Mr. John Pototschnik

What’s the Concept?

Mr. John Pototschnik · Nov 3, 2014 · 1 Comment

Paul Strisik was a master artist and teacher. He authored a couple of important books:
The Art of Landscape Painting and Capturing Light in Oils. I believe you will find his views about painting helpful. Foremost, before beginning a painting, he stressed having a clear “conception of the subject”. I call it “your painting concept”.
What is meant by a “painting concept” and how is it determined? Let me explain.

“Land of Plenty” – 7.5”x 14.5” - Oil — “Land of Plenty” – 7.5”x 14.5” – Oil

When someone designs and builds a house or just purchases existing blueprints…before any of that…a decision has been made, an idea is finalized as to the style of house desired. It might be a colonial, ranch, country, contemporary, or Victorian; whatever the choice, that decision is the concept. It is called that because everything that follows is a result of that choice.
For example, if the concept is Victorian but all the design and building choices are ranch, will the result be Victorian or ranch? Obviously, it will be ranch. What happened? The original concept was not adhered to.

“Rain’s on the Way” – 16”x 20” - Oil — “Rain’s on the Way” – 16”x 20” – Oil

Similarly, for us artists, if the decision is to depict a landscape shrouded in fog but the painting actually produced contains intense color and high value contrast, the concept and finished piece have become incompatible.
So, even before the canvas is selected, a decision must be made as to what we want to communicate. Once the concept is established, don’t deviate from it or the likely result will be a confusing, discordant painting, or one significantly different from the original concept/idea. I don’t want to leave the impression that deciding upon a concept is always easy and comes naturally. Many times, the subject itself will clearly reveal a concept for you…the overall design, dramatic lighting affects, and interesting color harmonies are but a few…but other times, as in the examples below, it really takes some thought.
Here are a few of my paintings illustrating the point. As you can see, the photo was only the starting point. Imagination took over from there. Each achieved painting is preceded by the photo used to inspire the final work; I call it the “photo concept” even though it merely records the subject. Paul Strisik says, the real measure of an artist is what we do with it.

concept

painting

Here are some helpful tips for determining a clear concept:

Paint what you enjoy and understand. Painting is difficult enough, so begin with something that stirs your soul.
Think. What do you want to say? What made you stop to paint, sketch, or photograph this scene in the first place? Fine painting is more than an emotional outburst.
What is it about the subject that deeply and instinctively appeals to you? Some possibilities are: composition, color, lighting (overall mood/value relationships), and the emotion activated within you.

As you can see from all of the above images, my motivation was inspired by the composition. From that point, I brought my concept of the subject to the final work.

Diane Massey Dunbar Revisited

Mr. John Pototschnik · Nov 3, 2014 · Leave a Comment

545 - Dianne Massey Dunbar — Diane’s Website

After I posted one of Dunbar’s paintings of a glass jar on my Facebook page, an admirer of the painting wrote wanting to know where he could purchase a “tube of that glass” used by Dianne to complete her painting. Well, that would be nice, but I told him that Dianne doesn’t share that information with anyone.
To my mind, no one paints glass better than Dianne Massey Dunbar. Her depiction of things transparent is very carefully observed and yet painted with such intuitive confidence, dexterity, boldness, clarity, and excitement that one just marvels at her ability.
I first interviewed Dunbar in August 2012, and at that time only revealed half of the interview. Now, with a few additional questions, here is the remainder of that amazing interview.
Read Part I of Dunbar’s interview here
What would be your definition of art?
To me, art in its broadest sense includes music, dancing, acting, photography, painting, writing, and the like. It is a personal expression of oneself that generally involves creativity and honesty and an audience. It almost always requires a degree of skill. It is also, invariably, the end result of a process.
Narrowing the definition to drawing and painting, to me art is the creation of an image personal to the artist that is intended as a visual dialogue with an audience. When I stop and contemplate art, it is easy to think of eloquent paintings that have been carefully designed and executed. However, I have seen many rough drawings by children that have deeply touched me. So, I guess I would say that if a painting or drawing reasonably incorporates the principles of drawing and design and craftsmanship, and further inspires in me as a viewer a sense of awe or excitement, interest, beauty, or involvement…and if it is intended to be art, I would call it art.
Are you saying then that you believe art is really in the eye of the beholder?
In my opinion, everyone is entitled to his or her own definition of art. For me personally, I agree and disagree with the statement “art is in the eye of the beholder”. That phrase seems to infer our personal likes and dislikes. I do believe that our tastes influence what we enjoy in the way of art, if we are attracted to a particular painting, whether we like thick or thin paint, still life or landscapes, realism or abstract. It is our emotional response to a painting.

All that said, people generally know when they are in the presence of real art. For me art is a form of communication. But to be considered art it also needs to reasonably incorporate the tools we artists use every day: composition, drawing, shape, line, value, color, texture, and edges. Even rough drawings by children almost invariably have wonderful expressive lines, textures, shapes, and color. So, I would say that for me to call something “art” it needs to include these elements of draftsmanship regardless of my emotional reaction to the artwork.
Can there be art if it doesn’t communicate with an audience, in other words, if it can’t be understood?
In order to answer this, I need to define “understood”. One might not recognize the objects in a drawing or painting, or fully understand what the artist was trying to accomplish or communicate, but that does not mean it’s not art. For example, a person that is not versed in biblical stories might not understand religious art. However, I think most people would agree that there are numerous examples of wonderful religious art. Another example is prehistoric art. I may not understand the symbols, recognize the figures or the animals, but I can still appreciate the lines and design. And, many people do not enjoy abstract art but once again that does not discredit it. Understanding a painting has absolutely nothing to do with the subject matter, and everything to do with the visual elements and execution of the painting. So, even if I do not understand the subject matter, I can still appreciate the shapes, the drawing, the lines, the texture, the design, and in that way it still communicates with me.
To be art it must be able to be understood from a purely rational point of view and be organized to create a visual statement. If a drawing or painting is so disorganized that I am unable to understand the visual elements, then I do not think it meets any definition of art. All art, including abstract art, must have drawing, shapes, and values. One can study the painting to see if it is balanced, and if the values and composition are working. Lacking any visual organization so that there are no shapes, values or drawing, well, it would be difficult to call it art.

