Artspan Artist Spotlight Interview with VL Rees

 When did you realize you loved art and wanted to be an artist?
Before first grade!  I took art classes throughout elementary and high school, dabbled in college and after graduation, then gave it up for nearly 30 years.
Approaching retirement I thought about what I wanted to do after a left the corporate world and realized where my heart was.
It wasn’t easy to pick up a paint brush after a long break but gradually I began to make paintings that I enjoyed and didn’t make me want to cry.

Who has been your mentor, or greatest influence to date?
My first art teacher: Michiko Boorman.  She came to this country after WWII and raised a family while she studied and practiced art.  She taught me the basics in such a supportive way.

Who is another living artist you admire and why?
I’ve yet to a meet an artist in the Triangle who doesn’t inspire me in some way.  That said, I would pick Dan Nelson, plein aire painter extraordinaire.  His work is beautiful and often done under extreme conditions.  I love plein aire paintings but as a mosquito magnet, I don’t aspire to it.

What is your favorite surface to create work on or to work with? Describe it if you make it yourself.
Stretched canvas with a colored ground.

What are your favorite materials to use?
Oil paints.  I especially love using a palette knife for abstracts.  Using Winsor & Newton’s Liquin Impasto gives a great sheen and helps layers adhere to one another.  It also stretches the paint.

How often do you work on your artwork? How many hours a week?
I would like to say every day and sometimes that happens!  Currently I am planning a studio where, for the first time, I will have natural light, HVAC, and plumbing.  Once I’m no longer in “the dungeon”, I hope to devote 40+ hours a week.

What is the one thing you would like to be remembered for?
Personally, that I was there for my family, friends, and colleagues.  As a painter, that I showed the beauty in ordinary objects.

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?
In every painting there comes that “uh oh” moment.  I call it buyer’s remorse.  It’s when you think, “what was I thinking!” for choosing that subject, that size/shape canvas, that color palette, etc.
 
How do you overcome these obstacles?
Practice, practice, practice.  Over the years I’ve learned when to just keep at it and when to put it aside to ponder where I go next.  It’s also helpful to know that one can paint over the real disasters.

What are your inspirations for your work?
The interplay of light and shadow, and looking at everyday objects from a new perspective.

Artspan Artist Interview with Jan Sasser

When did you realize you loved art and wanted to be an artist?

I can't recall a time when I wasn't aware I loved art.  Books, music, and visual arts were all valued in my family.  As a child, I loved to draw and was inspired by the sketching of an older sister as well
as my great uncle's amateur painting and sculpting.  When I asked for quality drawing supplies they were given, along with the imperative to treat them with respect and practice basic skills first.

However, family role models made their living in “more practical
ways.  I didn't conceive of art as a career choice until much later in life.  I flirted with the idea of applied art as a young adult, but didn't actually make the move to painting full time til pushing 50, after many years as a social worker.  By that time, the backing and support of an exceptional spouse made the risk more feasible.




Who has been your mentor, or greatest influence to date?

I wouldn't say I've had a mentor per se, though living in Charleston, I've had the luxury of example and interaction with many fine artists.  While few are traditional realists like myself, there is always something to learn from one's masterful use of
color or another's exceptional composition skills.  The generosity of successful artists with technical tips and career advice often amazes me.  I'm grateful to Rick Reinert and others who have nurtured my confidence along the way and “nudged” me at  key moments to shoot for a high profile show or opportunity that paid off.


Who is another living artist you admire and why?

One of several who come immediately to mind is Mary Whyte, a Charleston watercolor artist of international renown.  I've long admired her mastery of watercolor but did not recognize how exceptional she is until seeing a major body of her work recently in her “Working South” exhibition.  Each piece is an evocative gem of dynamic composition, rich color and texture, and masterfully rendered images that   express the character and personality of each worker and workplace environment.  Pieces are all part of a totally coherent and integrated concept.  It's as though she “wrote a book in pictures” that tells the tale of a disappearing way of life and makes you feel you know all the characters.  How can you fail to admire an artist who can do that?




What is your favorite surface to create work on or to work with? Describe it if you make it yourself.

I paint on prestretched primed canvas or linen.  As a slow painter, I find these far too satisfying to be tempted to invest time in making or preparing my own.  I love the “spring” of canvas against my touch.   A good even medium tooth weave interacts beautifully with my brushes and varying strokes to create textural illusions while
still being “flat” enough to allow precise lines and details when needed.


What are your favorite materials to use?

Simply, professional grade Winsor Newton Oils, odorless mineral
spirits for solvent, and refined linseed oil as a medium.  For brushes I like hog bristle for underpainting and certain textures.
I like soft red sables for details, clouds, blending edges, etc.

Do you have a favorite color palette?

My basic palette is:
   
Titanium White, Naples Yellow, Ochre, Cadmium Lemon, Cadmium Yellow Deep, Raw Umber, Rose Madder Genuine,
Cobalt Violet, Cerulean Blue, French Ultramarine, and Ivory Black
(added recently and used “rarely and sparely” in mixes of darkest darks).  Cadmium Red, Gamlin Radiant Red, and Gamlin Radiant Magenta are included occasionally for specific pieces.  Certainly, I could manage well with fewer colors, but find all these useful so
“why not?”

Artspan Artist Spotlight with Jean Howard

When did you realize you loved art and wanted to be an artist?
I don't remember exactly when I first wanted to be an artist. 

