Not Representing Anything

I enjoyed a brief little article in ArtSlant about painting abstract works (link below). It may be especially interesting to people who find abstract work intimidating because there appears to be nothing concrete to get one's head around...to understand. But this article points out that even when the artist tries to be completely abstract there is always an element of "representation" meaningful to the artist...even if he doesn't realize it is happening. We paint who we are, can't help it.  Likewise, the viewer can choose to interpret the work in response to his own life experience. It becomes an interactive experience from all perspectives.


ArtSlant:  On Not Representing Anything

The painting above is an abstract work done progressively by 5 different painters in one of my Tao of Painting Workshops. The paper had marks on it to start and each painter took a turn at responding to what was in front of her, so there are 5 personal commentaries in this work.
What does it communicate to you?

An alcohol-induced accident...

Reflecting.  12" x 12"  Pastel

This pastel had been hanging around the studio for months. It was started as a snowy landscape. I disliked it very much. Often with such problem pieces done on Wallis paper like one I just rub out the image and start painting again. The ghosting left from the first image is often inspiring and leads to something exciting. On this one I decided to drench it with alcohol spray...what possessed me I don't know.

I've long used alcohol to set a first layer of pastel. It does a nice job and dries quickly and takes a new thick layer of color beautifully. Sometimes I will put lots of alcohol to turn the pastel the consistency of paint and then paint into it with a brush. But this time I turned the piece upside down and just kept spraying and spraying until the colors ran together, dripped and splattered. The paper was buckled and warped. It was soaked and took nearly an hour to dry.

Hmmm. In addition to the dripping and running of colors, the texture of the Wallis kind of lifted in places. It looks and feels very sandy, not buttery like a normal pastel. I went into it gently with soft pastel in just a few places to accent a line or a shape, but mostly this is as I found it when dry, with just a tad of cropping.

I love abstractions but keep flip-flopping about whether this is anything beyond just interesting. Comments are welcome.

When a Painting Connects

A Monet Day, 24" x 24", oil on panel

It's such a joyful experience when a painting connects with someone. Such was my experience at a recent artwalk in downtown Bangor which resulted in the purchase of this painting:  A Monet Day.  The buyer is a friend of a friend who has recently moved to Maine. While I had met her before, this visit to my art walk exhibit was the first time she had seen my work. She asked for the full tour, painting by painting. She is an art collector and especially loves to own works by artists she knows. When we arrived at this painting, she really responded to it: the colors, the fluidity of the marks and glazed areas. I told her that last summer I had spent a few days painting at the Lily Pond in Stonington, Maine. I had done several paintings on site, one from which this larger one was conceived. She knew the place. While new to living in Maine, she's had a brother here for years, and on her very first visit years ago, he took her to the Stonington Lily Pond, his absolute favorite place. She had been looking for a very special birthday gift for him, and this, she decided, was it!  I took it back the my studio to frame and now it is in her home, waiting to be delivered to him.

I learned how important it is to talk about a work. Prospective buyers like to hear the story of the work, the place, the process. You just never know how the story will resonate and make a connection.

Painting with Abandon at the Tao Workshop

 The Tao of Painting Workshop yesterday was such fun. Lots of energy with everyone looking to work with the natural flow of creating art works. The morning was spent working in group exercises designed to relieve all painters of the potential for judgment and comparison, the fear of the blank canvas, and rules. For the paintings shown here, each participant was given a sheet of multi-media board that had random painted marks (each board different). They were instructed to focus, react and respond to the marks presented with their own addition of color, line, or texture in any medium. A variety of painting tools and media were available and had been experimented with in an earlier exercise.  After  +/- 5 minutes of work, the boards were passed to the painter to the right, and this "round" continued until each board had been worked on by each painter.  We all liked the results of this particular exercise so much that we decided to donate the set of 5 to the Bangor School Department fundraiser for Japan relief. Kal Elmore, a workshop participant and art teacher at Bangor High is facilitating this donation. Participating painters in addition to Kal: Christine Swersey, Deb Jellison, Linda Miller, and Darlene Smith.

The afternoon was spent applying the experiences from the morning exercises...painting intuitively...to a still life, and finally to a work from memory or imagination.

Tao of Painting Workshop, Saturday April 9

DreamWork  24" x 18"   oil on panel

I've developed this workshop to share with painters the joy I find in working more intuitively; in developing a dialog with the painting so that it seems to paint itself. It's a process that I strive to accomplish every time I paint, but it takes practice, and I am not always able to achieve the level of mindfulness and focus that is necessary. I've found there are three factors that subconsciously get in the way and always lead me to "safe painting":  fear of failure, criticism/judgement (by self or others), and rules of art.

We will explore ways for the painter to work past these barriers toward a more natural, responsive, expressive process, and find the balance between playfulness and skill. When it works, painting becomes a vibrant and powerful experience.

Tao:  the art or skill of doing something in harmony with the essential nature of the thing; the process of nature by which all things change and which is to be followed for a life of harmony.

This workshop is for painters of any level and in any medium, however I recommend quick drying media such as watercolor, acrylic, gouache and pastel. Mixing media will be encouraged. Bring drawing supplies too such as charcoal and colored pencils. We will not be focusing on technique here. Focus will be on freeing oneself to let go of safe painting.

For more information, or to register Click Here

The End of My Purple Passion

Purple Wood, Oil on panel, 9 x 9.75"

About a year ago my palette consisted of bright reds and purples almost exclusively. I just loved the combination especially with a splash of cad yellow deep. This piece is from that period. Never quite satisfied with the composition it's been literally hanging around my studio for me to look at once in a while.  Finally yesterday I added the tree in the foreground and toned down some of the purple haze in the back woods. I've decided it's done, and that I'm done with this palette for good.

At a painting workshop last summer with abstract painter, Jon Imber, he was critical of my purple rocks, purple trees, and I was banned for the week from using purple. He wanted me to tone down my palette in general and use colors and tones seen in nature. This proved to be a wonderful challenge for me and taught me a lot about using these potent colors more judiciously. Earth tones, greys and blacks in a composition will enhance a rich, brilliant color and make it more meaningful to the composition. In my newest works I am putting this to practice with much gratification.

Pastel Workshop - A High Energy Day!

Pam Dunphy

 It was a lively workshop day yesterday with 4 attendees of varied levels of experience. We experimented with a variety of papers to understand how surface affects the pastel application. Pastels come in so many degrees of softness, and we tried them all to gain understanding of which is best for a particular desired result. Underpainting techniques were also explored. We definitely packed a lot into one day and I am so thrilled with the pieces that were taken home. There was a lot of working outside one's comfort zone, essential for growth. Here is one selection from each person, top to bottom:

Helena Bosse

Pam Dunphy is a mixed-media artist, an expressive realist. This was her first experience using truly soft pastels and she exploited the medium beautifully in her bold, exciting style.

Helena Bosse's oils and watercolors are saturated with wonderful light, (helenambosse.com) and she brought that to her pastels too...also a first experience with very soft pastels.

Bob Littlefield

Bob Littlefield, with a fine hand for detail and realism focused his day on simplifying the landscape to its essentials, using large shapes of color and varied expressive marks. This piece has great depth and lovely light.

Christine Towne Swersey

Christine Towne Swersey has just recently begun to explore art making and mediums. The deliciously rich color and texture of soft pastel brought out her expressiveness. This beautifully simplified landscape exploded with color and energy.

I wish I could post everything, as it was a very exciting and productive day. Thanks to all for participating.

For info on other workshop offerings, click here.