam on Grey Sea, 14″x14″.
Triptych in Red/Black, 3 panels of 7″x13″.
River Lighthouse, 14″x21″.
Rusty Crane, 14″x21″.
Red Sun, 11″X18″.
“Gleam over Island”, 7″x11″.
Mountain Fall, 6″x16″.
Mountain Trio, 6.5×13.5.
Moody Mountain Sky, 12″X13″.
Warm Light, 9″X20″.
Mists over Fields, 5″x8.5″.
Green Hills, 15″X18″.
4 Trees, pastel on paper, 13″x21″.
Oil on paper:
Ocean Blues, 6″x12″, available through the Louisa Gould Gallery.
Study/View from Little Mountain, 6.5″x8″.
Study/Red Fields, 5″x10″.
Mixed Media/Collage (Of paper and other things, on board):
Atlas/Cape Cod, 15″x30″
Hudson Canyon Collage, 12″x12″.
Watershed Map, 12″x12″.
So There, 4″x12″.
Actively Seeking, 7″x5″.
Stand Alone, 5″x5″.
Growing Tall, 5″x5″.
Path, 7×5.
Cloud, 6″x6″.
Wetlands, 6″x6″.
Waterways, 6″x4″.
Waterways/Arial, 5″x5″.
Linocuts
Riverbed Map #1, 6″x12″, $125.
Riverbed Map #3, 6″x12″, $125.
Rverbed Map #2, linocut print on rice paper, 6″x12″, $125.
Four Nantucket Maps.
Nantucket Map #2, 12.5″x18″, hand-colored, $400.
Monotypes:
Five prints.
Waterfall #5, 14″x7.5″.
Waterfall #3.
Overlook with River, 8″x10″.
M/White Wedge, 10″x8″, 2018.
M/White Wedge #3, 10″x8″, 2018.
Wave Triptych, 3 panels of 8″x10″/ea.
Wave, lg. 10″x16″.
The View from There, 10″x16″, 2018, $1,400 unframed.
M/Wave #6, 8″x10″, 2018.
M/Dark Road, monotype and pastel, 2016.
Sunset prints as they came out, the AAN, 2017.
M/Mountain Travel, 2016.
Moors #3, 8″x10″.
Moors #1, 8″x10″.
M/Waterspouts with Walking Rain, 8″x10″, 2016.
Creeks # 2, 10″x8″. through LGG.
M/Creeks#4, 10″x8″, 2017, through LGG.
M/Mountain Stream, 2016, through LGG.
M/Marsh with House, 8″x10″, 2017, through LGG.
M/Wave, 8″x10″, 2016.
M/FallMarsh1, 8″x10″, 2017, through LGG.
M/FallMarsh3, 8″x10″, 2017.
Fall Grasses with Fogbank, 8″x10″, 2018, through LGG.
The three below show the pressed edge and different colored papers. Prints are normally framed showing the distinctive edge, and a little float of the paper, where they are signed:
Evening Travel #2, 8″x10″.
Evening Travel, 8″x10″.
Evening Travel #3, 8″x10″.
Three framed prints, 8″x10″/ea.:
And how a collector framed his:
Paintings at Terrapin Restaurant/ Albert Shahinian Fine Art
I recently had an invitation to place my work in the newly renovated space of Terrapin Restaurant in Rhinebeck, NY. The designer, also a collector of mine, thought that my work work be perfect to bring views of the Hudson Valley into the restaurant, long known for its locally sourced food.
Immediately looping my gallery—Albert Shahinian Fine Art, located just a few blocks away— into the process, we came up with solutions to some of my concerns. Lighting, in restaurants, is always a big one, as well as how to make clear to diners the names of the artist and gallery; that the work is available for purchase; and that a price list is available, without overly obtrusive wall cards and signage.
At chef Josh’s suggestion, we settled on using mostly farm field and meadow imagery.
Sweeping Greens/Jostling Trees, the largest piece at 28″x68″.
Fast forward several weeks and the designer, JT, and Albert and I arrived for the installation. Dodging the still working painters; metal fabricators; and workers with a lift to do the lights in this vaulted space, we commenced hanging on the walls that we could, and Albert finished the job through the course of that week.
The fellows with the lift installing new lighting. First two paintings up in background!
Albert, genius curator and installer, hanging the third piece to go up.
After all was said and done, the space looks like this:
A view toward the entry.
This view captures a little bit of the sense of space and light, with “Similar Figures”.
