David Yapp, Studio Visit out of Doors with Visual Language Magazine

A Painter’s Journey

David Yapp reflects on his path to plein air painting

Cutting through the chalk downland of Salisbury plain, in the southern English county of Wiltshire, is the gently flowing River Avon. The river runs south from its source in Pewsey Vale, through the medieval city of Salisbury, to the sea at Christchurch. It was along this river that I grew up on a small farm on the edge of a village not many miles from the ancient monument of Stonehenge.

The Wiltshire landscape is one of Neolithic burial sites, windswept hawthorn encrusted plains and chalk stream valleys, strewn with villages dating back to pre-Norman times. And above all this is the sweeping drama of the constantly changing sky.

The landscape and towns of the county are rich in history and have fed the artistic hearts and minds of many writers and artists. The penultimate scene of Thomas Hardy’s novel, Tess of the D’Urbervilles, is set at Stonehenge, and his fictitious city of Melchester, featured in Jude the Obscure, is based on the city of Salisbury. Artists Sir John Constable and J. M. W. Turner found a source for creative expression in the gothic splendor of Salisbury Cathedral and in the rugged forms of Stonehenge.

Like the River Avon, my own creative path has been a meandering one. Growing up on a farm, I spent much of my youth exploring and observing nature along the banks of the Avon and throughout the surrounding countryside. Paint and brush gave me a vehicle to portray the beauty I saw around me.

My interest in observing nature developed during my teens. A family friend who was studying zoology shared with me his fascination of entomology (the study of insects). We searched the water meadows, for exotic-looking beetles and metallic clad dragonflies. At night we set up a light trap to see what nocturnal winged beings we could discover. I started to paint some of these finds in watercolor, along with the flora they inhabited.

In the following years, at the local college, I made another connection to the animal kingdom. The biology professor, Patrick James, was an eccentric and interesting chap who had majored in zoology. He spent much of the lecture time talking about his fieldwork—time spent diving, and dodging sharks in the Caribbean. I had planned on working towards a zoology degree, but I soon realized that I was more interested in observing nature than analyzing it scientifically. After seeing my plant and animal drawings Mr. James suggested I look into pursuing wildlife illustration.

As a precursor to that I attended Salisbury Art College. The foundation art course I took was an opportunity to explore a range of disciplines, from drawing, painting and printmaking to illustration, and then to decide which one to pursue. That first year was a challenge for me, as for the first time I had to really get to grips with the rudiments of drawing, painting and . . . seeing.

Following on from this course I studied for a diploma in wildlife illustration in Carmarthen, Wales. This was an opportunity to establish and sharpen the skills I had developed the previous year. Many professional artists and illustrators came in to tutor us. They passed on to us their great enthusiasm for their given disciplines. One such person was the artist Gordon Stuart.

I did not fully appreciate at the time how accomplished Gordon was as an artist, with work in the collection of the National Portrait Gallery in London—he painted the last portrait of the poet Dylan Thomas. Gordon encouraged me in my nascent abilities when I had little confidence in them and said, “You will always paint.” He also wrote to me a letter of encouragement to wish me well on my first solo art show.

That first solo show was held at Oxford University in 1988. I owe much to my sister Maria, not only for suggesting the idea but also for getting me connected to the appropriate parties to make
it happen.

After completing my time at college in Wales, it became apparent that I was not really cut out to be a wildlife illustrator, but was more interested in painting landscapes. One college professor said he saw me as someone who wants to be down a country lane painting scenery—I think a “picture maker” was how he called it. And so, eventually, after having pursued several interim jobs, that is what I did.

The next five years proved to be very rewarding, but also financially rather challenging as I pursued my art. Initially, as I sought to pursue my art full-time, I felt like I had just walked off the end of a plank into the deep. I literally prayed to God for help, and He strengthened me in a way I had not known before. He also brought people into my life that spoke words of direction and encouragement to me.

One such person was Trevor Martin, an assistant pastor at my local church, who was also a practicing graphic designer. He took a look at my work—back in those days it was on slides, as we had not entered the digital era. I remember how he would press the slide viewer to his eye and declare “how delightful” as he viewed the artwork. For me this was one of those glimmers of light and encouragement that we all need along the road—especially when you are trying to find direction.

Trevor suggested that for the next six months I just focus on doing pen and watercolor views of townscapes and landscapes, and then at the end of it have an exhibition. This gave me not only a goal, but also a focus.

I set myself up with a stool, drawing board and watercolors, traveling by bicycle and train to paint the local scenic towns and villages of Hampshire and Surrey. Much to my surprise, I had many people approach me to ask if they could purchase my paintings, and I was able to sell many on the spot! I continued pursuing this way of working, creating artwork for exhibition and commission, for five years. It was a rewarding time in which I met many interesting folks on my painting adventures.

Eventually, looking for a more stable and predictable income, I decided to train in graphic design. Digital design was a new world for me as I got to grips with design principles and learned an array of software programs. The differing perceptions needed for design were an interesting complement to the more organic nuances of painting.

