Edges, mark-making and tools

Happy New Year!🎉 Okay, granted I am a little late to the party, but I’ve had a busy couple of weeks moving into a new exhibit space for 2019. More on that soon, but today I wanted to share a bit about mark making, and neat little tool that I stumbled upon along the way.

I didn’t have tons of time over Christmas break to paint, but it doesn’t mean it hasn’t been on my mind. I have been thinking a lot about how I can loosen up, to create pieces that are truthful but not quite so literal. One of the things I struggle with is varying not only color but brushwork, so that there is not so much sameness everywhere. I vary brush sizes and shapes, but it still can leave me feeling a little bit like there must be something more. Sometimes I want to push a bunch of paint around and brushes alone don’t always do that.

Then one day, I purchased a Color Shaper. I actually bought this to spread gesso, because I have some pre-gessoed canvases that I bought that have been sitting around in my studio unused because are still a bit too rough and absorbent for my liking.

Before I even used it for gesso, I got curious. I had heard of other artists using these tools fairly extensively for applying paint in their work and I got to wondering whether it might be a useful tool for varying my edges and textures in my painting.

It didn’t really do what I was hoping for. These shapers come in varying degrees of firmness and the tool I ordered was an extra firm. Good for gesso spreading, but not for my painting. Still, I saw the potential so I went back online to see if I could get another one with more flexibility. But before I got that far, I stumbled upon these do-hickeys and fell in love.

These guys, officially called Princeton Catalyst Wedges, are made of some kind of silicone or rubber and come in a variety of shapes . They are more flexible than my prior purchase but still firm enough to move the paint. They don’t have handles, but frankly I prefer this handle- less variety because it allows for more control.

What does it do? Well, for starters it pushes a heck of a lot of paint around, creating the ability to make bold, impasto passages or thinner, more ethereal ones.

I can use it to make a fairly straight edge with the straight, thin side of the tool, or use it t scrape down passage to create softer edges.

I can use it as a blending tool, or a tool to separate out colors and make them stand out. In short, I can use it to exploit the properties of the paint in a way that is a nice variation from straight-on brushwork .

I first ordered the white tool, pictured above, left. Then then I discovered the black, which I like even better because you have greater versatility with both a long and a short edge. “Why not just use a palette knife,” you might ask? Well, I do love palette knife paintings but I always just end up switching back to brushes and reworking them because I have never been quite able to achieve that combination of softness and boldness I aim for. These little tools act like palette knives with more of a brush feel, if that makes sense.

“Coral Reflections, Late Summer”, Oil on linen, 24x36” ©Jennifer E. Young

I’m still not ditching my paint brushes; they are the work horses in my studio. But I’m having fun playing around with these new tools and exploring what I can do with them in my paintings.

For Everything, A Season

It’s been a difficult year. I guess I’m now at a point where I can finally write it down, but based on the June date of my last real blog post,😳 (aside from the occasional quick announcement) maybe it was already evident. June was when the reality settled in for me and my siblings that it was time to say goodbye (for now) to our beautiful, sweet, smart, creative mother, who had struggled with her illness in an acute form for over a year. I thought I was prepared, but no matter how well you understand the “reality” in front of you, there’s nothing that really prepares you for such a loss. With a little distance and time, I am still realizing how much it knocked the wind out of my sails, and I’ll admit that I am struggling to get my energy and my painting “mojo” back.

"Sun-kissed Sky, Hughlett Point"

Oil on linen, 30x40”

"Peach Glow"

Oil on linen, 11x14”

"Radiant Dawn"

Oil on linen, 24x30”

"The Jewel of Amalfi"

SOLD (Commissioned work, 24x30”)

"Last Light in the Sunken Garden"

Oil on linen, 12x16”

"En Route to Lane's Island"

Oil on linen, 24x30”

If you, yourself, are a creative of any kind, I’m sure you know that feeling of creative flow. It’s so great when it’s present and really kind of miserable when it isn’t. That’s not to say that I haven’t painted at all. In fact, the paintings I’m sharing in this post are from commissions and projects I worked on over the past few months. But it’s been hard to get that momentum going where gears are all greased and the ideas and inspiration just keep flowing and I’m chomping at the bit with my next idea.

I suppose there are art marketing gurus out there that say that you should never admit such things and always put your most successful foot forward. “Fake it ‘til you make it,” so to speak, and only share your successes and never the struggle. That can sometimes be helpful, but it’s not particularly authentic. Let’s face it, the struggle can be real and I would venture to say I am not the only artist who has been in this place.

If you are in this place also, my advice is to be gentle on yourself. Do the work that is in front of you, do what you can, but don’t beat yourself up that it’s just “not happening” for you every time you step in front of the easel (or the potter’s wheel or the computer). Celebrate the moments of inspiration in whatever form and for however long they come. This too will pass, but in the meantime, the only way past it is to get through it the best way you know how.

