Nature as Subject
See America (Arches) in progress
Exploring a new subject matter helped me clarify my “voice.”
While I was working on my painting See America (Arches), my favorite section to paint was the reproduction of the WPA poster advertising Arches National Park. It got me thinking about what it would be like to have nature as my subject. Time in nature is restorative to me, and some of my favorite personal experiences have been hiking and touring dramatic landscapes. Since I’d been focused on human-made subject matter for several years, this thought made me both excited and uncomfortable. A few frustrating landscape painting attempts that didn’t feel right led me to sign up for Adriano Farinella’s SCLA Workshop. Adriano is a wonderful instructor, a talented artist, and an insightful mentor. Working with Adriano helped me realize that I wasn’t looking for instruction on “how to” paint a landscape. I was looking for “permission” to paint a landscape in my own way.
“The greatest thing a human soul ever does in this world is to see something and tell what it saw in a plain way. “ John Ruskin, Modern Painters: Volume 3. Of Many Things
It took some exploration to figure out how to apply my “voice” as an artist to this new subject matter. By focusing on what has always propelled me, an intrinsic desire to distill and express the beauty I find in the world through my art, I was able to find a visual language that feels right. I looked to WPA posters for inspiration for how to graphically represent nature with a limited palette and limited details. I found that by focusing on form and color, and breaking things down into their simplest elements, I can express what I find beautiful using “the fewest words.” I quickly realized that this is the same approach I take when I develop the compositions for my sign and architecture paintings. Therefore, I am considering both subjects to be part of my Precision Series.
The Basin (Franconia Notch) inspiration
From the Precision Series
The Basin (Franconia Notch), oil on canvas, 40 x 60 in.
I’ve also used nature as inspiration for my new Flow Series paintings. However, the with the Flow works, I hold the inspiration lighter as I create.
My new Flow Series was born out of a craving for more time in “the zone,” in a “flow” state. While working on my last few Precision Series sign and architecture paintings, I was feeling a deep desire to create art that is more immediate and spontaneous, where the outcome can’t be determined, or fully predicted ahead of time. I was also longing to be so immersed in my work that I lose track of time, to be fully engaged, and in “the zone”. My Precision Series paintings take months to complete, and are thoroughly planned out in advance. I love the challenge that they present, and the endurance needed to see them through to completion. I love the hours spent tweaking the composition and the drawing, before paint even hits the canvas. While there are some decisions that get made in the process of executing a Precision painting, there is little room for spontaneity. As a result, I don’t often use the part of my brain that needs to be engaged to get into a “flow” state while executing a painting in this manner. This led me to wonder if there might be other aspects of my creativity to explore.
Avalanche Creek (Erosion) inspiration
From the Flow Series
Avalanche Creek (Erosion), acrylic on Arches Paper, 18.75 x 26.25 in.