Visual Language Studio Visit with Jenedy Paige

I’m not one of those artists that knew my calling in life from the age of five. I didn’t even try oil painting for the first time until I was a junior in college. I hear people talk about how all artists are just born with ability and I have to laugh. Mine has been a skill that I have developed over just hours and hours of plain old hard work and the prayer of faith.

As a Senior in High School my family moved to a small town in Northern Colorado where I found my dreams of academic grandeur dashed. No AP classes? No Honors program? This led me to signing up for six art classes. There, at a tiny high school in a tiny town, I found an art teacher that truly inspired me. She taught the idea that art was all about communicating a message, and this was news to me, I always thought it was about making something look “real”. The idea of being able to send a message through an image really spoke to my heart, and my passion for art began. I then went on to study at BYU-Idaho, at another small town in southeast Idaho, where I found myself once again inspired by amazing teachers. Though at the bottom of the raw talent pool, I was motivated by an academic scholarship and would go to school at 4:00 am to work before classes began. Little by little, I improved, I was able to keep my scholarship, and graduated magna cum laude in 2006 with a BFA in illustration.


After college my husband and I moved to California where I continued to paint. I joined the Daily Painters craze, and just tried to get more experience behind my belt. I began teaching at a private art school and later would teach out of my own studio. I discovered I loved teaching just as much as I loved painting. I soon became a mother for the first time, and began the careful balance of juggling motherhood, teaching, and painting.

In 2010, I gave birth to my second son. Painting became harder than ever, but I knew that it was always second to being a mother, and I found that as I put my children first, time to paint always seemed to find a way. I learned to tell myself that it was okay if I only got 30 minutes to paint one day that meant I was 30 minutes better today than I was yesterday. I learned that in order to be a mother and an artist, you have to be patient with yourself.

In 2011, after a glorious summer with our two boys in Ensenada, Mexico, I found myself face to face with my worst nightmare. My beautiful three-year-old son was pulled from a pool, and we spent nearly two months in the hospital with him as he fought for his life. Then in November he quietly slipped home to the God that gave him life. What a gift he had been to our family, and what a gift art became to me as I dealt with all the emotions associated with such grief. I found solace in my faith, in my family, and in my painting. So many tears were shed as I tried to find some way to pull all the sorrow from my heart and let it go on a canvas. I found a new appreciation for art that could have come in no
other way. It took some time, but I found the tears began
to dry and the smiles began to return.

We now currently reside in Arizona, and I’m expecting our fourth child. I continue to paint a little bit every day, and try to have as much fun with my kids as I can. I know how fragile life can be, and truly try to soak up every moment. I continue to work as hard as I can, and pray as hard as I can, and look to the future with happy anticipation.

Jenedy Paige
www.jenedypaige.com

Artspan Studio Visit with Sabine Barber

 I was born and raised in South Africa. Growing up on a beautiful farm in Mpumalanga, most of my childhood was spent outside in the sun, running barefoot through the dirt, climbing in trees and daydreaming in the garden. I also spent countless hours doodling, using any scraps of paper I could find, filling the pages with princesses, mermaids, unicorns, playing out my fantasies using pencil or ballpoint pen. In my early teens, I began taking private lessons in oil and pastel painting, which opened up a wonderful world to me. I found a new, colourful, way to express myself. Art was a part of my life, a part of my day-to-day. It helped me escape, it made me happy!




Then, as they say, life got in the way and before I knew it, I grew up, finished school and went to college. Afterwards, I found myself at a crossroad. Young, brave, and eager to experience the “real world” out there, I followed my family to Germany (I soon learnt it may as well have been the moon!). There, I ended up in some day job and earned money – the way the “real world” dictates. I rarely picked up a paintbrush anymore. It just didn’t “fit” into my serious grown-up world.  And besides, it had only ever been a fruitless hobby anyway, so what was the point, right? I didn’t leave myself much time to miss Africa, since I had convinced myself that I made the right decision emigrating - that life was better here than in my crime-ridden home country. I would just have to get used to it here and learn to deal with the homesickness and whatever other feelings of restlessness I had. So I soldiered on and kept myself busy. Eventually, I married my wonderful husband (also a South African) and in the years that followed, we became the proud parents of two beautiful children. I thought that finally I would have all I would ever need to feel “complete” again.

