Caught in the Studio: Before the Storm

Here in Philly, we've been waiting for the snowstorm to show all day.  For some reason, it has just exhausted me (and Nugget).  I think it may be the strange sort of light the clouds have created coming in the window.  I am really hoping it comes soon and when it leaves, so does winter.  You can tell from my painting from memory that I have spring on my mind.

Another Look: Rodin and Drawing

Recently, in the Q & A after giving my lecture at Millersville University, I was asked if I find it important to draw as a part of my practice.

I answered yes.  But I liked the question and have been thinking about it.  Drawing is crazy because it can be so many things to different artists.  For me it is something to do alongside my paintings, not as a preparatory thing but as a way of aiding my looking.  When I draw something, I see it differently, more -- its ingrained in my memory better somehow.  Drawing is also something I do when I need to reset myself, get back to the center, refocus.  

Some can make drawing their solitary practice.  It can be taken so many places.  But I do think regardless of what type of drawing it is the thing many visual artists have in common.

Auguste Rodin (1840-1917), so well known for his sculpture, was an avid drawer (examples above).  He never did drawings for his sculptures but he always drew.  Which makes sense -- a writer reads a lot.  I think its sort of like that -- a visual lexicon that you accumulate for yourself and can use with a greater freedom when working in other mediums and ways.

Sunday Pick: Jane Piper

Jane Piper, Untitled, 1987-88, Woodmere Art Museum

Jane Piper, Fruits of the Earth

Jane Piper, Three Bowls of Fruit, 1983

Jane Piper, Red and White Checked Tablecloth, 1984

Jane Piper, Ferns, Two Mirrors and Four Oranges

I have admired the work of Jane Piper since I was in high school.  My parents knew her work, as she was a major presence in the Philadelphia art world.  

In fact, looking back, her work probably played a role in me going to PAFA for graduate school, as her daughter Jan Baltzell, whose work I also admire greatly, was a critic of mine there.  

Piper's paintings are complex and simple all at once.  Paired down to an essence but full of movement and fresh color.  A few of her pieces are owned by the Woodmere Art Museum and beautiful in person.  I like to look at them for a long time and watch the white start to vibrate against the bits of intense color.  

Her work is referenced here in Philadelphia and at PAFA a lot but online it doesn't seem to have the size presence it deserves.  Looking at her work always reinforces in me the fact that still life can continually bring around new jumping off points and intrigue in the studio.

Etsy Artist Love: Isabella Di Sclafani

 

I love these figurines by Isabella Di Sclafani.  

I came across her work when she purchased a few little paintings from me -- and when I saw her work wow-- let me tell you there is no bigger compliment than one from another artist whose work you admire.  I love knowing my paintings occupy a home with these wonky guys.

 These wonderful little figures have so much personality -- some seem so worried and awkward, others like know-it-alls (I'm looking at you swimmer).  I also love the way she photographs them, the space and proximity given always seem appropriate and make me feel like the photos are an art form on their own. 

She has many in her shop along with some delightful little paintings and other goodies.  Check it out and enjoy!

Sunday Pick: Aafke Ytsma

Sachertorte, 2010, Oil on Canvas, 64.5 x 50 cm

Dinosaur, 2010, Oil on Canvas, 64 x 50 cm

Untitled, 2012, Watercolor on Paper, 38 x 28 cm

Untitled, 2012, Watercolor on Paper, 38 x 28 cm

Untitled, 2009, Oil on Panel, 35 x 26 cm

Untitled, 2009, Oil on Paper, 35 x 26 cm

Caravan, 2011, Oil on Canvas, 50 x 38 cm

Aafke Ytsma is a fantastic, emerging painter residing in the Netherlands.  We got in touch a few months ago, she stumbled across my blog and I was immediately taken with her work.  

I decided instead of giving you my two cents on her work and why I like it, it would be interesting to hear directly from her.  She graciously answered a few questions I sent over that were prompted by her work.  Enjoy!

Your works all seem related but the subject matter varies greatly.  What provides the original spark for creating a work?I think one of the reasons my work is diverse is because of my work process which seems roughly divided in two periods: working and observing. A period of painting ends when my questions and doubts about what I’m doing get the overhand. It doesn’t seem right anymore and I practically stop painting. Then I mostly just look and try to grasp what I’ve done and why I’m no longer content with it. Bur for things to come together again I have to actually see something. By creating certain circumstances I try to have some control but I don’t think I have much if any. It can be really trying. But then I see something, a person standing in a certain way, an object that looks strange, or the branches of a tree reaching into the sky. I get excited and paint. And this is I think what the paintings have in common. The original spark of witnessing something and attempting to catch it in paint. 


What are you currently working on and thinking about in the studio?At the moment I’m working outside if the weather permits it. I take my watercolours and cycle around the countryside until something hits me. When I finish painting I bring the things I’ve done back to my studio. I pin them on the wall and move them around. And study them while sitting in my comfy chair near the heater, warming-up again after working in the cold.

What artists are important to you and your work?It’s not so much artists that are important to me, rather it’s paintings. I don’t really have a steady selection, so many good things have been made. Matisse's goldfish in the Pompidou for example, I think its marvellous. But I also very much want to go to Italy to see the frescos by Fra Angelico and Giotto. They are important to me but it’s not in the sense of ‘using’ them, it’s rather that they give me a believe in painting.

Is there anything you can share about what it is like living in the Netherlands as a young painter?The Netherlands has a large and diverse art community and for a part it’s funded by the government. A year ago drastic cuts forced the art world to tighten its belt. Funds like a small monthly fee for young artist while starting up their ‘business’ was cut. There has been a lot of debate since on the importance of art and how the art world, having to think more commercial now, can stay artistically independent. So it’s a changing climate, and that’s not a bad time or place for a young artist I think. It takes time to find your way, but I guess that’s universal.

New Painting

Night Spills In, 2013, Oil on Panel

I am heading off to a week of vacation tomorrow!  Off we go to St. Lucia with some friends who have family with a bungalow down there.  Hopefully 24 hours from now I am poolside with a margarita and a beautiful view.  I am totally disconnecting from my phone, internet etc. So this week I won't have any Sunday Pick or other posts but I will be back!  For now I leave you with a painting fresh out of my studio.  Have a wonderful week wherever you are.