Moody, Minimalist Landscape Painting

Posts tagged “Woodstock School of Art

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. 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


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.

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.

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″.

 

Vroman’s Nose/Flooded Fields.

And two additional monotypes of our region:

 

MSweeping Sky with Fields, 8″x10″, monotype.

 

MWhite Field #1, 8″x10″, monotype.

 

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.

 

Indigoes with Glowing Light, 18″x24″, oil on linen.

 

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″.

 

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".

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.

 

Rare Summer Silence, 20″x30″, oil on linen.

 

River Island with Castle, 9″x36″, oil on board.

 

Gleaming Bridge, 20″x40″, oil on linen.

 

Affinity/Shore Lights, 16″x8″, oil/linen/board/graphite gridding.

 

Red River Shore, 20"x30".

Red River Shore, 20″x30″, oil on linen.

 

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 Mist, 18"x48", $4,200.

Trees with Mists, 18″x48″, oil on linen.

 

Mountain Sky/Blues, 24″x48″, oil on linen.

 

Dawn Headlights, 12″x36″, oil on linen.

 

“September Dawn”, 10″x28″, pastel on paper. (Sold)

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ParticularityPlace

Particularity of Place, 36″x36″, oil on linen.

 

layersofmeaning

Layers of Meaning, 30″x24″, oil on linen.

 

Snow Fields, 12″x12″, oil on linen.

 

Snow Shadows, 12″x12″, oil on linen.

 

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.

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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):

https://scheeleart.wordpress.com/2017/02/11/gallerystudio-a-symbiosis-solo-show-with-albert-shahinian-fine-art/

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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. ♥

 


Teaching: Creating Community and Fostering Independence

Lately I have been musing about how, as teacher and mentor, my ongoing job is to instruct and support, while my long-term goal is to nurture the confidence that leads to independence. The ability to solve one’s own creative problems springs from having the integrated information, skill set, and resoluteness to do so.  By facilitating all of this, the teacher’s job is to work one’s self out of a job.

 

 

Most teaching is done in a group setting, and then camaraderie, cross-pollination, and sometimes competition enter into the learning process. The group dynamic is both a draw and a distraction.

Artists most often work in the solitude of their studios, which can be a major adjustment for those new to the process who are struggling with issues of a steep learning curve, motivation, and self-confidence. Most of my students and mentees are fiercely drawn to art-making, but then wonder why they have a hard time getting into and spending time with their studio practice. This leads to the undermining fear that if they were the real deal, true artists, they would be consistently highly motivated. Or at least have the discipline to get on in there, no matter how they feel.

Drawn from conversation with many dozens of artists over the years, my observation is that a perceived lack of motivation is most often internal resistance that stems from very common fears: fear of failure, fear of success, and most of all, fear of meeting one’s self. And therein lies the importance of the solitary activity — meeting one’s self is the life work of an artist or thinker, and will rarely be accomplished in a group setting.

The habit of the studio lies, therefore, in the discipline. There are various ways to get yourself over the resistance, something that I discuss with students and mentees. And once you’ve done this a few hundred times, the resistance fades. For many years now, my studio positively beckons, but I do remember being in my 20s and having to summon willpower to leave my apartment and walk to my studio in Union Square in NYC, as happy as I was each and every time when I got there.

The downside to being alone in the studio is that artists are working in isolation to the point where they can get locked up inside their own heads, losing track of the commonality of our problems, aspirations, and fears. That is when the group camaraderie is needed — some honesty, some laughs, communication and idea-sharing on the subject that we hold dear.

What is too much solitary exploration, and what is too little?

This comes down to the varying needs and goals of the individual. Some students aspire to great heights of skill and originality; others might be engaged in open exploration of the path, seeing what evolves; and still others are in it simply for the process. These mindsets can also change over time. In all cases, progressing in skill and understanding is the process over the long term, and is the common denominator.

But how we, as teachers, deal with the differing needs of our students is key. It is all too easy to be problem-solver-in-chief. It is much harder to assess where each artist is in their process — a moving target — and provide what is needed, when it is needed.

This might be a lot or a little, perhaps just planting a small seed and encouraging the student to grow it. As the soup of information thickens for a particular artist, they need less advice and more reminders of what they already know, and sometimes a question in answer to their question is most productive.

Some folks do need more reassurance than others —i t is hard, for instance, to absorb information while in the throes of anxiety. And I have often had students who enter my workshops with plenty of ability and a healthy awareness of it, who are coming to me to kind of top off their information. There are always many variables.

Teaching in any form is as much about the student as it is about the subject matter, but the subject matter is the vehicle. An experienced tracker and tracking teacher once told me that his students arrive in the woods looking for transformation, but he focuses on the tracking and lets the transformation take care of itself. This tends to be my approach, especially with painting, which, as an activity, is a challenging and rich world of its own.

That said, my next blog post is going to be on a topic that comes up frequently with my students — how easy it is to get locked into a mental loop of running yourself down. My first yoga teacher used to call this the “crap tape”, a litany that we start reciting in our heads when the mood slides downward. So there are times when I am fully prepared to step aside from the subject at hand — painting or art career — and talk about this emotionally treacherous habit that undermines any endeavor.

