More clouds, and juried show news

Painting from yesterday afternoon from the deck off the master bedroom.

Cloud Line - 8x16",  plein air
pastel on 4-ply matboard with Golden pumice + black acrylic
© S.Johnson

I always find it fascinating when clouds form those diagonal bands across the sky, and this one kept that basic shape until I was nearly finished.  It's funny...as much as I've painted clouds, both from photos and from life, I always learn something valuable each time I paint them.   And, I still find them a challenge to paint.

On an unrelated note, I am a bit late in sharing this news on my blog, but I found out that I had four of six paintings I submitted accepted to the member's juried show for the Four Corners Plein Air Painters, held at the Gateway Museum in Farmington, NM.

This was a pretty tightly juried show, with over 180 submissions and only 62 pieces chosen.  The juror was Tom Lockhart, an accomplished landscape and plein air painter.

The reception was last Saturday night, and I was delighted and honored when my painting "Afternoon Along the Wash", was awarded second place:

Afternoon Along the Wash

The others accepted were:

Colorado Trail Shadows

Rio Grande Reflections

Gathering Storm Over Duffrey Mesa

I was glad I arrived in time to hear Tom's talk about his selection and jurying process, and the particular elements that appealed to him for those he selected for awards.  He spoke of the importance of good drawing skills, and that the paintings have a strong underlying design and pleasing balance of light and dark values.

I was also pleased to spend some time talking with him individually afterwards, and found him to be very personable and generous with sharing information and advice.   He told me he placed some emphasis on the entrants' overall body of work submitted, saying he has seen many instances [not specifically this show] where a painter would have one good painting out of several marginal pieces.

It was clear that he put a lot of thought into his selections, and based on the quality of the work in the show, his job wasn't an easy one.

Overall, this show and Mr. Lockhart's words helped validate my approach and dedication to my painting efforts, and reinforced much of what I spoke about in this post exactly three months ago.

Now, get out and paint!

Back to painting the CO landscape, and some musings on improving one's work

Spring Afternoon on the Piedra - plein air, 12x12 inches
pastel on black cardstock
© 2012, S.Johnson

Sometime shortly after coming back from our Utah trip, I decided that I would aim to do 100 plein air paintings this year.  Last year, I did about 50 - all pastel.  A subset of this goal is to have maybe 1/3 of them be in oil, once I can sort out the logistics of bringing the oil painting operation out of the studio.

Last year on this date, the number of plein air paintings I'd done: zero.  This painting is #14/17, as of today.  So, I guess I'm off to a pretty good start!

Why plein air in particular?  Honestly, because: a) I seriously enjoy it; b) I want to get better at it; c) plein air painting improves my studio pieces.

At the river's edge this past Sunday - a glorious (albeit a bit breezy at times!) day
in southwestern Colorado

The number sounds ambitious, but really comes down to averaging 5 paintings/week for 5 months.  Given that, practically speaking, I can paint about ~8.5 months of the year outdoors, this is pretty doable for me, and makes allotments for the inevitable lulls and other life events that always crop up from time to time.

It is said repeatedly by instructors and other artists that the best way to improve one's painting skills and therefore, becoming a better artist, is by simply painting more.   Lots more.  For the most part, I honestly think it's really that simple, and thus, my defined number goal.  I've given much thought to the process of painting, and what I feel has helped to improve my work and take it to the next level.  Maybe you'll agree with some of these suggestions?

- Augment with occasional workshops if you want to and can afford to (I can't), but don't rely on a workshop or an instructor to make you a successful painter:  consider the French Impressionists; no one was offering workshops in the 1870's when they were around.

- Spend time regularly studying the work of the Old Masters and contemporary artists whose work you admire (free, via the internet and your local library).  I collect books on art history, art technique and coffee table books on art that inspires me, and I regularly re-read them.

- Work on your drawing skills.  I think this may be the weak link for many artists, and I include myself here as well...

- Find a colleague or small group to get critiques and feedback on your work.   If you are a plein air painter, find someone(s) to paint with from time to time.  Painting is a lonely venture for most of us, and  it is unbelievably energizing to paint with other artists.  Anyone who has will surely attest to this!

