TRUE FACT,

I illustrated my way through book reports as a kid.

So, this blog thing, for me, is uncomfortable at best, but a fundamental way to share ideas and experiences that are not always visual.

I wrote the bulk of this post few years ago, when Lori Putnam, fabulous artist, instructor and friend, asked me to contribute to her blog.  I thought I would resurrect it from the archives, because I am about to drive to Utah to hand deliver a beautiful commissioned painting to brand new, first time art collectors, who I’ve shared a similar conversation with about art and how intimate the relationship is between the viewer, the painting, and the artist.

“FULL OF INTENSITY AND

WONDER,

FULL OF EMOTION.”

  Evening's Retreat, Zion 10x10 Pastel SOLD

A few days ago, I was in my local coffee house talking with a gentleman named George about his recent cross country road trip where he was hitting our National Parks and major Museums. He talked about photographing Zion National Park, Utah, but shared his frustration with the photos he took of the vermillion walls and saturated sunsets. His description of the beauty he saw was full of intensity and wonder, full of emotion. He said his photos fell flat of his expectations in capturing those moments. 

I shared with him that I set up my easel and paint from life that beauty he was describing, interpreting the experience through my medium of pastel. Allowing for the heat, smells and light to influence my approach to the canvas. I said I am not always satisfied either by my interpretation of the scene before me, but always love the experience of trying.

The physical experience of painting, for me, brings about a deep seeded need to lay claim to something beautiful, and creates an opportunity to share that moment with the viewer.

“Why should I like Van Gogh? I don’t get it.”

Van Gogh La Nuit étoilée. at the Musee d'Orsay

Our conversation shifted to his visit to the Art Institute of Chicago, and the Van Gogh paintings hanging on the walls. “Why should I like Van Gogh? I don’t get it.” He said. I start to explain about color relationships, design, form, line, mark making, all the technical “stuff” that comes from teaching workshops. I quickly realized I sounded like Charlie Brown’s teacher in the Peanuts comic strip…

So, I shifted gears and started to talk about Van Gogh’s compelling story, how when one sits still enough you can feel the passion in his mark making, you can see the emotion in his subject matter, almost taste his exploration of color. Van Goph’s work, I told George, is visceral.

It's in our DNA to respond to memories, images, sounds and smells…. If one doesn’t recognize what they are seeing, smelling, listening to, then it is less likely one will "get" it upon their first encounter… If you grew up listening to only the thick massive sounds of heavy metal bands one might be bored with the slow movement of a classical music piece upon the first hearing.

Nicolai Fechin  vs. William-Adolphe Bouguereau

Or, if ones only appreciation of art was based on how closely a painting looks like a photograph, trying to relate to a more expressive approach in style may spur a negative reaction until one has a deeper knowledge of the painting process, is able to discern the work within the context of history, or is offered a chance to "see" in a new way.

"As the Day Grows Long" 27x27 Pastel  available soon at Illume Gallery of Fine Art

My life is surrounded by family and friends who support what I do, but don’t quite understand it, and that my work is a part of who I am. They see a level of competency, maybe a dollar value, a painting may speak to them because what I do is relatively representational. But most don’t choose to take a closer look, to ask about it, to delve deeper to understand the why.

I straddle two worlds, my art world and, what I call, my real life world. It is rare that they mix. These worlds crossed with the opportunity to share with with George. I hope he digs deeper into the craft of photography, and seeks out art that makes him question his perceptions in search of a more dynamic assessment of the creative spirit.

UTAH, Here I Come!!!

 I can't wait to show the new collectors their painting "Autumn's Festival" (below) in person, and continue the conversation we started about the creative process. I love being a conduit for others to find that connection between the viewer and a piece of art.

Commissioned piece "Autumn's Festival" 32x40 Pastel

How do you mix your worlds? Let me know in the comments section ;-)