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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 · 20 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

Ms. 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.

Becoming A Better Realist Painter Through Abstraction

Larry Moore · Jul 16, 2018 · Leave a Comment

I’ve heard it said by more than a few realist artists that they have no connection to abstract art. It’s not their thing, they don’t get it, it’s not real art, etc. Of course, everyone is entitled to their opinion, but I believe that some of these artists are missing out on addressing a key component of individuality in painting; trust. I teach abstract painting for this very reason.
The goal is not to convert realist painters into abstract ones but to help the artists think about what paint can do if you let it by employing dynamic symmetry, hierarchy, division of space, edge, paint handling and color relationships without basing it on a source. Painting abstractly has helped my realist work grow in leaps and bounds. And to date, after 25 plus years of teaching, no one has jumped ship from their existing path, they expand their visual language and take the lessons to fold back into their process.
To build trust in one’s own process is to enable the unique voice of the artist. This voice is comprised of some combination of the key characteristics of painting; intent, drawing, value, color, edge, paint handling, mark making, composition, line, narrative and about 10 other devices in the painter’s tool kit. It’s why there are so many wings at the Metropolitan Museum of Art. Lots of unique voices in art equal lots of wings in lots of museums. And who do we go to see when visiting such places? Those artists who exhibit that trust, that faith in their own vision, the pioneers, the masters of hand and medium. We seek those who are empowered by authenticity.
I mean, let’s face it, if everyone painted the exact same way, it’d be pretty dang boring.
Key to trust building is to venture out past the comfortable known areas of process and concept and hang out on the thin branches for a while. You’d think it would be easy for artists to do this, because what’s the worst that could happen? But, surprisingly, it’s not. The realist regimen incorporates a series of control measures to ensure a fair amount of accuracy: Get your drawing right, get your values right, put something on the thirds cross-hairs, mix the paints just so… all to beautiful effect. Control on the front end.
Abstract painting is that only backwards, the control is on the back end. Which means higher risk and higher failure rates and that can be uncomfortable. But the process of doing, even on a small scale, teaches an enormous amount about what paint can do independent of subject or content in a painting. As part of a healthy aesthetic training program, it’s sort of like taking a day to do Argentine Tango if you are more of a Viennese waltz kind of a person.
I could rattle off a ton of realist deities whose work dances with the abstract: N. Fechin, C. Anderson, J. Sorolla, C. Monet, J. Twachtman, E.C. Fortune, G. Klimt, E. Dickenson, T. H. Benton, T. Thompson, B. Dugarzhapov and so on. If you put realist painting on the same spectrum as abstract painting, some of these artists are just a little closer to one end than the other.
So, what’s to be gained from this kind of exploration?
• It gets you unstuck in a hurry.
• Enhances creative thinking skills.
• Enhances critical thinking skills.
• More paint handling ideas.
• A better understanding of what the components of painting can do.
• More adventurous compositional ideas.
• Your significant other will find you more attractive.
• You will loosen up just a little bit.
• Your back won’t hurt as much.
Don’t hold me to all of those but at least a few will happen.
Let’s say that you are at least moderately intrigued. What next? How does one do this kind of playful study? The doing it part is pretty easy, it’s the brain part that you have to deal with. There are several secrets to getting your brain to go along with the plan because we are creatures of habit and change is not always easy.
• Give yourself permission to play.
• Spend a few hours making shapes on canvas with a brush and one color. Make compositional shape ideas.
• Change your approach. Change your materials, your brushes, tape canvases into quarters to disable the perfectionist feature.
• Work out from a reference source (see ink and wash sketches), put the reference source away and paint from the sketches. Repeat.
• Mix up some large piles of color that you love and just start moving it around. Come back in an hour or two and work on refining the paint into interesting compositions.
• Hide them away for a while. Just be like Dr. Frankenstein and keep your creations in the cellar.
If you ever feel a little stuck or bored with yourself, this is as good a cure as I’ve found. And don’t worry, you won’t suddenly start wearing a rainbow wig or anything weird. But, trust me, you will learn something new about yourself. If you want to know more about really digging deeper, I can recommend a darn good book.
About Larry Moore
Artist, author, instructor, illustrator.
Larry has been a college and workshop instructor for nearly 30 years. From winning a Gold Medal at the Society of Illustrators in New York, to winning Best of Show in national plein air invitationals, inclusion in Society of Illustrators annuals, and Communication Arts design and illustration annuals, he’s employed and refined the essential creative process you’ll read about in his book on creative thinking, Fishing for Elephants. Insights and exercises to develop authentic creativity. Available on Amazon.com.

“Blue Wave”
by Larry Moore
24″ x 24″ oil on wood
A little playful exploration in color building.
“My Self”
by Larry Moore
“Myrtle 3”
by Larry Moore
16″ x 16″ oil on wood
Painted on-site in Maui, Hi
“Sketches”
by Larry Moore
A don’t-pick-your-pen-up drawing continuous line style that changes the way you draw and think. Color is added either from memory or randomly.
“Sweet Dreams”
by Larry Moore
24″ x 20″ oil on wood
An old sugar mill, painted on site in Maui, Hi.
“The Visitor”
by Larry Moore
30″ x 40″ oil on wood
One of the very first in the Intrusion series. A wonderful playground for new ways to build paint and come at narrative ideas in different ways.

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