The surface of a body of water is a reflective, moving, open expanse. Beneath it, the water roils with life—rooted or crawling or burrowing or swimming, lifeforms going about their business of feeding off of each other and reproducing and eventually dying. Above it, life also carries on.
One day last July, while staying on Otsego Lake near Cooperstown, NY, I headed to the dock to sit and gaze at the water for a few moments. Looking down at the dock to find my seat, I heard a throaty, loud honk/squack. We had been enjoying visits all week from a mama duck and her nine ducklings, so my first thought as I turned my head was, “that was not a duck!”.
Nothing behind me, but as I straightened to face the side I was now seated at, I saw an adult eagle taking off from the water about 25 feet in front of me. It had been addressing my intrusion, I think!
Shortly after, I decided to make a call to my friend Jenny, with whom I had been playing phone tag. I got her voicemail, and the message went something like this: “Hi Jenny, we’re playing phone tag but I am around today so give a OH MY GOD THAT IT THE BIGGEST *#!%ING FISH I HAVE EVER SEEN IN A LAKE GOTTA GO BYE”.
The fish was directly below my dangling feet, at least two feet across, lit up by slanting sunlight. I know there are fish in these waters, despite an altered ecology due to Zebra mussels—my husband has caught some other years from our small boat and I have seen them feeding off of bugs at sunset. And yet, it was as if this big fish had crawled up on land and joined us on the deck for cocktails, such was my sense of worlds colliding.
I am puzzling out, ever since, what was so startling about this fish sighting. After all, I have been among whales in our 16 foot boat off Race Point in Provincetown—including a pod of killer whales; froliked with a mola and some dolphins in the harbor; snorkled off St. Thomas among all sorts and sizes of sea life.
I think that my jolt of surprise was about expectations, so often the case. I had for days been focused on the surface reflections, and I lost track of the awareness of how much is going on underneath and that during my daily swims, I was intruding upon their busy world. Seeing this large fish directly under my feet brought that crashing back.
As artists we are concerned with both surface appearance and deeper function and meaning. The surface is mesmerizing and ever-changing, feeding our visually-linked emotional hunger, and soothing our quotidian bumps and bruises. The complicated churn beneath, however, mirrors life in its day-to-day, demanding a nuanced and dedicated attention.
This summer has served to remind me of how much I appreciate my galleries. It can be rewarding, sometimes, to hop off that train and do something self-generated like an open studio or studio tour; or an event at a non-gallery venue. But ultimately, a gallery is where people go to view and buy art. It is a business whose purpose is to exhibit and sell art, and therefore all effort is going to that end.
Invitations generally go out in a timely fashion, instead of getting buried in the more pressing things that a non-gallery venue might have to attend to. The galleriest installs the show, with beautiful results based on years of experience. Folks walk in off the streets who are interested in art; search for the local galleries when visiting; respond to invites. A showing of a grouping of selected works in a collector’s home gets on the schedule without delay, follow-ups are done to inquiries as a matter of course…and so on.
That said, the mom-and-pop galleries struggle to stay afloat, with many more friends and lookers than buyers. So collectors, please support your favorite galleries!
And if you are an artist with gallery representation, this is how you can help:
I had a lovely time teaching this past June in Woodstock and August on Nantucket, with a full house for my color-mixing workshop in both places.
These are the demo pieces that came out of the two landscape workshops:
My week on Nantucket was filled with not only with my wonderful students, but also with salt air and good food and warm friendship.
I organized an informal gathering at Thomas Henry Gallery so that my students could see my work there, all of the sea or the island:
The Woodstock School of Art invitational Monothon in July was a printmaker’s dream. Imagine having a printing staff at your beck and call, both master printmakers and monitors, facilitating your every move. Master printmaker Anthony Kirk guided and facilitated my hoped-for plan, my first monotype triptych (and then a few more).
One 8″x10″ was chosen from each participating artist, to be sold at the show there opening September 8th, 3-5pm This is my donation print that will be featured, followed by some of my other wave monotypes.
