"the thing"

Temptation

Original oil painting  14x18"

by Susan Roux

What are you striving to capture in your paintings?

Place a bunch of artists in front of the same scene or set-up and everyone has a different interpretation. Are we not seeing the same colors? Are we not seeing the same light?

There is much more to painting than meets the eye...

Emotion. Our own unique response to whatever subject we choose to paint. Even the same artist on a different day will interpret the same subject differently. Who we are. What we are. Everything we've been through physically and emotionally effects how we place paint to canvas. I've been reminded of this recently.

I've noticed over the years when my actual life feels out of my control, my art tightens. It's as though I'm looking to have control over something when everything else feels chaotic. I have a student who reacts completely in the opposite way. She unleashes wildly and boldly in an emotional abstract outpour that has the illusion of somebody screaming!

What happens to your art when life feels out of your control?

Even when life is going along normally, we focus on capturing different things. Is it a feeling you're trying to capture? Perhaps creating an ambiance? It is technical fundamentals? Is it certain colors you wish to play with?

When we decide on a subject to paint, there is something about that subject that spoke to us to make us choose it over all other subjects at that moment. What is that something? What was it about your subject that spoke to you? Whatever it was: the shadow play, the colors, the movement, the serenity, the lines, the structure... This should be your top priority. This should be "the thing" you're trying to capture. It is where your passion lies.

No one will feel about "the thing" exactly like you do. What captures you about the subject is what you should be striving to capture in your painting.

Ignore all those voices in your head that are telling you so and so said I should do it like this or so and so would do it this way. When you're trying too hard to focus on someone else's method, you're not following your own unique voice. Yes there are those times of learning/studying which require thought about the teacher's words. But any other time, the only thing you should be following is your own gut feeling. Let that brush go on auto pilot. Focus on "the thing" that inspired you to paint your subject. Exaggerate it even, so your viewers won't miss it. Everything else will fall into place.

When it comes to art the thing is, expressing "the thing" is what it's always been all about.

Company

Purple Passion

Original oil painting  16x20"

by Susan Roux

Company. Isn't it part of the holidays? The best part, I'd say. I have to confess I love having people stay over. Whether loved ones arriving or casual acquaintances, it puts the house in an air of celebration.

Purple Passion developed quite differently than my previous still life. When I look at it, it reminds me of the feeling of holiday company. There's a big difference in hosting a holiday meal and having overnight guests. The meal has the house filled to capacity with a fancy table and wonderful smells wafting through the air. Overnight company, on the other hand, is filled with special quiet moments that can remain in your heart forever. 

Like early morning conversation when only two people in the house have awaken. It doesn't matter that your hair is a mess, nor that you're in your bathrobe. Some nice quality time emerges while sipping your first cup of coffee. Don Hatfield and I met like this every morning when he visited a few years ago. As you can imagine, conversations were always deep and about art. Priceless... The same is true with the evening. Cuddled up in front of the warm fire sipping whatever makes you feel cozy inside. This is what I see when I look at this painting. The fancy of company with warm hugs surrounding it all.

My middle son arrives today. I'm ecstatic. Yes I still have plenty to do before my house is company ready. It's exactly like what I read recently on Sally Rosenbaum's blog, the reason women have difficulty rising in their careers to the same capacity as men is: We don't have wives! Consequently, if we're devoted to our work, the house suffers. Let me tell you, I've been very devoted to my art! So after this post, I'll be busy with a plethora of household chores...

I know I'll miss my routine of painting. I always do in December. My classes will still run as usual for the most part. Students really need the break from holiday madness this time of year. They're so thankful for a reprieve and a bit of stress-free time with a brush in their hands. I too am happy to pick up my brushes. What I miss the most is time to paint on my own. 

Come January I'm usually ready to explode on canvas! (not a bad thing.)

So if I don't post again before Christmas or don't stop by as often as usual, know that I'm cozied up in front of the fire sipping something special with my very welcomed company.

Happy holidays to all of you. May you find time to enjoy those special quiet moments amidst the hustle. I also want to take time to thank all of you for stopping by throughout the year. Whether you leave a comment or not, I love that you take time to pop in. And for those of you who are so dedicated to leaving me a little note, know you're the ones who put a huge smile on my face... Blessings to all and have a safe and happy holiday.

Still life. Really???

Grandma's Tea Set

Original oil painting  20x16"

by Susan Roux

From a teaching point of view, I've been wanting to introduce my students to still life painting for a while now. It requires close attention to values and defined light and shadow patterns. Much like the challenge of doing a figure without the proportions being as important, so long as the overall composition still works.

I wasn't sure how to go about this. Each class meets once a week and it can take a good month to finish a painting. How could I possibly set up a still life that would last that long without being moved? Not to mention any flowers. The other problem I faced was everyone's vantage point would be different. A set-up could be very pleasing from one persons perspective, but very unattractive from another's.