After our son was born, I lost my day job, which I didn’t really mind, because being a mother was my new full-time job anyway, and I was happy to stay at home for him and, later, our daughter. When both my children were old enough to go to Kindergarten, I suddenly found myself alone for a few hours in the mornings.

It was during that time that I started feeling more restless, bored, and really, really homesick! I needed an outlet, something to do. In an epiphanic moment, I put on some African music, dug out my old pastels and over the course of a few days painted a portrait of an African woman, carrying her child on her back. I remember looking at it for ages afterwards and thinking how much I MISSED this. And how much better I felt! And then I did another painting a few days later – another African portrait. Then another one…. I didn’t know what I was going to do with the paintings afterwards or where this was going, but I just couldn’t help myself.  I dug out old photos, contacted friends in South Africa for some “holiday shots” from safaris, the Kruger National (wildlife) Park, or for just any photos capturing life in Africa. I poured over these references – some purely for inspiration and to reminisce. After completing a few portraits, I decided to try my hand at wildlife, for variety. At first, I worked primarily with pastels (because it is so much quicker to tidy up and store away before the kids returned home from Kindergarten). Then, as my confidence grew I braved the “big, white, scary canvas” to attempt an oil painting for the first time in years. It was exhilarating! Of course, oils take forever to dry, so I opted for the water-based variety. My children, in the meantime, were well-trained at keeping their inquisitive little fingers away from the easel and “mommy’s paintings”, while they dry ;-)

Three years have passed since that “epiphanic moment”, and I haven‘t stopped painting! The more I painted and the more encouragement I got from friends and family, the more I WANTED to continue. Now, it fills a void in my life that I cannot explain and I don’t want to give it up anymore. I hadn’t dared to think of having a life as an artist, but for the first time I wondered if this could be more than “just a hobby”. I found a small, local gallery in Germany that hung up my art and offered me a small platform to get myself „out there“. I was also invited to display some of my work at various businesses around our area. While the feedback has always been good, the sales have much catching up to do (although this might be more a question of location and target audience). Nevertheless, to me it was a big step to “expose myself”, artistically. And it is only the beginning.



I have recently started branching out to new themes that inspire me to paint. My children inspire me. The beautiful landscapes and season changes in Europe inspire me. People in history inspire me. While I don’t think I will ever stop painting “Africa” entirely, I must admit I get a particular rush from painting portraits. There’s something about painting a face that is so calming and gratifying to me: The beginning stages and outline of a face, a body, a look. Then comes the “ugly phase” where the whole painting looks a mess and I am almost tempted to throw the damn thing in the bin. But then there’s that redeeming moment where it actually starts to LOOK like someone again and I power through, slowly reaching the final stages of completion.


At present, I live in England. (Yes, we moved again recently!). While I still don’t know where or how to best approach this new art venture, I feel like I am in a better location “artwise”. I hope to someday
have my own studio, my own solo exhibition and one day make art my “day job”. While I may still be at the beginning of such a dream, I can say that with each “Africa” painting, the feeling of homesickness is becoming less and less and with every brush stroke, I feel my sense of self coming back…

Sabine Barber
www.sabinebarber.com

Visual Language Studio Visit with James Tennison

James E. Tennison graduated from the Art Center College of Design in Pasadena, California in 1982. He cites his time at Art Center, where he studied under such artists as Dan McCaw and John Asaro, as his most formative educational experience. After graduating, he spent several years as a freelance illustrator, eventually making the transition from illustration to portraiture and fine art. 

Inspired by local geography, neighborhoods and landmarks in his hometown of Fort Worth, Texas - as well as subjects he finds on his travels - James seeks to paint the beauty he sees all around. What really excites him is the effect of light - sunlight and shadow - and the colors that can be seen in shadows and reflected light if one looks closely. 

Tennison’s paintings have been exhibited in galleries throughout the United States, including the Salmagundi Art Club in New York City, the Legacy Gallery in Scottsdale, Arizona, Howard/Mandville Gallery in Kirkland, Washington and Galerie Kornye West in Fort Worth, Texas. He has participated in many group shows and competitions and has had a one man show titled “A Year In Fort Worth”. 

His portrait commissions have taken him across the United States and to England. His commissions include the official portrait of former Texas Governor Ann Richards, which hangs in the state capitol in Austin. He has painted portraits for Harvard University, Southern Methodist University, Texas Christian University, The National Cancer Institute, the New York County Lawyer’s Association as well as many other public and private collections.

