VIDEO- Art Talk; A Maine Experience

Happy Fall everyone! I have spent so much time traveling and painting this summer that I have hardly had any time to post except on the fly on social media. So these next few posts may actually be a bit of a summer recap. First up, Maine. As you may have read here and on social media, I spent a couple of delicious weeks in June painting the Maine Coast during an artist's residency on the island of Vinalhaven. 

Gallery Flux was kind enough to have hosted a pop-up exhibit of my work for this trip, as well as an artist's talk about my experience painting there. Even though it was a nice and intimate setting, I'm not all that comfortable with public speaking, but I actually had a good time, and the attendees were all very gracious and patient. Thank you to Gallery Flux for hosting me and making this little film. 

The paintings in this exhibit represent my impressions and experiences from the island of Vinalhaven, Maine, where I was fortunate to have spent a fortnight in June as an artist-in-residence. This video, taken at Gallery Flux in Ashland, Virginia is an artist's talk I gave in conjunction with my September show featuring paintings from my residency.  

Plein Air to Studio

Though I have a great love for plein air painting and do it as often as my time and circumstances allow,  I have, out of necessity, become much more of a studio painter these last few years. Working on location is like painting calisthenics. It demands one's full concentration, advance planning, additional travel time, and a good amount of in-the-moment ingenuity in order to capture the particular color notes and light effects of that point in time. As with physical exercise, I get both an exhilarating rush and a bit of a drain afterwards. 

5:30 a.m. wake-up time ensured that I captured this sunrise in all of its colorful glory. As you can see, all of that color was long gone when I photographed the setting at around 7 a.m.

While I love the spontaneity in my plein air work, my studio work has its advantages. For one I can be more deliberate. Without the limitations imposed by time and changing light, I can go larger in the studio, and at times, improve on my drawing and composition. I can also experiment more easily with various formats, color combinations, and other formal aspects of 2D artistry. 

While I have been engaged in both practices for many years now, I want to do more to relate the two disciplines to each other in a more purposeful way. Part of the reason I haven't always managed this is because I tend to consign my plein air paintings to galleries almost immediately after I complete them, which means I am separated from them for either the length of the consignment, or forever if the painting is sold outright. I do have photographs of all of my plein air paintings as well as photographs of the location (though as you can see above,  the latter often tells me very little about the true color I saw in the moment.)

Therefore I'm making a concerted effort to do more plein-air to studio paintings, using the actual plein air paintings as my primary reference when at all possible. Here's my most recent effort:

"New Day Rising", Oil on linen, 20x24" ©Jennifer E Young

Here's my setup, in progress. I used my tablet holder to prop up my plein air painting so that both pieces would be under the same light for better color accuracy. It actually worked very well. Necessity is indeed the mother of invention!  :) 

Outer Banks love affair

Though I don't get there often enough,  I have long maintained a love affair with North Carolina's Outer Banks. Last week we again made our annual sojourn there, and what a week it was! The weather was near perfect, the water a crystal clear turquoise blue. There were dolphin sightings, beautiful sunrises, and pelicans, sandpipers, and seagulls presiding over it all. 

This was the first year in a long time that I was able to get out and paint so often. I kind of made it my mission to do so, especially since the weather was so cooperative all week (my fabulous husband and daughter were pretty darn cooperative too.) My fair skin suffers from too much sun and heat, so I took to painting mostly in the early morning or early evening to salvage it as best I could. Here's a little slideshow of the plein air paintings I completed there. I plan to use these as jumping off points for developing larger pieces in the studio since I will likely have to curtail much of my plein air painting during the unforgivably hot month of August. 

All of these paintings are done in Gamblin traditional oils on linen mounted canvas board. I used my new favorite plein air medium, Gamblin's Solvent Free Gel as well as a small dropper bottle of Gamsol for laying in my design at the beginning stages of the painting. This really keeps the transport and setup of my plein air gear lighter and more streamlined. Hover your mouse over each of the enlarged images to read more about each piece. 

"Dune Shadows, 6 PM", Oil on linen, 8x10"

This was "our" little gazebo that let to the beach. I enjoyed the shadow play across the dunes and sway of the sea oats. 

