Face Off Update

 

Wow!  What a fun weekend in Charleston I had.  Thank you to Principle Gallery Charleston for hosting such a great event and giving me an excuse to play in your fair city.  Here are a few images from the event and then a quick timelapse video of my painting from that night.

Face Off Artists: me, Terry Strickland, & Rachel Constantine

 

   

 

My finished painting of Nicole, 3 hours later.

 

Sienna As Archer

Sienna as Archer, oil on panel, 48" x 36", 2014

Life and art are inseparable for artists.  Everything we do in our daily lives has the potential to become fodder for our work.  And the work in turn, feeds our life with rich appreciation for the simple acts and moments that could otherwise be overlooked.  Lately, I've noticed my children are growing like weeds right before my eyes.  I can feel their youth slipping towards responsibility and seriousness.  This has become particularly poignant for me with my daughter as she approaches her next birthday, which will place her firmly in the double digits club.  There is a risk in painting children, maybe especially for women artists; artists who are mothers.  So much of history has told us that this is a 'sentimental' act, and that that word itself is a dirty word which you wouldn't want associated with our serious work.  But there is a bounty to explore in that moment of a child's life which is fixed between the abundance of imaginative play of youth and the growing pressures of age; right before the storm of adulthood.  I am compelled to capture that mix of tides that I am living with, that I am responsible for raising well.   

 While my daughter posed for this painting over several sessions, I noticed a shift in her.  When I first asked her to hold the bow, she pulled the string and it was... almost right - but there was an apologetic tone to her stance.  Her feet were planted awkwardly near each other, her grip light and unsteady.  I was asking my pink loving, pacifist daughter to hold a weapon - and this was not natural for her.  It took much coaching, and honestly I think I had to make her mad at me, before she really took the pose with any believability.  I think by then she wished I had loaded the bow with more than a suction cup toy arrow, because now she was happy to aim directly at me.  The next time she took the pose, her elbow straightened a bit more, her wrist more naturally aligned with greater strength.  And then as the painting developed and she got to see herself as this strong and cunning girl, I noticed she began to stand taller too.  What I suddenly realized one day while standing infront of this life size painting of my daughter, is that this painting was helping me parent better.  I was showing my daughter how to be empowered.  How to embrace her inner strength and not be apologetic to share that with the world.  

Life and art are inseparable.    
    

 

And here is a picture and a related post of this same girl, just several years younger.

The Artist's Magazine - April 2014

As you may know I am one of the co-founders of the blog Women Painting Women.  We have been working since March of 2009 to create an online resource that highlights the incredible work of some of today's best figurative painters (that just happen to be women).  We have also worked tirelessly to organize multiple exhibitions to further gain exposure for these artists.  Women Painting Women begs us to question whether women see and therefore paint the female figure differently than has been been traditionally represented through out history.  Can women be represented as more than mere passive subjects, icons of beauty?  There has been a wonderful article written by Louise Hafesh in the April 2014 edition of The Artist's Magazine on the history and development of Women Painting Women.  I am honored to have both my efforts towards WPW's goals, as well as my own work featured in this eight page article.  Make sure you pick up your copy at a newsstand or bookstore near you.  I've also heard digital copies are also available thru an online subscription.  More info on The Artist's Magazine can be found at www.artistsmagazine.com    

Paintings by Alexandra Tyng, Zoey Frank and Ellen Eagle are but a few of the great works shared in this expansive article.  I am honored that the editors chose to share my painting Rising Tide as well.  More on the thoughts that went into that painting can be read on this blog just a few posts down, or by clicking here.  Many thanks to writer Louise Hafesh and also to all the fine folks at The Artist's Magazine.  Thank you for the great support!

Rising Tide - Infringement and Evolution of an Idea

Have you ever had an idea just hit you?  For me, it seems to happen while in the car (or less conveniently, right before I am about to fall asleep).  I really enjoy long road trips because of this phenomenon.  I find my mind is focused yet wandering freely.  This spring, I had one of those long road trips to head up north to help my mother through a surgery.  I was looking forward to the time alone on the road as I was hoping for a few good ideas to rise to the top.  And indeed many ideas came.  One in fact hit me so viscerally, I found my cheeks wet with tears, so moved by the image in my own head.  

You see, not only was I trying to sort out ideas for potential works of art, but also my mind was trying to sort out general life stuff too.  I have a friend, who at the time was in such a deep, dark, depressive place.  I had been watching her sink further and further into this pit and I felt powerless - I very much wished I could save her.  But I realized in that solitary moment, speeding along the freeway, that everything that I had been doing, that I thought was helping may have actually been enabling the depression further.  In that moment, I realized that she herself must first want to stop the sinking.  It was a hard realization because in a sense it meant that I was letting go.  And what if she just free-fell further?  With all those thoughts came an image.  An image so strong, so powerful and so clear.  I felt so much relief in that image.  It so well articulated the conundrum in which I found myself.  Later I was so proud of this image, this flash in my mind's eye, that I started to describe it to artist friends.  They agreed that it was a very powerful image and would make a hell of a painting.  I couldn't wait to get to the studio, to hire models and get moving on the painting before that flash faded.