Who has been your mentor, or greatest influence to date?
My father was an architect and did some watercolor renderings of his projects.  I think that I always drawing.  When I was 13 he gave me some art books and about that time I knew that I wanted to be an artist. He was my greatest mentor.
Who is another living artist you admire and why?
The artists that I admire are Richard Diebenkorn and Hans Halls. I know that they are dead but I am not influenced as much by today's artists.


What is your favorite surface to create work on or to work with? Describe it if you make it yourself.
I like to work on handmade watercolor paper when I do watercolors and canvas for oils.

 Do you have a favorite color palette?
Not a favorite color palette.
 

How often do you work on your artwork? How many hours a week?   

I work in chunks, solid for awhile and then NOT for awhile.

What are your inspirations for your work?  

I am inspired by things that I see, sometimes unexpectedly.

 What is your favorite color in your closet? 

I don't have a favorite color.  I thought about this question a lot. I am more interested in a relationship between colors. My closet reflects this also.

What book are you reading this week? 

I am reading "behind the beautiful forevers" by Katherine Boo.

What is your favorite food? 

I love lobster.

What color sheets are on your bed right now? 

My sheets are beige.

Do you have a passion or hobby other than painting? What is it? 

My other interests include gardening and duplicate bridge.

Who would you love to paint? 

I love to paint the Ocean.


If you were an animal what would you be and why?      

I would like to be a seagull to fly around the banks of the ocean.

Share something with us that few people know about you.  

I am a very private person.

If you could live anywhere in the world, where would you live?  

I would love to live in Laguna Beach.

Kathy O'Leary Artspan Interview with Visual Language Magazine

When did you realize you loved art and wanted to be an artist? 

In 1989, having rediscovered I still had my drawing skills (developed from early college experience) I was drawn to painting and drawing again as a release from stresses of my job.  As my skills grew rapidly I decided in 1990 that I wanted to leave my job and work closer to the field of art.  After a year working for the local art’s council, being around art every day, artists, helping curate and hang shows,  I quit to work full time at my own art.  I committed myself to learning as much as I could, to see whether I could do this professionally.  I honed my skills working at first in watercolor, pastel, mono printing, and finally trying oils.  From my first experimentation with oils as a medium (in ‘94), I knew immediately that this was my medium and that the life I wanted was as a painter working in oils.

Who has been your mentor, or greatest influence to date? 

I live in an artistically rich community, surrounded by supportive talented artists, but my greatest influence has come from a circle of local women artists (working in various mediums) I’ve grown close to over the years.  They have supported, encouraged and challenged me (and each other) and together we have grown beyond where our individual dreams could have taken us.

Who is another living artist you admire and why?

The artist (and friend) I admire is a painter named Jim McVicker.  He is now beginning to garner much deserved national recognition for his work.  I admire him for his skills as a painter, his ability to interpret beauty in the landscape, the still-life and the figure. All without any apparent ego, willing to share his thoughts, and open to learning from others.  He works only from life.  His studio was close to mine when I was starting out, and I watched him (and his wife, Terry Oats) come to work everyday to his studio 7am - working in the studio or on location, until the sun set.  He was such a good model for me to learn how you grow as an artist.  Now I see his artistic sensibilities, his drive and commitment to his craft paying off.

What is your favorite surface to create work on or to work with? Describe it if you make it yourself. 

My favorite surface to work on is good quality canvas or linen, double primed, preferably oil primed.

What are your favorite materials to use?

My favorite materials include good quality oil paints (I’m still exploring  colors/brands that work best for what I’m trying to do. My favorite medium (used sparingly nowadays) is Dan Smith Alkyd medium, cut with poppy oil and Gamsol (mineral spirits).  My favorite brushes right now are Windsor Newton hog bristle, flats and brights.

Do you have a favorite color palette?

3 blues - Ultra Marine, Kings Blue, Cerulean

3 reds - Alizarin crimson, Cad. Red med or other Medium red &Transparent Earth Red

3 greens - Sap Green, Veridian, Cadmium green

4 yellows - Raw umber, Yellow Ochre, Cad. Yellow deep, Cad. yellow light (or lemon yellow)

White - Usually Titanium or Titanium/zinc white

How often do you work on your artwork? How many hours a week?

I work on my art, almost daily.  At least 6 days/week, probably 40 - 55 hrs/week.

What is the one thing you would like to be remembered for?

Probably the change I made in mid-life from working in the natural food business to being a professional artist. I’m an example of that fact that with hard work, commitment, and a passion for art, it can be done.  

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?

What stands in my way the most is self-doubt, sometimes fear of failing at what I’m trying to do.

How do you overcome these obstacles? 

I over come this, sometimes more successfully than others, by going to work every day.  Starting a new painting.  By reminding myself it’s about the process and not to allow myself to get immersed in the competitive and comparative mode with other artists.  Going to museums, galleries, reading books on art, all show me how very different we all are as artists, and there are many paths to living an artistically creative life. 

What are your inspirations for your work?

My inspiration for my work first and foremost comes from my travels and  explorations of the landscape in my home state, California.   Next it comes from visiting galleries and museums and seeing all the different takes possible on any one subject.  I try to pay attention to what really touches me at a visceral level.  I’m inspired by those artists who take off on a different style, mode to express themselves, particularly those working with the landscape as their subject.

What is your favorite way to get your creative juices flowing?

Some of my favorite ways to get my juices flowing are:

-Meditate first before starting work for the day.

-Doing a small painting (6 x 8) of some subject (ex: photo of a landscape), or small still life, using 100 brush strokes (or close to it).

-Hanging a large piece of blank paper on my wall and with tempera paints, taking about 30 minutes to paint what ever I’m feeling, using big brushes and bright colors )sometimes totally abstract, sometimes figurative).

