Tuesday, August 25, 2015
After being away from home for three weeks I needed to test my painting ability again. When I don't have the opportunity to paint for an extended period, it both inspires and freezes me when I get back in the studio. To break the spell, I needed to just jump in and paint.
This is a study of some tomatoes from the garden, basking in full sun in a lovely old blue bowl that is one of my favourites. I've used my palette knife and oil paint in a regular sketchbook. Yes, you can use a sketchbook for oil paints. For me a sketchbook is a working tool, not a showcase of pristine pieces. My sketchbook is messy and I like it that way. Of course, with oils, I need to wait until the paint is dry before closing the page and I do take the precaution of adding a sheet of deli paper on the back while it dries in case any oil seeps through. However, once dry, I have never had any problems.
Yes, I hear the purists say "What about the future? The oil will degrade the paper!" That may well be, but as my current working tool, my sketchbook is not designed to be museum quality and if in a hundred years, it is crumbled, I have absolutely no problem with that.
I'm researching options for painting these tomatoes from sketch to completion live online, enabling interaction and others to paint along with me if they wish. I need to test some camera and equipment capabilities first, but it could be fun. I'm not sure of the platform yet, perhaps a YouTube Live Stream or UStream. Bear with me while I experiment!
Thursday, August 20, 2015
I'm back from my travels, catching up on timezone changes and getting ready for a studio tour on August 29 & 30th. In my travels I had some time in the Canadian Rockies with a hike around Moraine Lake in Banff National Park. The glacial lakes are amazing in colour and clarity, looking surreal. Apparently its "rock flour" that gives the water that turquoise colour and even in August, the remnants of snow and glacier ice can be seen on the mountain peaks. There's a few paintings waiting to happen there.
This year I will be taking part in the Pouch Cove Open Studio event. This is a two day event where Pouch Cove area artists and artisans open their homes and studios to the public to showcase their work. This year I am one of the two artists from Flatrock who will be participating. On the tour you will find paintings, drawings, prints, sculptures, and photographs.
I'll be making my organic vine charcoal available only through the studio tour and will have a range of prints and original paintings to browse through. If you're in the area, take time to visit all the artist studios, you never know what treasures you'll unearth.
Wednesday, August 05, 2015
I've just gotten back from time on the west coast of the province in beautiful Gros Morne National Park, where I taught gyotaku in Rocky Harbour and had some tourist time, as well as getting reference material for future paintings.
Bright and early tomorrow morning I'm off west again, but this time further afield to Saskatchewan and Alberta to visit family and explore and research more painting material as well as be a bit lazy.
Crossing the Line - SOLD
With travel and renovations at home, painting and drawing time have been limited. But I am taking my sketchbook and pens with me and hope to fit in some work.
I'll be back in the saddle on August 19th and no doubt anxious to get to the studio and do some painting.
Saturday, July 25, 2015
|The Red Boat 30" x 40" oil on stretched canvas $1700 Canadian dollars +shipping|
Email the artist for purchase details
A comment overheard at a gallery recently made me think about the contribution that artists make to the economy, something which seems to be overlooked. The comment was about pricing for a painting and the person said something to the effect of "That artist must be making a fortune. And funded by government money too."
For individuals who are not artists, it may seem that the artist pockets all the money paid for a painting in a gallery. However, there is a significant investment in time and money before a painting can end up on a gallery wall which eats into the final amount that the artist ends up with. Industry springs up around artists, but artists are often the lowest paid and those who are asked the most for discounts, deals and donations.
Artists contribute to the business community, such as art supply producers and sellers, framing businesses, marketing materials such as business cards and posters, book sellers for all those "how-to" books, website hosts, media industry for interviews for newspapers and magazines and to the tourism industry in communities, producing local images, prints, greeting cards, t-shirt designs, etc.
Without grants, artists may not have the resources available to explore new work and create new art. Investment by government into the art industry is vital for healthy communities and growth of the culture and heritage. Like the behind the scenes work and dollar investment that goes into a painting before it ever hits a public wall, a grant doesn't pay for trivial things. It is essential to create, innovate and exist sometimes without undue hardship that affect these things.
But still artists have to fight for a place to be seen in the world and have their work recognized and yes, sold. It is a business, after all. Of course art must be of a high enough quality to feed these industries and meet public need. With the deluge of "artists" who have discovered the internet, the market is flooded with images and it takes a strong soul with lots of time to weed out the doe eyed children painted on velvet and find quality art.
