Gathering Evidence and Discovering Intention
a good read. Pleased to have written this article on my precess and thinking and graciously asked by Skip Lawrence.
Oct 17
Aug 19
sold, arrival 2
It is always great news when one’s art is appreciated and loved.
I will miss this one.
24 x 36, watercolor and pastel.
thinking in Color
noun: colour
-
the property possessed by an object of producing different sensations on the eye as a result of the way the object reflects or emits light.
This week has been ‘eye-opening’, for sure. I have declared 2019 the’ year of color.’
Amazing lessons, workshops and simply working with color has been rewarding.
A new language: color with concept, approach and meaning.
Check back, as I am fulfilling 30 painting/ days of color. Join me?
3 Summer Gatherings
Open House + Demo
Connect with the world and experience life.
rsvp. 
Introductions: Civita di Bagnoregio
Let yourself begin anew. Pack your bags. Choose carefully what you bring, because packing is an important ritual. Take along some humility and lessons of the past. Toss in some curiosity and excitement about what you haven’t yet learned. Say your good-byes to those you’re leaving behind. Don’t worry whom you will meet or where you will go. The way has been prepared. The people you are to meet will be expecting you. A new journey has begun. Let it be magical. Let it unfold.—Melody Beattie, Journey to the Heart
When introducing students to Civita since 2013, there is a many tale I would love to share. However, like every good teacher, I share a bit, tell them ‘come this way’ and simply discover this magical and sensational place, Civita. ‘ Let it unfold.’
Once again I am offering two sessions:
Session 1: September 24 – 30, 2019 + Session 2: October 2 – 8, 2019
Each session will begin by observing the contextual environment of Civita di Bagnoregio and its surrounding context: learning about the ‘power of a place’ through drawing; mark making inspired by Civita’s extraordinary setting and the beauty of Italy.
+ here’s a tip about what to bring. OK. Maybe a bit more required….
While traveling and sketching outside of studio, I have found these ten essentials so very helpful:
1. Soft pencil, HB recommended. Or a black fountain pen, such as a Lamy.
2. Thin eraser, used for drawing, typically. used for negative space, not errors.
3. Sun hat and sunglasses.
4. Small tripod travel stool, one can select a perfect spot anywhere.
5. Soft paper, 9” x 12” minimum, format horizontal, vertical or square.
6. Time (20 minute minimum).
7. (good) Attitude.
8. Right brain thinking.
9. Confidence.
10. Intent.
And, I found these two videos. Just the beginning, yes? ‘ Pack your bags.’
Contact me with your interest. go here
workshop: ‘what if’
The ‘what if’ and ‘then what’ were words in my head this past week at a Skip Lawrence workshop. We focused on shape, edges and color, texture; design elements, those I have been pursuing over and over in my own work and in teaching these many years.
‘Nuance and Design’ were concepts mentioned continuously in Skip’s clever ways; usually with wonderful humor and generating so much laughter.
And, of course, the infamous ‘mostly’, establishing dominance in a painting especially about in use of color, its strong emotive powers, creating connection, unity and variety.
And, how to evaluate one’s own work?
Dominant: Mostly? Enough Contrast to make shapes read? Creative, thoughtful, individual Shapes? Color Variations? Consistency to one Concept? Whew.
A terrific week. Ready to head back to Studio and ready to share these amazing lessons with my students. Stay tuned.
‘Westbound’ Q + A
A follow-up to your question to me on Saturday at Carlsons’ Gallery — who is your favorite artist (did you say, Diebenkorn?) and why?
‘As we discussed, it is so hard to pick a favorite. Diebenkorn always remains in my training in the top 5. His studies are evocative and one can feel the powerful and intentional stroke and movement of the artist across the canvas.
His creative, keen eye with composition and design are always evident; especially with positive and negative space; each equally important. I have copied this artist and fall inside his process each time I understand more and more and see these lessons are expressed in my work.’
…also curious about your procedure. Do you begin with a photo or a view outdoors or another image, or do you complete a painting and then find a name for it (as in expressionist abstraction)?
…
‘A view outdoors (‘driving through paintings’), field sketching and then photograph to start. The sketchbook is the essential tool of the artist; where the powerful notions and feeling about the space become so evident. As a matter of fact, that is what one does when they are ‘plein air’: gathering evidence.’ The photograph is an initial guide of remembering. Choosing the appropriate drawing/painting tool in studio is key. Then, I consider the design elements and which may take priority: shape, value, color, texture, line, edges, space etc. ‘Names’ come early in the process; usually in the beginning. I usually have music in the studio too. (a bit loud). Every painting is an abstract; even one that may be more depictive. It is a pendulum; all depends on the thoughts, feelings and intention swirling around me in studio.’
Anyway, I greatly enjoyed looking at your work — I spent a quiet hour at the gallery on Sunday. I’ll let you know when the review appears and send you a link.
‘Thanks Stephen. I really appreciate your time and energy.
Warmly, Anita’
+ stay tuned. ‘Westbound’ is open until 03/31/2019.
here is Stephen Hunter’s review: Cascadia Weekly