- Experiment with new techniques and materials, just because you never know when you might find something that works even better for you than what you are using now.

- Push yourself to paint subjects you consider challenging or are a known weakness for you (like groups of trees...see painting above).  Consider setting a mini-goal to do x-number of  paintings of a given subject that you'd like to get better at rendering...like trees, or ellipses, or eyes.

- Definitely keep painting things you love and that you consider your forte'!

- Don't be caught up in producing an amazing, or even a successful, sellable painting every time you sit down to paint, as this will stifle creativity and produce burn-out.  In other words, focus on the process and not the outcome.

- Likewise, don't be discouraged when the inevitable crappy painting comes down the pike...because it will.   Laugh at it, and analyze it to figure out where, why and how it went south, and consider it a learning tool instead of a failure.

- And don't be afraid to toss the funk and earlier efforts out.  I usually keep all but the most horrific paintings around for a while, and then periodically, I go through and toss old work that maybe I sort of liked when I did it, but looking at it later, with more paintings under my belt, and a more experienced eye, and decide I just don't want it around anymore.

- Be mindful of why you are painting what you are painting.  Can you effectively verbalize what it was that drew you to paint a given subject?  Consider it practice for when the potential buyer asks you that question, because he or she will want to know!

Back from Boise and beyond

What a week.

Illness, travel, spending time with friends, shared creativity, and remembering the tragic events of a decade ago all wrapped into 7 days.  I'm not sure what it is about early September, but this sort of mild chaos seems to happen to me around this time of the year.

The "festivities" began last Monday afternoon, when I started feeling ill a few hours after eating something made at home with deli meat purchased shopping an hour earlier.  What initially was mild nausea went on to become full-blown food poisoning within the span of 6 hrs.  Thankfully, the emetic aspect of the illness only lasted a few hours, but I was left with a headache of epic proportions and a feeling that I was run over by a truck that lasted for the next 36 hrs.  Aside from the fact I was unable to do anything other than lay around completely wiped out, the more concerning issue was that we were scheduled to fly to Boise on Wed morning, and it was looking like I might have to skip the trip.

However, by some stroke of healing and luck, on Wed morning, I was 90% recovered, and able to proceed with the travel plans.

Wayne's boss is currently living in Boise, and had invited Wayne out to visit and discuss some company business.  When he graciously offered to buy me a ticket as well, I was thrilled, as Boise is not only a great town in itself, but it's also where my good friend and fellow artist Sarah M-B lives.  Have a look at her blog to see the amazing sculpture she does.

Before I started working in pastels and 2D landscapes about 2 years ago, I did mixed media realistic equine sculpture.  Not so much sculpting, although I have done some smaller pieces, but lots of painting of resincast sculptures by other artists.

"Jax" - slipcast ceramic bas-relief sculpture of jumping horse 

~ 9 1/2 x 5 inches

 © 2008 S Minkiewicz-Breuning

Kiln-fired ceramic glaze finishwork to chestnut sabino:  S Johnson

This piece was actually started over 2 years ago when I was last out in Boise.  Sarah hosted a mini retreat for myself and another artist, and I got as far as cleaning the greenware (unfired) clay casting, and adding the purple and blue art glazes to the fired bisque.  Ever since that visit, I'd been looking forward to finishing it.  

Ceramic work, and in particular the underglazing/painting process, is a fascinating and somewhat magical process to me.  It is completely unlike anything else I've ever done, art-wise.  Unlike cold painting methods, in which the end result is "what you see is what you get", the process of working with earth-based pigments and a ceramics kiln takes much of the control away from the artist, and it's not until you open the kiln lid 8 hours later that you have any idea what the final result will be.

The basic technique involves masking off areas that are to remain white with either tape, cellophane or Miskit.  The eye is also masked.  

-Next, layers of underglaze pigment mixtures are applied in a directional manner using an airbrush to accentuate shading and subtle tonal shifts, just like you see in a real horse coat, along with the gray skin areas.  These pigments handle similar to watercolors, so you can't use a regular paintbrush to paint these areas or it will produce unpleasant streaks.  Mistakes are very difficult, if not impossible, to fix - another thing I'm not used to when I work in oils and pastels!  

