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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“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)
As 2016 Rolls into 2017…
Calm Crossing, 32″x68″, oil on linen (at Louisa Gould Gallery, Vineyard Haven, MA).
Jagged Peaks, 10″x24″.
Brown Shoreline, 24″x20″.
Birdseye Shoreline, 10″x24″.
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Dark Road, monotype and pastel, 10″x8″.
Monotype, Wave #3, 8″x10″.
Monotype, Fall Marsh, 8″x10″.
Additional images can be viewed at:
https://scheeleart.wordpress.com/2016/11/03/available-workstudioworks-on-paper/
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Layers of Meaning, 30″x24″, oil on linen.
Glistening Greys, 10″X10″, oil on linen.
“Lingering”, 10″x10″, oil on linen (sold by Julie Heller Gallery).
Winter in Blue/White, 12″x12″, oil on linen (at Albert Shahinian Fine Art).
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I am very pleased to have new representation at Gallery 901 in Santa Fe, NM. Please check out the gallery if you are in town:
http://www.gallery901.org/christie-scheele/
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Trove:Atmospherics, 35 panels of 3″x5″/ea., 30″x48″ overall.
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I have just added some newly returned work to my data-base, and taken off the aforementioned holiday gifts. If you are looking for a large painting, this is a rare moment to peruse the many choices:
https://scheeleart.wordpress.com/2015/11/18/available-workstudio/
Since I sold the piece in October that was on my large living room wall, I have had the pleasure of replacing it, temporarily at least, with this favorite that I recently had returned to me:
“Rolling Cloud”, 44″x68″.
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Looking ahead, my thoughts are on the project I am developing for my residency in Nantucket in Feb.-March. This will involve an expanded and more experiential exploration of place, using drawing, printmaking, painting, writing…and who knows what else? Memory will be a theme.
Also coming up this winter, a special show/sale starting in early February at Albert Shahinian Fine Art in Rhinebeck, NY. More on this in a few weeks.
Finally, for those of you who do the drive from Kingston, NY up Route #28 to your home or weekend place, or if you just want to listen to a very well-produced culture/history/arts audio tour of the Catskills, check out this piece by neighbor and friend Brett Barry of Silver Hollow Audio (who Catskills/HV/Berkshires folks will know from the segments that he does on WAMC). My bit is about half-way into it, but with Brett’s interview prompts that created the individual discussions followed by skillful editing, the whole piece is beautifully interwoven and well worth listening to.
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I am wishing us, individually and collectively, a year of truth-seeking and compassion; of finding community; and exploring our deepest joys.
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.
“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)
So much happening! Summer Season 2014.
Over the top busy this spring and summer, with new galleries, a solo show in place and several other shows coming up between now and August.
We had a lovely, packed opening reception at Chace-Randall Gallery in Andes, NY. I will be updating the blog post I created about the work in the show as pieces continue to sell—but you really should see the show in person, if you couldn’t make the opening! Thank-you to Zoe Randall for the party and especially for a great job hanging the work. The show will be up through July 7th.
https://scheeleart.wordpress.com/wp-admin/post.php?post=2657&action=edit
With the largest painting in this show, “Interwoven Stories”.
Host Tom Lavazzi pouring wine…and tons of nice conversation passing around.
Owner/director Zoe Randall and I in front of the postcard piece, “Turquoise Light”.
I am showing again at Butters Gallery in Portland Oregon— and so pleased to add this reputable gallery in a new locale to my list. I participated in the “Line” show there last winter, curated by Melinda Stickney-Gibson, and have remained on the roster. Opening June 5th is a 4-artsist landscape show, invitation below. For my work in the show, see their website:
http://www.buttersgallery.com/Artist-Detail.cfm?ArtistsID=486&sr=1&ppage=6
BUTTERS GALLERY LTD 520 NW DAVIS PORTLAND OREGON 97209 (503) 248-9378 (800) 544-9171 gallery hours: tuesday-friday 10-5:30 saturday 11-5 http://www.buttersgallery.com
East / West
June 5th – 28th 2014
Opening Reception: Thursday June 5th, 6 – 9 pm
My newest gallery is Edgewater Gallery in Middelbury, VT. This happened the way we artists love it to happen—a phone call offering representation. A beautiful space and locale, I am happy to be on the walls, and look forward to events there, starting with a visit and meet-and-greet in October. I just shipped off this triptych, painted with them in mind. See their website for additional work:
http://www.edgewatergallery-vt.com/scheele-christie.html
“Hill beyond Hill, 3 panels of 24″x20″/ea.