Which work of yours is your favorite?  

Right now, it’s “Earth, Air, Fire-Mt. Shasta”. Painted on location it’s one of my newest ones.

Getting to know you Q&A

 What is your favorite color in your closet?    Red

What book are you reading this week?  Richard Schmid’s Alla Prima II

Do you have a favorite television show? Bones, & Antiques Road Show

What is your favorite food? East Indian

What color sheets are on your bed right now?  Green

What are you most proud of in your life? With my husband of 47 years, raising an intelligent, sensitive, hard working, progressive son, who in turn is an amazing parent and marriage partner, and making a successful mid-life career change.

Who would you love to interview?  My long dead great uncle, Willard “Spud” Johnson, a writer and poet, and good friend to writers (D.H. Lawrence) and artists (Georgia O’Keefe) in Taos New Mexico between 1930’s - 1960’s. 

Do you have a passion or hobby other than painting?  No.

Who would you love to paint? The women in my circle of women artist friends.

If you were an animal what would you be and why?  Human

If you were stranded on a desert island and could only take three things, what would they be? A watercolor paint set, paper, some good pot.

Share something with us that few people know about you.  That I have a degree in Social Welfare.

If you could live anywhere in the world, where would you live? Somewhere in central, rural California, close to our son and his family, equidistance to both ends of the state I love to paint, with a home and studio surrounded by several acres of natural, interesting landscape.

http://www.kathyoleary.com/

Glenn Moreton Visual Language Artspan Studio Visit

Painting and drawing has always been an essential part of my life.  My aunt remembers me as a toddler propped up on a chair so that I could reach the blackboard that my grandmother had on her kitchen wall, spending hours drawing with colored chalks.  Even during later times of my life when other priorities had taken over and I was not following my creative urges, art was still an essential—albeit suppressed—part of my life.  Even then, my bottled-up compulsion to be an artist was omnipresent (and making me miserable).    It seemed as if something inside me was fighting relentlessly to emerge.   Finally in 1985,after years of skirting around this creative need, I acquiesced and began painting professionally.  I have enjoyed making up for lost time ever since!

Composition:

When I paint, my primary goal is to create a composition that is aesthetically exciting.  The typical viewer of photorealist or hyperrealist art will first be impressed with the often startling realism recreated in these genres of paintings—the striking reflections in a storefront window, the drama created by carefully placed shadows, or the flashy rendering of an automobile.  Sometimes I find that photorealist/hyperrealist painters can duplicate reality with a technical facility that is awe inspiring, but their paintings may to have little to offer to the viewer beyond that technical slickness.  Like all such artists, I attempt to create a technically sharp realistic image, but contrary to what one may suspect, that is not my chief preoccupation:  composition is what fascinates me.  To me, a complicated, tenuously, carefully balanced composition is extremely satisfying and contributes more deeply to the overall power of the work than do mere flashy rendering techniques alone.  

My Process:

A major part of my process is selection of the scene to be painted.  I go to numerous locales, take countless photos and examine them, combine them, etc. often taking months until I find the right combination of visual elements, the right composition.  My paintings are not mere reproductions of these photographs.  I alter, rearrange, distort, remove, and simplify design elements according to the needs of my composition.  My compositions always make use of visual rhythms--often through the repetition of similar shapes, through the contrast of vertical against horizontal elements, and through balancing of elements by use of color relationships. 

Often--but not always--I briefly project slides of my photos onto the canvas, using projection as an initial tool in my painting process.  Artists (e.g., van Eyck, Holbein, Caravaggio, etc.) began making heavy use of such optical tools early in the Renaissance, and have continued ever since.  I project only a rough outline, after which, I continue with a more detailed freehand drawing .   Not until this initial drawing is made do I begin painting.  As I paint, I constantly change the drawing as I proceed, often distorting elements of the drawing/painting in order to enhance the composition, or to pull the viewer’s eye into the work.  

With my focus on drawing, it is not surprising that a specific characteristic of my process includes careful attention to line work.  Loving lines and the visual energy that they project, I carefully outline all of the objects in my paintings, occasionally coloring the line in a hue that contrasts to the color of object, and using strong lines on outside edges of objects, and weaker lines on internal edges of objects--all techniques to better define how the object cuts through space and to make that image visually “pop.”  

Another characteristic of my process is that I use the paint as both an opaque and a transparent medium (e.g. using glazes to create specific effects such as soft shadows, objects viewed through glass, the haze on distant elements in the landscape, etc.).  As a quickly drying medium, acrylic paints facilitate the use of these dual techniques.

My Subjects:

It may surprise some people to learn that initially I pay little attention to the subject content of my painting.  When selecting a subject that I am going to paint, I choose one with elements that will work aesthetically into an exciting composition.  After that, I try to select subjects that suggest a distinctive mood that is representative of that particular locale; I try to give the observer a sense of place (though generally I try to avoid using obvious landmarks).  Another characteristic of my works is that often they combine a hodgepodge of seemingly unrelated, contrasting subject components that blend together in a surprisingly unified whole.

I intentionally avoid consciously selecting my subject matter along political, social, or philosophical themes.  Such calculated depiction of the artist’s viewpoint may seem heavy-handed and risks trivializing more profound subliminal messages.  Also I avoid overanalyzing the subject content of my work.  For me, nothing is more tedious than hearing artists drone on and on about the “profound” meaning of their work.  Artwork should speak for itself.  I find that when an artist designs a work to project a specific point of view or a very personal esoteric subject, the viewer’s experience is overly predefined and limited.