It was when I moved to the Bay Area, that my interest in oil painting was ignited. I started to read about the California plein air painters, a majority of whom were oil painters. In England, the soft light had lent itself to watercolors, but now in California, I could see that the more intense Mediterranean light lent itself to rendering the landscape in oils.

I am fortunate to live in San Francisco, not far from the Golden Gate Bridge. This gives me ready access to Marin County, it’s coastal Headlands and Mount Tamalpais. Further afield is the often fog-laden Mendocino coast, and to the East, the Sierra Nevada mountains. All great locations for plein air painting.

I tend to paint on canvas, as opposed to panels, as I like the “give” that you get from the non-rigid surface. I enjoy using heavy impasto and find that a palette knife is easiest for thicker applications of paint. But I prefer the softer more subtle effect that a natural bristle brush can bring, so I am experimenting, working with both in tandem.

At the moment I am reading and looking at landscape art from those who have already trod the path—John F. Carlson, Richard Schmid and David Curtis, for example. I am also looking at a diverse range of artists who are not associated with the plein air tradition, such as Richard Diebenkorn, and many British artists, such as John Piper, Samuel Palmer and Eric Ravilious.

I am blessed to live a five-minute walk from the de Young Museum, here in San Francisco, so I have had the opportunity to view the ongoing collection of art and the special exhibitions. Recently on show was David Hockney’s, “A Bigger Exhibition,” a collection of his huge canvases painted in Yorkshire. His paintings en plein air are a leap away from what is often considered as plein air art, but are nonetheless thought provoking and inspiring.

So I continue to pursue my painting adventures, sometimes as in life, with a halting step. I see that the beauty in a scene does not always come from a totality of unhindered harmony. The juxtaposition of disparate forms—a shattered rock, a sinuous storm-contorted tree, or a glacier creek—can converge into a harmonious whole, or, may leave us with an unresolved tension. Similarly, life does not provide us with a clear unobstructed path, but in navigating the obstacles we can discover a greater meaning and beauty. As plein air painters, may we not only paint a pleasing scene, but portray in our art this more complex beauty.

http://www.davidyappfineart.com/

Studio Visit with Colorado Artist Kit Hevron Mahoney

I was born in Hartford Connecticut but grew up in Denver, Colorado, which I consider my true home as I have been here since I was two months old.

My artistic journey began as a child and continues to be a lifelong journey.

Creating paintings whether abstract or representational is my form of self- expression.

I was greatly influenced by my parents, stepparents and grandparents through their love of the arts and the exposure they gave to me in the form of fine art, music and theatre.

I earned a degree in medical technology at the University of Colorado out of desperation; for during the 60’s, a career as an artist was very much discouraged.

After seven unsatisfactory years of working as a med tech I enrolled at the Colorado Institute of Art where I studied to become a graphic designer and subsequently went back to teach design and drawing for 15 years. During that time I also started the greeting card company Graphic Creations, which went international. After eight years I sold the company to find my self-expression through the art of painting.  Fellow instructors and fine artists Ivy Delon and Judith Scott encouraged me to study with them using pastels as my medium. Simultaneously, I studied at the Art Student’s League of Denver with Doug Dawson and Ramon Kelly and took a variety of workshops with such artists as Kim English and Clyde Aspevig.

Thanks to their mentoring I found my true passion as a visual artist. I spent the next 10 years teaching and painting. My new art career began through small shows at the Art Institute as well as many home shows. During that time I met a glorious friend, Pat Sampson, who loved to travel and photograph. We have since then spent many years behind the lens of a camera photographing places around the country and world. Thanks to Pat I have found a lifetime of subject matter and experiences are all incorporated into my paintings.

Eventually my art was accepted into many galleries and private collections both locally and around the country.

In 1998 I gave up my career as a teacher and graphic designer to pursue painting as a full-time career. It was during this time that I met John K. Harrell who was a major influence in my pursuing painting as a living.  I moved into a professional studio space, which I shared with Anita Mosher and was next door to John’s studio. During my time at that studio I began painting in oils using brush and palette knife and continue to do so today. Several years later John suggested that the three of us open a working studio gallery. We formed a partnership, found a space on all S. Gaylord St. here in Denver, Colorado, and now are in our 12^th successful year.

Two years ago we asked artist Kelly Berger to join our partnership and have subsequently moved to a location in antique Row in Denver on South Broadway.

I am deeply appreciative of my three partners who have made my lifelong desire to be a career artist possible.

That is not to say that all the beautiful friends and family in my life have been as influential and supporting to shape the person and artist that I am today.

Currently, my work is the expression of abstraction where I use the elements of color, light, shape and texture to create imagery of an interpretive nature.

“I create paintings to be uplifting in order to give the viewer some respite from today’s busy and fast paced world of information overload. In addition, I want my work to awaken something within and speak the spirit and energy that inspired me during the creation process.