Up next is my duo show (with M.J. Levy Dickenson) at Julie Heller East in Provincetown, July 18-31, with an opening reception on July 19th from 6pm on. That same night we are also hosting a reception through the gallery at the Anchor Inn with larger pieces of mine and the work of Polly Law, 7-9pm. The idea is that viewers can go from East End to West End and see both shows.
Arriving at the Anchor Inn/JHG on June 5th, this new piece.
“Entering Province Lands”, 30″X60″.
In August I will be showing with Louisa Gould Gallery on Martha’s Vineyard in a show with Louisa herself and Paul Beebe. Dates are August 7-27. with opening reception August 9th, 5-7pm. I am new to this beautiful gallery in Vineyard Haven, though I have been showing on the island since 1998, beginning with Carol Craven Gallery and most recently with Dragonfly (thank-you, Carol, Don, and Susan!). The show will include several large-formeat pieces of Vineyard locales.
Here are a few pieces hanging now in her Memorial Day show, including several new ones recently delivered.
“Lifting Rain, 20″x60”.
“Summer Sunset/Tidal Creek”, 36″x12″.
Tucked in among all of these shows with my galleries is a very sweet happening, a show called “Three Generations” at Cano (Community Arts Network of Oneonta) in Oneonta, NY. This show will feature my mother, Gerri Scheele, with the ceramics that she was so well known for and the landscapes that followed; myself; and my daughter and son Tessa and Tony Scheele Morelli. This will be a special family affair staged at the Wilbur mansion, where I did my first oil painting at age 11 and where my mother showed extensively for many years.
Heading next week to Gold Gallery in Boston, this newly repainted piece. I am looking forward to my second solo show there in March of 2015.
“Endless Sky”, 36″x72″.
Some spring sales:
“Bridge Crossing in Violets”, 12″X12″. (Sold by Butters Gallery.)
Sunset River Expanse”, 20″x62″. (Sold by Albert Shahinian Fine Art.)
“Approach,” oil on vintage blackboard, 11″x13.5″. (Sold by Chace-Randall Gallery.)
ALL of my galleries have work of mine at all times, so wherever you are or travel to among these locales, check them out!
Workshops are upcoming at the Woodstock School of Art June 23-25 and Provinctown Artists Association and Museum, September 15-18.
Abstraction and Narrative in the Landscape
Working in Oil or Pastel
Using photograhic reference, we will investigate how the elements in a landscape painting serve the whole, accessing the formal qualities of color, shape, edge, and composition to create compelling imagery. The first day we will explore these tools and how they impact the implied narrative of the painting through exercises in oil or pastel on paper. In these studies we will add, subtract, move elements around and change color using our painterly hand. Instead of painting over changes, each study will remain intact while we start a new one so that all variations can be rigorously critiqued and compared before being used as a springboard for a larger painting.
Days 2-4 will include a demo of color-mixing from primaries; more compositional studies, and pursuing fully realized landscape paintings on canvas or larger pastels. Instruction will emphasize the reduction of detail to create a strong, clean composition, along with discussion of both the abstract and the narrative qualities brought out in individual paintings.
Staying Fresh
How do we do it?
I have been working exclusively with landscape imagery since 1990, and painting full time since about 2004. I like nothing better than to be in my studio working, and since I have multiple galleries that all need work, that means a good number of landscape paintings over the course of the years.