Before the launch party, Abbe Aronson, PR person for the event, asked for comments from us and composed this:
MODERN UPDATE OF “FARM TO TABLE MEETS BARN TO TABLE”
RHINEBECK, NY – After drawing gasps of appreciation for food, décor and setting for 15 years in its current location in the historic circa 1825 “First Baptist Church,” award-winning Terrapin restaurant is undergoing a stunning renovation in its main dining room, to be unveiled on Thursday, May 5th at a “First Look, First Taste” cocktail party.
“First Look, First Taste” celebrates not only the redesigned space but also the new spring menus in both the dining room and adjacent Bistro. The party takes place from 6-8 p.m. by invitation only, after which the dining room opens for reservations. As always, emphasis on organic, local cuisine shines at Terrapin, but now will be presented in a chic new setting that, while refreshed, still evokes key sensibilities of the Hudson Valley.
“It was time for a change,” said Chef Josh Kroner who said long-time restaurant patrons as well as new guests were defaulting more and more to Bistro, not because they necessarily preferred the casual menu there but because the dining room had become known as ‘formal’ – “and that’s not the way I intend for people to eat at Terrapin.”
Enter JT McKay of bluecashew Design, an offshoot of neighboring bluecashew Kitchen Pharmacy and longtime friend of Kroner’s. “Josh was ‘farm to table’ before farm to table became a marketing term. That sort of food wasn’t a gimmick for him. So when we began to discuss the dining room redesign, we decided to give a proverbial ‘nod’ to this world.”
McKay continued, “There’s a real sense of bringing the outside inside with the new look here. We’re focusing on modern earth tones in the palette and using furnishings and design elements that evoke history and substance, so the two-inch thick red and white oak tables, which are old barn wood with contemporary finishes, are more than just reclaimed materials – they have real presence. Their age and history inform the energy of the entire room.”
Kroner added with a laugh, “I’ve wanted to collaborate with JT for years. The first time he came to my house, he rearranged all of the furniture and the lighting, so I know he was dying to get his hands on this place!”
Nearly all the key elements in the redesigned Terrapin dining room are new, including the lighting scheme, carpeting, place settings, metal railings and chairs, much of which are sourced locally and some of which are available for purchase through bluecashew Wabi Sabi Wood (WSW), based here in Rhinebeck, was tapped to create the dining tables, the true anchor of the room now that the restaurant is abandoning tablecloths in lieu of a more updated look. Company co-owner Patrick Neri explained that in this project, Terrapin and WSW “have focused on bringing the highest quality ingredients into the hands of skilled craftsmen. WSW uses wood reclaimed from the hand-hewn beams of 18th century barns. These beams once stood as trees in the Hudson Valley’s long forgotten old growth forests. The material represents some of the finest wood that ever grew from American soil. With these ingredients we built tables to be the foundation on which the craftsmanship of Terrapin will be displayed. Beneath every dinner plate lays a stunning display of hundreds of years etched in wood grain and patina. This truly will be ‘farm to table meets barn to table.’”
Paintings from Hudson Valley artist Christie Scheele will grace the new walls, curated and installed by Albert Shahinian he of the eponymously named fine art gallery also located in the village of Rhinebeck. Says Scheele, “The single most distinctive aspect to what I do as a landscape painter lies in my ability to reduce a scene to its essentials. This gives the viewer what is important, without the distraction, or visual clutter, of too much detail. Both by providing this overview and by using soft ‘scumbled’ edges, my paintings can quiet a viewer’s mind and evoke a direct response.”
She continued, “My work is, above all, about creating space—within the image of the painting, most often a wide-open vista—but also emotional and mental space for the viewer. The large, open space of the restaurant and the new color scheme in soft cream and a deep, slightly grayed green are perfect for my work. The elegance of the off-black metalwork that accents the room, with its strong, clean lines, also meshes beautifully with my strong, albeit soft-edged, shapes and sweeping contours.”
Moving Sky, 30″x36″.
Shahinian said working with Kroner and Terrapin was a very natural and important collaboration for the neighboring businesses. “Many of our gallery visitors ask us about dining in the village. For years we’ve suggested Terrapin as one of the top places to dine. It seems logical that part of a Terrapin ‘experience’ could suggest a visit to the gallery! There is synergy between such diverse businesses: we both present high standards of quality, presentation, respect for our product and clientele, and offer high value for our visitors. One could say, ‘It takes a village to support a village!’”
With friends at the launch party.
Rhinebeck is a great town for a day trip, which could include a glorious stroll to the Hudson at Poet’s Walk; a visit to Albert Shahinian Fine Art; and dinner at Terrapin, where my work will be up for at least the next six months. Hope you make it!
