While I was not able to make it to any Hawaiian coast whatsoever during this summer’s vacation, I WAS able to live vicariously by painting one featuring this couple! I’m just wading back into my art life after being entirely consumed with purchasing a home, moving, and getting set up since mid-April. My studio only just came together one week ago! This was a fun portrait project to help get back into it after a long vacation from art. It also allowed me to deepen my skill in painting full-figure humans (versus dogs) in a natural setting.
Most enjoyable was the painterly, atmospheric background of clouds and waves in contrast with the meticulously placed daubs of paint here and there to capture the likeness of the subjects. I worked with a limited primary palette to mix all the colors, which I think lends a certain “pure” feel to the overall tone. This was the first painting completed in my new studio space, and I’m eager to move on to many more projects currently floating around in my head!
Check out the instagram posts below to see how this painting developed:
I haven’t posted much in the last few months as we have been completely consumed with the process of purchasing a home. That does not mean that I have not also been busy with painting! Over the next few days I’ll post a few of my recent painting milestones.
Our February trip to Oaxaca, Mexico inspired this self-portrait. The open-air courtyards familiar to Spanish colonial architecture were the perfect place to capture dramatic lighting. Many of the plants and cacti in our courtyard were wild and unruly, giving the haphazard space an “ugly-beautiful” feel, splashes of color surrounding us. From a technique perspective, I tried hard to paint in all the lights and darks, creating deep contrast, before I began working with color. Process pics below to see how the layers developed. Soon, the counterpart portrait of my devoted traveling partner will surface, but it’s still lingering in my imagination for now :)
Growing up, we spent two weeks every summer hiking in the Southern tip of grizzly country, the Mission and Swan mountain ranges of Northwestern Montana. Crashing through the mountainside bramble towards the high glacier lakes, we watched for the bear signs: slobber on the huckleberry bush, foul-smelling scat full of indigestible berry husks. We wore jingling bells to reduce the chance we might surprise a foraging bear, carried one loaded magnum in case the worst transpired. At the cabin, we devised an elaborate “bear escape” plan, should our homestead become the target of a hungry ursine burglar. Pervasive in our Montana stories, the grizzly bear was (and still is) a powerful and ominous force in the back of our minds. Luckily, we have not yet initiated the bear escape plan, nor required the loaded magnum on the trail! Continue reading →
Emerging darkly from the petrified air, a wooden plaque carved onto Smokey The Bear warned fire danger was “extremely dry, extremely high.” No campfires, no grills, no cigarettes, no huckleberries under the desiccating pines of Northwestern Montana. Grandma had texted (expertly, with many emojii) “we can’t see our mountains!” The drive up highway 83 this year, approaching our mountain refuge, was brimming with smoke. Flowing downwind from blazes in Idaho and Washington, the roil blotted out Montana’s Big Sky, tainted the Sun and Moon with toxic orange, and sent Glacier Park road-to-the-sunners scrambling back to the drawing board, travel guides and gas station free attraction brochure stands. Continue reading →
This monumental cranium, titled Eros Bendato Screpolato (Bandaged, Cracked Eros) by Polish sculptor Igor Mitoraj has rolled onto the front lawn of the Minneapolis Institute of Art (now referred to as “The MEE-yah”). Our plan to sketch a naked human in the drawing studio fell through, so we spent an afternoon on the wet museum grass, sketching Eros’ bandaged cranium in bronze instead. Continue reading →
Truth: it is hard to find time for painting in the crush of full time work and full time school. Fortunately, another truth exists: the harder it is to find time to paint, the more I want to do it, and I fantasize about long hours with my easel, surfaces, brushes… Knowing my capacity for hedonism, I shouldn’t worry about losing my craft. But starting this piece, I was more than a little wobbly getting back to the process. For now, this is just an under painting, and I’ll be working on layering in richer color, more exacting line work, a truer depiction of my friend in the foreground. The stiff, scary Chucky Doll face I unintentionally rendered will need to be worked over. The distinctive bridges in the background create movement and ground the portrait in Minneapolis and the Mississippi. Continue reading →
It’s been a daft time with moving my home to a new (and greatly improved) space, but my new art “studio” area is finally all set up, much more sunny than it was before, and I’m ready to get working on lots of new ideas. Turning 29 tomorrow, and a page is turning. Isn’t 29 supposed to be the best year? Here’s a quick sketch of my boyfriend catching some zzz on the couch, aptly titled “Coucher.”
Quick plug – checked out the Saint Paul Art Crawl yesterday for the first time, exploring the different artist lofts and studios in the Lowertown area by the old rail yard. We came across lots of interesting work (audience participation written prayer flags for endangered species, glorified crafts, etc.), and several really compelling things. There were some “street stages” which were essentially wooden soap boxes for the public to use in whatever performative way they wanted. I elected to squat and devour some ridiculously good food truck chicken wings. I spent a lot of time in Caroline Mecklin’s studio considering her work and what I could learn from it. Visit her here: www.mecklinart.com
In “The Raucous Group” I’m still exploring themes of human bodies in relation to space as in “Man with Drapes” and “Tuberculosis.” The figures find themselves in a somewhat neutral zone of abstraction, however in this piece their surroundings begin to take on a little more form.
While working on this painting I was trying to move away from these sort of amorphous, indefinite environments I was placing figures in. Realizing I was getting too comfortable with overworking the figures themselves and paying little attention to their physical “place in space,” I attempted to build the environment with as much intent and care as I constructed the figures. For me this was challenging – most of our structured human environments are rigid, geometrical, which doesn’t lend itself to the fluid energy-based stroke I was used to. I layered the interest in the background and foreground using a combination of color washes, “dredging” with charcoal and paint, and copious applications of medium with a palette knife.