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“At Your Age…?!”

Melanie Stokes · Nov 9, 2020 · Leave a Comment

In Pink Light by Melanie Stokes
20″ x 20″ – Oil

Have you been to a doctor lately and heard the comment, “At your age…”?  I have.  It left me with a rather indignant feeling.  I didn’t really feel old. 

When my husband and I decided to move from Georgia to Texas for retirement years, I couldn’t help but hear the same words in my head, “At your age?…do you really think you can pack up this familiar studio and produce paintings in a new environment?  At your age?…can you find new clients for paintings or new students of painting?   At your age?… is it worth the effort to become valued as an artist in a new place?”

In almost two years, it has been, and still is, a struggle of networking, painting, seeking, learning, and pushing myself to settle into a new place. But the new relationships, the personal growth, the experiences and revelations are always worth the effort.  

Melancholy Sky by Melanie Stokes
24″ x 30″ – Oil

As an “over 60” artist, I look back on my art journey and realize I did not begin growing in painting until my children went away to college.  Painting filled the “empty nest.”  That was about twenty years ago.  When I retired several years ago from a 26 year career of teaching Art and Language Arts in Georgia public schools, I finally had time to focus on painting regularly in my backyard studio.  Life was rocking along. I was involved with a local gallery, painting, selling, teaching, and having several solo shows.  And then, our oldest son in Waco, Texas announced that he was not returning to Georgia and that we needed to “get out here before you get too old!”  (There’s that “at your age” feeling).  My husband said he always wanted to be a cowboy, so we began making plans for a long distance move. 

Ablaze with Color by Melanie Stokes
16″ x 20″ – Oil

“At my age,” I am here to tell you there is time for developing art skills after a transition like a move!  I looked at retirement as moving from my first career to a second one, that of being a full-time artist, so I needed to report to work every day.  Exercises like accepting challenges to paint outside for 30 days, attending workshops, finding communities of artist friends, blogging about the work, watching Lunch & Learn videos from OPA, keeping a sketchbook, and painting some more, will all sharpen skills and expand knowledge. And, the networking of posting on social media, attending art events, talking with people about your work, and listening to them, is also important for getting settled in your new location. 

Nosy Neighbor by Melanie Stokes
20″ x 20″ – Oil

Painting ‘en plein air’ has been a wonderful way to experience my new environment with all of my senses.  We lived on a friend’s ranch for a year while we built our new home. Going outside daily to paint on 85 acres was a wonderful artist’s retreat for me.  I became acquainted with Texas wildflowers I had never seen, so bright with color!  The big Texas sky and the variety of clouds are a constant source of entertainment and challenge for this oil painter.  And I had never had cows for neighbors before! 

This past spring, Covid restrictions emptied the local Baylor University campus.  A new painter friend and I began going weekly to paint in the tranquil, quiet, socially distanced locations around campus.  From that, a Buildings of Baylor series reached a new following. Prints and notecards were suggested and were successful.  The knowledge I gained from this is to find what is important to the people where you are.  Paint what is important to you, but if you want to be valued in your new location, paint what is important to your new audience, also.

Neff Hall – Baylor University by Melanie Stokes
14″ x 11″ – Oil

Recently, a friend was talking with me about plein air painting.  She asked, “What are some things you have learned from it that you can apply to life?”  I couldn’t answer immediately.  But as I’ve pondered, these thoughts come to mind:

  1. Things aren’t always perfect.  The conditions we find ourselves painting in are often a surprise.  We forget needed supplies and make do.  Bugs are biting, sun is blazing, wind is blowing and yet, we adapt with creativity. 
  2. We don’t always have to produce a finished product.  Looking at the canvases as studies, rather than completed paintings freed me to just paint, learn, and enjoy the experience.  
  3. Painting is therapy.  When I am outside, listening to birds, using all five senses, I escape other stresses going on. It puts me in a meditative mode of gratitude. 
  4. Delayed gratification is good.  One of my workshop instructors, Laurel Daniel, emphasized holding all highlights to the end.  It’s tempting to rush ahead to the good part and put the light in too soon, only to lose it in the mix of color.   When we hold those highlights of white with a touch of lemon yellow until the end, they pop at just the right spot!  Delayed gratification is something I want to remember to teach younger generations. 
  5. Art is not instant.  It takes years of learning, practice, mistakes, motivation and determination, at any age. 
At Rest by Melanie Stokes
24″ x 30″ – Oil

“At my age” I enjoy painting life around me, interpreting the beauty I see, choosing what I want to paint, and sharing my thoughts with others through visual images and written words in a blog.  Often my painting sessions turn into deep conversations with myself, often they turn into worship of The Creator, often they are therapy for the heavy turmoil of today’s world, often they are accompanied by my prayers.  