Yet, even though I intentionally avoid painting that overtly expresses a specific viewpoint, I must admit that I when I look at my completed paintings, I do find that my works do tend to spontaneously project certain themes nevertheless.  I find that these themes are all the more interesting, powerful, and universal because of the fact that they have evolved unconsciously and unintentionally.  One recurrent theme that I find in much of my work is that of the dynamics of change with the passage of time.   Another theme is the juxtaposition of the urban environment’s complexity with that same setting’s role as a human environment.   Finally, I find that my work often celebrates scenes that are uniquely American and typical of the U.S urban landscape.  

Visit my website: http://glennmoreton.artspan.com/

Artspan Spotlight in VL with Katharine Cartwright

When did you realize you loved art and wanted to be an artist? My parents recognized I was an artist before I entered kindergarten, and provided me with opportunities to learn about color theory and design beginning at age 3. Therefore, I’ve always self-identified as an artist and have never lost my love for creating art. Because I think in pictures rather than in words, drawing and painting come naturally to me and are the way I prefer to communicate with myself and others. 

Who has been your mentor, or greatest influence to date?  Susan Webb Tregay, a superb artist and instructor has been the greatest influence on my work. She taught me the importance of concept in creating art. Without that, artistry does not occur because it is the intended concept that makes art “art.”

Who is another living artist you admire and why?  The artists that I admire most are those whose work is authentic – the ones who bravely express themselves with honesty and integrity without the motivation of popularity and sales. Thankfully, there are many that fall into this category.

What is your favorite surface to create work on or to work with? Primarily, I use Arches watercolor paper, cold press 140 pound because it can take a lot of “abuse” and stand up to it very well. 

What are your favorite materials to use? Although I was trained in oils, I now prefer watercolors above any other medium. My favorite brand is Daniel Smith.

Do you have a favorite color palette? No. For me, it’s more important to assemble a palette for each painting based upon the mood, values, and temperatures that I need to employ to best express my concept. That always changes from painting to painting.

How often do you work on your artwork? How many hours a week? When I’m not traveling, I walk to my studio at 4:30 AM and work from between 4 to 10 hours in a single day. I try to do this seven days a week unless I have appointments and other matters that interfere. However, I’m always able to work in the studio between 4:30 and 8:30 AM. I like the discipline, but I’m also eager to get into the studio and work. I love to paint!

What is the one thing you would like to be remembered for? The things I would like to be remembered for is what I’ve deemed to be important: my dedication to family and community; integrity as an artist and a human being; creating art that is both meaningful and unique, that contributed to the global dialogue in the visual arts, and, effective teaching. 

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? How do you overcome these obstacles? As you noted, distractions, self-doubt and fear of failure are the usual culprits for most artists and were for me as well. Learning to ignore all that and trust my own intuition and imagination took a long time, but I finally got there. I learned to listen only to my inner voice. That liberated me use my own voice to create work that’s original rather than imitative or derivative. 

What are your inspirations for your work? Because my work relies upon my imagination and not physical references, I suppose my greatest inspiration is my internal vision of the world. That internal vision is influenced by my psychology (which filters and interprets my surroundings) and my life experiences. 

What is your favorite way to get your creative juices flowing?  Wake up and walk to my studio. The juices are flowing by the time I open the studio door. It’s Pavlovian.

Which work of yours is your favorite?  Always, the one I’m presently working on. I must be in love with and cherish the piece I’m creating in order to complete it. So, it becomes the most precious at the time.

Getting to know you Q&A

What is your favorite color in your closet? If you looked at my closet you’d see a full palette of colors without one that is dominant. I love all colors and tend to wear the one that best reflects my mood at the moment.

What book are you reading this week? I love to read women’s travel and homesteading accounts. Right now, I’m reading a number of books on Maine and Alaskan women homesteaders.

Do you have a favorite television show? Not really, but I do manage to follow “Project Runway.” I like the challenges and creative solutions by the designers.

What is your favorite food? Pie (any fruit flavor).

What color sheets are on your bed right now? Aneegoine

What are you most proud of in your life? My son.

Who would you love to interview?An “undiscovered” artist who is naturally gifted and struggling to keep her integrity while attempting to rise through the ranks. Someone who’s truly undaunted by the art scene and perseveres would, in my opinion, be worth knowing about.

Do you have a passion or hobby other than painting? What is it? Yes. I love to sail and kayak.

Who would you love to portray in mixed media? I don’t know. I guess I don’t think that way.

If you were an animal what would you be and why? A well-loved and cared-for Labrador retriever would be my choice because they have a wonderful temperament and are very loyal. If you were stranded on a desert island and could only take three things, what would they be?  A machete, striking steel, and a very long rope. 

Share something with us that few people know about you.  Although I don’t come across this way, I’m actually very shy.

If you could live anywhere in the world, where would you live? Since I’ve already made that choice, it’s easy: Midcoast Maine, where I live  right now. It’s a slice of heaven.

Visit Katharine's website: www.kacartwright.com

Artspan. Visual Language Magazine Studio Visit with Elizabeth Chapman

ADVENTURE...in one word that would be how I would describe my love for painting abstracts.  There is the original inspiration or spark that sets the whole process in motion, with the belief that a wonderful work of art will emerge, yet navigating without a plan. Think going on a vacation without an agenda! The challenge is in responding to each new element that emerges on the canvas, capturing a sense of beauty through the use of color, shape, line, values and texture. Realizing that this is all but a glimpse of the bigger picture.