Do you consider the process of painting more important than the result?
I think they are rather inseparable. If the result is a finished painting, you can’t have the result without a process of some sort. And, at some point in time the process of painting ends in a finished piece. I will say that for me, the process greatly influences the result, which includes all my preparation before I begin a painting. I will also admit that for me the most important part of the actual painting is the beginning, because it will set the tone for the remainder of the painting.
No, what I mean is…Do you consider the act of painting itself…one’s personal joy in applying paint, experimenting and creating…more important than the physical result?
I wish I could answer yes to that question because it would be so freeing to let go of the end product and simply enjoy the process of painting. Also, if creating art was merely the act of painting with no regard for the outcome there would not be the inherent fear of failure or the discomfort when we are outside our comfort zone. However, being a professional artist is a career, a business, and so one must consider the end result as well. I think that there needs to be a balance between the creative process and respect for the end result. If it is all about the act of painting, experimenting and being creative, which incidentally can be quite frustrating on occasion, then we are on a journey that does not go anywhere. If it’s all about the end result, I think over time we become bored, don’t take risks, become too comfortable and our art grows stale and predictable. So, I think the process and the end result are inseparable, and I can only hope that as I paint I am aware of and can appreciate the joy and frustration of creating.

Where does creativity come from and how can it be nurtured?
I believe that creativity is a gift from God. I also believe we all have some degree of creativity and that creativity is not reserved for artists, musicians, actors, writers and the like. Everyone from plumbers to lawyers, teachers to advertisers and to builders, all encounter problems that require creativity to resolve. Mulling it over, it seems to me that creativity is often the result of problem solving, curiosity, need, a willingness to explore and a desire to be creative. Creativity also requires imagination and an open mind. To nurture creativity, we need to emphasize and value exploration, give others enough tools and knowledge to be able to explore different options, and offer problems that require imagination and problem solving.

You said in our first interview that you love to play with paint…to smear it, scrape it, splatter and flick it…using all manner of tools. Were you a pretty creative child?
Probably yes. I was rarely interested in playing with dolls or dress up although I loved stuffed animals. What I really liked to do was make things. So I played with Lincoln Logs and Tinkertoys. I had a small tool set with a hammer and saw, and I would use wood and nails to build things. One Christmas I was given a wood burning set so that I could decorate the things I made. I liked crayons. I started drawing at the age of six, and started art lessons and oil painting at age seven. I also use to write…primarily poetry.

How does your work reflect your personality?
First off, I think I am somewhat sentimental, so much of my work is derived from my life experiences. It is my impression that no matter who we are or what we do, most of life is lived in the ordinary, not in the extraordinary. I think there is something special, maybe even sacred, about the ordinary stuff of life. I want to somehow honor those things we use or images we see in our daily lives that often go unnoticed. I appreciate the ketchup bottle I pulled out of the refrigerator nearly every day when my sons were young. I can find beautiful colors in simple jars. There are surprising greens in a stack of French fries. The world is full of wonderful shapes and color everywhere, even where least expected. I hope that people can see the world a little differently as a result of my painting.

How does one find their individuality as an artist?
I would say finding individuality is a process. Where you begin will likely be very different from where your journey of art ultimately leads you. I also believe that individuality is a result of passion, excitement, exploration, risk taking, failing, succeeding, practicing, and honesty. Paint the subject matter that excites or interests you. Play with paint. Splash it, brush it, knife it, smear it, and make puddles. Try different surfaces because I am learning that they too make a difference. Be creative because after all, we are artists. Some paintings won’t succeed but will boost you to the next painting. Eventually you will have enough paintings behind you, that instead of you finding your individuality, I imagine your individuality will find you.
You use a very extensive palette of colors. How do you manage to maintain control of the color harmony in your paintings?

The frank answer is I have no idea. Drawing and design do not come naturally to me but color seems to be rather intuitive. So, when I am mixing paint, I just keep mixing until I get a value and color that seem to work for the situation. I wish I could elaborate on this answer but in all honesty I really don’t know how I control color harmony.
What advice do you have for a young artist/painter?
Making art is a journey and not a sprint. There are no real road maps beyond practicing and attempting to master the basic skills involved. It requires a great deal of passion, commitment, dedication, practice, and courage. Along the way there are wonderful highs and times of utter frustration. Being an artist is not at all what one envisions being an artist should look like. I believe it is about 85% work, 10% fun, and 5% inspiration. Also, I am not at all sure that we choose being artists. I rather think art chooses us. I cannot imagine not painting.
Primarily, I would suggest that you practice drawing. Drawing is absolutely essential to whatever type of art you eventually choose to do. Painting is nothing more or less than the completion of shapes. You need shapes to put value and color on. Those shapes need to be drawn, whether you do abstract art or representational art. I cannot stress the value of drawing enough. Also, if you are having problems with a painting, check your values. I have found that color can be rather forgiving, and that a problem with a painting is more often a value issue. Experiment, play, scrape, and learn what paint does (and doesn’t) do.
Find a mentor; an artist that is better than you, whose opinion you trust and who is willing to critique your work and offer suggestions along the way. Avoid asking others what they think of a painting or project, for opinions are as varied as the weather…and often not helpful. So, get a mentor/teacher to help with this process. Learn from your failures. Take those to your mentor as well.
Don’t be too quick to approach galleries. Everyone wants to be represented by a gallery and many young artists make it their goal to be invited into galleries. Instead, your goal should be to focus on your art and make it as outstanding as possible.
Lastly, keep some of your early work. I have a painting up in my studio from several years ago. When you get discouraged, and you will at times, look at that painting and spend a minute being proud of your progress.
Finally, be aware and prepared for the fact that painting is expensive and for most of us it takes time and practice to get to the point of earning any money.