Artists need to follow a quiet, solitary, ignore-distractions path when they set to work, even when they are in a group setting. Sometimes we can get into the zone more than others — no guilt or self-blame (avoiding the crap tape). But distractions are increasingly a way of life, and can become a habit that destroys focus, the fertile underpinning of creativity.

“‘All of humanity’s problems,” the French scientist and philosopher Blaise Pascal wrote in 1654“stem from man’s inability to sit quietly in a room alone.” Three centuries later, the great Russian filmmaker Andrei Tarkovsky shared his single most urgent piece of advice to the young: learn to enjoy your own company. And yet today, in the golden age of solo living, Pascal’s words ring all the more urgently true and Tarkovsky’s counsel seems all the more unattainable. The age of Social Everything makes the art of solitude appear increasingly difficult to attain, even terrifying.”

~Maria Popova, Brain Pickings

 

 

Emersion in our chosen practice is what we need to ground ourselves so that ideas can flow.  Following a creative thread takes time, thought, trial and error; the slow-food method of art-making. Through instruction and group learning, students can cultivate and enhance the habit of concentration. From needing substantial help from their teacher, they can progress to consulting their own thoughts and problem-solving toolkits.

We are ethically, as teachers, responsible not for creating a scenario where the student needs us forever and always, but for nurturing and informing each student according to their needs until they can, ideally, work independently.

It is bittersweet to see our students leave us to go it on their own. But we should be proud of that moment, the moment when, for a particular student, we have done our job well and made ourselves obsolete.

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See my blog post on creativity and happiness for more:  https://scheeleart.wordpress.com/2014/12/10/creativity-and-happiness/


Late Summer 2017 Newsletter

June brought two great-story sales. The first was of this piece, a favorite of mine since I did it a few years back. My husband delivered it to Louisa Gould Gallery on Martha’s Vineyard in early June and a few days later it was headed  to Madrid on a private jet. The collector even helped unwrap it after being drawn into the gallery by my 50″x90″ piece in the window.

Rolling Cloud, 44″x62″.

 

This octych has received a great deal of attention, including a blog post of its own. It was shown and appreciated at Gold Gallery in Boston, and then at Albert Shahinian Fine Art in Rhinebeck this past winter.

Green Waves, 13″x76″ overall, oil on linen.

https://scheeleart.wordpress.com/2015/03/24/the-evolution-of-a-new-concept/

In May I was contacted by a woman in NC who told me that she wanted to buy it, and had the perfect spot for it. She had read the blog post and loved the story. She had never bought original art before, except for one print. She found me through a google search.

After much back and forth, it turned out that she had seen the price on the small oil-on-paper study that I had done leading up to the final piece, and the actual cost was way beyond what she had anticipated or budgeted for. So I offered her some other, smaller pieces in the green palette that she prefers…and then didn’t hear back from her for a few weeks.

This happens with some frequency. For a discussion of why original art created by a career artist costs what it does, you can read this blog post:

https://scheeleart.wordpress.com/2014/11/02/this-painting-costs-what/

In the end, she could not resist the piece and I could not resist making a price accommodation to enable her to have it, though it was still a huge leap for her both in cost and in faith, as she hadn’t set eyes on the actual piece.

My galleriest Albert Shahinian, who had the piece and is also an expert art handler, did the packing and shipping, and here is Green Waves in its perfect spot:

 

 

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My Atlas Project is gaining momentum and focus. I earlier began a description of the evolution of this  endeavor and got so carried away that I found I needed a separate post, which I will be working on going forward.

In brief, motivated last fall by a number of factors including an upcoming residency on Nantucket and my fears over an acceleration of climate change with the new administration in Washington, I decided I needed to marry more concretely my deep love of the outdoor world and its complexities with my visual expression.

The third and most complex grouping, Atlas/Hudson River Valley had a trial run during a recent studio tour/open studio. Each site map circles closer to what I want, this most recent one being a collaged road map with map pins showing the locations of the paintings in the grouping and monotype thumbnails of the same. Like the earlier versions, this folds up into a small map.

I ran out of time—this was an excruciatingly slow process, with many design elements and much trial and error—and didn’t get any of the written piece figured out, but in discussion during the open studio I figured out how to approach this in a way that has integrity with the map.

This will all coalesce into a large solo show at Thompson Giroux Gallery in Chatham, NY,  March 31-May 6 in 2018, of Atlas/Hudson river Valley and Atlas/Forms of Water. There will be many more paintings and therefore more thumbnails on the map; most likely an off-center extension at top right to show the source of the river in the Adirondacks; and a narrow extension the length of the left side to add written and visual detail about our area. The show will feature monotypes, collages, and pastels as well as oil paintings.

Overlook with River, 24″x36″, the last piece finished before the July Tour.