I spent several weeks with two hired models (a splurge!), working out compositional drawings and starting the underpainting for what was going to be a break through piece for me.  I had so much energy and enthusiasm.  And it was going well.  Surprisingly, the image with difficult poses was actually physically possible for the models to hold and it was all coming together.  I decided this painting would be one that I would include in an important exhibition whose deadline was fast approaching.  At this time, I was also teaching two workshops which needed my attention. I begrudgingly took time away from the easel, looking though all my teaching materials, trying to organize hand outs for the students when in the back of one of my binders I saw an image.  It was my image... but wait... how?... wait no... that's not my paint.  What the hell?!  Oh no.  

Back when I was a student myself, one of my professors had recommended that I look at an artist's work and she handed me a printout of one of the artist's paintings.  I hadn't seen that image for fifteen years, and yet here my brain had leached it out and let me believe it was my own this whole time?!  I instantly hated myself.  But I still loved the image.  The peace that it had brought me in dealing with my friend was so palpable.  After much wrestling and yes, more crying, it became clear that I couldn't continue with the painting.  I tortured myself - questing all that I am, spiraling into my own depths.  But my response to my friend's situation was still an honest jumping off point.  I could still use those feelings as a place to find a new image.  It was heartbreaking to give up on this thing that had become so real, so empowering for me but it was so very necessary to let it go, lest I perpetually hate myself and this work. 

I took a break from the models and went back to writing and sketching to gather my thoughts.  From this kernel of an idea, came what I hope is an even more potent image.  More potent perhaps because it includes only one figure.  I realized that the other figure (that was to symbolize myself in the relationship) was not necessary and in fact may have been muddying up the idea by adding an element of my own hero complex or narcissism at the least.  Also water crept into this new image as a force of both benevolence as well as potential harm.  I loved that duality.  This painting came fast, on it's own new and bigger, untainted panel.  I re-hired one of the original models and worked it all out in about three weeks.  

Rising Tide depicts a woman lying on her back in shallow water.  She is at that moment of choice.  Is she going to pull on the red cloth (which comes in from an unknown source at the top) to be able to easily rise out of the waters?  Will she let the tide slowly rise to consume her, or will she simply let go?  I also had the aphorism "A rising tide lifts all boats" in mind while working on this painting.  I find this aphorism very apt since this painting was going into this year's Women Painting Women exhibition at Principle Gallery.  I do believe that all the efforts that we have been making through Women Painting Women has had a great impact - in a sense raising the awareness for all great figurative painting and certainly raising the level of recognition for women figurative painters.         

Rising Tide, oil on panel, 34" x 54" 2013

Rising Tide, detail

This painting was featured on the cover of the WPW: (R)evolution exhibition catalog which can be purchased HERE.  Thank you to Matter Deep Publishing for the honor! 

Chase vs Sargent

 

A wonderful corner of the Metropolitan Museum of Art.

 
Recently, I was able to visit the Metropolitan Museum of Art in New York City.  If you haven't yet seen the new American wing, you really need to make the trip.  It's well worth the effort.  While there, I took a moment to sit in front of two favorite artists' works that happened to be displayed side by side - William Merritt Chase's Lady in Black and John Singer Sargent's famous Madame Gautreau.  


As they are hung right next to each other it's hard not to make comparisons.  Even the wall placard notes how Chase's composition seems to quote Sargent's, perhaps especially with the placement of the table.  I sat there for quite sometime doing a thumbnail sketch of the beautiful Lady In Black.  As I drew, I found more and more points of comparison.  Now, it is not my intention to upset any Sargent fans. I am indeed quite a fan myself - but I have to say in my humble opinion, the Chase painting is the more interesting portrait.  Madame X has become such an icon for artists in realist art circles, so perhaps my favoring Chase's work has more to do with my propensity to root for the seeming underdog?  I'm not sure, but I will try to remain as objective as possible.

