Art exhibits and lost opportunities

Before starting to work on some of my paintings today, want to share some thoughts on an art exhibit.

A friend and member of our informal weekly art get-togethers, had the opportunity to place her work on display at a local library. It was a retrospective of her acrylic and water-color canvases, most of which are of the large sized variety. The submission process wasn't juried and open to all artists living in our community.

The exhibition space was ideal with a perfect balance of space, over-head lighting and the subdued atmosphere of a library setting allowing visitors to examine the pieces in solitude and contemplation.

As an artist for many years, my friend has accumulated a vast amount of canvases covering a wide variety of subjects. Care was taken in selecting the paintings and they were grouped according to subjects. The library donated the space while the artist is in charge of all aspects of their own exhibition. As an artist, couldn't help but notice there were some things that were omitted -  important inclusions that would have given the exhibit a professional look.

Titles of the paintings were written crudely with a marker pen on plain, white pieces of paper accompanied by the price of the painting. Given the plethora of stationery and computer programs available on the various internet sites, a better alternative would have been to print up professional information cards. An artists statement whereby the viewer/visitor is supplied with the artist's vision of her/his work was also absent. No press releases were sent out to local newspapers to alert readers to the existance of the exhibition and the duration of the show. Given the run of the solo exhibit, which will run for an entire month, it is the best kept secret. There was no background information on the artist. In my eyes as artist and visitor, these are important omissions.

My point in sharing these observations is that when fate smiles kindly on artists and an opportunity to exhibit one's artistic output presents itself, care should be taken to cover all the bases so to speak, to ensure that paintings are shared with as many people as possible. Small omissions can result in a lost opportunity to familiarize the public with the work of a new artist and the loss of credibility.

Meanwhile, I'm off to work on my paintings. Will be providing photos of newest creations.

Came accross an interesting piece on the www.artbusiness.com site, focusing on "How to Interact and Network With People at Open Studios and Gallery Openings." The article offers hints on the do's and don't's of how to act at openings, at open studios, or anywhere else where their art is for sale. Definitely read-worthy.

The artists show their work

Nothing better than visiting an art gallery to view the art work of a fellow artist. It's important to lend support by attending opening exhibitions. Last night we dropped by the Wentworth Gallery in the Boca Raton Town Centre Mall to see the opening of artist, Alexandra Nichita, who is reputed to be the new Pablo Picasso in style and means of expression. The artist was there in person to discuss her work and many people took advantage of the opportunity to find out more about this exciting creator.

As an artist, my focus was on her design and brush strokes and of course, the finished product. What colors does she prefer? How do the lines define the overall picture? Cubism isn't "my thing" but her work is definitely exciting.

Samples of her work: https://www.google.com/search?q=alexandra+nechita&hl=en&prmd=imvnso&tbm=isch&tbo=u&source=univ&sa=X&ei=smklT77RJKX40gH4yo1B&ved=0CFsQsAQ&biw=1366&bih=599


Meanwhile, in another gallery in the same mall, took advantage to take in the creative output of artist, Sveta Esser. Absolutely love her work! She combines landscape (my favorite subject of choice) with texture achieved through the use of palette knives. In her use of colors and technique, she manages to achieve landscape settings that are light and airy. I've started using palette knives seeing what can be achieved inspires me to continue experimenting.

This is why her art reaches me:
ttps://www.google.com/searchq=sveta+esser&hl=en&prmd=imvnso&tbm=isch&tbo=u&source=univ&sa=X&ei=6W0lT96rG6i40AHX1cWHCQ&ved=0CEwQsAQ&biw=1366&bih=599

Recently finished a black and white abstract painting, which I call, "Broken Window - Broken Dreams." The focus is a window frame with three thick lines of varying darkness depicting how life starts out as a series of hopes and dreams that are not always realized. Will share photos of my new paintings in a couple of months, when this snowbird returns home.

Meanwhile, I'm going to buy some new paints and perhaps - not sure yet - try the water based oils. Having never used oils, I'm a bit apprehensive. Still the idea excites me...

 Isn't this the truth: "

"An artist is always alone - if he is an artist. No, what the artist needs is loneliness." (Henry Miller)

The easel has an empty space where a painting once sat

"My painting has gone" (insert guitar twangs)
"It was really all wrong" (insert sobs)
"I knew it all along..."(take long gulps of favorite alcoholic beverage)

Once again as has been the case on previous occasions, there is an empty space on the easel. A week ago the space was filled with a canvas that showed promise. Key word here is "promise."

It was one of my larger canvases and perhaps in retrospect, this reality was an omen that things could and most likely would, go awry. One of my recent art supply purchases was thickening paste, which is used as the name implies, to thicken paint. Having experienced fulfillment in the creation of black-and-white tree paintings in the past, I attempted to repeat my success. Not a good idea.