We will be featuring monotypes and my vintage series, along with oil paintings, in my grouping for the upcoming four-artist show at Albert Shahinian Fine Art in Rhinebeck, NY, their yearly Luminous Landscape exhibition. The show opens on September 29, 5-8pm.
Several of my summer sales:
One of my favorite pieces from the past decade, Perceived Acuity pleases me for its simplicity, movement, elegant shapes, and unusual color:
Link to in-studio available works in oil and on paper:
Coming right up, my teaching week in Provincetown, Sept. 17th for Color Mixing and 18-20th for the Landscape Painting Intensive. If you are feeling inspired and spontaneous, come and join us!
Also upcoming: another residency on Nantucket in November. My focus there and in my studio will be on Atlas/Forms of Water, from the sky to the land to the ocean, and everywhere in between.
Deep, happy, exhalation—spring is here!
I recently delivered fresh work to Louisa Gould Gallery on the Vineyard. She is currently hanging her first show of the season, including my new work, and then plans a big 15th anniversary show with a reception mid-summer. Here are a few of my additions to the gallery walls:
In other shore news, I am very pleased to announce new representation on Nantucket at the Thomas Henry Gallery. I am still working on the pieces that will be delivered in early June, but here is a sneak preview:
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My solo show at Thompson Giroux Gallery in Chatham, NY, Atlas/Hudson River Valley, was very well received. I will continue updating the blog post on the show to label what has been been purchased, as the gallery has kept many pieces for follow-up viewing and acquisition. I have also labeled with a G the pieces still at the gallery.
Most of my spring sales have naturally come from this Chatham show, and have included oils, a pastel, monotypes, and a collage—a nice affirmation for all of these explorations. Here a is a handful of examples:
Sold, happily, as a pair:
This show was a wonderful experience for me from every standpoint. Parting words from them when I was done with pick-up—after expressing my deep appreciation for how well-handled every aspect of our interaction was—“happy artist, happy gallery”.
Those works that have returned to my studio are back on my available work post, as well a number of other pieces:
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Iconic Cloud recently came back to me and I just touched it up, brightening both hillside and sky. I’ve done that a few times recently—must be a shift in my mood.
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Here is a schedule of my workshops in Woodstock, Nantucket, and Provincetown. My color-mixing workshop has become very popular with painters of all levels and styles, so some version of that is being offered in the three locales.
I will participate in the Shandaken Studio Tour July 21-22. More on this as it approaches—it is such a pleasure for me to set up my studio as a gallery and host visitors both new and known.
Moving forward, a September show at Julie Heller East in Provincetown and the Luminous Landscape at Albert Shahinian Fine Art in Rhinebeck later in the fall. Plus some as yet unknown opportunities will likely arise, as they usually do…
Additional works at the gallery:
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, most notably Albert Shahinian Fine Art in Rhinebeck, NY; JSO ART Associates in Westport CT, and Megan Peter Fine Art in Redbank, NJ.
Oil on paper:
To see the blog post on my smallest oil-on-paper pieces showing currently available works along with a discussion of their genesis, click on the link below:
Mixed Media/Collage (Of paper and other things, on board):
Monotypes (these are all 8″x10″ or 10″x8″):
This post, designed primarily for the galleries and consultants that I work with, serves as a data-base for oil paintings that are currently in my studio. As work sells or is consigned I will remove it, and new or returned work will be added.
My website– created by Stephanie Blackman Design—was beautifully designed as a calling card. Since I create/sell/move work around frequently, it was never my plan to keep it current at all times. With this data-base I will have a comprehensive selection for you all to peruse and can reduce the number of emails that I send showing dealers my currently available work, as those become outdated quickly also.
Often I am expecting some work back imminently or have a painting on the easel that is almost finished, so please feel free to inquire if you have a particular need: firstname.lastname@example.org. 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/
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.
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.
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:
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:
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.
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.
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.
Some spring sales:
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.