 

John Singer Sargent, Madame Gautreau (aka Madame X), oil on canvas, 82 1/8 x 43 1/4 in, 1883-84

Sargent's painting of Madame X,  with her pinched waist, evening attire and averted gaze, doesn't allow us to witness her full personality.  We surely understand her status in life, but beyond that not much else is offered.  (I must note that as a figurative artist I totally understand his choice in painting her head turned to the side.  Who wouldn't want to paint that stunning profile?!  This perhaps accounts for the averted gaze).  We instead are shown the pomp and circumstance of an elite's commissioned portrait.  Even Mme X's feet are softly absorbed into shadow, further obscuring personal identity.  Because of this, I find the Chase work a more honest and to my contemporary taste, a more appealing depiction.  In Lady in Black we are presented with a woman (Ms. Marietta Benedict Cotton) who is more humble in her attire and confronting with her gaze.  She stands solidly grounded with one foot in light.  There is little apprehension or coyness to her gaze.  Though her gown is surely not today's casual, it does seem more reserved or down to earth.  Even the polish of her skin is not overly smooth, soft or pasty as Mme. X's seems.  The paint itself has more action, more color, and is overall more interesting.

 

William Merritt Chase, Lady in Black, oil on canvas, 74 1/4 x 36 5/16 in, 1888

Perhaps, the Chase work resonates because it is more approachable, more easily accessible, depicting a class that I am closer to understanding.  Or perhaps its more that I enjoy seeing a portrait that shows more of the character of an individual, not just the surface characteristics.  My husband argues that because of the averted gaze, the Mme. X painting is more enigmatic, is more open to being read as story.  While the first one reads as an honest depiction of an individual.  His point is well taken here.  I understand neither is wrong or makes for lesser of a painting.

Placed together, these two paintings evoke much thought and emotion. I look forward to returning to visit these two wonderful paintings again soon.  Let me know what you think?  Do you favor one more than another?

 

Here's the little sketch I did with a few random notes that I jotted down as well:

-note that there are more reds in the flesh of "Lady" 

-note the balance of edges up and down the figure:

left shoulder has soft edge - right shoulder hard

left sleeve hard edge - right sleeve soft

-note that the perspective of the table is off, but less awkward than the table leg meeting up with the corner of the composition in the Mme. X painting. 

Thanks for having a read.

Converge

I am super honored to be included in the exhibition titled Converge: Where Classical & Contemporary Art Collide curated by Allison Malafronte, former editor of American Artist Magazine.  Here is just a brief quote from her curator's statement which can be read in full on the website for the exhibition (and while there take a peek at all the work included in the exhibition).  www.convergeartnyc.com 

"If modernism took too drastic a turn from traditional order and beauty and if the post-modern resurgence of classicism went too far into static technical prowess, we are now feeling the push and pull of art being brought back to center—and the artists coming to the surface embody the best of both worlds. The exhibition "Converge" will capture this movement by highlighting painters who demonstrate both the skill and tradition of the classical world and the content and critical thinking of the contemporary world. Rather than looking in confusion or disdain at a particular approach, “Converge” aims to bridge the divide between the classical and the contemporary by bringing high-level paintings in various styles and subject matter together for mutual acknowledgement."

Allison has brought together a stellar roster of artists, most of whom will be in attendance (including yours truly) for the Opening Reception on Thursday, November 15th from 6-9pm.  Come by, see the work and say hello if you are in the big apple!  If you can't make the exhibition, there is a catalog available for purchase on line.  For more information on the catalog visit the Contact page of the website or Click Here.

CONVERGE: Where Classical & Contemporary Art Collide

25CPW Gallery

November 15-27, 2012

Opening Reception: Thurs. Nov. 15th, 6-9pm

25 Central Park West, at 62nd St.
New York, NY 11231
212.203.0250
www.25cpw.org
Converge2012NYC@gmail.com

www.convergeartnyc.com

Home Work

Home Work - Domestic Narratives in Contemporary Art

Green Hill Center for NC Art

September 14 - November 3, 2012

I am super honored to have several paintings included in this group exhibition curated by Edie Carpenter.  Focusing on the themes of repose, nourishment, pastimes and chores, this exhibition examines artists’ depictions of everyday life as explored in sculpture, installations, paintings, printmaking, photography, video and artist books.  This is a must see exhibition which is up for just over one more week.  Get to Greensboro North Carolina if you can.

 Home Maker, 48" x 36", oil on panel

Allison at Mirror, 26" x 16", oil on panel

Love, 5" x 7", oil on panel

 Kitchen Window, 48" x 36", oil on panel

Green Hill Center for NC Art

200 North Davie St.
Greensboro, NC 27401
336.333.7460

http://www.greenhillcenter.org/ 

The Expedition & Beyond continued

This past weekend a dozen women from across the US (unfortunately our Canadian contingent Kate Stone could not join us this time) traveled to Alexandria, VA for the opening reception of The Expedition & Beyond at Principle Gallery.  It was a fantastic evening event filled with meeting new collectors and other artists.  Thank you to all the folks that came from near and far to join us for this lovely exhibition!  You can read more about this exhibit both HERE and on the WPW site.  Also, a few bloggers have offered nice write ups about the exhibit: Matthew Innis on the Underpaintings Blog  and Tricia Ratliff on Agile Arts Blog.  Thank you both!  (You can also see more photos of the reception on my facebook page).