Johanna Harmon Interview

Mr. John Pototschnik · Apr 14, 2014 · 2 Comments

For Johanna Harmon, art is a beautifully timeless, skillful, poetic, abstract, and deeply felt visual concept. Using her remarkable skill, it’s her desire to fearlessly explore the mystery of her subjects, and to do that with sensitivity, intention, and truth.

For everyone in the room that night in Fredericksburg, TX at the 22nd Oil Painters of America National Exhibition, it was a touching moment when Johanna Harmon, overcome with emotion, received the Gold Medal for her painting “Jonathan”. Not only did she receive $25000, but she became the first artist in OPA’s long history to win the award for the second time. It’s quite remarkable.

“The award came as a complete shock. It was an overwhelming honor and an incredibly humbling experience to have received this recognition from juror, Sherrie McGraw and Oil Painters of America. While I’ve never personally studied with McGraw, I’ve always respected and admired her outstanding talent. Words honestly cannot describe just how incredibly powerful this experience was. All I can say is that it inspires me to continue the pursuit of all that is beautiful.”
In her pursuit of beauty, Harmon finds figurative subjects most appealing. She feels that working with a model she is not only able to expressively render one’s outer appearance, but also the inner life as well.
In the current issue of Southwest Art (Nov 2013), ”A Compassionate Vision”, writer Gussie Fauntleroy says of Harmon, “Those who pose for her are often friends, or become friends. It’s one reason her art radiates a deep human warmth…and why she has gained the attention and respect of collectors and her peers.”
Harmon’s paintings radiate feelings of peaceful contemplation, introspection, and sincerity. The beautifully muted palette provides the essential color harmonies needed to clearly communicate those feelings. Her compositions are deceptively simple, but upon closer examination, one discovers a well planned diversity of shapes, values, and color, resulting in a wonderful overall unity.

It’s with pleasure I share with you Johanna Harmon’s interview.

How much of your work is intellectual vs. emotional…and how would you define the difference? My work definitely combines both qualities to varying degrees depending on the piece. Initially, my emotional response fuels the desire to explore the subject on a deeper level, I’ll then quickly transition towards my intellectual response by establishing my visual intention for structure and build upon that structure towards what I hope to be a beautiful completion. Ultimately, I’m emotionally connected to my subject and I’m intellectually focused on painting.

Do you let the subject determine the concept of the work or do you first define the concept and find a model suitable for the task? To me, a concept can mean different things. As a visual idea, they are directly inspired by the models and their interests. Once I become more familiar with my models, more meaningful ideas organically unfold. As a visual intention, they are generally separate from my subject and can simply be inspired by the desire to describe a variety of concepts including the passage of light, painting local tone or focusing on the dark-light pattern.

Do you typically select models and work with them? Most frequently, I’ll approach anyone that inspires me to paint them, including family, friends, neighbors and even complete strangers. How I work with them depends on their nature. Some are able to sit for extended periods of time, others that aren’t familiar with the standard process require a brief photo shoot and studies.

What is the primary quality you look for in selecting a model? A strong sense of individuality and beauty that exudes from within.

Your paintings have a distinct style and coloration. Was that a conscious effort or did that evolve naturally? Early in my studies, I was advised that one’s style would naturally manifest, that my focus should be on learning. So, I made no effort to develop a style, trusting the guidance of my instructors and ultimately enjoying the limitless possibilities that mindset offered me as I worked. Distinct coloration would most likely be a result of working with a limited palette.

How do you decide on a dominating color key for a painting, and how do you maintain it? Snippets of various color harmonies are something I post to my studio inspiration boards. Arranging them based on whether they are triad, analogous or complimentary combinations. When exploring a specific visual idea, I’ll experiment with a few color arrangements and choose the most appealing option based on the model’s natural coloring, light source and chosen surroundings. I’m able to maintain my arrangement by mixing respective pools of color on my palette during the initial block-in.

What colors are most often found on your palette? You will frequently find Titanium White, Raw Sienna or Yellow Ochre, Napthol Scarlet, Transparent Oxide Red, Phthalo Emerald, and Ivory Black on my palette.

Are you more concerned with value or color? Value first, then color. Once I establish the value structure, the color must remain within the structure. Otherwise, I may lose sight of my original intention and risk the potential of completing a successful painting altogether.

Describe your typical block-in technique. Once I establish my visual intention, I begin with a toned canvas and thinly block-in the various dark abstract shapes to organize a basic simplified structure and define the overall mass, doing so will immediately reveal the light shapes. Followed by “notes” of the lightest light and darkest dark (to accurately compare values), predominate colors (for color harmony), and the sharpest edge. Slowly working from shadow/dark/background shapes, to the light/foreground shapes, to the finish.

What’s the most difficult part of painting for you? When fully engaged in painting, it’s magical. Yes, the magic includes the struggle of learning. But, what I find most difficult is managing all the elements of being an artist in today’s world outside of actually painting. Often, I wish I were two people, one who manages the details of business, and the other free to be completely immersed in creating art.

How do you know when a painting is finished? I experience an overwhelming sense of joy when I’ve achieved my intention and realize that by adding one more brushstroke would only weaken and clutter the painting.