But before it ever reaches public display there is a cost and a risk to the artist. Investment in tools and supplies, training, practice and inspiration all go into the production. Then framing. Professional quality framing is required, no off the shelf frames for most reputable gallery representation and of course that comes with a price tag. Transportation may be required if pieces are large. Insurance if stored in a studio or home.
Gallery commissions take a portion of the sales costs, anywhere from 30% to 50% of the price on the gallery wall. And they do their work when representing an artist, from holding paintings to insuring, marketing, sales and shipping if required.
So with the upfront costs incurred, commission fees and the hope that the right person comes through the door and loves your piece enough to purchase it, you can see that it is far from all profit for the artist. This is why artists diversify into teaching, writing, design, prints and second jobs as the industry can be fickle and expensive.
However, I still love what I do and wouldn't change it.
Friday, July 17, 2015
6" x 8" oil on panel - SOLD
Eight years ago I painted figs with oils using a brush and wrote a blog post about it.. The fig painting sold at an exhibition but over time I kept thinking about that image and it kept popping up when I looked for things to paint. Over time an artist's style changes and I thought it would be interesting to paint the same image using palette knives and my current palette of cool and warm colour and compare the two paintings.
Similar colours are present but my style is quite different now. It is looser and impressionistic. The 2007 version is tight and controlled but soft. These days I am bolder with colour and contrast levels. Both values and colour saturation are more marked in the 2015 version of the painting.
If the person who bought the 2007 version saw the 2015 version, I wonder which they would prefer?
Sunday, July 12, 2015
I think life has speeded up since I left the day job at the end of February. Not that I'm complaining about it. I enjoy the pace and the variety and potential for the future that is unfolding.
Between working on a number of projects and commissions, I have managed to finish Flatrock Harbour and tackle another large piece that I'll share in a post another day.
On Saturday July 18th, I'll be heading to the Wooden Boat Museum to do a painting demo of a new piece. I painted at the museum last summer and its always interesting to meet people who come through and let them have a try at painting with a palette knife. My new business cards should arrive next week, just in time to take with me as I'm running very low.
Then at the end of the month I head to Rocky Harbour in Gros Morne to run some gyotaku workshops. A dash back across the island, then I get on a plane to head to Saskatchewan and Alberta for a couple of weeks. Finally at the end of August I'm taking part in a local studio tour that winds its way through communities close by. I haven't done one previously so am looking forward to taking part and comparing notes afterwards.
Meanwhile renovations are taking place to put in a new kitchen, patio doors and deck. With some delays making work run behind schedule, I've had to cancel the first two workshops for September, but hopefully all should be done before the last two workshops are due to start.
So with my schedule I may be even more scarce on my blog than I have been this month, but I'll try to get more posts in when I can. You can always find me on Facebook or Twitter and follow my adventures there.
Wednesday, July 01, 2015
I have never done a reduction print. I've done lots of lino prints, but nothing that takes a lot of left brain thinking like a reduction print. I decided to tackle one - a very small one - and see I could create. I had a 3" x 4" lino block and used Rosaspina paper torn to about 7" x 10" and Akua Liquid Pigment to print. Reduction prints are also called suicide prints. Pretty much sums up what I was considering after the first couple of steps!
Reduction printing involves cutting away areas of lino, printing a colour, then cutting away more, printing, cutting...until you have reached saturation point and have little printing surface left. The final lino is no more than a skeleton of the print and has no further use. Of course a registration jig is required as well to ensure effective lining up of colours and I did try that.
Original tri-colour print
Being me, I was in a hurry and didn't take quite enough time to make either the jig or the paper guide completely square so after applying the second print colour it made me think I was drinking. What to do? There was no point trying to adjust the registration jig so I thought I'd do them by hand and hope that the printmaking gods would be on my side. I put on the final dark colour in the hopes it would pull it together a bit and it did to a degree, but I think I wasn't generous enough with the initial ink loads and the result was a bit patchy.
What to do with nine prints? Add colour! I used a variety of mediums from watercolour to coloured pencil to transparent marker to add layers of colour to the prints. And this is the result.
What did I learn from the exercise? Planning is everything. Patience is everything. Luck comes into as well as troubleshooting. I will try another reduction print when I have time and I enjoy the process of printmaking. And the good thing? I found the etched plate I was looking for after I last cleared up the studio!