 

The Studio Tour overall was a sweet weekend with folks from my mailing list coming through as well as those who were new to me. Usually it is a low-pressure event for me and I have a lovely time at the outset setting up my studio for viewing. I had knocked myself out working on the Site Map and printing linocut wall tags for the Atlas Project this time around, but it was well worth it for how the deadline brought the project together enough for me to hone many aspects and trouble-shoot the things that are not yet quite right.

 

Front wall of studio arranged as Atlas/Hudson River Valley, for Studio Tour 2017.

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The day after the Studio Tour ended I was off for a week to teach on Nantucket. So lovely to see the island wearing its summer color, after spending two weeks there in February! I taught my composition workshop, Constructing/Deconstructing the Landscape, to a receptive and able group of six. These are the exercises that they had finished at the end of day #2.

For demo purposes I did several small oil-on-paper pieces, choosing subject matter according to the requests of my students:

Horizontal Wave, 5″x12″.

 

Warm Fall Fields, 5″x12″.

 

Dusk Palms, 5″x5″.

 

After my workshop was over I spent a long afternoon in the print shop, rediscovering what works for my imagery in monotype (there are always a row of failures before some successes). This is my favorite of the batch:

Monotype Sunset over Tidal Flats, 8″x10″.

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In June I had a discussion with some of the artists who I mentor about curating a show of their artwork, and got a very positive response. I contacted what I thought would be the perfect venue for a show of such an eclectic group of artists, the ArtBar in Kingston. The only slot Allie had open in 2017 was for August, so this exhibition of 18 artists had to come together very quickly!

It was interesting switching hats back and forth from mentor to curator, and there will be follow-up in my groups on my experience with the artists as curator. I have heard repeatedly from gallery owners that it is their quality-of-life choice to represent talented artists who are also easy and responsive to work with, so this is a theme that I pass along.

On the card, top to bottom: Betsy Jacaruso, Rebecca Darlington, Elizabeth Panzer, and Sandra Nystrom.

I selected the work and Allie, who owns the venue, hung the show. The opening reception was busy and the the comments very enthusiastic. The list of all of the artists involved: Polly Law, Sandra Nystrom, Rebecca Darlington, Linda Lynton, Linda Puiatti, Al Desetta, Betsy Jacaruso, Patti Gibbons, Lois Linet, Stacie Flint, Elizabeth Panzer, Dave Channon, Karen Schaffel, Julia Santos Solomen, Mary Katz, Loel Barr, Mark Loete, Cathy Metitchecchia.

This is my short description of the work I have done with these, and many other, artists over the years:

My mentoring work began as a way of helping other artists enter or expand their presence in the art market by providing support for both studio practice and exhibiting. The groups are a blend of coaching, support group, and targeted career advice for emerging and mid-level artists.

An article, written by Lynn Woods, will be coming out shortly on the show in the Kingston Times and I will add the link.

 I love two things the most, I think, about working with artists in this way. One is that the artwork is so varied, and as my artistic taste is too, it is a huge pleasure watching and sometimes helping these artists hone their voices into bodies of work that have depth and impact.
The other is that, in our overly busy and complicated lifestyle, I can inform, simplify and advise. So, while every venue, gallery-artist relationship and even many sales have their own unique wrinkles that make generalization difficult, there are guidelines that can help emerging artists streamline their approach and be more decisive in their responses—and feel better about the process.

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Coming up, very soon, this four-person show at the Nantucket Artists Association, a brainchild of Program Coordinator Mary Emery: Due East, 4 Woodstock Artists on Nantucket, featuring the work of Polly Law, Kate McGloughlin, Jenny Nelson, and myself; all artists who teach and/or have done residencies at the AAN. Dates are September 1-22.

https://www.nantucketarts.org/dues-east-woodstock-artists-on-nantucket1.html

A medium-sized oil-on-linen that will be featured in the show:

Color Field/Incoming Tide, 30″x30″.

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Recently finished, my second Atlas/Hudson River Valley mixed-media/collage:

Atlas/HV Collage, 2 panels of 16″x8″/ea.

 

And in oil, an image of the tide coming in over the tidal flats mid-Cape, always a moment of bliss for me:

Sky Meets Water, 18″x24″.

 

This piece fits into the Atlas/Forms of Water segment. It is a different type of category from Atlas/Hudson River Valley, and there will be overlap, making for a more dynamic installation.

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A few of my other sales so far this season:

 

Calm Crossing, 38″x70″, sold by the Louisa Gould Gallery.

 

Monotype/Wave#5, 8″x10″, sold by the Julie Heller Gallery.

 

Haybales, 8″x24″, pastel on paper, studio sale.

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Upcoming workshops are at the PAAM September 11-14, the loveliest time of the year to be on the Cape:

https://www.paam.org/workshops/summer-2017/?course_detail=abstraction-and-narrative-in-the-landscape&start_date=9-11-17

And the Woodstock School of Art October 28-30, also a stunning time of year for the locale:

http://woodstockschoolofart.org/course/color-mixing-landscape-painters/

Enjoy your rest of summer season and beginning of fall!