Available Work/Studio/Oil on linen and board
Castel, 18″x52″, $5,000.
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.
Earth & Sky, 24″30″, $3,600.
Shore with Still Mists, 18″x52″, $5,000.
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.
Tree with Mists, 18″x48″, $4,600.
Often I am expecting some work back imminently or have a painting on the easel that is almost finished, so please feel free to inquire if you have a particular need: scheeleart@gmail.com.
For works on paper (pastel; oil on paper; mixed media/collage; monotype) consult this blog post: https://scheeleart.wordpress.com/2016/11/03/available-workstudioworks-on-paper/
Interwoven Stories, 30″x60″, $7,500, available through my online show with Butters Gallery, Portland, OR.
The View from Here, 24″x36″, $4,000, through BG.
Layered Reds, 30″x40″, $5,000, through BG.
Additional work can be found at my galleries: Albert Shahinian Fine Art in Rhinebeck, NY; Julie Heller Gallery in Provincetown, MA; 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.
Shoreline with Blues, 30″x40″, $5,000.
Winter Sky, 24″x30″, $3,600.
Moving Sky, 24″x48″, $5,000, through BG.
Sunset in 5, five panels of 8″x8″/ea., $3,400.
Turquoise Light, 30″x40″, $5,000, through BG.
Meandering, 24″x36″, $4,000, through BG.
Contrasting Sunset, 18″x52″, $4,800.
Soft Fall Saltmarsh, 24″x30″, $3,600, through BG.
Downriver, 24″x24″, $3,200, through BG.
From the Lighthouse, 20″x20″, $2,200, through BG.
River with Lighthouse, 12″x36″, $2,600.
Sunset Roofline, 24″x30″, $3,600, through BG.
Affinity/Flatland’s Drive, 18″x18″, $2,000.
Embracing Pink, oil on board, 3 panels of 8″x8″/8″x10″/8″x8″, $1,800.
Marsh at Dusk, 14″x16″, $1,500.
Affinity/Return at Dusk, 12″x24″, $2,000.
Light into Dark, 12″X24″, $2,000.
Layered Clouds, 20″x16″, $2,000, through BG.
“Smokey Sky”, oil on a vintage slate.13.5×9,5, $1,000.
Affinity/Dual Twister, 10″x10″, $900.
Moors with Mists, 6″x24″, $1,500.
Gleaming Sky over Provincetown 11″x14″, $1,300.
River Gleam, 12″X20″, $1,600, through BG.
Summer Cloudbank, 10″x30″, $2,200, through BG.
Favorite Field/Soft Greens, 3 panels of 12″X12″/ea., $3,200, through BG.
Oil on Board
Purple Layers, 4″x12″, $650, BG.
Reaching Clouds, 4″x12″, $650, BG.
Moving Mists, 4″x12″, $650, BG.
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 “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.
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 #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″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 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″x6″, sold by Thompson Giroux Gallery. (Sold)
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, 3 panels of 24″x24″, currently at Gold Gallery, Boston.
Study/Intervening Bay, 7″x7″, private collection.
Intervening Bay, 24″x24″, private collection.
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″x60″, available at Gallery 901, Santa Fe, NM.
Study/Sunset Sea, 5″x5″ (at Thompson Giroux Gallery).
Yellow Band, 36″x36″ (at Julie Heller Gallery).
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, 20″x20″ (sold by Edgewater Gallery).
Study/Mountain Contours, 4.5″x14″, currently at Albert Shahinian Fine Art in Rhinebeck, NY.
Study/View from Little Mountain, 6″x8″, currently at Edgewater Gallery, Middlebury VT.
Study/Lake Mists, 5″x5″ (currently at the Tenderland Home, Phoenicia, NY).
Study/Gleam over Tidal Flats, 6″X10″. (Sold.)
Study/Green Valley, 6″x10″.
Study/Late Summer Light, 5″x7.5″.
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″X8″. (Sold)
And then I wanted to simplify even more and use the soft lavender with greens instead.
Soft Summer Light, 4″x8″.
Additional pieces (updated since the publication of this post):
Study/Yellow Bush, 4″x14.5″ (at the Tenderland Home).
Study/Waterspouts, 6″x9″ (at Julie Heller Gallery.
Study/It Looks Like Rain, 6″x9″.
Study/Summer Marsh, 5″x12″ .
Study/ClusteredClouds, 5″x12″. (Sold.)
