Dreams and goals

Up On Lighthouse Hill

Original oil painting  22x28"

by Susan Roux

I love this time of year.

In Maine the weather's raw, the snow is bright and glorious and my focus is to jump head first into (no not Sebago Lake with the other Polar Bears...) my art! There's something cozy about winter after the holidays. The house is warm with the smell of wood wafting each time the stoves are loaded. You could cozy up by the fire with your favorite drink or... spend relentless hours in front of your easel.

I usually choose the latter.

It's also a time to look at life and your current direction to see if you're staying on track. Goals have been made over time and if you're like the pack, the end of a year has us thinking about them more than usual. With it also comes the feeling of time. A whole new year ahead of us, much like a blank canvas, to be filled with something new. Endless possibilities. What will you fill your new calendar with?

Are you looking for gallery representation? Perhaps you'll peruse new opportunities for artist? A competition? Will you be taking a workshop or two? Maybe your contemplating teaching, sharing your skills? Will your focus be on marketing yourself? There's a certain excitement in knowing you have a choice to plan and choose whichever direction you want. Sure it will take a lot of motivation and hard work, but you have a whole year ahead of you! Piece of cake.

As for myself, yes I have approached a few new galleries for further representation. To be honest, it's still scary. The first time you put yourself out there to be judged can be terrifying but for those of us who've been out there awhile, it still holds a level of anxiety.

The anxiety goes both ways. You feel like you're holding your breath waiting for their response. You're trying to brace yourself for the rejection. Are you standing firmly enough or will it knock you right over? Those nagging questions circle in your head. I like to think I'm sturdy enough to have it bounce right off of me. Shake it off like it wasn't a big deal. But we all know that those rejections can be crippling.

Then there's the other side of the pending anxiety. What if they do accept me??? It will be very affirming and a wonderful boost. Complete joy! You can just imagine your creative energy escalating. Escalating until you get to that point when you doubt yourself and wonder if you can continue to create a level of quality that satisfies your new gallery? Ouch. The things we do to ourselves.

Art has to be one of the most difficult ventures. I know we can't help ourselves and the desire to create can consume us. But the reality of it is we are drawing from within. Exposing ourselves in our most naked form and the fear of being judged and then rejected is terrifying. I don't care how long you've been doing it. It's as terrifying each and every time. The better you get, the higher the bar you're reaching for. Will you grab and slip and come crashing to the floor? Or will you reach to a comforting hand that pulls you upward towards your dreams?

I've been looking at your blogs and I love your goals. It's so inspiring to read. My favorite is those of you professing to paint 30 painting in 30 days. It's a huge commitment. I think of it differently than the daily painters. I imagine normal size canvases with full fledge paintings. I don't think I could keep up that momentum. I'm pretty prolific but that would do me in. I applaud you for your gumption and drive.

Whatever your goals are, I wish you the tenacity to push on no matter how terrifying it might be and be successful in achieving them.

What are you dreaming for this year? What bar are you reaching for?

Project Graduation Raffle

Magical Garden

Original oil painting  16x20"

by Susan Roux

Are you familiar with Project Graduation?

It's a good program organized by Mom's of high school seniors to raise money for a safe graduation party. I don't know if you recall, but each year there were news of seniors dying in car accidents after celebrating their graduation by partying it up too much. It was sad indeed. So sad actually that parents, mother's particularly, began Project Graduation.

The fundraising goes on all year. A huge alcohol-free celebration is planned. It's a big secret. Not a secret that the fundraising is going on, but a secret as to the location of the party and the activities involved. Depending on the amount raised, more "fun things" can be rented to spice up the party. The seniors are bussed away, directly following the graduation ceremony and don't return until the following morning. It's an all nighter with all their friends and everyone arrives home safe.

Arriving home safe. That's the whole purpose of this project.

I remember one of my sons cruised out on Casco Bay. (That's where Portland Head Light sits.) Imagine the fun all night with the city lights as a backdrop? He recalls it as a blast and so romantic. My other son was taken to a resort. Indoor pool for the whole senior class! How fun! They also had rented sumo costumes. Yes big inflated puffy costumes  and they had wrestling matches. His stories were priceless! 

And everyone arrived home safe...

The above painting is my donation to the project. It's hanging in the school lobby showcase all dressed up in a beautiful 3" gold frame. Raffle tickets are being sold until the drawing on February 9. 

Would you like a chance at winning this original Susan Roux? (I'll tell you, it's much prettier in life than on this photo...) 

Tickets are $3.00 each or $5.00 for two.

It's a great deal! Someone will walk off with Magical Garden at this low price. Shouldn't it be you?

Just send me an email or snail mail me at:

Susan Roux

50 Bishop Rd.

Poland Spring, ME 04274

Your donations are really appreciated. Please take a few minutes to buy a chance. After all, it's like we're giving it away!

Thank you in advance for your kindness. You might also want to contact your local high school and make a donation towards their project graduation. After all it's for the safety of our kids!

Thank you very much.

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...

Susan Roux Workshop 2012

Monarda

Original oil painting  18x24"

by Susan Roux

You're invited!