What part does photography play in your work? I painted exclusively from life during the years I studied painting and It wasn’t until I was ready to paint more complicated pieces that I turned to photography to consider new perspectives and compositions I might otherwise be forced to overlook, as well as, the ability to paint those that may not be able to sit for prolonged periods of time. The key is to paint from life, so you are aware of what is missing in photography and to not rely on it exclusively.

How does your work reflect your personality? Never really thought about this before. I’d like to think it conveys honesty, strength, sensitivity, intelligence and clarity.

Who has had the greatest influence on your career, and why? It would be impossible to determine one individual as the single most influential person on my career. Throughout the years, I’ve collected insights from every soul that blessed me with their knowledge and expanded my creative world. Of course, some influenced me more than others, but it definitely is a cumulative manifestation.

jh-tradition — “Tradition” – 22″x 22″ – Oil

Where does creativity come from and how is it nurtured? That’s an interesting question, perhaps creativity is a combination of imagination, passion, intelligence, technical understanding, problem solving, and focus. Nurturing would require a heightened awareness and desire to expand on all the creative qualities you currently possess.

How would you define “success” as an artist? When you experience a complete sense of fulfillment through your paintings.

What advice would you have for a young artist/painter? Enjoy the journey and be completely receptive to learning, define your goals, study with those you respect and admire, and study directly from Master works to expand your level of sensitivity. Think in miles of canvas covered, not inches.

What’s your opinion of art competitions and how do you go about selecting paintings for these shows? Competitions offer a platform to share in the universal desire to attain a greater understanding in art with your peers. They also challenge you to recognize when you’ve created a piece that exceeds all preceding works. Those are the works I personally select to be juried.

There are some tremendous female painters out there today. Was your gender ever a hindrance to the advancement of your art career? Not that I’m aware of. Any obstacles I experienced were completely self created and ultimately provided the opportunity for personal growth. Perhaps my perspective is influenced by growing up with brothers who considered me their equal…I was just one of the guys. While I recognize the disproportionate number of male artists to women artists represented and recognized in prominent galleries, collections, institutions and museums, I prefer to focus my energy on creating beautiful works. Any shortcuts toward advancement based on gender (or any other means) only hinders ones artistic development anyway. I wouldn’t want that for myself. If by simply being a woman inherently hinders the advancement of my art career, then I’m up for the challenge!

If you weren’t an artist, what would you like to be? A Chef or a Humanitarian.

Dancing with the angels – Part 2

Mr. John Pototschnik · Jan 27, 2014 · 1 Comment

Twelve professional artists talk about being “in the zone”, what it means, what it’s like, and how to get there.

There are lots of words for it…”in the grove”, “singularly focused”, “in tune”, “wired in”, “centered”, “on a roll”, and “in the moment”. Some have described it as “going with the flow”.
It is said of Michelangelo, that while he worked on the painting for the Sistine Chapel, he became so focused on the job at hand that he went for days without eating or sleeping until he almost passed out.
That does seem to express the sentiments of some of our twelve artists as they discuss painting “in the zone”…not that any of them have actually passed out…but you get the idea.
I am pleased once again to bring you six more very accomplished artists who will continue our discussion of painting “in the zone”…is it real, what’s it like, how do you get there, and what’s the result? When it happens, it’s like “dancing with the angels”.
Thanks to this week’s participants, as we present Part 2.

Karen Blackwood:
Classically trained, Karen Blackwood initially painted portraits and figurative works before the landscape became her constant muse. While her work gravitates toward the light and atmosphere in the landscape, her artistic pursuit is to convey an emotional response to the solitary beauty of nature and to achieve that perfect state of being that sometimes comes from painting it.. She is represented by Susan Powell in Madison, CT. She’s a member of Oil Painters of America and the Society of American Marine Artists.

Roger Dale Brown:
Roger believes that studying and painting from life is essential to being a good artist. He spends hours painting on location to enhance his ability to see the nuances of a scene, a day, or an object. He considers this one of the elements necessary to create a successful painting both on location and in the studio. Roger captures the emotion of the scene, by drawing on his knowledge and his dedication to art. He promotes art education in many ways, believing that passing along information is an obligation to generations of new artists.

John Cook:
From still life to portraits, landscapes to architecture…and his native-Texas western imagery, nothing is too small or too large for John to attempt as is demonstrated in his diverse range of subject matter. Trips to London, Paris, Bruges, Venice, Rome, Florence, Portofino, St.Marguerite, San Francisco, and New York have inspired many of Cook’s paintings. In 2012, Cook’s 11th annual one-man show was held at the Southwest Gallery in Dallas.

Kathleen Dunphy:
Kathleen’s rapid success in the competitive art world was predicted when American Artist Magazine recognized her as one of the TopTen Emerging Artists in 1998. In the ensuing years, she has earned an impressive and growing reputation with galleries and collectors. A Signature Member of several important art organizations, most recently she has been honored with Signature Membership in the prestigious Plein Air Painters of America. She is one of those rare people who have true passion, dedication, and a gift for transposing nature’s beauty to the canvas.

Daniel Gerhartz:
The powerful and evocative beauty of Gerhartz’s paintings embrace a range of subjects, most prominently the female figure in either a pastoral setting or an intimate interior. He is at his best with subjects from everyday life, genre subjects, sacred-idyllic landscapes or figures in quiet repose, meditation or contemplative isolation. “My desire as an artist is that the images I paint would point to the Creator, and not to me, the conveyor. J.S. Bach said it well as he signed his work, ‘Soli Deo Gloria’, To God alone is the glory”.