Study/White Fields, 5″x11″ (Sold).
Study/Grey Dawn, 5″x7″.
Study/Winter Warmth, 7″x7″ (sold).
Study/Serene Winter, 5″x11″ .
Study/Reservoir from Little Mountain, 4″x12″ (sold).
Study/Green Fields, 5″x13″.
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, 4.5″x12″ (sold).
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.
“Contours/Distillations”: a Solo Show
“Contour/Distillations” has been extended to October 11th.
We are tremendously drawn by stuff. The content of our lives—acquiring possessions; taking care of or replacing said possessions; packed schedules; busy brains—loudly demands attention. What we need the most for balance is intervals of the absence of our stuff, and yet it is hard to reset and choose openness over content.
“Blue Tidal Pool”, 20″x24″.
Creating space in my life is an ongoing project, and has long drawn me both to spend a great deal of time outdoors and to paint my landscapes in an open and minimalist manner. This approach quiets the mind, evoking a direct response. Abstract elements can elicit deep, complex feelings, (a theme beautifully explored in Vassily Kandinsky’s 1910 “Concerning the Spiritual in Art”) and larger, flatter shapes with soft edges awaken the wide-open feeling of being outdoors in our atmospheric world.
Tree/Mist, 18″X48″.
Delving further into the less-is-more discussion, I think that less is different. If there are many details to look at in a painting they tend to compete for attention, creating an experience that remains purely visual or intellectual without going deeper. With fewer elements and more open space, both the emotional and formal content have enormous impact, often visceral. At the same time, what is there has to hold up under analysis, as there is no hiding.
Layered Clouds, 20″X16″.
My process in the studio is comprised of long swaths of time in which I am intensely focused and living within the emerging painting, punctuated by intervals of scrutiny and analysis during which I observe the elements with as much distance as possible. This rigor is, ultimately, what allows the viewer to sink into the piece—-many small just-so decisions to create a seamless whole.
Diagonal Flux, 36″X36″.
The landscape inevitably holds powerful associations, so painting it becomes a back-and-forth between exploring the narrative and focusing on the formal elements of shape, composition, surface, color, and edge. In this body of work, drawn from the past several years, I am presenting the most open, color-field aspect of my work. Viewers can bring their own memories to these paintings, as mine are only suggested, or simply experience them as a conduit for feeling.
“Affinity/Dusk Road”, 30″x30″.
Both the above and below are from my Affinity Series. These pieces start with fraying the edges of raw linen; gluing it down to the board; priming with dark primer, and gridding the whole thing with graphite. Then I do the actual painting, and when it dries some selective regridding. The series evolved from the desire to manipulate my support in a way that moves my other choices in a more abstract direction, and brings attention to the surface.
“Affinity/Black Trees”, 30″x30″. (Sold)
Sometimes, as in the new postcard piece, “Tender Reds”, there are more shapes included. I see this as being a rhythmic approach—repetition of similar shapes moving across the surface of the painting.
“Tender Reds”, 32″x70″.
This piece is less minimalist, but just as abstract. The reduced palette with a white sky allows it to hover between a dreamy in-the-moment being there and an on-the-surface color-field painting.
If one were to consider this as a totally abstract piece, the exercise would be to turn it sideways, or upside down. Compositionally, upside down would work very well, but not sideways—too strong of a horizon line, now going vertical. This would be true of every painting I do—abstracted, but not abstract, and usually with a clear horizon line as an anchor.
“White Trail” has a number of horizons, but the strong line in this piece moves on a skipping, slightly diagonal vertical, emphasizing the format. This piece, too, has a sense of rhythmic repetition of forms.
“White Trail”, 40″x30″.
I have been exploring for this show how a large composition can be successful in small format with these oil-on-paper pieces.
“Study/Gleam over Tidal Flats”, 6″x10″.
“Study/Mountain
Contours”, 4″x14″.
“Study/Sunset Sea”, 5″x5″, oil on primed paper.
Quiet, tonal color is most often my choice, as it tends to sit back, creating emotional space and allowing for introspection.
“Autumn Bay Mists”, 18″x52″.
But every so often I like to move to stronger color to intensify the timbre of the experience. Whites work well—like a thirst-quenching drink of water— when paired with strong, saturated color.
“Sunset Reflected”, 12″x36″.
Most of my pieces have quite a bit of contrast, moving from an atmospheric white or off-white (often tinged with a bit of Mars Violet) to a true black. I find, though, that low-contrast pieces can be intensely riveting in a different way, kind of like a full-throated, low hum. “Evening Shoreline”, below, is an example of this.