Painting is my passion and brings purpose…even “at my age” and hopefully, in the ages to come!

Redemption by Melanie Stokes
30″ x 24″ – Oil

Art, the Meaning of Life, and Hummingbird Moths

Mrs. Isolde Sarnecki · Nov 2, 2020 · Leave a Comment

Once, when I was still teaching art, the new principal asked my colleagues and me, about that, which gave us the most joy. I told him that there was nothing like a snow day. A whole day given, to do absolutely nothing more than what pleases you. He seemed shocked by my irreverence. Like my colleagues, I should have taken more pride in my family, I know. But I remember those sporadic days, without demands and without time limits, looking up from the watercolor on my drafting table, at the gray and cloudy sky, and watching the snow fall silently. It was magical. 

Orange Flash by Isolde Sarnecki
Watercolor, 2020

I came late to painting. At one time, I did receive a BFA in graphic design, but back then, that entailed making fancy letters with a graphic design pen. When I graduated from college, design pens had become a thing for the quaint tools museum, because Steve Jobs had invented the Mac with all the fonts software you could possibly need.

Fifth of December, Quilt, 1993

I had my three beautiful daughters. And I made quilts in stolen moments, while they were watching Mr. Rogers and Sesame Street on a 13 inch tv. Not the kind of quilts made from patchwork blocks, but whole scenes of appliqué, mostly wistful memories of my childhood in the Netherlands. And then, as you read earlier, I became an art teacher.

“The purpose of life is to discover your gift. The meaning of life is to give it away.” Picasso? Shakespeare? anyone?

I have retired from teaching, but I often think that I should have kept my day job. After all, the children thought that for the most part, art class was fun, plus, they gave me a paycheck. The work on my easel is often anything but fun and I spend more money on my art than I earn. “You have such talent”, my friends say, after I have wrestled with all the elements of design for weeks or months and have finally produced a painting. We painters do a lot of pretending. My friends picture me sitting at my easel in a state of divine inspiration, surrounded by the things I love. That last part is true. I have a small studio and I have surrounded myself with the colors and stuff of inspiration. I do love being there.  But as you know, the activity of painting is complicated and demanding.  You can’t shake a painting from your sleeve. (Dutch proverb) Every painting presents new challenges that have to be solved and when things don’t work out, as they so often don’t, it can be a disagreeable process. The rare and stolen moments of my snow days have become thousands of hours of hard work.

Doughnuts and Fiesta Ware by Isolde Sarnecki, Oil on Canvas 2020 Virtual Juried Oil Painters of America, Salon Show

There are many days when I want to abandon the great aspiration in my life so that I won’t have to deal with the frustration. But I press on, for I know that it won’t be the end of me to overcome obstacles, which are essentially manageable discomforts, in order to find a solution. I work hard, I read and I study, because some day I want to attain mastery. But why?  

Beach Hat by Isolde Sarnecki
Fifth Place, non-commissioned portrait, Portrait Society, December 2018

“An insufficiency in the self, the need to be a snail, leaving a trail of yourself as you move through the world. Hansel, leaving a trail of crumbs to lead you home.” William Kentridge on why we make art.