James Gurney:
Gurney is the author and illustrator of the New York Times bestselling Dinotopia book series. Solo exhibitions of his artwork have been presented at the Smithsonian Institution, the Norman Rockwell Museum, and the Norton Museum of Art. He’s recently been named a “Grand Master” by Spectrum Fantastic Arts and a “Living Master” by the Art Renewal Center. His most recent book, Color and Light: A Guide for the Realist Painter (2010) was Amazon’s #1 bestselling book on painting for over 52 weeks and is based on his daily blog: gurneyjourney.blogspot.com

We’ve all heard the phrase “in the zone”, what does that mean to you?

Gurney_Dalleos-huge — James Gurney – Dalleo’s Deli – 9″x 12″ – Oil

Blackwood:“The object, which is back of every true work of art, is the attainment of a state of being, a state of high functioning, a more than ordinary moment of existence.” –
Robert Henri. “In the zone” is that perfect state of being I strive to be in while painting, It’s a state of letting the spirit within lead, working from the subconscious mind. Every movement and thought flows effortlessly.
Brown:Being in the “zone” to me means being in a more visceral region of my mind. Being made in God’s image, humans are inherently creative in one thing or another. When an artist creates, we go to a place in our subconscious that taps into the knowledge intuitively, and our emotions instinctively.
Cook:Things are “clicking” when I’m painting productively. Not that it is an easy process, but I know somehow what looks “right”, when the preceding brush stroke, or knife application is placed. I “explain” to myself often audibly, what temperature the next color should be, and what pigment, or mixture is wanted, or what correction is needed in drawing, and so on…Of course the drawing must be correct, and the composition must be worth continuing. Color, whether intense or muted, or purposefully unbalanced, should remain harmonious. The balance of simple patterns vs the complicated textures are becoming obvious to me, due to many paths down that road for the design to be “on”. Must mention correct values. I could go on…I shall…Then the treatment of edges seems to fall in place. I can seem to understand which need to be “lost”, and those that need to show straightness and obvious clarity. I do have much more fun watching an oil sketch fall in place without thinking much, something with a real flair happening quickly…within 45 minutes to an hour and a half.
Dunphy:Being in the zone means being able to paint without tremendous effort, much like hitting my stride when I’m running or nordic skiing. All extraneous thoughts from other parts of my life turn off and I’m solely focused on the task at hand. It’s finding that rhythm when my mind, body, and creative energy are all in sync.
Gerhartz:When the conditions are right and I am accurately translating what my eyes see in terms of the abstract nature of light, shadow, shape, edge and color.
Gurney:Having my conscious mind take the back seat, and letting intuition take over.
If you believe in such a phenomenon, what techniques do you use to get there?

Blog - KB - Winter_Reflections 24x18 — Karen Blackwood – Winter Reflections – 24″x 18″ – Oil

Blackwood:To help me get “in the zone” or at the least, a higher level of focus, I try to approach my subject with great feeling. Taking the time to contemplate before brush touches canvas helps me to let go and paint from a more intuitive place, allowing the information to “flow” through me. In the studio, listening to music and looking through books of a master artist’s work can stir my soul and subconscious, which allows flow to happen. I have been known to listen to the same CD to an insanely repetitive degree. If it works for a particular piece I’m working on, I tend to want to keep that mood throughout.
Brown:It is important that I have an atmosphere that is conducive to painting. In my studio I have surrounded myself with inspirational things and music. This comfortable space helps me remove the “world” from my mind, so I can be more sensitive to the scene I am painting. Also, I problem solve; I imagine being in the scene, or on location again; I assign words to describe the scene; and finally I visualize the finished painting. By approaching a painting this way, it helps me bridge the two elements of painting, the science of painting and the intuitive aspect of painting. When I have a solid image in my mind, I can start painting. All of this helps de-clutter and prepare my mind to paint so it’s easier to sink into that nice warm comfortable place…and create…
Cook:Don’t know how to “get there”. I can’t force anything to get there. In fact last year, because of some very stressful conditions, I was definitely out of the zone for a least six months. I struggled with drawing especially, and consequently painting anything worth showing anyone for that period…well, I won’t linger on this. Tough year.
Dunphy: It’s easiest for me to get in the zone when I’m outside plein air painting. It seems like that direct communion with my subject matter helps me to more easily ignore that background chatter of non-art-related thoughts. I still can get in the zone in the studio but it happens with more effort. I’ve found that certain music helps set the tone – classical baroque music, Italian opera arias, and most especially Gregorian chants.
Gerhartz:Putting myself in the position to be successful, (working from life, distractions minimized, enough rest, approach the subject humbly, and squint!)
Gurney:Ironically, I’ve got to think consciously to get to the intuitive state, and just practice a lot.
When in the “zone”, are you more conscious and aware of what you’re doing…or less so?

Blog - KD -magic-hour, 15x30 — Kathleen Dunphy – Magic Hour – 15″x 30″ – Oil

Blackwood:When I’m in the “zone”, I am more highly in tune to what I’m painting but less self-conscious of my process. It’s a more intuitive state where the painting seems to paint itself. I lose all sense of time, at least until my husband or daughter calls out for food!
Brown:Even though my space is important at the beginning of a painting, once I am in the “zone” I am less conscious of my surrounding, or of time, and more in tune with my creative process. I would say I am less conscious when in the “zone”. Since I worked through the foundational decisions and possible problems with my painting early on, the decisions and process of painting are easier. This doesn’t mean it’s a “walk in the park” for there can still be struggles, and sometimes I still have to wrestle that thing down, but I am less likely to get frustrated and angry. I stay calm and the painting proceeds at a nice pace and rhythm.
Cook:Definitely aware of what I’m doing, as described in the first answer, but not laboring mentally or emotionally.
Dunphy:Both – I’m more aware of the idea and feeling that I’m painting and less aware of the technical aspect of it.
Gerhartz:Not necessarily aware of it. More aware when I am not in it.
Gurney:I’m inside the painting, not thinking of my immediate surroundings.
Are your best ideas and work a result of being “zoned in” or does it make any difference?