Evening Shoreline, 12″X12″.
“Continuing Progression” is really a study in monochromes. The detail of the row of trees on the right, seemingly very subtle, actually pops more because of the reduced palette.
Continuing Progression, 24″x48″. (sold)
The body of work presented represents the core of my thinking, my base of operations. Albert Shahinian Fine Art, my gallery of longest standing, is the perfect venue for this theme-based exhibition, having shown, over the years, every possible exploration that I have launched from this base.
I hope you can join us for the reception on July 25th and my talk on August 2nd to see all 40 pieces and hear more about landscape, form and mood.
Link to a short but sweet article on the show by Paul Smart in the Almanac:
The installation and reception, below:
Installation shot, wall with Affinities.
With my old friend Deb at the reception.
Installation shot, wall with postcard piece.
Additional work in the show:
Drifting Clouds, 20″x20″.
Approach in November, 6″x24″.
“Lush Mists”, 12″X36″.
Hill Beyond Hill, 3 panels of 24″x20″.
Winter Field, 10″x30″. (Sold)
Dawn Headlights, 12″X36″.
Cranberry Bog, 48″x24″.
Stormy Sea, 12″X12″.
Glowing Mountain Mists, 20″X30″. (Sold)
“Mutable/Immutable”: Solo Show at Chace-Randall Gallery
mu·ta·ble
ˈmyo͞otəbəl/
adjective
1.
liable to change.
“the mutable nature of fashion”
synonyms: changeable, variable, varying, fluctuating, shifting, inconsistent,unpredictable, inconstant, fickle, uneven, unstable, protean.
This word is by far the more important of the two, though oddly the less well understood.
im·mu·ta·ble
iˈmyo͞otəbəl/
adjective
1.
unchanging over time or unable to be changed.
“an immutable fact”
synonyms: fixed, set, rigid, inflexible, permanent, established, carved in stone.
“Affinity/Winter Sunset”, 36″x48″, 2014.
This body of work explores themes of change and the eternal in the landscape, nature revealing the mutable and the immutable.
Fleeting moments of weather and light have long been my focus. Time of day or year and interplay with clouds; light and shadow on landforms or water; and serious weather events continue to visually intrigue and inspire, making no two scenes alike.
Beyond the always shifting moments of dramatic or calm atmospherics and the impact of humankind on the land is also, however, the immutable. However changing, the earth has always been there for us.
Our source of nourishment in every way, our lands, rivers and seas are the visual imprint that I work from every day, every week, and every year. Attempting not to judge but rather to see, I adapt imagery that is only sometimes classically beautiful. The paintings then become another immutable, as I have distilled that image into a moment of time, offering it to others for contemplation.
The work in the show
Choosing the piece that will go on the postcard for a solo show is always a juggle. Generally speaking, though, the artist and galleriest select a piece that is not only a stand-out painting, but also sits stylistically and thematically near the center of the body of work, thus representing it well. We settled on “Turquoise Light”, below.
“Turquoise Light” , 30″x40″, 2014.
Often when there is water in an image, I work the detail of waves and currents just enough so that it reads as such, preferring to let the eye skim over the water and settle on other spots in the painting.
One consideration is similar to having a field in the foreground: where is the viewer in this scene? If the water, marsh or field start basically at the viewer’s feet, there needs to be more foreground detail or vignetting than if the picture plane starts further off.
In “Turquoise Light”, we are sitting (in our boat, presumably!) right on the water, which is a major focus of the piece. Far from encouraging the viewer past it, the water catches the eye with an array of subtle color shifts, reflections, and movement. When I paint an area with this much complexity I look at it as an abstract painting, surrendering to the process.
I also enjoyed that the sky and water are so different, even though clearly the sky is throwing light on the water.
“Mountain Road/Fireflies”, 30″x20″, 2013. (Sold)
“Intervening Space”, 20″X20″, 2014.
The square format of “Intervening Space” is echoed in the composition, which leads the eye back into the painting with every shape and line. There is also a back-and-forth between the painterly illusion of depth created by arial perspective that draws the eye toward the distant hills, and the feel that the composition and relatively flat shapes create of the whole painting being right up on the picture plane.
I love playing with those two ways of experiencing a painting, counterbalancing the illusion of space in a landscape with the reminder that this is also a two-dimensional, abstract object comprised of areas of color.