A young and talented painter asked me once what I would do if my paintings would fetch 6 figures. I chuckled. She’s young. As the reader realizes by now; I am older and perhaps wiser. At this stage, I know that this is not the reason why I paint. Yes, I can see many successful young people rightly become painters of great distinction, and I can wish, but, “You’re welcome, we, art teachers, taught you well” 

Benediction by Isolde Sarnecki
Oil on Canvas, 2020   

And thus we have arrived at the part about the hummingbird moth, as the title of this blog suggested. I remember one summer looking at an amazing bug, flying around my butterfly bush. An entomologist friend told me that I had been observing a hummingbird moth. An insect with wings like a hummingbird that used its long proboscis like a hummingbird to get to the nectar in the flowers. “Some people live their whole lives without ever seeing one,” she said. It struck me as profound, because I have always felt that the eye that sees, is self aware and is a link to the great order of all that is. I paint because I want to share the things and the people that I’ve seen. I want to hold on to that moment, when my eye has become aware. And hopefully, for a while at least, I can convey that I looked for something that made you, or the world we live in, precious to me. I know that mastery is an unattainable goal. But passion and commitment is what counts, and yes, despite the struggles, it is very satisfying.

Yvette by Isolde Sarnecki
Finalist, Bold Brush Painting Competition, April 2018

Making Your Creative Space Work for You

Mrs. Gaylynn Ribeira · Oct 26, 2020 · 2 Comments

When we moved to Silicon Valley for my husband’s medical residency in 2014, our family of five could barely afford our two bedroom, 900 sq ft apartment. I was raising three kids five and under in an unfamiliar city while my husband practically lived at the hospital.

Just two years before I had a dedicated studio outside our home for a time, and with the help of regular babysitting trades, I was producing new paintings, and had managed to put together a solo show. But now the lack of a dedicated workspace, combined with the challenge of rebuilding a support network, left me artistically uninspired–it was the lowest point I can recall.

Sisters by GayLynn Ribeira, from first solo show, Stages (2012)
Oil on board

After surviving that brutal intern year, my husband threw out a crazy idea. “Why don’t we sell our bed and convert this bedroom into your art studio? We can sleep on the pull-out bed in the living room!” He was actually serious and in less than a week, our bed was listed on Craigslist and I began organizing a new studio space that would function as my artistic sanctuary for many years.

That was the beginning of our creative thinking about how we could create a functional artistic workspace in a small environment. Over the years I’ve invested in features to hone and refine my space for greater functionality and productivity. I love this quote by Paul J. Meyer: “Productivity is never an accident. It is always the result of a commitment to excellence, intelligent planning, and focused effort.” I now have everything I need in a compact 5’x6’ corner of our living room. I have seen that a clean, functional studio matters far more than the size of it. When I am in a space that is free of clutter, I can just sit down and paint when inspiration hits instead of spending 30 minutes to an hour getting things in order (speaking from past experience.)

I am not an organized person by nature and we do not live in a constant state of order, despite my minimalist aspirations. Fortunately, we are getting a little more organized each year. It is a process that takes concerted effort and directly impacts productivity in every area of my life. Below are some of the key features that I value in my current, compact workspace.

The studio of GayLynn Ribeira, a mom of four living in 900 sq ft

Key Feature #1- ​Oversized Carpet Chair Mat
Aside from the kitchen and bathroom, every room in our apartment is carpeted. After carefully measuring the floor space I had available for my corner studio, I searched for a durable, wipeable carpet protector and found it on Uline: heavy duty carpet chair mats up to 6’x8’. I ordered a 5’x6’– a perfect fit for my art corner (and another one to go under our dining table).

Key Feature #2- ​Mounted Fold Out Desk with Storage​ ​This particular desk is not currently available on Amazon, but there are others with a similar design and function. I leave the desk extended daily, but it can be folded up when not in use. We mounted a wooden board horizontally along the wall for added support before mounting the desk. If you need help with mounting, many cities have “task rabbit” or similar services that allow you to hire a handy person for building and installation projects. I am fortunate to have a very handy father-in-law who helps bring my studio visions to life.

Key Feature #3- ​Mounted Laptop Arm
I purchased this mountable arm so that my computer could “float” beside my easel at a comfortable angle. I later discovered that it also functions as a shelf for still-life studies with two white panels and a little tape. I have also used cardboard boxes, black binders, and other random configurations for my still life paintings. It need not be fancy.

Fleximounts Laptop Wall Mount 
 Alternate use for the Laptop Mount–A still life shelf!