© Elizabeth Chapman

As a modern abstract expressionistic painter, I work intuitively quickly making decisions as I am painting with each new mark leading to the next idea. The initial inspiration for a painting can come from many different sources, but once begun, following the creative flow is important to me.  My work is always in the process of evolving as I grow as an artist. Many times the hardest part of this growth is in the letting go.

I’ve always loved art. A strong passion for creating my own art begun and grew during the years that I worked as a high school art teacher. Through the encouragement of others I began to see the artist within me. Intuitively, I knew that I was an artist first and foremost. This required a huge step in faith in order to pursue working independently as an artist and to believe in myself.

© Elizabeth Chapman

A verse from God’s word that was given to me in those first days and is still tacked to my studio board, spoke to my heart in strengthening me for the task. It reads: Do not despise these small beginnings, for the Lord rejoices to see the work begin, to see the plum line in Zerubbabel’s hand.  Zechariah 4:10  I am often lifted up by these words- in that they speak to me about using the talents that have been given to us. Success is in realizing the way that each of us are made and in working to the best of our abilities.

I am very thankful for the support I have received from my family, friends, fellow artists and last but certainly not least those who have financially invested in my efforts. For all these people have played a role in supporting the arts.

“It brings me much joy just to be the brush in the Master Painter’s hand and to realize that His creations are made to bring great joy to all.”  Elizabeth Chapman.

http://melizabethchapman.artspan.com/

Visual Language Magazine Artspan Studio Visit with Kari Tirrell

I never intended to be a professional artist.  Like many artists, I drew constantly throughout my childhood.  Although my lack of formal art education has not been a hindrance for me, had I known I’d become a professional artist someday I probably would have chosen to focus on art in school.  At that time, though, art didn’t seem to be a good career choice.  Being a “starving artist” didn’t appeal to me, and I didn’t want to teach, so drawing was more of a habit.  It was something I felt compelled to do, but had no intention of doing anything with it.

Many years later, when my kids were at an age where they were becoming independent and I started thinking about what I was going to do with my time, I decided to try painting and it completely changed my life.  I painted abstracts in acrylic and sold them on eBay.  It was great validation, super fun to find people liked my work enough to bid on it, and even more amazing to think about people in countries around the world hanging my work on their walls.

Colors by Kari Tirrell

Eventually, I switched from abstraction to realism, which also caused a switch in medium.  I was now painting in oils.  However, soon after changing to oils I stumbled upon the amazing pastel work of Alicia St. Rose.  I had no idea such detail could be achieved with soft pastels, and I knew I had to try it.  Her process looked painfully tedious, and I knew I didn’t have the patience to work like that, so I purchased various soft pastels, pastel pencils, and a variety of papers and set out to develop my own process.  It took a lot of trial and error, but I was able to figure out how to get the results I wanted.

Banana Bread by Kari Tirrell

Once I started painting realism, I realized brick and mortar galleries would be a better fit for my work than selling online.  I had no idea how to go about getting into galleries, so I created a plan: I would join art organizations, get into their shows, and build up a resume.  I decided three years would be a reasonable amount of time to give me the experience and a good enough resume where I could feel comfortable approaching galleries.

I painted specifically for exhibitions, focusing on composition and lighting to make sure I was able to enter at least one award worthy painting into each show.  I believe this focus helped improve my compositional ability as well as my painting technique.  The awards my work received were validation I was heading in the right direction.  My three year plan was successful, and although my first gallery ended up not being a great fit, it was a good learning experience in choosing the right gallery.  I currently work with several excellent galleries, and I truly value my relationships with them.

Train Wreck by Kari Tirrell

While I started my pastel career painting people and animals, over time I’ve gravitated toward painting still life, and I really enjoy it.  I like the challenge of creating an interesting composition with inanimate objects.  I like painting various surfaces (wood, glass, ceramic, etc.) and getting them to read accurately.  My compositions have grown more complex; I like paintings that invite the viewer to stay awhile, something that will keep their interest over time.  On the other hand, I also enjoy creating simple compositions, particularly when I can experiment with changing the scale of the objects.

I like to explore themes, repeatedly painting the same subject in different ways until I feel I’ve said as much as I want to say, and then I move on to something else.  I typically enjoy painting things that touch on nostalgia.  Old toys are a favorite.  Right now I’m working on compositions with candy. 

I recently started working in oils again, in addition to pastels.  My work is very time consuming, regardless of medium, but I feel so lucky to be able to do what I do.  It is definitely work; mostly challenging, and sometimes even frustrating.  But painting satisfies my soul as no other job could, and I plan on doing it as long as possible. 

Traffic Jam by Kari Tirrell

A self-taught artist, Kari Tirrell spent her formative years drawing people and animals in graphite, charcoal, and ink.  She won her first award in an art contest at age 11.  After many years of drawing, Kari changed direction and started painting abstracts in acrylic, selling her work to collectors around the globe.  After returning to realism, Kari’s work has been juried into many regional, national, and international exhibitions, and has received numerous awards.  She lives in Gig Harbor, Washington, and is a signature member of the Pastel Society of America and the Northwest Pastel Society,  and a Distinguished Pastellist with the Pastel Society of the West Coast.  Her work can be found at Meyer Gallery in Santa Fe, NM, Elliott Fouts Gallery in Sacramento, CA, American Art Company in Tacoma, WA, and Kirsten Gallery in Seattle, WA.

http://KariTirrell.com

Visuallanguagemagazine.com

Artspan.com

Visual Language Artspan Interview with Robert Fiacco.

Visual Language Artspan Interview

When did you realize you loved art and wanted to be an artist? When I was about 11 years old my father started a small business that involved selling reproductions of famous paintings; we had dozens of these paintings hanging all over the place.  I absolutely loved these paintings and would spend hours copying them; I have been painting ever since.