"Parting Gaze", Oil on linen, 9x12"

This was painted in the late afternoon/early evening beneath the Avalon Fishing Pier in Kill Devil Hills. That man stood there gazing at the ocean long enough for me to capture him. There were a lot of people camped out under the pier, and kids running everywhere. I presume they were doing what I was doing,  seeking refuge from the July sun. The scene I painted doesn't belie the chaos that was immediately surrounding me. But even amidst the hubbub, the ocean still evoked a relaxing effect. 

"Morning at Avalon Pier", Oil on linen, 9x12"

This was painted in the early morning. I took walks down to the pier several mornings from our beach house, and really got a lot of pleasure out of this approaching view, so I thought I'd better paint it. 

"Basking", Oil on linen, 8x10"

This was just a fun little midday piece I did from underneath a large beach canopy that my brother-in-law graciously set up. I later added the little umbrellas in the distance because it seemed to call for something up there. This lady was the only person that wanted to sit still for me while I painted her!

"Anchored at Sunrise", Oil on linen, 9x12"

No sunrise at the beach is ever like the last, but this sunrise had the added bonus of an anchored Navy ship sitting on the horizon. I didn't pack any Permanent Rose, so I struggled a bit to get the color intensity I wanted so the overall effect is very high key. The value relationships though were good, so I decided not to try and make any adjustments after the fact. I had to do this very quickly and loosely, as the entire light and color scheme changed extremely quickly.

A tough road to a good week

Pardon my absence from blogging these last few weeks, but  I've had a bit of a tough road, health-wise this winter, and am only just coming out of it (I hope). For the last six months or so I have spent a good portion of my time chasing down the root cause of my aliments. In a nutshell it turns out that I have become allergic to many things. Suddenly, out of nowhere, my body developed rather alarming allergic reactions to common household products, metals, and even most of my clothing. Uncovering the culprits has been a bit like peeling an onion.

I have spent several weeks sorting through it all and purging what I could. It's costing us a small fortune and a lot of trial and error to replace these things in our home with ones that won't make me sick, but there is really no other way forward.

It's hard to pinpoint the how or why of it all. Could it be related to my occupation? Possibly. But just as easily it could have been set off by cleaning products, beauty products, or something in the water. Who knows? The only thing more I really want to say about it is that if you are an artist, protect yourself. I have been wearing latex free nitrile gloves for a number of years now, and consistently painting solvent-free en plein air and in the studio for the last 8 months or so. But there were many years before that when I was not so cautious and had my hands in solvents, likely breathed in volatile organic compounds on a regular basis, and allowed my materials too much direct contact with my skin. Bottom line, you have to treat your materials with a healthy dose of respect or else risk paying the price with your health.

Yes, I am still painting. I am trying to be less of a slob about it, and protecting myself as much as I can.  Things are calming down with the allergies from my efforts, but it has been a long, tough road. This week though, I got back outside to paint, and it felt so good! Here's an in-situ shot of one of my paintings during a visit to the Meadow Farm Museum, where I twice visited this week.  I haven't had a chance to photograph the finals but when the rain lets up I will share them also. 

As a bonus this week, I was notified by Plein Air Magazine that they wanted to feature my painting "Spring Renewal" in their ezine OutdoorPainter.com in their "Why This Works" column. Yeah! It's good to be getting back in the swing.

Local fare

Doing the mom/artist thing is a constant juggling act. For that matter, doing the mom/anything thing a juggling act! I love painting the early morning light, but so many mornings, despite my best intentions, I cannot get out of the door to paint on locations as early as I would like.  It seems silly, but this can actually be a source of considerable anxiety for me. But, as with so many other lessons that parenting teaches me, I have had to learn to make peace with what is, and perhaps even embrace it. 

This painting occurred on such a morning. With a late start I decided to see if I could find something of interest to paint in my neighborhood. It's actually not that hard in Ashland, as it's a small railroad town with beautiful historic houses and lots of charm. 

"Bicycle Garden," Oil on linen, 10x10"

If I'm not mistaken, this bike has been on this corner since the fall, in anticipation of the UCI Road World Championships that whizzed through our locality in September. In Ashland, decorated bikes were set up everywhere. Even after the races, many of the bikes have remained, their decorations changing according to the season. I have been eyeing this corner for a while now, enjoying the charm of it. When the daffodils popped up, that sealed the deal for me. 

Incidentally, you never know what can happen when you stand on a street corner in a silly hat, no makeup, and sweatpants. You just might encounter a photographer who works for the local paper!