Manfrotto Camera Arm Attached to New Wave Palette

Key Feature #4- ​Floating Palette​ ​clamped to easel with​ ​Manfrotto Camera ArmI learned about this palette set-up when studying with Elizabeth Zanzinger. By attaching her wooden palette to the camera arm she could clamp it to her easel and then adjust it to a comfortable height without needing to hold it. I’m a big fan of this system. I use a 16×20 New Wave glass palette with a wooden block glued to the back, that is attached to the Manfrotto arm. I love that I can easily adjust it for sitting or standing which has been much easier on my back.

Key Feature #5- ​Techne Artist Light with Clamp
If you are unable to install lights on your ceiling, this daylight Techne lamp is a decent space saving option. I highly recommend the article by Dave Santillanes OPA, “​Geeking out on Studio Lights​” for a more in depth look at lighting.

Key Feature #6​- ​Westcott Softbox Light
I snagged this for a great price when an atelier closed, but linked to the Westcott site if you want to explore softbox options. Not only does it provide beautiful soft light in my studio, but it is wonderful for lighting subjects for portrait paintings.

Key Feature #7- ​H-Frame Studio Easel
This $99 easel sits away from the wall at the same distance as my mounted computer arm so for my current set-up, this works beautifully. But someday I would love to build a wall easel similar to what Julianna O’Hara, a fellow Californian, recently shared on the OPA blog. Read more about her frame storage and space saving tips ​here​!

What I have shared above are some of the features that are working well for me in my current space. What I have not highlighted are the stacks of panels and paintings behind our couch, and the Ikea bookcase and storage containers filled with art supplies on our balcony. Those storage systems are not ideal and I will keep working to find better solutions!

Bloom by GayLynn Ribeira
Oil on wood panelOut of the Box Finalist, PSA Competition 2019

I transitioned to this living room studio in February, the month before the first shelter-in-place went into effect. I now have three kids distance learning at home (and a seven month old!) Unlike that intern year, when I abandoned art for a time, this year I have the space and determination to paint. I am getting better at picking up right where I left off. Having my studio in the living room has been a blessing because I can be painting while also listening to my 1st grader’s class, and I can help as needed.

2020 has been about embracing change and adapting routines to meet the moment. Before Covid, I loved to do portrait work. Right now I find portraits to be too stressful so I have embraced still-life painting. I find it particularly meaningful to paint objects that are significant to this uniquely challenging time. The panel below was created over ten days as part of the strada easel challenge last month. I painted one object from life each day and it is filled with symbolism about my family members and our experiences during Covid and the wildfires in CA.

Lockdown by GayLynn Ribeira
Oil on board

Life is constantly pulling us in a million directions and it would be easy, and perhaps justified, to press pause on our creative pursuits right now. But these are days to be remembered and recorded! If you are not inspired by your studio space right now, think about what small and/or drastic (sell your bed?) adjustments might make it a little more accessible or functional. Purge the clutter. Keep the essentials. Invest in some quality equipment when possible. And get to work! Capture these uniquely beautiful and challenging days for historians to look back on. You won’t regret it.