I'll be teaching an oil painting workshop in August and would love it if you'd join us in three days of fun with color! The focus of the workshop will be on Color and Value and it's purpose with regards to design.

It will be three days packed with exploring color. Come stimulate yourself as we dive fearlessly into luscious color! Learn to add excitement to your paintings while remaining in control. 

Do you fear color? Are you having trouble with color harmony when using too many? Are you limiting yourself for fear of not achieving harmony otherwise? How about neutralizing? Is making mud a problem? 

Then this workshop is for you!

I'll be explaining many properties of color to help you understand it, thus help you keep it in control. 

Free yourself by allowing your inner creativity to unleash on canvas. Learn to add visual excitement to your work. Let your paintbrush dance on the canvas. Don't be so preoccupied about staying within the lines and achieving harmony will become an ease. 

I'll encourage you to apply paint in various ways to help you expand your choices of brushstrokes. We'll be working wet into wet. As the paint gets thicker on the canvas, we can begin to push and pull paint around. Drag your brush, twist your brush, just let it dance on the canvas! Free your spirited energy to just pour out.

Depending how tight or loose you want to keep your paintings, I'll show you how to bring this burst of color into shape. Color and value work together to create the illusion of light, depth and form. As a unit, they can help direct the viewers eye around the canvas, adding power to the overall design. 

This workshop is intended for all levels. 

Come to Maine during the dog days of summer and deepen your understanding of color!

Hope to see you soon...

For further information click here.

Note: You may remember seeing the distance in this painting. It was posted in February before the entire painting was complete. This painting is at Blue Hill Bay Gallery in Blue Hill, Maine. For purchasing information, please contact Peter. 

Is it just Spring?

Jardin d'Amour

Original oil painting  18x24"

by Susan Roux

Perhaps it's spring, but I feel something trying to sprout in my work. It's similar to hitting a wall and coming around the other side with added knowledge or clarity about something. Only there's no wall. I feel myself bubbling almost percolating inside. (and no, it isn't anything intestinal... I knew what you were thinking) It's like an excited child in there, full of energy. I want to paint all the time. It feels like a painting high and it's pouring out from my creative side.

Did you read Keith Bonds article titled Recuerdos de la Alhambra and your art?  It was a wonderful article about needing a balance between fundamentals and passion. It's what I talked about as my New Year's resolution goal.  It all comes down to knowing the rules, yet still applying your own creative voice to it. I'm sure you've all seen art that is correct in defining its forms, yet is void of emotion. It usually leaves you feeling flat. Because the painting has no emotion, it gives you no emotional reaction. One of my students recently told me of a work of art she saw while on vacation. It brought her to tears. She found herself in a public place crying and a bit shocked about it. An embarrassing moment for her, but the ultimate compliment for the artist.

I believe this is what masterpieces are made of. Just the right balance of the two.

My crazy emotional side is rallying for attention! I must have spent too much time focused on my fundamentals and it got a bit jealous. Hopefully all that time spent on them translates into some of my natural instincts now. (I can wish, can't I?) Anyways, I'm not questioning it at the moment. Exploding on canvas these days is too much fun. I just want to ride the wave!

Oh yes, there's been experimenting in the process.

I'm working the brush in ways I've never used it before. Pushing instead of pulling. Push and twirl even! It's as though I'm fearless and trust my heart will pull me out of whatever jam I put myself into.

I'm watching and observing everything that's happening as I try new things. I didn't know you could teach your creative side, but it seems to be what I'm experiencing. It's elating!

Flowers seem to be a good subject to experiment in. They can be so forgiving, bouncy and happy. Not to mention a party of color!

I know everything I'm trying isn't perfect. But after all, isn't it what makes the whole journey worthwhile in the first place? 

I hope you're having fun experimenting too. It is spring you know, so allow something new and exciting to spring out of you! (I haven't used this many exclamation points since I was about thirteen. Can you tell I'm excited? I told you, just like a little kid inside me full of wonderful playful energy! I hope he sticks around for awhile...)

I also want to thank all of you for stopping by and commenting. It means so much to me and I rarely take time to let you know how special you are to me. So thanks for visiting, my friends!

Don Hatfield Workshop 2012

Nature's Dance

Original oil painting  12x36"

by Susan Roux

Basic fundamentals. I can't say enough on the importance of them. I don't care how seasoned an artist you are or if you're just a beginner, those fundamentals are of utmost importance to the representational painter. Sure there's creativity and you may want to simplify things in your own way as part of your creative voice. But without a clear understanding of the fundamentals, your work will remain a hit or miss sort of thing. Some are good and other's ...not so much. 

The artist's journey is lifelong for most of us. In this journey we strive to find our unique voice and hope to see continued growth. We're usually our worse critics, often allowing that terrible voice inside to spook us.  Art is a very revealing thing. It's pouring yourself out on canvas, exposed to the masses. Criticism crushes often giving voice to that inner demon. The best way to arm yourself against it is having clear knowledge of the basic fundamentals.

How good is your foundation? Solid? Shifting? Crumbly? Wouldn't it be great to answer Solid with confidence?