-The masking is removed, and the piece is low-fired in the kiln to lightly "set" the colors, and cooled.

-An Xacto blade is used to selectively remove areas of pigment and form more intricate areas of white, such as this sabino pattern.  The hitch is that you cannot handle the piece except along areas where art glaze was applied (the purple/blue rectangle) or white areas since the underglaze pigments are very fragile in this stage.

-The eye is hand-painted, in this case, blue.   The hooves have a mix of hand-painting and airbrush (an experimental technique that worked very well).  Pink is airbrushed for the nose and areas of white where the fur is thin and the pink often shows through.  At this point, the colors are only somewhat suggestive of the flaxen chestnut color I chose, and very dull and chalky.

-Once all the work is done, layers of clear glaze are applied to the entire piece, also with the airbrush.  This leaded glaze fires clear but has an opaque dye in it when applied, so that by the time the piece was ready to go into the kiln for the final fire, it was a pale pink with no visible color anywhere save for the background.  

-Then, in it goes for the final firing to set the glazes.  Sarah has two electric kilns, and the smaller one (named Maury) uses a very low-tech but fascinating means of reaching the proper temperature and firing time:  a small stick of material, known as a pyrometric cone, is placed in a holder within the kiln.  Upon reaching the required time and temperature parameters for the particular glaze or pottery, it bends and the kiln shuts off.  The process usually takes 8-12 hrs.  This piece was fired at cone 06, I believe, which is considered low-fire at close to 1800 degrees F.  This heat produces a chemical reaction between the clay, underglaze earth pigments and clear lead glaze to fuse them into a single layer with rich colors that are essentially unlike what was originally applied to the surface.  The clear lead glaze gives a jewel-like sparkle to the final piece.  

"Jax"was finished yesterday morning.  Sarah excitedly came in to tell me how cool it looked, and when I saw it in the kiln, I was stunned at how different it looked, and how beautiful it turned out, especially since it is literally only the second ceramics bas-relief I've ever done.  

The fact it was done as a collaboration through the strength of friendship and generosity, and came to life out of the fire on the 10th anniversary of 9/11 - an event associated with loss and destruction - gives it symbolic significance that I will never forget.  

--------

On that note, it was odd actually flying home yesterday on that anniversary.  In the Boise and Denver airports, it was business as usual, with passengers hustling about to their connection, or engaged in whatever activities they do to pass the time between flights.  A bar TV showing the football game of the NY Jets had a memorial tribute during half-time, and it riveted people's attention.  A woman sitting behind me cried as she watched it.  

Here are a few photos taken during the Boise-Denver flight with Wayne's Coolpix.  I like taking these photos, as they are great for taking my mind off of the irrational fears and thoughts generated by my lizard brain (amygdala) that happen while flying, particularly after take-off when the air can be bumpy.  Despite this, I always try to get a window seat because I love looking out the window:  

Cumulus, viewing

Farms, abstracted

Mountains, folded

Storms, forming

Clouds, entering

Denver, approaching

Highways, curving

On inspiration, passion and paying it forward...

Well, I have a painting started three days ago that's not finished, got nothing done on Thursday, and yesterday was spent hiking and photographing the Bisti Wilderness area of New Mexico (which I will share in a separate post).  So instead, this post is about things relating to art and its creation - a topic which I regularly mull over in my mind.

To begin, I wish to extend a huge thank you to my fellow art blogger and accomplished pastelist, Casey Klahn.  I'm sure many, if not most, readers are probably familiar with his very popular blog The Colorist.  If you haven't visited, please do - in addition to his fine pastel art, he also discusses art and artists, both historical and contemporary, famous and unknown.  I've been a regular reader ever since I came across his blog in 2009, I think.  No matter the medium you work in, it's always a good read.

WOW!
[stratocumulus sunset over Huachuca Mtns, AZ]

So, imagine my surprise when I see this header on my blogger Dashboard "Items" feed.  It literally left me speechless (and those that know me personally know what a rare thing that is).  And humbled that the tiny space I occupy in the blogger universe had actually made an impact on a fellow artist in such a way to inspire a dedication such as this!  And, importantly, it got me thinking even more about the value of the artist blogosphere collective, supporting each other, and the driving forces behind creating art.