Ben at six months by GayLynn Ribeira
Oil on board

Two Keys

Bill Suys OPA · Aug 20, 2018 · 19 Comments

You’ve spent your life hoping to learn the ‘secret’ to becoming a better artist – while being told there are no secrets. Well maybe not, but I have come to believe there are two ‘KEYS’ that can help you open the doors leading down that secret hallway. These two keys are separate but complementary, and together they can drive you as far as your desire to become a better artist will allow.
In this essay, I’ll share the two Keys, and briefly touch upon their breadth and depth. The first is: ‘Awareness’, and the second is ‘Preparation’. ‘Awareness’ comes from truly paying attention to the physical, intellectual and emotional aspects of ‘Art’, while ‘Preparation’ will provide you with the tools to express the depth of your awareness.
We all begin with a very basic level of Awareness. Our understanding of the physical world is akin to a child’s vocabulary; we can describe the basics, but it takes years of study and growth to become eloquent. When Louis Armstrong says he sees “skies of blue and clouds of white,” you know through experienced observation how much more there is to ‘see’ in those skies, and if you’re honest with yourself you know there is also so much more in terms of breadth and depth that is beyond your grasp, regardless of your current level of accomplishment. With each passing day, you can become more sensitized to the endless subtleties that add to the beauty and meaning of all you see and subsequently what you create.
Over and above physical observation, as you develop as an artist it is important that your work become infused with what you think and feel. The deeper your intellect and the stronger your feelings grow, the more your work can reflect your personality and soul. This depth can come from an endless variety of sources, and is in part a natural outgrowth of your maturity. When I was traveling the world to curate a collection of art, it became clear that there were a number of young artists who had great talent, but the profound effect of life creates a patina that adds richness to a mature artist’s work.
Our lives are filled with emotional and intellectual stimuli. Some artists naturally soak it all in and let it influence their work immediately, while others carefully observe and slowly massage their response into their creative output. I am conscientiously infusing more of myself as I define my intent for each piece, whether it be en plein air or in the studio.
Building artistic awareness is a continual endeavor, whether it comes from external forces or internal exploration, and it can also come from studying the work of other artists. Though seeking a ‘style’ might be a superficial pursuit, it is helpful to pay attention to your reaction to existing work. While some pieces may do nothing for you (learn why!), other work may really float your boat on an intellectual or emotional level, and it is helpful to be ‘aware’ of the elements you can incorporate into your efforts over the days and years to come. When I teach a workshop, the theme may be focused on portraits or animals, but I’m always infusing my personal instruction with elements affected by what I’ve begun to understand along with thoughts that can affect how a student approaches their future study.
The exploration of ‘Awareness’ is endlessly intriguing, but expressing your level of awareness takes ‘Preparation.’
From your palette, lighting, and studio set-up to your ability to draw, ‘Preparation’ comprises all the elements that enable you to execute your vision. Just as a weekend golfer hopes to hit the ball squarely while a professional will develop a myriad of shots, an artist’s success will increase as the many facets of preparation become more proficient and refined.
For instance, as we learn to draw, our lines and shapes may start to roughly define an image, and as we continue to evolve our lines and shapes become more convincing, and eventually, expressive. As you practice mixing your colors, the sensitivity and beauty of your values, temperatures and harmonies overcome clumsiness and begin to sing. Your first brushstrokes may be coarse and weak; with additional mileage and attention to how and why you’re mixing and laying paint will lead to improving surface, edges and presence.
Though we can learn from millions of examples, I’ll use an image of a painting by John Singer Sargent to illustrate how the combination of awareness and preparation can create fabulous work.
The reason I’m using this particular example is because years ago an artist posted it as an example of the ‘simple’ shapes Sargent used. When I saw the image, I was immediately struck – not by simplicity – but by spectacular execution of sublime understanding of value and hue. Using the original sketch at the left, the images on the right each show two columns of dots: one column of dots samples the color and value from the area immediately below, and the column next to it from the area immediately above. Seeing how Sargent deftly handled these transitions can help guide your process.

Sargent transition analysis
Sargent Transition Analysis

Because improved execution must be learned and then applied, your level of preparation will naturally trail your level of awareness. Therefore, it is helpful to understand that there is the potential for a perpetual satisfaction gap between what you hope your work will convey and what you are actually able to convey. There are times where we feel we’re actually getting worse! When you look back upon your earlier work, the gap will be more evident between what you’ve accomplished and where your head is now.
As my personal Awareness and Preparation grow, I am able to adjust my approach, execution and finish to accurately express my initial intent. Here are two ‘portraits’ that result from very different objectives. In the portrait of former Wisconsin Governor Scott McCallum, the composition, finish and atmosphere were focused on celebrating an accomplished ‘hero’ in the beautiful environment where he served as State Senator and also governed our State through the 9/11 crisis. In the second painting, I wanted all my elements to convey my ‘earthy’ response to a rugged, itinerant artist in the southwest United States during the 19th century.
Senate Background
“Senate Background; Governor Scott McCallum”
by Bill Suys OPA
44″ x 32″
Frontier Artist, Fort Concho
“Frontier Artist, Fort Concho”
by Bill Suys OPA
20″ x 16″

Throughout your life and career, the areas and options for improvement are endless and each specific need is esoteric and unique to you. Answers will appear from many sources; workshops, individual study and serendipity. One of my reasons for teaching is that working with students at varying levels and areas of skill highlights and reinforces specific opportunities to strengthen awareness and preparation for both students and teacher.
I believe if you keep my two ‘Keys’ in mind as you approach your study and growth, they will help organize your efforts and clarify needs as they arise. You will also find yourself blessed with moments of illumination where your understanding or facility clearly take a little leap forward!

