We are entering the holiday
season with all its hustle and bustle. We are all busy in the studio preparing
for the Hungerford’s holiday hours. As I type this my studio mates are
decorating with all the bright and shiny things. I am not immune.
We know our Saturdays will be
here spending time with our customers and visitors. It’s always fun to meet new
people and visit with old friends. I truly enjoy meeting people that are
discovering the Hungerford for the first time. We’ve been talking a lot about
“How it is that
animals understand things I do not know, but it is certain that they do
understand. Perhaps there is a language which is not made of words and
everything in the world understands it. Perhaps there is a soul hidden in
everything and it can always speak, without even making a sound, to another
soul.” ― Frances Hodgson Burnett
paint portraits. As in painting a human being, painting an animal brings the
same challenges and joy to me. The more closely I look at animals, watch them,
study them and photograph them I realize that they portray many of the same
characteristics that we humans do – and
usually with much more compassion for others.
Watercolor, my preferred medium, likes to be
so, I’m always looking for new ways to loosen up, stay fresh and become more
intuitive in my painting, Recently, I’ve been playing around with a technique I
discovered in a terrific book,Experimental
Landscapes in Watercolour
by British artist and author Ann Blockley (http://annblockley.com/
basic technique is quite simple: Find some interesting leaves, twigs or other
Are the marks, composition and
color harmonies in our artwork influenced by our relationship to the subject
matter or concept? Should they be? Are the proportions and placement of images
and shapes directed by the attachment we feel, and meaning we consciously or
unconsciously assign to them? How important is our personal connection to our
subject matter? That is what I’ve been pondering during the creation of my last
four pieces. Is the integrity and quality of my art even linked to the answers
of the above questions?
Finding color in black and white
Remember that feeling you got when you
were a kid and opened a new box of crayons? All those colors? All those
possibilities? Every color held a world of describing the things around you and
the ideas yet to come.
spring feels like that for me. Opening the shades from the long winter of
monochrome to spring’s blast of light and brilliance of hue, I am in awe every
year by the pinks, purples, yellow greens and blues.
To what end paint?
Fame?Not likely in my case, for a variety
of reasons. My mother wanted me to paint, but my father would have insisted on
perfection, whatever that is, to exploit any talent the kindergarten teacher
told my mother I had. It took me until I was 30, after years of therapy, to
have the courage to express anything at all on canvas,
Wealth?By the time I was 35 I realized I
could never support myself with art.
are going to reject you, people are going to say insensitive things about your
work, critics are going to ignore you and family members are going to plot to
steal your painting time but you have to pick yourself up and go back at it.” ~
I am just coming off of another show that required
entries and paintings being juried. It is always a tossup…will they like my
paintings? Or not?
I understand this process is subjective and beyond my
Early last summer my
family and I visited the Lockport Caves and Museum in Lockport, N.Y. The old
entry door to the museum, with its rustic locks and weather-beaten facade,
became the inspiration for my next painting that I would work on most of the
summer. It was very important to me to capture the essence of this antique
The door itself tells a story with its iron hardware and the many layers
of peeling paint. It has withstood the heat of summers and the harshness of
The Main Street Artists' wish to thank you for helping us support the Art program at the Boys and Girls Club of Rochester! Thanks to you we were able to raise $400 which will buy badly needed art supplies for them!
We wish all of you the happiest and healthiest of holidays!
I just took the wonderful Aaron Scheurr Landscape workshop. It was a
great learning experience as well as a chance to bond with artists outside of
the MSA group.
I took the Aaron Scheurr workshop not only because I like
his work but because I felt I needed help to get to the next “level” personally
in my own work. The things I learned from Aaron besides what he had to say
was how he held his pastel /brush
,layering both pastel or oil, learning
how to alter my touch on the paper to lay down lines and most of all seeing and
comparing what I was looking at now to how I didn’t take my work to the next