So how do I keep it fresh, avoid being bored (which would surely show up in the work), not fall into painting the same painting over and over again?
This is a big question for artists who have a market for their work. Some do just that—paint the same thing, essentially, for decades on end, though realists and plein air painters often have a great love for minute changes in subject matter and locale and keep themselves happy and entertained with these shifts. No judgement here from me–the happy or engrossed artist is the key to good work.
We have all seen artists in the blue chip realm who disappoint with a new body of work (will Susan Rothenberg ever be able to delight me as much as she did with the early horse series?) And yet, the custom of many decades now is for an artist to work serially, ideally moving gracefully and yet compelingly from one body of work to another, maybe over the course of a few years (and often marked by the solo at their major gallery, when it is assumed that that work will leave their studio and never come back, making it easy to start a fresh series). Preferably, from the market standpoint, there is some stylistic or thematic continuity from one series to the next.
I found my true niche with my minimalist mode of landscape painting back in 1990, and a few years later felt a need for opening up my explorations. I addressed it then by expanding the range of my subject matter and palette. Initially, I had avoided anything overtly dramatic, keeping to tonalist color and flat light, and the first shift brought me into a complex sky, or a brighter, blue-sky day.
(The photos in this post may be more current examples, since I have not even begun to get all of my pre-digital slides and photos scanned.)
“Rare Summer Silence”, 20″x30″, (courtesy Gold Gallery), an example of the sort of palette and light that has drawn me from the beginning.
“Sky in Motion”, 24″X20″ (sold by Gold Gallery), which shows the kind of complex sky that beckoned a little later on.
As the years passed and I felt ever more firmly in the saddle of my approach, I dared take on subject matter that borders on the cliche for a landscape painter—sunsets, a beach path, fluffy white clouds, even a sailboat at rest. I enjoyed the challenge of painting these subjects while avoiding the melodramatic or sentimental, at first by aided by instinct and later with a clearer understanding—which I now teach—of how this can be achieved.
“Sunset Sea in Red/Gold”, 20″x60″, (private collection).
I also played with format. The first time I did a vertical landscape I had never actually seen it done, and I found it quite daring. Later, I explored extreme verticals, as well as horizontals.
“Cranberry Bog in Reds”, 48″x24″ (courtesy Gold Gallery).
The next time I felt restless, I still thought of subject matter, now manmade elements. I started with phone poles, and moved on to urban images, road imagery, and then grittier industrial imagery. In 2003 I had a show at Albert Shahinian Fine Art, then in Poughkeepsie, called “Manmade”.
“Exuberant Storm, 30″x36” (sold by Chace-Randall Gallery).
“Conviction of Beauty”, 14″x40″ (courtesy Albert Shahinian Fine Art).
“Bridge Crossing in Violets”, 12″x12″ (courtesy Butters Gallery).
A few years later, I pondered how to get my love for the grid into my work (bearing in mind that my background is in contemporary, not traditional, art). On first glance, it seemed that there were only a few ways to incorpoarate this with landscape imagery. But I decided to just get started doing these first ideas, and eventually it became clear that there were many ways to bring the landscape and the grid together.
“River in 5”, 5 panels of 10″x10″/ea., (sold by Albert Shahinian Fine Art), one image stretched over a number of panels.
“Trove”, 35 3″x5″ oil-on-panel paintings (private collection). In order to make these separate images hang together and not be too busy, I used at least some reds in each piece, and toward the end I painted six or seven very minimalist black-and-red images to create a sort of matrix for the brighter, more complex pieces. Also, some of the images had already been explored in larger pieces, usually in a different format, and revisiting them was a pleasure.
“Rainy Road/Fireflies”, 3 panels of 12″x12″/ea. (sold by Gold Gallery), three versions of the same stretch of road and close to the same moment in time, with implied movement and a non-linear nod to film.
Somewhere around 2002, once again contemplating my next move, I began to use vintage boxes and other distressed objects as my support, selecting imagery and palette to mesh with the elements already present in the object.