A Window of Opportunity
[Partition Arch, Arches NP]

We all have our particular reasons for choosing to start an art blog.  For myself, a relative late-comer to the art blogging scene, it was the realization that, unlike most personal blogs I'd come across years ago that were nothing but humorless, vapid excursions of narcissism [now supplanted by Facebook], there was actually an incredibly rich source of content in these art blogs.  Artists sharing their creative process,  materials, artwork, and musings along the way.  I found them increasingly enriching, educational and inspiring - more so than the art forum I sometimes participate in.  Beginning a blog seemed like a good way to document my artistic journey, share things that I am passionate about with like-minded folks, provide the impetus to do something art-related daily, and a great opportunity to meet other artists across the country.   And, perhaps I could help inspire others on their artistic endeavors as I had been inspired.  For anyone who is a new reader, or is otherwise inclined to read it, I went into much more detail about my artistic background and history leading up to the point where I began blogging in my introduction post, which can be read here.

A Good Thing
[unidentified Lepidoptera sp. - Colorado]

When I first began blogging and following and regularly reading them, I started linking other artist's blogs on mine, but I was otherwise a lurker.  None of these artists knew I existed, which was understandable, but they also didn't know I enjoyed their work, either.  That seemed contradictory to the spirit of a social network like blogging, so I began to leave comments to let artists know I appreciated their post and blog.   Some would even return the gesture, which was a pleasant surprise.   Leaving comments and sharing the work of fellow artists makes me feel good, because I know it's appreciated.  How else will we find out about the multitude of talented artists out there, or know if anyone cares about what we are doing if not for these same small gestures?  So, in the spirit of that, I will make a point of regularly sharing with you the work of others that I find inspiring on some level, a small way of "paying it forward", as it were.  Perhaps a few more will be so inclined to do the same if you don't already; it is a reward unto itself.

Timeless
[9-13th century Hohokam rock art, White Tanks Reg. Park, AZ]

Another thing that Casey's post got me thinking about was how important passion for one's subject is to an artist.  It probably is the single biggest driving force that fuels every accomplished artist - famous or not.  I think of work I see by artists of all abilities, mediums and cultures, spanning the centuries, and it's immediately clear whether the artist was passionate about his or her subject - the resultant painting, music or writing can't help but to engage viewers, listeners or readers.  It truly does appear effortless, and it's easy to forget that it is usually the result of years, if not decades, of dedication to one's craft.  But, passion is at the foundation.   I've even seen it in the artwork of children, whose technical skills are far from refined.  I really appreciate Casey's thoughtful observation about the subjects I've chosen to depict in most of my art; the fact my passion comes through in my paintings means that to that end, I've achieved one purpose as an artist...but that will never justify complacency or maintaining the status quo - it merely means I'm correctly following my artistic compass.   I've painted other subjects - boats, and other scenes from the eastern part of the US when I lived there - but it's just not the same.  It doesn't even feel the same.   However, I delight in seeing the artwork of those that express their passion for boats, or whatever emotive response to a subject that moves them to create, even if it's not a subject I'm normally not interested in.  I think it's exciting, and it's one of the things I think I enjoy so much about art in general, and why I appreciate art of all styles, genres and media.  

Community Support
[hoodos, Bisti Wilderness Area, NM]

Finally, I'd like to express my gratitude to those who have taken the time to read my blog, leave comments, and especially my followers and regular readers.  It's your support that keeps me inspired to keep forging ahead towards greater artistic heights, and provides the sense of community that I value so much within the blogosphere.  To all those that are new and just now following or reading this blog, thanks to Casey's generous post, I will do my best to maintain and hopefully elevate the level of content  that he felt made it worthy of a mention and marked as a "hot blog to watch in 2011".  

I leave you with a favorite quote from a source of inspiration to me:

"Betterment is a perpetual labor."

                                          -Atul Gawande, MD, from Better: A Surgeon's Notes on Performance