Nosh

Garden Girl

Original oil painting 28x22"

by Susan Roux

Hit the road running.

It's been me these past few days. I was so absorbed in art la la land at my retreat, that getting back to reality was sure to be a struggle. My mind didn't want to think about anything other than art. But reality exists and it became time to return to it.

No sooner had I emptied my car of all my belongings, my phone rang with an exhibition opportunity. It was afternoon and I had a class to teach that night. In less than 24 hours I had to be hanging. I've never hurried so much to put an exhibition together!

The venue is a restaurant/bar in Portland Maine called Nosh. It's located on Congress Street in the heart of the art district. It's newly renovated and the menu is exciting, creative and fun. What a cool place! If you're around please stop in to see my exhibit. Some of my new "girls" are hanging there. It's a perfect opportunity to see them in person. (and they're so much better in person...) The opportunity came from Paul, one of my students. His art is hanging with mine for the month of March. Paul has been taking lessons for only a year and his work is wonderful. Do stop in.

Garden Girl is the second painting I completed while on retreat. She was a struggle. I've been working hard trying to depict nature around my figures while still keeping it subdued. I'm playing with layers of color that neutralize until they become only values. Ocean scenes are simpler to achieve. Gardens on the other hand are a real challenge. I use so many colors layering, it's difficult to have local color dominate. I do want to figure it out, so I keep trying.

I worked the better part of a day on her hands. It's the first time I ever really defined some. I worked with a large brush and had planned to continue them the following day with a small brush. Fresh morning eyes can be a gift. I liked the softness and relaxed pose on her hat. I decided against using a small brush to preserve the delicateness the larger ones created. Being totally immersed during this retreat helped me focus deeper than I could have at home. Full days in concentration has it's benefits.

Today is the first day I can breath since my return. The world hit me by storm with each day filled to capacity. I've been running and running. No wonder I resisted returning to reality. I look at the all the girls I've painted recently. They are the complete opposite of my reality. There they stand, relaxed in a world all their own. Not a care in the world, existing in a dreamlike state. You'd think I'd be painting chaotic hustle bustle scenes. Instead these girls just been pouring out of me.

Do you think deep inside, I wish I was this relaxed and carefree?

Impressionist

The Window

Original oil painting 14x18"

by Susan Roux

Don't you just love it when you're relaxed, just blogging around, and you come across a post that makes you want to sit down and write? You know what I mean. Those posts that put some idea out there that really gets you thinking and you're compelled to explore it deeper. That's just what happened this morning as I read Paint Dance.

Maryanne wrote, " I love impressionism. I am a little sad that it has not reached the level of popularity that we currently see in styles like representational realism." It was a lovely post with a John Singer Sargent's Breakfast in the Loggia pictured.

Loving impressionism...

Now there's a common thought among many artists. Put me at the top of the list! I have adored Monet's work for years and over half of my rather large art library is publications on him and the impressionist. I've read everything I could get my hands on about Claude. So much so, that in time I came to feel like we were close friends.

How I loved the dreamy strokes, dashes of color, that came together in amazing reality! The light the Impressionist captured drew so many of us into their world. I tingle just thinking about it.

I never tried to paint like Monet though. I was a firm believer that you needed to be true to yourself and paint in a way that felt natural to you. For me, that which poured out of my soul was a colorful fairly-detailed representation with an acute appreciation for light. Painting in my own natural style worked for quite a few years.

Then it happened.

I exposed myself to more and more art and fell in love with lots of it. So many soft dreamy strokes, laid on impasto thick, I wanted to pass my finger atop it and lick it like frosting. I was so drawn to this look, I wanted to paint like that too. How many of us have started out tight and then struggled to loosen our strokes? I think its pretty common.

So for years I pushed myself in this direction, never being satisfied with my work. I'm still there struggling with it to this day. But recently something has changed in my mind. Like my eyes have been opened anew. It goes back to my original way of thinking, how you must remain true to what comes out of your soul naturally. My thoughts go deep and many questions arise. Questions about improvement and pushing yourself in the direction you admire. It can feel like its coming from within, when with all our being, you love these works you see. But what's in the mind and in the soul are different.

Its been difficult for me to understand. In the past year, I feel like I've come full circle, painting in a way that resembles my original process. Yes, those years of easel time have improved my work, but to think how far I could be with it had I only continued with what poured out naturally.

So the thoughts in my head intrigue me. I feel there is something very natural and in control that wants to come out. I'm ready to embrace the representational part of me, that for years I tried to suppress. But somewhere in there I believe there is a softness too. When I go off to the art retreat in February, I hope to explore this concept further. I feel its at the tip of my brush and is ready to pour out. I only need time to devote to it. I think, or better yet, feel I have a balance of dreamy and tight and they will come together on canvas. I've fought the representational side of myself for so long. It feels good to get to a place where I can be comfortable accepting it.

Unlike Maryanne's statement, I've felt an embrace for looser work over representational work in today's society. I do however think impressionist of today feel its work done quickly. Capture that first impression with bold strokes in a limited time. But the real Impressionist only gave the illusion of it being quickly executed. Monet returned over and over to the same spot, in search of the same light, to continue his paintings. When the light wasn't just right at the same time of day, he would begin a new painting. He returned daily and would progress the one canvas that had the same light, never working it for longer than 20 minutes. If he didn't find the same light within two weeks time, he could no longer continue because with the orbit of the earth, the light had changed visibly for him. This made it impossible for him to capture that moment in time he devoted his life to.

So why is it, I wonder, that the impressionist of today came to feel it needed to be painted within a short period of time? If today's impressionist spent the same amount of time and energy on a painting as the original Impressionists, would they rule in popularity?

Posted: The Window will be one of the paintings in Saturday's exhibition at CMMC, Lewiston, Maine from 10-4 in the main lobby. You're invited to come. If you're around, please do!