Blog - DG - Dawn from Within - 60x60 — Daniel Gerhartz – Dawn from Within – 60″x 60″ – Oil

Blackwood:I am personally more fulfilled when I am “zoned in”. It is invigorating, joyous and feels like a state of being more fully awake. Because the subconscious is flowing more freely, I think there is a deeper level revealed in the work for those able to read it, making it more successful for me.
Brown:All of my planned ideas and crucial decisions about a painting come prior to the “zone”. Once the decisions are made, and I have a clear image of my painting, I am free to de-clutter my mind, and go into the “zone”. The advantage of this process for me, is when I am in the “zone”, my right brain is in control. This opens up the opportunity for some fantastic ideas to arise during the painting. I can realize them and take advantage of these opportunities.
Cook:Can’t answer that my best ideas come “in the zone”, but my best canvases definitely do.
Dunphy:Yes, by far my best work comes when I’m in the zone. It causes a conflict for me because I can only be in the zone when I don’t have the distraction of other people around, even other artist friends. I enjoy the camaraderie of painting with others and need that human interaction, but I end up having to view those paintings days more as “mental health” days instead of times when I get serious work done.
Gerhartz:I believe all artist work is best when focus is concentrated and precise. I believe my best works have almost painted themselves.
Gurney:The two modes switch back and forth for best results, like two different creative characters: The idea man and the refiner.
Is it possible for a “zoned in” person to produce work beyond their normal ability or level of understanding?

Blog - JC - Out to Pasture 30x40 — John Cook – Out to Pasture – 30″x 40″ – Oil

Blackwood:Being “in the zone” is an active, high state of functioning that can propel me to another level. Provided I have acquired the necessary skills, the excitement brought on by a challenge above my current level of understanding awakens my spirit and allows me to reach the higher state within that my conscious self sometimes blocks.
Brown:For me, the only way this whole process works is to study and build my understanding of the fundamentals of painting, understanding what I see and my ability to see as an artist. I have to train myself to see the subtleties of a scene and to understand perspective, atmosphere, quality of light, shade, value and edge. You can’t paint what you don’t know. We are given talent, but passion is the driving force that will develop it. Without putting in the work the emotional part of art has nothing to draw from. Since being in the zone is being more visceral, I don’t think I can paint beyond my ability, but it does make it easier to work from the knowledge that I have collected over the years and it makes me more intuitive with my decisions and not over think and second guess myself.
Cook:Any piece that exceeds my normal ability is a gift from God. Should that happen, I believe I would continue doing even greater things, with a dedicated work ethic. Love this! There are some pieces in the past that stand out as hard to “match the magic”. I wouldn’t continue if I thought it might not happen again.
Dunphy:Without a doubt. I call those works gifts that are given to me in order to let me know I’m on the right track and encourage me to keep going.
Gerhartz:Yes
Gurney:To me, intuition is conscious understanding made automatic. Rarely do I get major leaps of intuition that take me beyond my conscious awareness of solutions.
When “in the zone”, are you aware of it?

Blog - RDB - Old Hickory, 22x28 — Roger Dale Brown – Old Hickory – 22″x 28″ – Oil

Blackwood:I think on some level I am aware that I am “in the zone”. Everything feels so right. When I’m out of it, I still have that lingering “high” that makes me look forward to painting again. It is an addiction, isn’t it?
Brown:I am aware I can go to the “zone”, but I don’t always know that I am there, until someone or something interrupts me.
Cook:Definitely aware when I’m “in it”, however, being in it one day doesn’t necessarily carry over to the next session. Hate this!
Dunphy:Not right away. Usually some time will have passed where I realize I’m in a great rhythm and not struggling so much. Then I try not to think about it to much in order not to jinx myself out of it!
Gerhartz:Not always, the more I think about being “in the zone” the more I can be assured I am not in it.
Gurney:Yes, and I try to abet the mood by means of music or sound effects.

Special thanks to each of the distinguished artists participating in this enlightening discussion. Your comments have been greatly appreciated.

For those that have not read Part 1, I invite you to do so. It also features six elite artists: Kenn Backhaus, Joni Falk, David Gray, Marc Hanson, C.W. Mundy, and Romona Youngquist. It’s also very good. Just click here and continue reading. Thanks.

Dancing with the angels – Part 1

Mr. John Pototschnik · Jan 20, 2014 · 2 Comments

Twelve professional artists talk about being “in the zone”, what it’s like and how to get there.

When Facebook friend, John (Skeets) Richards, suggested I do a blog addressing the issue of whether or not artists are in a “zone” when they paint their best, I thought it was a good topic to pursue. I personally don’t think in those terms, I’m just focused on doing the best painting I can. I will acknowledge that once in a great while some of my paintings have been created so effortlessly and quickly that they seem to have painted themselves…but most of the time it is just tough, down and dirty, hard work…with all the ensuing frustrations.
I guess I never thought of those effortless paintings as having been done while “in the zone”, but maybe that’s a suitable explanation. After considering the opinions expressed below, it’s very possible I’m “in the zone” more than I realize. Having professional artists address the issue will cast light on the subject. It’s hard to deny that something really special can happen when we’re in the creative mode…often unexpectantly. I call it “dancing with the angels”.
I’m honored to have such an elite group of artists address this issue. Here are this weeks participants:

Kenn Backhaus:
After an award winning career as a commercial designer and illustrator, Kenn decided in 1984 to devote more time to his passion for painting and his love of the outdoors. He found that capturing true color, value, atmosphere and the mood of a subject was best done on location or through direct observation. Winner of many awards and a featured artist in a 13-part PBS television program “Passport & Palette”, Kenn is a Master Signature Member of the Oil Painters of America and the American Impressionist Society.