For me, I’m reorganizing my studio, working on an new inventory management system, and cleaning up the office as a way to clear out both the mental and physical clutter. As a result, I’m holding a holiday sale of smaller (mostly plein air) paintings with some great savings in hopes that I can manage my limited storage space and also hopefully send a few more pieces out into the world. I’m also working on a series of still life paintings, as they are less dependent on time of day and weather. More about that in future posts.

"Plein Air Unleashed"

Last week I posted about a planned trip to White Stone, VA to paint with fellow artists in a relatively new plein air painting festival called Plein Air Unleashed. There were ten of us artists at this year's event, which spanned over a period of three days. 52 paintings were turned in to Allure Art Center at the culmination, to be displayed at the gallery during the month of May.  This is a fairly newly minted event, so it was pretty relaxed and low-key, which was fine by me as I always feel a bit rusty in the spring after my winter hibernation in the studio. 

This was my collection of paintings turned in at the end of the event.

White Stone is less than two hours from where I live, but I have never been to this area, nor anywhere in the Northern Neck. It's really quite a treat for plein air painters like me. The Northern Neck is the northernmost peninsula in Virginia. White Stone, Irvington, and Kilmarnock, where we painted sit at the southern end, where the Rappahanock meets the Chesapeake Bay. The area consists of small beaches, wetlands, marinas, farms, vineyards, and wineries, so there is a wide variety of subject matter to paint, with some really beautiful light and cloud formations from being that it is surrounded by so much water.

In all, I painted 8 pieces and turned in 7 (with one being a tosser). I can sometimes feel stressed by the more competitive events, but this festival was invigorating. It was great to be around other fine caliber painters and to just be able to submerge myself in nothing but painting for a few dedicated days. Here are a few on site photos of works-in-progress:

I felt fortunate to have stumbled on the info about this event through my friend Kim Hall, and hope to return next year. Here are most of the paintings I submitted for the show. I wish I had time to get a terrific record of the artwork submitted, but these photographs will have to do for now. 

"Afternoon at Hughlett Point", oil on linen, 11x14"

"Cloud Drift", Oil on linen, 9x12"

"Two Pines, Hughlett Point", Oil on linen, 12x16"

"Ready for Summer", Oil on linen, 12x12"

"Springtime at Windmill Point", Oil on linen, 12x12"

"Wind on the Marsh", Oil on linen, 12x16"

The exhibit at Allure Art Center will run through May 26th. The gallery is going to be posting highlights from the event and artists on its Facebook page, so even if you are nowhere near White Stone, you can get a taste of the event online. 

Island Mystique

Some of the most romantic and beautiful moments of my Vinalhaven, Maine residency were when I awoke to see the island enveloped in mysterious fog. Attempting to paint that fog from life, however, takes actual work and perseverance. The shifting atmospheric effects on the land and the oh so subtle value ranges require astute concentration and alertness in the midst of the peaceful stillness. 

Not too far from where I was staying sat a lovely field of wildflowers fronting some wetlands. Purple-violet lupines, as beautiful as any hothouse flower, grow wild throughout the region in spring, as do buttercups, pink clover, daisies, Queen Anne's lace, and numerous other beauties I wasn't able to name. 

"Lupines in the Mist", Oil on linen, 11x14" (SOLD) ©Jennifer E Young

My 11x14" plein air piece (above) found its home on the island, but I wanted to return to that experience back in the studio while my memory of it was still fresh.  I painted the larger version with a slightly different angle to include the hint of wetlands in the background in order to give it a better sense of place. Click through on the image below for more info.

So many paintings, so little time!

Going through my notebooks and photos from my Maine trip, I'm made aware of just how many paintings I have swirling around in my  consciousness, and never enough time to execute them all. I guess it's better than the alternative of a dry spell, but only slightly less frustrating.  

The reality is that I'm a mom with a family and a household and a very busy summer on top of it., and since my return from the trip I have had to work in fits and starts, and not without some failure. Still, I do what I can to make time for art. Here's my latest, which was first attempted on site but had to be aborted when the wind turned my painting into a virtual kite! 

"Evening at Carver's Harbor", Oil on linen, 16x20" ©Jennifer E Young

Those boxy shapes you see are lobster cages. They are kind of an iconic symbol to me of this town. Vinalhaven once had its heyday as an island for quarry mining, but workers later turned to lobster fishing for their livelihood. The sun rises at 4:30 a.m., so I was told the fishermen are up by 3:30! Now that's dedication. A far sight more dedicated than I was on the evening I attempted to paint this scene. After my painting did a face plant there was nothing left to do but resign myself to the realities of the wind and eat a delicious lobster roll as consolation.

I have another Maine piece on the easel that I'm hoping to complete this week, and then I am off to Floyd, Virginia to paint with my fellow plein air painters in the Floyd Plein Air Festival. This is a week-long event of painting in the mountains, farmland, and vineyards in and around Floyd. I participated in the inaugural event a couple of years ago and we had lots of clouds, wind, and some rain. Here's hoping the weather is a little more cooperative this time around.