One day the solution came to me.

A photo shoot. Yes, it was that simple.

I'm predominantly a studio painter. I work from images most of the time. Why having images of a still life didn't occur to me is baffling. I did still life work over a decade ago. It fascinated me and made me focus differently than painting landscapes. I enjoyed the challenge a few times a year. Each time, I'd prepare a set-up on my bay window to paint from at the same time of day. It was my time to explore painting from life and I loved the light and colors I'd see.

It came as an unusual thought to paint one from a photograph, but it seemed the perfect solution. So one day I called a student in to help me. Bring along some things that would work in a still life, I said. Much to my surprise, he arrived with a car full of unusual and interesting things. We set up a table in the hallway, the darkest place in the house. A single light source could be brought in. We worked for hours that day, setting up various things on different cloths. Click, click, click went the camera. Artifacts were strewed all over the house by the time we finished.

Those photos sat in my file for at least a month. Last week a class wanted to begin a still life. It hit me that I was perhaps not the best teacher for this, not having done one in so long myself. We began. A loose background and the objects drawn in with paint was the extent of our progress.

I found myself wanting to continue after class, but since I paint along with my students, I couldn't. The next best thing was to do another one on my own. I figured it would really help me direct the class though the process if I did. So here it is. Grandma's Tea Set.

I surprised myself. I don't know if it was the emotion around the memory of my Grandmother or the fact that artists were in and out of my house to paint that day, but something extraordinary seemed to happen.

You work for years trying to establish your own style and define yourself uniquely as an artist. It's odd when you suddenly choose a completely different subject and it falls into place so naturally. The fascination for creating still life feels awakened in me. Where has this desire been hiding all these years?

The artist journey is too complicated to describe in a few phrases. Even to the artist himself, it is full of surprises.

You can expect to see a few more still life paintings show up here. I can't promise they will all turn out like this, but time will tell.



Behind the easel, the adventure continues...

Invitations

Old World Serenity

Original oil painting  18x24"

by Susan Roux

I don't know what it is about Europe, but for as long as I can remember it feels like it's been beckoning me. Perhaps it's the ancient. Perhaps it's my ancestry or perhaps it's works of art I've seen depicting it that pulls at me. I'm really not sure. All I know is the feeling has always been powerful.

For years, I never thought I'd get there. Sometimes life turns and suddenly you find yourself where you never thought possible. Who would have predicted an invitation to exhibit in Russia would get me there? But it did. I've been overseas twice now and I hope to return again. The lovely scene depicted is from Ireland. This wonderful place stole my heart though I'm not of Irish decent.

Sometimes new worlds can open up for you by means of a simple invitation.

Those words: Please Come or You Are Invited can open opportunities you might otherwise have thought impossible. Have you ever gone somewhere unexpected because of an invitation? Have you ever wished you had been invited to something you weren't? Sometimes invitations can trigger one to suddenly do something new and adventurous.

I've come to realize that many people are never invited to things. Especially people of prominence. Lets put this in terms of art. Is there a gallery you'd love to be represented by? What about the owner? How often do you think they get invited to art openings? Sure they host plenty of them, but do you really think they get invited outside their own gallery for something artistic? It's a bit unlikely.

I have to admit, I'm often spurred by impulse. I get a crazy idea that might be really out there and before I can talk myself out of it, I act upon it. I know it can be a mistake. Spontaneity isn't always your best friend. But most of the time it hasn't steered me wrong.

Invitations.

Surprises can happen with them.

Are you feeling in a rut? Are you feeling humdrum? Invite somebody unexpected and see what happens. Nora Kasten invited me several years ago to come visit when she found out I was going to Florida for a vacation. Such a simple gesture that led to our friendship/relationship. She's since come to Maine and we've had the pleasure of spending quite a bit of time together.

I invited Don Hatfield a few years back. Just like that. A simple invitation to come to Maine. Look at all that has led to! Looking back it seems completely impossible that that tiny little gesture would lead to him becoming my mentor.

What's the worse thing that can come from an invitation? They decline???

I could go on and on about people I've invited and the opportunities that arose from it.

Take this painting for instance. I came to this little town because I contacted Irish artist Owen Rohu before I traveled to Ireland. I invited him to paint with me. The invitation didn't lead to painting together, but it did lead to being invited to his home where I visited his studio, had stimulating conversation about the art world in his country and lunch with his lovely wife and children.

If you would like opportunities to open up for yourself, try beginning with an invitation. You might be very surprised who'll accept!

I would like to extend an invitation to  you. Please come to Maine in August. Don Hatfield will be teaching 3 wonderful workshops. (Did you know he doesn't teach a circuit of them? You'll need to come to Maine. This is sort of an exclusive!)