His awards include the Salmagundi Art Club Purchase Prize, the People’s Choice and First Honor Awards at the Portrait Society of America’s International Competition, the RayMar Art Competition Best of Show Award and the Oil Painters of America Online Showcase Silver Medal. 

James Tennison
jamestennison.com

Artspan Visual Language Interview with Janine Kilty

When did you realize you loved art and wanted to be an artist?
Although I have loved music, theater and the visual arts my entire life, I did not come to learn

Who has been your mentor, or greatest influence to date?
My husband, Kurt – who perceived my talent and pushed me to take art classes.  And Wade Schuman: master artist (of both painting and music!) and the most influential teacher in my life.
drawing and painting as a youngster– it was at the urging of my husband, Kurt, that I began to take lessons, first in drawing, then expanding to paint.  Once I got into it, I knew I would never stop!

Who is another living artist you admire and why? Besides Wade Schuman, who will always be uppermost in any catalog of my inspirations, I deeply admire the work of Jamie Wyeth,

What is your favorite surface to create work on or to work with? I usually paint on pre-stretched, pre-primed canvas.  I use both linen and cotton.  I also occasionally also work on panels. I further set up these ready-made surfaces by preparing a tinted ground on the canvas, and then I paint on this.

This is the method used by northern European Renaissance masters, who I admired and strive to emulate.  My three favorite grounds are “Chamois” (made up of white gesso tinted with raw sienna, burnt sienna and chromium oxide green), “Grey Mid-tone” (made up of raw umber, yellow ochre and a touch of black added to white gesso), and “Celadon” (made up of yellow ochre, black, chromium oxide green and white gesso).
Bo Bartlett, Vincent Desiderio, Natalie Holland and Odd Nerdrum.  More, I am sure, but these come to mind first.

What are your favorite materials to use? I described the surfaces above – and I use linseed oil as my medium, with oil paints from several manufacturers (preference is based on particular colors), the manufacturers include Gamblin, Maimeri, Holbein, and Williamsburg.   I use both boar bristle and sable or sablette brushes from a number of manufacturers, predominantly filberts and rounds in a variety of sizes.  I also occasionally use a palette knife for certain effects.

How often do you work on your artwork? How many hours a week?
I actually have another career: I work as a Human Resources Consultant, which has me traveling with some regularity for selected projects.  When I am not on a consulting project, and so, not traveling, I like to work in my studio about four or five hours each day, sometimes all seven days.  I feel bereft at the moment, since I have been engaged on a particularly long consulting project that has kept me away from my studio for more than three months!



What is the one thing you would like to be remembered for? Being a loyal and loving daughter, wife and friend.

There are many culprits that can crush creativity, such as distractions, self-doubt and fear of failure. What tends to stand in the way of your creativity?
I spent many years building a career as an executive before I had any inkling of my talent for and love of art.  It wasn’t until I was in my forties that, at my husband’s urging, I began to pursue my art education through classes, including at the Pennsylvania Academy of Fine Art, where I met Wade Schuman.  It was Wade who inspired me to believe in myself as an artist. That’s a long way to come to the “culprit” in my creative life, which is: my fear of letting go of my original career.  Although I no longer work full-time, I still take consulting engagements, and when I take on these projects, I don’t manage the required mindset shifts well enough to use my free time effectively for art. For example, by the time I get out of my “business” mind set, my weekend is nearly over and little time is left for the art.

How do you overcome these obstacles?
The ultimate triumph will be when I sever the past, non-art related work from my life.  I have not had the fortitude to do that yet.  Meanwhile, I sketch and make notes as ideas come to me, even while I travel (right now I am sitting on a backlog of five “paintings” that are merely a collection of idea notes and thumbnails of compositional sketches…nowhere near a canvas yet!).  I have also recently started meditation. Just a beginner,  I am hoping as I learn, this will allow me to keep my mind more integrated between my “art” mind and my “business” mind, if that makes sense!

What is your favorite way to get your creative juices flowing?
I go into my studio… select music (I have many playlists, mixes of jazz, oldies, classics – I never play a full opera when I paint because that takes my attention too much away from my work), and I just start SOMETHING.  Since I work in a layered paint technique, I often have various pieces in different stages of development.  So, frequently I pick up one of these and move to the next stage with it.  Sometimes, if I don’t have the courage to tackle any of these… (“So far, looks pretty good… better not ruin it…or   “What did I really mean to do next?”) In those instances, I start a new one.  I almost always have several ideas that I have jotted down.  To turn one of these thumbnails into a fully realized work, I typically start with an under painting:  either on a toned canvas or by “washing” the canvas with raw umber and linseed oil thinned with mineral spirits.  Then I wipe this off, leaving a tone similar to a ‘chamois‘ toned ground.  On this still wet surface, I draw/paint in raw umber, getting the darks and main shapes in, and wiping out the lights to achieve a monochrome image that looks a bit like an old sepia-toned photograph: similar to a grisaille.