Joni Falk:
Joni has lived in Phoenix, AZ since 1960. She has been featured in several magazines and books, and is a popular instructor at the Scottsdale Artist School. Her work is included in the permanent collections of The Cheyenne Old West Museum, The Booth Museum, and The Desert Caballeros Museum. She’s represented by Legacy Galleries, Settlers West…and has participated shows at The National Museum of Wildlife Art and the Cowboy Museum in Oklahoma.

David Gray:
An award winning artist, David has made a career of pursuing a pure and relevant art form which has its roots in the Classical Tradition. The resulting paintings reveal a personal and contemporary expression of beauty and order while giving a clear nod to the Old Masters. David’s works have been collected throughout the United States and abroad since 1997.

Marc Hanson:
A Signature Member of OPA and winner of the OPA Bronze Medal for oil painting in the 2011 National Exhibition. He was awarded both Artist’ Choice and Best of Show at the 2012 Door County Plein Air Festival. His work can be seen at Addison Art Gallery, R.S. Hanna Gallery, Gallery 1261, Elizabeth Pollie Fine Art, and the Mary Williams Gallery.

Charles Warren Mundy:
Worked as a sports illustrator for several years. In the early 1990’s he took on the challenge of painting in a more impressionistic style, going out of doors and painting “en plein air” and “from life”. Now a noted American Impressionist, he is a Master Signature Member of OPA. Most recently, 2007, he was awarded Master Status in The American Impressionist Society. He is also a Signature Member of The American Society of Marine Artists.

Romona Youngquist:
Self taught with nature as her classroom and the great masters her teachers, Romona knew at age four that painting would be her calling. Today you’ll find her paintings as far away as Germany, London, and downtown Manhattan. Her works have been published in the premier art magazines including Southwest Art, American Art Collector, and Art Talk.

We’ve all heard the phrase “in the zone”, what does that mean to you?

Blog - ’Sunrise-My Backyard’ - C.W. — C. W. Mundy – Sunrise-My Backyard – 20″x 16″ – Oil

Backhaus: Being in the zone is like a well-oiled machine, you are performing without hesitation, no distractions, and can push yourself and you respond, The challenges that are present or come up during the painting process become solved. The traditional sound principal and foundations guide your skills that you have acquired over the years. Confidence directs the eye and the hand. Everything within you and around you is in harmony.
“In the zone” for me, means my painting seems to almost paint itself…a sense of confidence and satisfaction as the painting progresses.
Gray: To me it means that space in time when everything you do is “right”. In these moments it seems like you can do just about anything. And if you do make a mistake it is corrected with ease and on the spot. It’s a time when everything you’ve learned is working for you. Your background, natural skills, education, and years of hard work are all coming out on the canvas and it’s glorious. You trust yourself implicity and all of your second guessing goes out the window. Ir’s a great place to be.
Hanson: My earliest memories of being an ‘artist’, were while sitting at my parents kitchen table with a newsprint drawing tablet and some pencils and crayons, making action drawings of tanks, soldiers and airplanes at war. Man, was I “in the zone” then. In a place of total imaginative, creative thought, where the question from my mom…”Marc, are you listening to me???”, didn’t even make a sound wave in that zoned world that I was in while the airplanes and helicopters flew over head, while the tanks rumbled across the impossible terrain, and while so many army men became ‘X’s and tanks went up in clouds of red and yellow flames. That is what being in the zone means to me. Being totally absorbed in the act of creative activity, in a heightened state of awareness. Being so absorbed by the painting activity, that nothing else around me has meaning, and time evaporates. It’s letting your conscious mind go to where it needs to go to achieve complete concentration on the task at hand.
Mundy: “In the zone” is a term used by an artist to describe being subconsciously carried along in the painting, making one creative move after another. You may not be aware of being in the zone. The painting experience has mesmerized the artist.
Youngquist: Being “in the zone” is like having a wonderful massage in which you’re conscious but asleep at the same time. It’s the place I want to be. It’s where I reach my optimal creativity and production and where I have the most fun.

If you believe in such a phenomenon, what techniques do you use to get there?

Blog KB - Cotton Wood Beach- 30x30 — Kenn Backhaus – Cotton Wood Beach – 30″x 30″ – Oil

Backhaus: I don’t think you can control when you get into the zone. I feel it happens on its own from one’s focus and enthusiasm of the project.
Falk: Regarding the phenomenon of “in the zone”, I think it is just that…if there were a technique to get there, I sure would like to know what it is…???
Gray: I don’t believe you can force it or make it occur. It just happens sometimes. It comes as a result of years of discipline. I consider that I am highly skilled and have worked very, very hard for many years to develop my craft. I can paint or draw something very well on demand. But that doesn’t mean I’m in the zone. Usually I have to keep my wits about me the entire day of painting and the littlest thing can throw me off. Still I have learned how to fight through and create effectively. Only once in a blue moon do I ever feel like I’m truly in the zone.
Hanson: It’s easiest for me to find myself “in the zone” when outside on location, painting ‘en plein air’. Almost every time that I paint outside, I’m there, in the zone. I think that’s partly why I feel that is the most honest place for me to be painting. Having the time constraint of plein air painting, and the lack of any outside interference, except for the occasional passerby, makes it the ideal situation fo me to find myself in that zone.
In the studio, to help me move into that place of concentration, I choose music to listen to that will help me find that zone once I get a painting going. That changes from day to day, and according to where I am in the painting. At first I like music that is…loud and upbeat. Music that sort of shakes the rafters. Then as I am developing the painting, I turn to music that is softer and less intrusive, that allows me to concentrate. Sometimes I need to turn it off completely and have a silent work zone to zone out in.
Mundy: Problem solving should be the process before ever beginning the painting. The left hemisphere of the brain, the analytical side, is the problem solver. Preparedness in getting everything ready is hugely important. It’s like a surgeon who has everything on the table and ready to go. I also have found in the last six months, that I have more opportunity to get into the zone if I have no music, no distractions. Having the excitement to create, to take on the challenge of a new painting, is a key ingredient and a wonderful start!
Youngquist: The best way for me to get there is to be constantly painting. It’s like a snowball effect and the more I paint the more everything around me disappears (not good for housework). And the ideas just keep coming.