Here are the dates:

August 1 2 3: Portrait Workshop


August 6 7 8: Still life Workshop


August 10 11 12: Figurative Workshop (in costume)


Cost is $300. for one workshop, $500. for two and $700. for all three. A $100. deposit is required at signup with the balance due July 1, 2012.

Please contact me for further information. As mentioned in my last post, Don Hatfield focuses on the fundamentals. No matter how experienced you are, whether a beginner or seasoned artist, taking his workshop will improve your work. Don is funny, honest and won't teach you gimmicks. He'll give you the knowledge you personally need to move forward with your art. I highly recommend it and promise you won't regret taking it.

Plus you get to meet me!


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Note: The above painting is exhibited and for sale at the Blue Heron Gallery, Wellfleet MA (Cape Cod) Please contact owner, Roy Thurston, if you're interested in purchasing it.

Class fruit

I never paint fruit.

That realization hit me last night while talking to my husband. I found it especially funny since painting the apple is my first lesson with beginner students. The lesson is how to capture form. Why did I ever choose a subject I never paint?

Puzzling...

I just started a new class of such beginners last week. Its a grueling night for people who've never picked up a paintbrush. In two hours we go from how to put paint on the palette and hold a palette knife, to painting an apple, four times! When I say beginners, I really mean beginners. I advertise my class as not needing to know how to draw...

No class this week, due to school vacation. Class is held at the high school. To my grand surprise some of my students asked if they could come to my house. They knew I taught classes here and they wanted to continue painting. Wow, apple night isn't the greatest fun, yet they were inspired to paint!

I just love it when people are instantly captivated with oils. The joy on their faces is why I do this. Its so rewarding to give the gift of painting to someone who's never experienced it.

So last night, I planned an additional exercise for three students.

Its only their second time with a brush in their hands. I wasn't sure what to prepare for them. A simple still life was my decision. I gave them the option to do only part of the arrangement if they felt it was too complicated at this stage. They all chose to do the entire grouping.

Posted is the demo I did during class. They followed along with me and left with striking paintings. We all had a unique angle of the still life, making light and shadow different for each student. It turned out to be a great lesson.

I had fun with the tiny still life. I was working on canvas paper, but I'm inclined to finish it just the same. Painting fruit is colorful and fun. I was just getting into the reflections, which is a favorite subject of mine.

So later, teacher will give herself a lesson...

Not today

With glorious light shining down in my studio, I painted. I painted and painted and painted some more! I started a few more children at the beach, continuing my series as posted in Finding clarity. I love starting them. I go crazy dripping color. Its so freeing! (I made sure to use a lot of red...) By afternoon a friend called and wanted to come paint. She had seen a painting online and wanted to try to imitate the style. She needed help getting started.

Fine. Let's do it!

It was totally out of my comfort zone. Not nature, but a still life. And the way the paint had to be laid was about as opposite as it gets. I love working with the transparent properties of the oils. I get so intrigued by the way light passes through them, hits the canvas and bounces back as light.

Not today.

For this project, we needed to begin with a toned canvas. There would be no light shinning from behind. All the lights would be placed on top of other paint. I chose a small canvas. I didn't expect to be happy with the results, but figured we'd have fun. Nothing wrong with a little fun, is there? So I set up a simple still life, resembling the type she had found.

I did some still life paintings years ago. I loved setting them up in my big window. I'd cluster up all sorts of things of different shapes then chase the light all day, finishing the following day to repeat the same light. It was like a treasure hunt finding the right objects to place together. Tall pieces, short wide pieces, scattered pieces, fruit, vegetables, flowers or plants always made the list. Doilies or draped cloths found their way under a portion of the objects, allowing reflections on the rest. Setting up the arrangement was a work of art in itself.

Not today.

The set-up was to be very simple. One or two objects at most. A challenge for a good, interesting composition. A challenge to get excited about what I was going to paint! Yikes. What had I gotten myself into?

Still it was painting, so I decided to relax and go with it. We had so much fun. Like teaching, being out of your comfort zone, forces you to focus on the important elements. Form, composition, color... I found playing on the toned canvas to be quite fun. Paint responded differently and that made it exciting. After awhile it felt more like I was drawing than painting. Perhaps we got too picky, but we were pretty green at this method.

I surprised myself. Here it is, Susan Roux's "Purple Teapot". The result wasn't as bad as I had predicted. I know it isn't a masterpiece, but I'm not embarrassed to post it. After all, it comes with my whole story. It was a lot of fun to experiment. I hope you take time for that once in a while. Its a challenge but stimulating. I'll go back to my regular transparent way of painting. Who knows, some little part of this exercise may remain with me and reappear on a later canvas... Don't you love surprises?