Janine Kilty
www.janinekilty.com

Visual Language Studio Visit with Featured Artist Tigran

Tigran Tsitoghdzyan:

Reflection in the Age of Technology

by Rebecca Kilman

“People are my landscape,” contemporary artist Tigran Tsitoghdzyan explains. “I’m just an observer. I love being lost in the crowd and feeling anonymous.”

Yet, Tsitoghdzyan—who goes by Tigran professionally—found himself set apart from the crowd at an early age in his native Armenia. Henrik Iguitan, founder and director of both the Modern Art Museum and Children’s Art Museum based in Yerevan, hand-picked ten-year-old Tigran to star in a solo exhibit featuring over 100 of his paintings. Tigran doesn’t make too much of his impressive start. “For me it was normal. My class came to the exhibit with my art teacher. She told me I could do better.” Tigran humbly jokes, “I actually had really bad grades in that art class.”

Tigran grew up surrounded by intellectuals. He painted in his parent’s living room, listening to their friends talk politics, philosophy and music. He credits his parents with his down-to-earth attitude about his early success; they didn’t show him articles about his first show or subsequent European and American openings until he was twenty-two. As a result of this no-nonsense attitude, Tigran says, “I never felt that I was different than anyone else. It was just that I liked to paint.”  

 

Perhaps this insistence on anonymity and normality prompted Tigran to leave behind the acclaim of his home country in 1998 and study in Europe as a young man. While he found success there, New

Tigran arrived in the Big Apple five years ago determined to make it his home. “I love to watch how people of different cultures connect to each other here. That is the magic of New York.”
 

York had been on his mind since a visit at age fourteen for an exhibition of his work. “At that point in the Soviet Union we didn’t know much about foreign countries in general—going to New York was like going to Mars. I couldn’t find a Guns ‘N Roses CD at home and then I came to New York for that trip and was front row at a Guns ‘N Roses concert. I was talking about New York nonstop after that.”

Tigran is especially interested in how people interact in this new era of technology and social media. “It’s the era of selfies,” he says, referring to pictures people take of themselves on their phones and cameras. This fascination with self-reflection is captured in Tigran’s work. His images of mirrors suggest a close examination of self, and yet the hands held to the face in many pieces shield the subject from outright observation. Tigran wants to convey the same disconnect that occurs when a small child holds his hands over his eyes and believes he is actually hiding in full view. 

Tigran’s work explores the way people use the Internet to convey images of themselves. There is significant transparency in an online profile—individuals offer the particulars of their lives up to the larger community. We see the faces of Tigran’s subjects through the screen of their hands just as we connect with people through the filter of the computer screen. Tigran elaborates, “Contact with people today is very different from how it used to be. It is influenced a lot by social media. When I’m on the street and I see people taking Facebook pictures, I know they are curating a very specific story about themselves.”

The details of these stories are what drive Tigran’s ten-hour workdays, as he labors over the particulars of each face. Oil painting allows him to spend longer on each painting and achieve a realistic effect. “The technique is an instrument I need to convey the details. I use oil painting to tell the story. Not the reverse.” 

The detailed faces in the “Mirrors” series tell a story about the artist as well as his diverse subjects. Tigran explains that one Mirror depicts an older Armenian lady whose hands entirely cover her face without any transparency. This beautiful grandmother represents a very old culture and lives with a past she is not yet willing to share. In contrast, Tigran describes another Mirror of an attractive, self-aware, young American woman with an open face. “I’m in between these two realities,” Tigran admits, “I live here in America but my background is from Armenia.” 

Tigran reflects that the inspiration for his work stems from both the incredible diversity of cultures in New York and the transparency of the individual on social media. Tigran is fascinated with how people present themselves in our Age of Information. In a way, Tigran himself is the mirror: observing and reimagining the reflections of the individuals who stand out in the crowd.

 Tigran Tsitoghdzyan

http://tigran.ch