I'm back, up Nawth, doing family and friends visits and preparing for a couple art exhibits here in my home state of Maine. For a couple weeks now, no time to paint! AARGH! Had to move to new abode just before getting on the road. Prep for about 25 paintings for the shows .. one at Damariscotta River Grill with another artist or two, and one is the Pastel Society of Maine's International Exhibit (which has juried in two of my paintings). Below are the details of the when and where of the two shows. I am also going on a day trip to Monhegan Island (where I used to go for a couple weeks every year) with one of my most admired and dear pastel painters, Lyn Asselta!
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| Biltmore Lake Path |
While working on updating the PSME website and Facebook, I came across a great write-up by another admired pastelist and want to share part of her thoughts here. Thank you Tara Will for your generous and open expressions (many aspects that teachers consider):
I'll be teaching a workshop at the Delaplaine this weekend. Very excited! I have had an increase in people asking me about teaching. So I've decided to make a little catalogue of thoughts. It ranges through Composition, Color and Value, Markmaking, and Concept. I hope to keep this document and expand on it so that I have a teaching resource to hand out and hopefully will help students on their pursuit to being the artist THEY want to be. *I believe that people find their way IN different ways, and therefore don't want to discourage a route that isn't mine. I was thinking about concept and what people are "saying" as artists... this is what I came up with. I'd love to hear what you think! (when I'm done if you want me to email it to you let me know!)
In my opinion art is a two way street. There’s an overwhelming joy, puzzlement, relief, and escape in the process of creating art. For some artists they stop there. And I can’t stress enough how important it is to get lost in the process. But the process is only one side of the street. The product is the other side of the street, and the people riding on it are your audience. Just as important as it is to do your work for YOU…. It is important to at least consider the WHY of what you are doing. If I pass a lonely gently weeping sunflower and think, “I need to paint that!” I need to really think about WHY I want to paint it. What is it that appeals to me? What is it about the subject that I can’t ignore? What am I telling the audience? What is its purpose? Understanding these things helps you determine what information is important to convey to the viewer, and which information is irrelevant. In my opinion, the greats in art are those who know what information is crucial, and what to omit. Once you know the WHY you are painting your subject, you are free to omit any information that isn't crucial to your cause. It's a freeing feeling. [Tara Will .. https://www.tarawill.com/ ]
Just thoughts to consider. Expanding our thinking also helps expand our art and our lives. I'm off to make tags for my DRG show and other busy things vital to life.
"An artist cannot fail. It is a success to be one." ~Charles Cooley
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