When in the “zone”, are you more conscious and aware of what you’re doing…or less so?

Blog - JF - Taos Winter - 20x20 — Joni Falk – Taos Winter – 20″x 20″ – Oil

Backhaus: I sense that there is a time period that elapses before one knows that you are in a zone. Once you feel that everything is in that harmonious mode, yes, then you realize that you are in the zone. I feel that you are more conscious and aware of what you are doing and you also note that you are doing it according to your truths and beliefs. There is a sense of honesty that abounds.
Falk: As far as being more conscious and aware what I’m doing or less so…I definitely think I am aware I’m in the zone in that the painting seems to be flowing and coming together more easily – and with more confidence..
Gray: I think I’m just as conscious. It’s just that all my decisions seem to be “right”. All my marks are spot on. I’m still very cognizant.
Hanson: Yes, I’m totally conscious of what I’m doing when in the zone. I paint without thinking about what I’m doing, but on a conscious level. My experience, training, skills, and desires as an artist become one fluid movement when in this place. Like I mentioned above, it’s a heightened state of awareness that I find myself in when there. Being in the zone is very similar to being in a meditative state. I tried meditation as part of a yoga class I was taking once. I realized that when I’m painting…and in the zone…I’m consistently in a meditative place, so the meditation class was kind of pointless for me.
Mundy: It’s a combination of both being conscious of what you’re doing, and less conscious. But if you really “let go”, it can lean toward being unaware of what you’re doing. There’s a connective interplay between both knowing and not knowing.
Youngquist: I’m less conscious and intuition kicks in. And that’s where the fun and passion happens.

Are your best ideas and work a result of being “zoned in” or does it make any difference?

Blog - DG -_arrangementwithselectedsketches_18x24 — David Gray – Arrangement with Selected Sketches – 18″x 24″ – Oil

Backhaus: Yes, definitely my better works come from being in the zone.
Falk: I think some of my best paintings were done while “in the zone”, and I look back on them and wonder “how I did that”.
Gray: I think for me there is a slight difference. In general I would say my best work has been done while “zoned in”, but not always. I’ve done some paintings I’m very proud of that have been a fight every step of the way.
Hanson: This is a difficult place to be if you have interruptions by phones, other people, or errands to run for the day. My best work comes when I’m lucky enough to be able to find that level of concentration. Not because there’s anything metaphysical about it, simply because I’m concentrating and keeping a clear path open as I paint along. With too much interruption, I loose the ability to go deeply within myself and my creative thoughts. It makes sense that a painting wouldn’t get the full store of what I feel and have to offer it if I’m not there.
Mundy: Based on my own results, the best paintings can be painted either in the zone or not in the zone. Nevertheless, for creative explorations, every endeavor and experience is different.
Youngquist: Heck ya.

Is it possible for a “zoned in” person to produce work beyond their normal ability or level of understanding?

Blog - MH - October Flow -10x8 — Marc Hanson – October Flow – 10″x 8″ – Oil

Backhaus: Yes.
Falk: I do think it is possible to produce work beyond normal ability or understanding…it’s as if that feeling of “self-doubt’ disappears.
Gray: I think so. I’m not sure I’ve been there, but I believe it can happen. My process is so controlled that I am very rarely surprised by the result. “Happy accidents” just don’t happen with me. Though highly skilled and a good teacher of my craft, I still don’t consider myself a “Master”. I’m not sure I’ve done a work that completely transcends my earthbound limitations. But I believe it can happen. I’ve heard of these kinds of experiences happening to people working in other art forms as well…musicians, or actors, for example.
Hanson: I’d prefer to say that it’s ‘more possible’ to create the work that you’re capable of making, if you are able to concentrate at the level that being in the zone brings to you and your painting.
Mundy: It is absolutely possible for a “zoned in” person to produce work beyond their normal ability. Retrospective thinking will prove it out.
Youngquist: I think you still only paint to the level of your knowledge, but happy accidents happen. If only I can remember how I did it.

When “in the zone”, are you aware of it?

Blog - RY - October’s End - 24x30 — Romona Youngquist – October’s End – 24″x 30″ – Oil

Backhaus: As I mentioned earlier, for me I may be performing for a time period before I realize that I am in the zone. Believe me, you will know it when your’re there. The results of your efforts should reveal it.
Falk: When I am “in the zone” I am definitely aware of it – it’s that special feeling I wish I could experience more often.
Gray: Yes, I think I am.
Hanson: I think this one was pretty much answered in question #3.
Mundy: In most cases, I am not conscious of being “in the zone” although on the other hand, several times, I think that I have made the realization that I’m in the zone while “in the zone”.
Youngquist: It’s the same thing that happens when getting a massage. Your aware but at the same time not….(using linseed oil instead of lavender).

Next week Part 2 featuring: Karen Blackwood, Roger Dale Brown, John Cook, Kathleen Dunphy, Daniel Gerhartz, and James Gurney. Don’t miss it.

Mr. John Pototschnik

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