“Approach”, oil on vintage blackboard, 11″x13.5″ (courtesy Chace-Randall Gallery). Elements and color in the image reflect grain, texture and color present in the frame of the blackboard.
This series sometimes requires applied problem-solving in to addition visual/aesthetic decision making, and I enjoy the stretch of the brain.
Many of these pieces have been set in lovely old compartmentalized boxes, trays, or pans, which means that they also explore multiple-panel imagery.
“Mountain Fall in 6, 5″x18” (courtesy Albert Shahinian Fine Art). This appears to be an old coin drawer from a cash register. At first I thought of putting small panels within the compartments, but that obscured the lovely curve at the back. Finally, I created flexible pieces of backed linen that follow the curve. I had to take them in and out a number of times while I was painting them, since being set back changed the light and therefore the color substantially.
When I was preparing to do my Cyclone Sampler, I spent a great deal of time just figuring out what I was going to paint on before nestling the tiny panels into the compartments of the box (I settled on bevel-cut 8-ply matboard—bless my framer—that I sealed front and back with multiple coats of matte medium, since I did not want to put glass over this piece). A spontaneous decision at the end, purely aesthetic, was to leave a few compartments empty, avoiding the feel of a catalogue.
- “Cyclone Sampler”,21.5″x10.5″, (collection of the Tyler Museum of Art). Unlike the expansive feel of my single-image landscapes , this piece shows the vast energy of many twisters tightly contained within the grid.
This series has as many possibilities as the amazing things that I come across that fire my imagination, though I often have to stare at the object for up to a year before I decide what I want to do with it.
Irrigated Fields, 4″x18″(sold by Albert Shahinian Fine Art).
- My most recent addition is the Affinity Series, oil paintings on linen with frayed edges on board overlaid with graphite gridding. I don’t even remember the exact thought process that brought these into being, but it started with the idea of manipulating the support. I was enjoying both selecting and adjusting the subject matter to the individual vintage object that I was using in the pieces in that series, and was interested in creating a more specific support myself, forcing a considered mesh between it and the painted imagery.
Generally the imagery that works best with the frayed edges and gridding in the Affinity Series is either very minimalist or has strong linear elements.
Affinity/Boatyard, 10″x10″, 2014, oil on linen with frayed edges on board overlaid with graphite lines.
That I ended up with graphite gridding as an overlay was a circle-back to my longstanding interest in the grid, bringing the viewer’s eye to the surface of the piece and creating mixed associations. Some of the latter I hadn’t even thought of, like the historical use of gridding to aid with proportions while transferring a small image, or maquette, into the larger finished piece, an association that other artists have pointed out to me.
Affinity/On the Grid, 36″x48″, (courtesy Gold Gallery). In this very recent piece I pushed the gridding quite a bit, moving to black instead of graphite and actually spending more time very selectively gridding than on the earlier painting portion.
Many pieces now are some combination of these series. For example, often the frayed linen on board of the Affinity series works well in an old box.
“Factory at Work”, 7.5″x3.5″ (courtesy Julie Heller Gallery).
All the while, I have continued to paint my wide-open landscapes on linen. Doing all these other explorations makes a small new slant on a salt marsh or hillside painting feel exciting and fresh, even though I have been painting this imagery for 24 years.
“Blue Light”, 20″x60″, 2014.
I love expanding the repertoire, adding both new versions within a body of work that reflects longstanding interests and, every so often, a whole new series. In my week-to-week, month-to-month, I juggle these series simultaneously, rather than consecutively, keeping myself riveted to what is developing in my studio.
The constant is the landscape.
“White Light/ Red Light”, 24″x24″, (Courtesy Chace-Randall Gallery). Sneak peak at a new piece going into my upcoming solo, opening May 24th!
What is next? (I have several ideas just taking shape, so not sharing yet!)
Landscape and Mood
I recently taught a workshop at the Woodstock School of Art emphasizing mood in landscape painting. Since then I have continued to ponder the subject.
The course description.