Who has been your mentor, or greatest influence to date?  I don’t recall having a mentor per se; I have had outstanding teachers early on but never a consistent mentor.  Winslow Homer has been a huge influence.  I am especially impressed that he was able to transition from illustration to fine art.

Who is another living artist you admire and why?  Jasper Johns; his paintings are so unique and intellectually challenging.

What is your favorite surface to create work on or to work with? Describe it if you make it yourself.  I love texture in painting; I primarily work with canvas that is sized with heavy amounts gesso.

B-24D Pelosti Raid by Robert Fiacco

What are your favorite materials to use? I primarily use oil paint and Liquin Impasto and Olepasto mediums.  I am starting to explore encaustic.

Do you have a favorite color palette? I prefer a cooler palette but I really don’t limit myself.

How often do you work on your artwork? How many hours a week? I only average about 5-15 hours a week.

What is the one thing you would like to be remembered for?  Honesty and creativity in my artwork.

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? Often financial concerns get in the way.  For example, I often take commissions, which are not very creative endeavors since the customer is usually very specific in what they want hence there isn’t much latitude for creativity.

Hellcat Formation by Robert Fiacco

How do you overcome these obstacles?  I try to be as frugal as possible and maximize my exposure through juried shows/art fairs.  I have been successful in selling some of my artwork, including giclee reproductions without relying too much on commissions.


What are your inspirations for your work? I love narratives or stories of amazing feats.  I prefer to illustrate dramatic events that occurred.  I will research the specific event, learning the life stories of the people involved, and the exact details of the event.  When you fully understand the people and the event; it is quite inspiring to paint it.

What is your favorite way to get your creative juices flowing?  I have two loud kids; sometimes, just having it quiet is enough.

Return to Happy Valley by Robert Fiacco

Which work of yours is your favorite?  Oriskany Rendezvous is my favorite.  I feel that the painting is dramatic and conveys a sense of foreboding associated with war.      

Getting to know you Q&A

What is your favorite color in your closet? Light blue.

What book are you reading this week? “Art and Perception”.

Do you have a favorite television show? Not really; however, I often watch English or Spanish league soccer games.

What is your favorite food? Italian.

What color sheets are on your bed right now? Tan.

What are you most proud of in your life? Taking care of my family.

Who would you love to interview? Larry Gagosian.

Do you have a passion or hobby other than painting? What is it? Soccer.

Who would you love to paint? Nicole Kidman. 

If you were an animal what would you be and why? A golden eagle; being able to fly…can’t imagine anything better than this. 

If you were stranded on a desert island and could only take three things, what would they be?  A book, sketchbook, & my guitar.  

Share something with us that few people know about you.  I believe in ghosts.

If you could live anywhere in the world, where would you live? Spain.

http://robertfiacco.com/

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Visual Language Studio Visit with Artspan Artist Robert Huckestein

Born in Pittsburgh, Pennsylvania, I have had art in my blood for as long as I can remember.  When I was a child, I couldn’t wait to get up on Saturday morning, turn on the television, (a mew fangled contraption at the time) pull out my box of John Nagy art supplies that I had sent away for, and begin that morning’s art project that John Nagy had prepared for his television audience of young, aspiring artists.  That is one of my earliest memories that had me dreaming of becoming an artist some day.

Ever since those Saturday art projects, I have been drawing, painting, and reading about other artists, both past and present, to help me in my quest to become a professional artist.  However, my art career went in another direction early on because of some well-meaning people, including my parents, who kept telling me that trying to make a living as an artist was unrealistic.  So, I began my thirty-five year career in the engineering field.  Although this career did help me to support my wife, and to raise two wonderful children, it did put my full time art career on hold.  But, it didn’t stop me from drawing, painting, and studying art history.  The years that I spent working in the engineering field allowed me to visit galleries and museums around the world which helped me to learn about art and artists in other countries.  It also allowed me to use my spare time to improve my drawing and painting skills, and take painting workshops from a variety of artists in the country.

Fast forward to today, and here I am living my dream as a full time artist.  The paintings and drawings I create are a result of all those years spent honing my artistic skills, and studying techniques of past artists, as well as contemporary artists of today. My early paintings were experiments of many different styles from abstract to photorealism.  But, I always returned to drawing and painting in a realistic style of which my work is now recognized for.  These realistic paintings and drawings are of the architecture, and the people of the city and surrounding small towns that are distinct of Western Pennsylvania.  I find these buildings and people are interesting subject matter for my paintings and drawings.

I have also worked on learning all I could about all the materials that I use in my paintings and drawings.  Some of the materials I use for these paintings are oil and acrylic paint, pastels, and watercolors.  My drawings are done with charcoal and graphite pencils.  All the painting, drawing, and reading I did in the past has helped me to not only improve my own art work, but also prepared me for the adult classes and work shops that I teach at the Pittsburgh Center for the Arts and other organizations in Pittsburgh.

My work follows a process that begins with an emotional connection to whatever I have chosen to paint or draw.  My early paintings began mostly as studies of the architecture of Pittsburgh, the old homes and the large buildings that were occupied by many of the businesses and corporations that made Pittsburgh one of our country’s largest corporate headquarters.  People were not part of these paintings in the beginning, but as time went on, the figure started to manifest itself gradually into the composition.  As my work evolved, I became more and more fascinated with the figure until eventually the figure took over, and the architecture became just a backdrop for the rest of the composition.  I now use both the figure and the architecture together to make a statement.  I’ll use one figure or a combination of figures in the composition that have a connection to each other, that tells a story, refers to something in the past, or has a connection to a current event that’s associated with a local or national news story.