As an artist I find that my work is ever evolving. It is a continual process of reinventing myself in this rapidly changing world where we are continually exposed to new ideas and possibilities.

I began painting in pastels, which allowed me to paint and draw at the same. From there I moved to oils where I created impressionistic representational imagery with brush and palette knife from images photographed in my many travels around the world. I have now added the expression of abstraction where I play with the elements of color, light, shape, texture and composition. All of my work is a joyous and challenging expression, as it requires the painting to come from within.”

At this stage of my life and career, I no longer find myself worried about which subject might sell or painting to please galleries. My challenge is to stay in the place of painting purely from my heart.

I consider myself so fortunate to have the passion to express myself through the act of fine art painting, a lifelong spiritual journey. It gives me a sense of purpose and a connection with something larger than myself.

http://brushstrokesstudio.com/kit/

Visual Language Studio Visit with Artist Jeanne Bessette

My take on art is that it should be felt, as much as seen, so my desire is that my work challenges your heart to open, that your senses move you to an emotional response. In Flamenco dancing this is called Duende. Most people comment that they are moved on a visceral level when they are standing in the midst of my pieces, so it seems I am achieving my goal. That works for me.  

At the heart of it, I am a storyteller. My inspiration comes from the very fabric of life and the emotional reactions we have about being alive and our connectedness to each other. Our hopes and dreams are all a part of what moves me to put paint to the canvas. I just reach right in and grab a feeling and begin painting. Frankly, if you walk away from my work and feel nothing, then I feel I have failed.

I tend to work instinctually through each piece as I layer and scrape away paint from the previous day, adding and subtracting until the visual and the mood feel right. It’s really a dialogue of sorts between the canvas and myself.

The brush, canvas and paint tell me what they need and I respond mostly without thinking. This offers me the opportunity to stay connected to the piece and stay in the creative zone.

It’s not uncommon for there to be dozens of layers of paint and varnish each bringing more depth to the story. As I add each new layer and build on what was there before it creates a feeling in the work that invites you to fall into the painting filled with depth and luminosity.

I move very quickly as I paint so I work on several pieces at a time throughout the day revisiting a piece that calls out for attention.

I use a variety of materials from paint, sponges and brushes to ink, oil pastels and graphite. I’m seldom attached to any one medium and really enjoy the tactile experience of using lots of different materials. I also paint with my hands a lot. It’s not uncommon for me to have a bit of paint under my fingernails at dinner parties. My friends don’t seem to mind.

  

I would not call myself a mixed media artist but I do tend to be open to just about anything that jumps into my hand while I am working. Because of this my work leans toward being very textural and invites you to want to touch and feel it, which I always encourage.

Frankly, I can’t imagine a world without art, not just because I am an artist but also because it feeds the very soul of who we are. It fills our world with color and beauty and offers us a chance to question. Art has a language all it’s own and each time a new artist steps up and has something to say that is unique it gives us a chance to expand our hearts and minds.

My work stretches you to reach for something inside yourself that you might not even know is there. It invites you to see differently, to feel more alive and connect to your heart.

 I paint because I simply have to. When I’m not in the studio for extended periods of time I can get mighty cranky. It’s like therapy for me. It allows me to move through my own personal challenges and helps me process my world in a way that is productive and healing. You could say I self medicate with paint.  The result is a communication and a connection with others. I often find that people are attracted to my work when they are growing through their own challenges and a certain piece speaks to that part of them. I always say that each piece has a perfect home.

I use a lot of symbolism in my work. I love symbols. The ladders represent aspirations to move higher, to expand beyond our comfort zones and grow. Circles are all about completion and the spirals are my little circles of life. I often create figures reaching for the stars or they are reaching seemingly in celebration of something overcome or aspired to. I also often use letters and numbers as a design element but there is a deeper meaning to them for me. It is rooted in my enjoyment of the study of sacred geometry, which offers ancient beliefs about who we are and how we are alive. The painting elements using stencils in my paintings are pure play and freedom. I discovered that I love spray painting and might have been a graffiti artist in another life. It brings out the rebellious teenager in me. Sometimes I’m compelled to write something inspirational in a piece to offer another layer of enjoyment.

I’m often asked how I know when a painting is done. When I’m staring at a piece longer than I am painting, I’m usually very close. There’s a funny feeling in your heart that let’s you know when it is finished that is actually hard to describe. You just know when you feel it. With that said, I try to call it finished when I feel I am at the 80% mark. This way I don’t over paint and get caught up in the minutia and bring it past it’s spontaneity. At least that is my goal.

My work can be seen and purchased in over a dozen galleries across the United States and patrons In the U.S. as well as the U.K, Australia and Canada vigorously collect me. I am enjoying a strong interest in my work and teach other artists as a way of staying connected to my community. I believe art and artists are a crucial gift to our world and I for one am one grateful artist.

http://bessetteart.com/