All painting is about mood, and the landscape as subject matter sublimely so. In this workshop, we will break down what elements of a painting create strong currents of serenity, nostalgia, joy, melancholy, and subtle combinations of these. Color, content, and composition all contribute to the mood of a painting, so we will do exercises in color-mixing and composition, as well as discussing how these elements coalesce into the feel of a landscape in front of reproductions of some of my favorite landscape painters. In the studio, using photographic reference, we will be free to explore the mood of any palette, season, or time of day, aiming not to manipulate but to be sensitive to the mood we are creating.
Some of my ponderings.
I dislike art (in amy medium, including writing) that is sentimental. So the comment above about not manipulating the mood is key, since that might be a good working definition of artistic sentimentality–art that overtly tugs on the heartstrings. Also, art that sets out to evoke one emotional response, instead of a complex response.
Further, when the artist dials in very specifically on one emotional narrative, the viewer is not given room to project their own feelings, as too many doors have been closed. In my workshop, I observed that in bringing mood into our decision making, we are not setting about, for example, to do a painting that evokes bittersweet-nostalgia-at-the-end-of-a-long-day, but instead something much more open. Since we are working in a visual medium, we can work viscerally in part, and then use our skills in composition and color to enhance the feel that we are developing in a painting.
An analysis of the mood of eight paintings (as I see it).
The new painting below is clearly a mood piece. Dusk tends to do that, and the headlights imagery is realtively specific within my vocabulary. It is a poigniant time of day to be driving by oneself, and that is what the imagery evokes, so in this case we have a strong narrative, made dramatic by the highly contrasted darks and lights, warmed by the reds. The composition also affirms the story, since all of the shapes and lines either point to or frame the headlights.
“Crossing at Dusk”, 24″X48″, courtesy Thompson/Giroux Gallery.
“Counterlit Blues” is a mood piece of a different type, dreamier and less specific. Still, no sentimentality! The shapes all glow, and have horizontal/diagonal lines that are inherently elegant and lead the eye gently around the canvas.
“Counterlight Blues”, 16″X20″, courtesy Albert Shahinian Gallery.
A sunny summer day, green/blue palette in the Northeast, does not have the softening effects of mist, nor the mood of dusk or a thunderstorm. The challenge is to capture the sense of joy that such a day can provide, something that can be difficult—and if you fall short, it becomes just a pretty painting.
“Summer Sky over Sesuit” has a certain dreamy quality, but the pointy cloud shapes counterbalance the mood with their incisiveness. Also, anchoring the soft greens with the blacks of the marsh shapes gives the piece power. The joy of this summer day has a great deal with sense of place, as well as the towering sky.
“Summer Sky over Sesuit”, 48″X24″, courtesy Julie Heller Gallery.
Alternatively, “Divided Fields” is more a color field painting, capturing the universal, than a moment in time. The movement created by the diagonal lines of the field divisions and the upward movement of the clouds contribute to the feeling that the image extends indefinitely up and out the sides. The sense of activity contributes to the energetic mood.
“Divided Fields”, 24″X72″.
One of my all-time favorite pieces, the older “Dark Cloud” goes beyond moody, flirting with ominous. The feel of stormy dread is counterbalanced by the oddly friendly way that the cloud converses with the silhouetted tree poking up above the hillside.
“Dark Cloud”, 40″X50″, private collection.
The following two pieces were done within a few weeks of each other, are the same size. and of similar subject matter.
“October Saltmarsh” has a a much more intense feel, however, and “Hazy/Lazy Saltmarsh” a dreamier sensibility, largely due to color. The first creates intrigue by simultaneously providing serenity and incisive moodiness, while the second allows you to relax entirely into the hazy greens and tidal creek shape zigzagging gently toward you.
Both of these pieces have already been much admired…but always with a strong preference for one over the other.
“October Saltmarsh”, 24″X48″.
“Hazy/Lazy Saltmarsh”, 24″X48″, courtesy Gold Gallery.
What is the difference between the sublime and the melodramatic in a landscape painting?