The technical part of my painting process consists of a pallet with fourteen colors plus titanium white, which I lay out everyday before I begin to paint.  The colors are yellow ochre, raw sienna, burnt umber, raw umber, burnt sienna, french ultramarine blue, cerulean blue, alizarin crimson, cadmium red light, sap green, terre verte, viridian, cadmium yellow light, and cadmium lemon yellow.  Special colors are mixed during the painting process as needed.

My painting process begins by drawing directly on the canvas with paint and using reference photographs, and/or preliminary sketches as a starting point.  The more involved compositions require the use of live models and doing preliminary sketches in order to build the compositional elements in the painting. This approach allows me to resolve problems prior to laying in color.  The first layer of paint is put on the canvas in order to cover the white of the canvas and to help establish preliminary colors and values for the painting.  As the painting progresses, I am looking at proportions, value, color, and edges in the painting, and making any corrections based on these observations that will help bring the painting to completion.  The colors in my paintings are bright, but accurate in order to maintain the realism that I strive for in my work.  I also use warm and cool colors and complementary colors in my paintings to give it balance and unity throughout.  The painting process can take weeks, or months, depending on the complexity of the composition and the size of the painting.

I have developed this process over the years based on many influences including artists of the past such as John Singer Sargent, Edward Hopper, and Winslow Homer, and contemporary artists Philip Pearlstein, Harvey Dinnerstien, Lucian Freud, and Max Ginsburgh.  Although these are artists that I sometimes refer to while working on a painting, I do not limit myself to just those few artists, nor do I try to copy their styles.  I have developed a style of my own based on bright colors, realism, and a strong composition that I hope will translate into a strong and moving work of art.

I have been the recipient of several awards for my artwork in both national and regional shows, including a painting for which I received the Purchase Award in the Art of the State Exhibition at The State Museum of Pennsylvania, and is now part of the state’s permanent collection.  Many of my paintings and drawings are included in a number of private and corporate collections, and are represented at The Pittsburgh Center for the Arts Gallery Shop, Courtney-Laughlin Gallery in Beaver Falls, Pennsylvania, and, Panza Gallery and Frame in Pittsburgh, Pennsylvania.

I have found that there are bridges that we artists cross in our work, which take us from one improvement to another. It may be something as simple as figuring out a color combination, or as complicated as a warm and cool color passage that needs to be adjusted, or a compositional problem that needs to be resolved.  But, no matter what the roadblock, it is important that, as artists, we continue to build a solid foundation, which includes sharpening our drawing skills, strengthening our knowledge of our materials, and striving to create a strong and balanced composition.  All this will turn our passion, persistence, and exploration into inspirational works of art.

http://roberthuckestein.com

Laurie Pace, Editor in Chief, VL Magazine, interviews New York Artist Hall Groat II

Laurie Pace, Editor-in-Chief, Visual Language, Contemporary Fine Art Magazine interviews New York Artist and Art Critic, Hall Groat II.

Laurie Pace - What is your earliest memory that involves creating?

Hall Groat II - Playing in the sand and collecting seashells, along the seashore in Cape Cod.

Pace - Did you ever feel competitive to your Dad or challenged to do more?

Groat - No, never in the field of art, but during my early teens my father and I were very competitive at tennis. 

Pace - Do you have brothers or sisters or other family members that paint? 

Groat - Yes, I have one sister who creates abstract collages. Her work is along the lines of the Harlem Renaissance artist, Romare Bearden.

Pace - What was life like growing up with your Dad painting full time?

Groat - I have very fond memories of my father working at home, and during my teens actually helping him with his business.  I used to assist him in painting the large backgrounds for the various corporate and religious murals he was commissioned to create throughout upstate NY. 

Pace - Did you ever contemplate another profession?

Groat - Yes, while I was an undergraduate student at SUNY Binghamton during the mid-1980’s I was studying to be an urban regional planner, and then changed to architecture. My father took me to several architectural firms located in upstate, NY, and most all of them were negative when discussing the occupation.  I recall them stating, “Why do you want to be an architect, when you are already an artist?; This field is so difficult now to be successful in since there are so many legal restrictions on architects.” 

Pace - Where do you draw inspiration from in your work?

Groat - The history of art, especially 17th century Baroque chiaroscuro painting.

Pace - Have you ever stepped out of your comfort zone to try different approaches to your art? If so, what was it?  Groat - Yes, I often step out of my comfort zone and explore atypical, non-conventional subjects. I find it helpful to explore both conventional archetypes and then delve into fresh ideas. For example, over the past few years I’ve been experimenting with polyptychs, which are multi-panel paintings. One of the most unusual ones is entitled “Virgin Earth Challenge” which is 35x35 in. overall, consisting of sixteen 8x8 in. panels.

Blood Money by Hall Groat II

This constructivist piece combines fragments of an internal combustion engine, juxtaposed with insects, bones, a hornets nest and human hand.  Over the past few years I’ve also been inspired by the textures found in popular culture desserts and have painted quite a few of them. I decided one day to explore a few atypical associations, and ended up combing a large peanut butter and jelly sandwich with a pile of coins, entitled “Blood Money”. This initial piece then led to “Dirty Money”, “Bad Money” and then “Bling, Bling”.  In the most recent piece, called “Bling, Bling”, one is confronts with a large piece of strawberry shortcake served on a sterling silver, ornate plate, which is enveloped by a monumental pair of hand-cuffs and coins. Yes, I’ve painted quite a few pieces involving food and money, which is apropos based on what’s taking place worldwide. The pieces are depicted in a slideshow on this page: http://hallgroat.com/painting-a-day/

Pace- What do you do to continue ‘growing’ with your painting?