I went back the next morning to take a few installation shots.  Then, most of us headed to rural Pennsylvania for a short painting retreat at the home of Catherine Prescott.  I will post more about that soon...  In the mean time, enjoy taking a look through these photos.  The exhibition is up through May 15, 2012.

Terry Strickland: The Three Fates; Mia Bergeron: Silence

Diane Feissel: Where the Land Meets the Water; Alia El-Bermani: Diane with Kitten

 Alexandra Tyng: Elemental Balance; Rachel Constantine: Departure/ Arrival

 (over fireplace) Stefani Tewes: The Stillness Beneath

 

 Alia El-Bermani: Becoming;  Catherine Prescott: Northern Interior

 

Alia El-Bermani: Becoming

(foreground) Cindy Procious: Jewels of the Ocean; Sadie Valeri: Self Portrait at 39 

 Rachel Constantine: Self Portrait with a Man

Stefani Tewes: Embrace

 Alexandra Tyng: Hot Enough

Cindy Procious: Where's the Tobasco;  Mia Bergeron: Away; Linda Tracey Brandon: China Frog and Red Peonies; Catherine Prescott: Death is Not a Domesticated Pet;  Linda Tracey Brandon: Mia in a White Turban

   (far right) Katherine Stone: Lucie in the Wind; Sadie Valeri: Undersea

Katherine Stone: Vanitas

Principle Gallery

208 King St

Alexandria, VA  22314

703-739-9326

www.principlegallery.com

Guardian

 

Guardian, oil on panel, 64" x 48"

My painting Guardian is now dry enough to photograph.  As I stated in the previous post (which you can read here), this painting is a deeply personal image that has stuck with me for approximately three years.  I'm not ready to verbally explain all the symbols and meanings of this painting - hopefully there are some that you will be able to read in the painting on your own.  I will share that this has been one of the most rewarding painting experiences of my life.  This painting has developed and evolved and gushed out of the deepest parts of my being.  I feel so much gratitude for being able to experience this.     

 Guardian (details), oil on panel, 64" x 48" 

 

Principle Gallery - The Expedition & Beyond

Becoming, oil on panel, 24" x 24"

I am honored and excited to share that three of my paintings will be included in an exhibition at Principle Gallery in Alexandria, VA.  The Expedition & Beyond will showcase the works of thirteen incredible figurative artists.  I am so happy to be sharing these esteemed walls with this talented group.  

The Expedition & Beyond

April 13 - May 15, 2012

Opening Reception: Friday April 13th from 6:30-9pm

Principle Gallery

208 King St.

Alexandria, VA

703-739-9326

Artists included are:

Alexandra Tyng – Narberth, PA

Alia El-Bermani – Cary, NC

Catherine Prescott – Harrisburg, PA

Cindy Procious – Chattanooga, TN

Diane Feissel – Philadelphia, PA

Linda Tracey Brandon – Phoenix, AZ

Mia Bergeron – Chattanooga, TN

Rachel Constantine – Philadelphia, PA

Sadie Valeri – San Francisco, CA

Stefani Tewes–Laguna Beach, CA

Terry Strickland- Pelham, AL

Shannon Runquist, Charleston, SC

 Diane with Kitten, oil on panel, 20" x 16"

 The Gibbes Mausoleum, oil on linen on panel, 10” x 8”

This exhibition is a direct result of the Women Painting Women blog, which I helped to co-found, the subsequent 2010 exhibition of the same name at Robert Lange Studios in Charleston, SC and the painting retreat we called "On Expedition" that coincided with that initial exhibition of over 54 international artists.  This time around, The Expedition & Beyond  focuses on the work created and inspired by that week long retreat of a baker's dozen like minded artists.  We will each exhibit one study that was painted on location as well as 2 works that were created in our studios after the retreat. 

A beautiful catalog accompanies this exciting exhibition which not only shares all the paintings that will be on exhibit, but also includes stories and pictures from the retreat itself.  With a lovely foreword by John O'Hern,  American Art Collector, Santa Fe Editor,  the very talented folks at Matter Deep Publishing have done a fantastic job.  This catalog can be previewed and purchased by visiting HERE.

A preview video was also created by Matter Deep Publishing which you can view below:

You may also read a very nice blog post by Matthew Innis of the wonderful and always informative Underpaintings blog by clicking HERE.  

Lastly, today I found a nice mention in Fine Art Connoisseur magazine's March-April 2012 issue.  It is currently on newsstands. 

If you are in the Alexandria, VA area on Friday April 13th we all hope you will be able to come to the Opening Reception between 6:30-9pm.  Most of the artists (including yours truly) will be in attendance.

Better Photos & closer details.

 Threshold, oil on panel, 64" x 48", 2012

Threshold, detail

Threshold, detail