For the Love of It

Jill Basham · Jul 23, 2018 · Leave a Comment

The Garland of Texas, 22 x 22 oil on linen. Painted during En Plein Air Texas
“The Garland of Texas”
by Jill Basham
22″ x 22″ oil on linen
Painted during En Plein Air Texas

I have a deep love for painting, as I’m sure most of you do as well. It is that passion and sense of discovery that pushes me forward to paint for paintings sake. However, I have gone through struggles of self doubt. I find truth to this quote, “I don’t think there’s any artist of any value who doesn’t doubt what they are doing” -Francis Ford Coppola. This self doubt often occurs when my known or sub-conscious intentions are headed in the wrong direction. What do I mean? Well, for the most part, my paintings are not as successful when created to please others. They may not ring true to my authentic voice. I’m coming to understand that this may be a universal condition for artists, no matter what stage of mastery they fall.
For me this “self doubt” and inclination to paint to appeal to others seems to have the potential to increase during plein air competitions. Don’t get me wrong, I believe I have painted some of my best work at these events! For many reason I enjoy these events, and hope to continue to paint in them. I love to overcome obstacles and challenges, and find avoidance is not the answer. These events require much preparation behind the scenes by the artists attending. Ordering frames, organizing flights, shipping etc…and once on location, it can be a time of pushing one’s abilities and endurance. It becomes not optional to paint in less than ideal weather, or if you are lagging physically or mentally. But I still choose to take part. As an artist, it’s awesome to paint in new locations and meet some wonderful people! Yes, plein air events may seem at odds with an artists philosophy… to make it a competition, yet I think the competition has the potential to be a good thing. It can bring recognition to a previously less known artist. Artists push their abilities and collectors may get some of the artist’s best work this way. In addition, the organizers of the event are able to connect collectors with artists and at the same time generate funding for their particular cause.
Paint For Myself
Paint For Myself
During one plein air event this year, I once again found myself trying to achieve work that would fit the mold that I thought might be expected of me as a “returning artist”. My work had recently been evolving, and I worried that perhaps collectors would not respond positively to my direction. I was open with the other artists about my doubts and struggles. I had a few scrapers, and felt at odds with what I was producing. Stepping back, I realized I wasn’t painting for “me”, I had lost the spark of passion for the process. I was trying to fill a canvas with a painting that might please others, fit a norm, or would be more likely to sell. In the process I lost the “why” of why I was painting. I began to dive back into my work, painting exclusively for myself. By the end of the event, I had produced pieces I was quite pleased with, not knowing if anyone else would be. Because I was painting with my original passion, unencumbered by other’s expectations, I was able to produce paintings that pleased me, and in turn, pleased the collectors and judges. The work I produced did not perhaps fit the pre-conceived notion of what I would paint, perhaps not fitting the mold, but painting for myself without being fearful.
Morning Fog, 9x12 oil on linen. Painted during Plein Air Easton
“Morning Fog”
by Jill Basham
9″ x 12″ oil on linen
Painted during Plein Air Easton
It really is a very simple concept, but one that I seem to need to come back to during each plein air event I participate in. Three words. Paint For Myself. PFM. It’s now written with a Sharpie on the inside of my pochade box, so as to give me a little nudge back on the road, my road. It’s not that I don’t have concern for other’s response to my work. I do! My ultimate hope is that other’s find joy and meaning in what I am producing. My work will be that much more authentic, and bear my true emotions for the scene I am working to describe, if I PFM. Another event is just around the corner, and I will aim to put my full effort into creating solid work. I am aware that doubt and temporarily misguided intentions will cause me to refer back to PFM. In the end I hope to create something that has an emotional impact.
I encourage others to push forward and paint with passion and conviction, whether in a competition or not. Paint for yourself, paint with your soul, paint with fearlessness, paint for the love of it.

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