For more discussion of the narrative and the abstract, see my post on the topic:https://scheeleart.wordpress.com/2014/01/01/narrative-and-abstraction-in-representational-painting/
“Mountain Sky with Mists”, 24″x30″, 2014.
An interpretation of the view from the fire tower on Overlook Mountain, “Mountain Mists with Sky” reveals the transitory and the solid. Fog is a beloved subject, shifting even faster than clouds, and mountains feel eternal even if, geologically, they are not.
Mists from Palmer Hill, 12″X36″, 2014.
The farm fields that you see from Route #28 at the base of Palmer Hill in Andes are a favorite subject of mine, and no show at Chace-Randall is complete without some fresh version of this scene. In the interpretation above, we are in a lovely misty summer day, rain and fog just beginning to lift but still obscuring a mountain that rises behind the horizon of the fields.
“Interwoven Stories”, 30″x60″, 2014.
“Memory’s Waters”, 16″x20″, 2013. (Sold)
“Memory’s Waters” brings me back to moments of contemplating water during every summer I have ever known. I was also taken with the way the sun catches on the front shore on the right and then moves back into shadow on the left in this image of Cooper Lake in Woodstock.
“Cloud over Shoreline,” 12″X12″.
A dark cloud in front of the sun over the Hudson River shoreline. These high-contrast images are both brooding and ethereal.
“Sunlit Sandflats”, 12″X12″, 2014.
Stormy Sea, 12″X12″.
The most minimalist piece in the show, and very low contrast. I love exploring this terrain.
“Affinity/Return at Dusk”, 12″x24″, 2014.
“Affinity?Flatlands Drive”, 18″X18″.
“Affinity/Stepping Out”, 8″X8″. (Sold)
“Affinity?Storm at Sea”, 8″x8″.
“Westerly Sky”, 16″X20″.
I also like to include an urban landscape in my shows. “Westerly Sky” captures the view from lower Manhattan that I have painted a number of times, along with another favorite view of the West Side Highway and Hudson River.
In abstract terms the piece plays with the right angles and straight lines of the foreground buildings in strong silhouette interacting with the soft diagonals of the sky. The foreground feels very stationary against the sweep of the clouds.
“White Light/ Red Light”, 24″x24″, 2014. (Sold by the gallery on 5/14.)
“Soft Summer Greens”, 30″X36″, 2012.
Spring Newsletter
Cloud over Castle Deel, 30″X36″.
The winter abundance in my studio is heading out for various points East, West, and North. Not only am I hard at work during the colder months, but also usually have work in the studio that comes back from my seasonal galleries in the Northeast. Then, in the spring begins the exodus, to both buyers and galleries.
All busy career artists find that sometimes work needs to move around to a few galleries before it sells. Some galleries like to keep a piece they like—and have gotten a good response to—indefinitely, while others, especially those that close down during the off-season, prefer to have all new work each year. This is typically a combination of brand new work and some pieces that have previously been in other galleries.
One galleriest who I have been showing with for many years is in the former category, feeling a devotion to certain pieces such that he wants to keep them until they sell, whether that happens in a day or a decade. “Art is not meat—it does not go bad”, he has been known to say, if someone questions the date on a piece.
There is a good deal of randomness in why a piece sells sooner or later. With my work, there are a number of variables. Size, format, palette, and locale of imagery are among them. Who stops by which gallery when, with what size wall in mind…or with an open mind? What is their budget? Do they have strong color preferences? Are they buying the piece that slays them, or a locale that they are fond of? Are they looking for a gift, trying hard to get it right?
Some of my work that I consider more accessible—often a little brighter—appeals to a broader spectrum and so has a larger pool of possible buyers. The moodier work draws from a smaller pool, but often so forcefully that they feel that they must have the piece. So, which one is more likely to sell?
Lucky for me, my studio process allows for a number of concurrent explorations, making it easy for me to ignore all such considerations while working. This is key for any artist.
Mists off the River, 12″X36″.
In recent news, I did a pop-up show in Chicago in early March, partnering with the Asher-Neiman Gallery, which included the work of Jill Ricci (see work on the gallery website, http://asherneimangallery.com/ ).
It was held in the beautiful Lincoln Park home of family friends. (See my blog post on how these home shows work, https://scheeleart.wordpress.com/2011/12/13/open-studio-house-party/ ) Our hosts threw a lovely party, very well attended , with excellent food, wine, art (of course!), and conversation enjoyed by all.
Winter Brilliance and a small Affinity in the living room.
Changed Integrity in the second floor stairwell.
Rivergimplse and Extravagant Sky in the dining room.