Using the thickening paste and palette knife, a bare black tree was applied to the right side of the canvas. The tree, actually, came out really well but things deteriorated when a whole lot more trees were added. Why? Really can't provide any logical answer except that I'm big on trees. Usually, trees turn out well but these were supposed to be spruce trees, most of which looked anything like spruces. The end result was black, short, curved sticks jutting out of a thick-ish stem. There were many canvas white-outs that followed but the use of palette knives, resulted in former images showing through in which white paint couldn't or wouldn't cover.

Having to part with canvases that showed promise is never easy for an artist. The feeling is similar to having to send off plays in the hope of production, but at least there's always hope of a positive outcome. Rather than share the end result with inquisitive eyes who might spot the canvas in the trash heap, the painting was discarded after wrapping it in a thick plastic bag and placed beneath some discarded cardboard. One shares only one's successes - not failures.

Thing is - in my mind, it was a magical winter scene in white/black/silver. The tree was so real, you could feel the texture of the bark and this aspect was realized. Where it went wrong was when I added the grove. In retrospect, it could have and should have stopped at that one tree and a frozen riverlet or at least trees off in the distance. Succeeding in winter scenes  has always eluded me.

So now I'm back working on smaller canvases - at least for a while. Need some perspective. Just finished a landscape with my palette knives. The end result if really beautiful. I'm also working on another landscape. which is moving in the right direction (so far) and things look promising. Then again, a promise doesn't guarantee success. There's many a side step in creating the perfect image. Don't I know it.

It's snow joke - the winter scene is no more

Like many others before it, the winter landscape is history. Five minutes ago, we took that final trip that many artists know only too well to the trash disposal. There was an honest and concerted effort to make something with at least six re-do's but in the end, it just didn't work.

It's a larger canvas than  I'm used to working with and in the past this has been known to psych me out. Why - I really don't know! Larger canvases seem to inhibit my creative ability although I have a larger floral landscape that is hanging in the dining room. Florals are a favorite as are trees and pastoral scenes but I digress.

In the beginning it was my intention to make something entirely different than a winter scene. Living in a climate where winter lasts too long, a snow scene isn't exactly a popular image (although hockey is). Having taken a liking to using palette knives, I decided to limit my shades to white and black with touches of silver. The addition of silver paint was used to accent the mountains - I'm big on mountains - and that worked nicely and the main focus was a bare-branched black tree. Using the palette knives for the tree really gave it a 3-D effect and thinking back it should have been left that way but nooooooo. Somehow, the canvas looked bare, like it needed something more...something to give it a filled look.

The decision to paint spruce trees was not wise. I'm not good at making spruce trees and in the end, the lower part of the canvas was wall-to-wall dark grey and black spruce trees. Visually, they look like curved sticks jutting out of vertical line. After six attempts, a half of a container of white paint and the canvas surface displaying failed attempts,  it was time to cut my losses.

Rather than share my artistic boo-boo with the condo residents, I placed the canvas in a large plastic trash bag and placed it inconspicuously beneath a pile of boxes in the recycling bin. Still, all is not lost. I've already started working on a summer landscape on a smaller canvas. Big is not always better and smaller, at least for a while, anyway, seems to be a good fit. There are still two larger blank canvases of which one will be used to create an abstract painting. Maybe. If I'm lucky and the stars are aligned.

Of palette knives and cut canvases

These days I'm into using palette knives. It's strictly one of those learn-as-you-go educations. Started using the knives along with brushes when I first started painting a few years back. Although the effect is really interesting, have to admit that there have been boo-boos along the way. C'est la vie as the French so quaintly and non-chalantly phrase it. I wonder if Monet and his group experienced my latest problems.

Using palette knives is tricky and requires angling the bottom part and side to get the desired effect. While in the learning stage pressing down too hard on the blade end caused some slicing into a/some canvas(es). In the end, one was salvaged by turning it into a still life with the help of thickening paste. Actually, the painting turned out quite nice if I may say so myself - and I do.

I've continued to use them on-and-off and as mentioned in my blog, it's been a very interesting experience. I'm now working on a larger canvas that has already been "re-born" three times. Larger canvases are my nemesis in that for whatever reason, the size intimidates me causing undesirable results. I'm using shades of black, white and silver along with thickening paste. Maybe it'll work and then again maybe it will end up in "canvas heaven." Who knows - but the trip to discovery is very exciting.

Tomorrow I'll be evaluating the direction to take and hopefully not one that will result in an empty space on my display easels. Some of the leaves on the trees don't look right requiring some fixing. As my husband frequently reminds me that I never know when to leave well enough alone. He's right. I do the same thing in my writing. It's that internal inner artist sending me a message that the painting could still be improved. However, when everything does come together - it's a magical moment.