Groat - Teaching painting at the college allows me to grow since I feed off of the students’ creative energy. I’m inspired by the way college students explore ideas with a fresh vision. Perhaps it’s due to their tabula rasa minds, in the sense that they have not been exposed to too much art history and are not aware of what has been done or not done yet. In terms of painting, pretty much everything has been tried at least once, and knowing too much about art history could potentially inhibit one artistically, resulting from pre-qualifying everything that one considers painting.

Pace- How do you challenge yourself with your art?

Groat - I explore non-conventional subject matter and compositions, both within the large format and smaller, daily painting studies.  For example, within “Human Heart with Brain” I painted an 

anatomical study depicting a dissected human brain on a 12x12 in. panel, which is presented alongside a second panel of a human heart as a diptych.  I have always been interested in science, and the piece was inspired by a scientific exhibit I went to a few years ago in Buffalo, NY, entitled “Bodyworlds” that presented a variety of human body parts preserved through a unique plastination process that was invented by German anatomist, Gunther von Hagens. This piece prompted me to then paint a baby suspended within its mother’s womb at the five or six month point, along with a fetus at six weeks.  

http://hallgroat.com/baby-in-womb-8x8-oil-on-canvas-by-hall-groat-ii/

http://hallgroat.com/fetus-8x8-oil-on-canvas-by-hall-groat-ii/

Pace - Do you ever fight ‘demons’ that slow your creative process or create doubts?  

Groat - Yes, I often ask myself “Why should I paint this; does this deserve to be painted; what’s more important, the subject and content or underlying aesthetic of the piece”?  As a result, I work in series and am pushed towards exploring diverse subject matter, spanning from conventional motifs to the atypical or odd.

New York Street Vendor by Hall Groat II

Pace - Tell us more about your newly launches website. You have always been a teacher and helped others in learning how to develop their own style, market their work ,etc., so how does your new site benefit not just your work, but the work of other artists?

Groat - Within my new site at www.HallGroat.com, there is a section where students may upload their paintings for a free critique.  These critique posts include the student’s statement about their paintings (or what they are working on), along with my critique.  So far, this has been a very popular area within the new web site since students may learn from one another’s work.  Art students may also post comments at the bottom of each critique page, which are networked directly into FACEBOOK. 

Pace - What would be the best advice you share in the classroom with your art students?

Groat - Don’t allow your parents to push you into a practical career, unless this is what you really want to pursue in life.  You will be the happiest and do the best at what you have a true passion for.  There are many people who are making lots of money at what they do and are miserable. I t’s important to find balance in life.  

Pace - If you could live anywhere and paint, where would it be? 

Groat - Paris, or perhaps Santorini, one of the Greek Isles.

Dirty Money by Hall Groat II

Pace - What type of music do you listen to?

Groat - My taste in music is diverse. I enjoy listening to a variety of classic rock and Jazz, all the way to alternative and classical symphonic orchestra music, such as Rachmaninov and Chopin.

Pace - Who are some of your favorite authors?

Groat - In recent years, I would have to say Leo Tolstoy has been one of my favorites.

Pace - What is your passion in life?

Groat - Making art, traveling, teaching and spending time with family and pets. 

Pace - What is something no one knows about you?

Groat - I really wasn’t that talented in art during my high school years. 

New York Art Collection

Hall Groat II, President

WWW.NYARTGUIDE.NET

History

During the late 1990′s, the New York Art Collection naturally evolved from the New York Art Guide publication, and currently showcases the permanent collection of the New York Art Guide quarterly publication, which was last published during the spring of 2000.  The collection consists of various 19th and 20th century artists, including Pablo Picasso, Salvtore Dali, Pierre-Auguste Renoir, Raphael Soyer, Leroy Neimen, Xavier Gonzalez, Jerome Witkin, Valfred Thelin, Jan DeRuth, Roger Walton, Romanos Rizk and several other well-known contemporary painters from the United States.

Objectives

The New York Art Collection is committed to both selling and collecting significant works of art, and is dedicated to assisting our corporate and private clients build and refine art collections that reflect their individual interests. We are frequently able to locate original works of art that meet the needs of our clients.

Services

We collaborate with designers, architects and developers with the selection and acquisition of works of art for corporate, hospitality and institutional interiors.  From just a single giclée print to an entire fine art collection, we are dedicated to personal service, competitive pricing, strict regard for quality control and adherence to delivery schedules.

We currently provide a diverse selection of giclee gallery wrapped prints, which are perfect for the home or corporate office, and have over 2000 image files for residential and corporate designers to review for current and future projects. The New York Art Collection sells and collects significant works of art, and is committed to assisting our corporate and private clients build and refine art collections that reflect their individual interests. We are frequently able to locate major works of art that meet the needs of our clients.

We provide thoughtful, creative solutions to artwork requirements. Considerable research and time are invested prior to a proposal being developed and presented. Taken into account and investigated are historical ramifications, geographical locale, design sensibilities, and thematic concepts. Esteemed, knowledgeable consultants, qualified to contribute, are retained, assuring authenticity at this level.

From the art program to the accessory package, we achieve an individually customized approach for all areas within the hotel. Fulfilling the designer’s vision and the owner’s expectations, within budget, is our goal, whether it is a luxury facility, a themed environment, a boutique hotel, or an historical renovation.

http://hallgroat.com