I would go back to the specificity of the story, and perhaps to the number of seductive elements in the piece. So, sun through the clouds is entirely enough, and more does not make for bigger impact. Not too many colors, no need for a boat or sun flare, and darks running to black or almost black lend contrast and weight to the sublime sun.
“Summer Storm”, courtesy the Julie Heller Gallery.
Mixed metaphor in art is usually much more interesting than the overt message. Furthermore, all good art should allow for the viewer to project some of their own thoughts and feelings into the mix, as art is about questions as much as answers.
So, feel free to disagree with any of my interpretations!
Roads and Bridge Views
Fine snow creates the atmospherics in this piece, with tiny far-off headlights providing the only warmth. (Private Collection.)
For years I edited out of my paintings all reference to vehicles, and often even the roads themselves. As I started to become interested in objects created by humankind, first power lines, then a skyline, and eventually exploring smokestacks and watertowers, far-off lights and even the occasional barn, headlights started to intrigue me.
I painted my first headlights piece in 2001, a pastel of an SUV with looming headlights fleeing a tornado, which I exhibited the summer of that year, entitled “Ahead of the Storm”. I have been credited with prescience for that timing (we also called the exhibition by the same name), but feel instead that the title describes a sort of state of existence that is not constant but reoccurring. The storm might symbolize the real threats that we face in life, or it could be the accumulation of all of our “to-do”s, threatening to run amuck.
As I have continued to explore headlights more extensively, I have discovered how unique they are, each set with differing halos, color around the white of the center, shapes, and symmetry between the pairs. Some reflect on the road, some not.
I often prefer a lonely pair or two of headlights on a rural road, partly because I am, at heart, a minimalist, and partly because this seems to be quite unexplored terrain for the landscape painter. A friend once characterized these pieces as “Country Noir”.
Below, I have included a brief commentary on some of my favorites, of the road and from the road.
- The road piece that has it all, “Trove: From the Road”. 16 separate oil paintings of 3″X5″/each. Some are images from the road, of the road, and others are looking off from bridges and roadways. Unlike some of my work that captures a mood more than the details of a spot, each one of these is of a particular locale—the West Side Highway; Route #28 near Phoenicia; New Jersey; Nebraska; Cape Cod, New Paltz, and so on.
Angles and rosey light... (Private collection.)
One of my first urban landscapes, and still a favorite, an off-ramp on the West Side Highway with winter light on the Hudson. (Private Collection.)
One of my Affinity Series, with frayed linen and graphite gridding. The extreme vertical format was the most fun for me---a compositional challenge.
One type of triptych, three variations on a theme. A rainy evening on Route #28 near Phoenicia. The cropping and placement of the headlights cause the eye to move up and down diagonally as it reads the image left to right, contributing to an overall sense of movement.
An Affinity that also uses a vintage support for a frame---I believe an old sign. One of my favorite bridge crossings, heading over to the Mass Pike. (Private Collection.)
- Sunset/dusk is often bittersweet, even more so when the image is of a car on a lonely road. You can sense the solitary feeling of the driver, perhaps mitigated by a promise of home. Both the abstract and the narrative have strong presences in this piece.
Another small piece using a vintage support, the image as simple as can be. The crack on the slate to the right serves as a nonliteral compositional element.
Crazy, tilting angles of road and power lines, counterlit black trees in front with sun and fog breaking on the fall foliage behind. (Private collection.)
One very early morning on the way to catch the ferry to Martha's Vineyard, the fog and the sky kept changing for the longest time, from warm to blue/green, but consistantly with wild gleams and glows. It went on and on... lightshow after lightshow. I have been painting that dawn ever since, here with the road in front occupied by vehicles with taillights, a manmade element to play off of the amazing sky. (Private Collection.)
An Affinity, the headlights and their reflections the focus.
From the George Washington Bridge. (Private Collection.)
Another kind of triptych, one image divided into three panels, in a soft, red-green palette.
My very recent road painting, another moment during that same dawn drive.