I for one, would like more confidence in that department...

Don Hatfield. It's not uncommon for his name to pop up on this blog. (By now, I think it's even surpassed Luka Bloom! How can that be???) Don is not only my mentor, he has grown to be a very dear friend. The longer I know him, the more he amazes me. As an artist, I've admired his work since I first came upon it in the early '90's. His voice is filled with soft beautiful color and arrangements that let the viewer dream. Serolla and Sargent are among his favorites and it's easy to see signs of their inspiration in his work. Basic fundamentals are strong in all these great artists.

Nowadays, you can sign up for workshops from all sorts of "masters". I can't vouch for their teaching abilities. I can however vouch for Don's. His focus is Basic Fundamentals. Improve on those and your art improves. Plain and simple.

Are you finding yourself stagnating? Could your art use a little more Punch? Definition? Impact? Emotion? Are you having trouble elevating to the next level? 

The answer lies in the fundamentals.

I'm so excited to be hosting Don Hatfield again this year for a series of workshops in early August. Actual dates and specifics will be announced soon. Don will teach 3 separate 3-day workshops: portraiture, still life and figurative in costume. Cost for the 3-day sessions is a reasonable $300. with reductions for multiple workshops. Whether a beginner or a seasoned artists, you would benefit from his teachings. 

Aren't you just itching to come to Maine? August is a lovely month. Think about it. You could begin with a 3-day Hatfield energy boost and continue on to a beautiful coastline town for an extended stay and paint, armed with precious fundamentals and a new-found confidence. 

Does it get any better than that?...!

(Note: I can't get this photo adjusted to look as soft and delicate as the actual painting.)

Playing with mud

Morning Fog, Monhegan

Original oil painting  24x18"

by Susan Roux

When Don Hatfield came to teach his workshop here a few summer's ago, he showed us how he mixes paint on a glass palette. Forget the palette knives. He took his stiff bristled brush, dipped in several colors and turned it in circular fashion in the center of his palette. With that mess which appeared like mud, he showed us how he could move the puddle from warm to cool and back again by simply adding a new color to it. As he continued to demonstrate, the mud puddle grew and grew. You can mix anything in here  he told us. 

Much to our surprise, he demonstrated portraiture using this puddle of mud!

Since then, I have to admit I've learned to embrace the puddle. I even have my students using the puddle. There's something interesting about mud. All those neutralized grays... Subtle in their own right, yet clearly distinctive added to the canvas. It's amazing how many different shades of neutral gray one can make. 

Hatfield (that's what he likes to call himself) told us of his early studies with pastels. He learned to add color to a gray toned paper. It worked beautifully. In time, when he began to paint, he brought this knowledge to the canvas. I've never seen anyone like mud as much as he does. Where many fear creating muddy colors, he becomes the master in control when it happens. And just as with pastels, colors sit beautifully on mud. 

As I painted Morning Fog, Monhegan it's all I thought about. Mud. So much mud. I was painting an entire scene with muddy colors. I found myself lost in the slight variations I could create. I was being seduced by it. I was pulling and pushing shapes. My first strokes for the flowers were a simple diagonal swish of hot pink. It was a flat area of color. As I worked in the flowers, I was making decisions about which one's came forward and which ones would recede. And when they did recede, which flowers would be furthest back.

I watched my canvas evolve as I played with mud on my flowers. I felt in complete control. If I wanted a flower to push further back, I had the ability to do it in a instant. Frankly I'm surprised I finished this painting. I was having so much fun being the master of my flowers, it's a wonder I finally stopped. 

It's easy to paint drama with strong sun/shadow patterns. It's also easy to create drama with dark and light values as seen in my previous painting. What I was after here was to see if I could create some drama without any of those things. No sunshine, no high contrast areas, just mud and a bit of pure color. 

Do you ever try to challenge yourself with something new? If so, what? Do you enjoy getting out of your comfort zone? I do. It can be lots of fun. 

Note to Don: My deepest condolences for the loss of your dear sweet wife, Janey.

Art direction?

Floral Emotion

Original Oil Painting  12x30" gallery wrap canvas

by Susan Roux

Where is your art going this year? Will it be taking a different direction? Will you try new techniques or work on perfecting your current ones?

With all the talk of New Year's resolutions and dreams for the year, I have trouble not focusing on my art when answering. January of last year marked the birth of my girls at the beach with simplified backgrounds. It seems as though I've been working on them much longer. When I began, I wanted to play with pale shadows that still read like shadow. I've tried to hold that as part of my focus, but also delving into developing fundamentals.

I'm certain you recall me using words like painstakingly. Trying to improve our painting habits is never an easy plight. We become comfortable doing certain things and it's easy to continue to repeat them. Forcing your brain to think differently, apply the paint differently and try to have a result that doesn't look like you spent too much time "thinking" in the first place can be a very painstaking act. I speak to you from experience. 

Personally I'm drawn to great paintings that offer a balance of creativity, meaning that pure emotional spontaneity, with perfectly executed fundamentals. When these two dance on canvas poetically it's difficult to look away. I'm drawn to surprises. That creative use of color, unexpected in its location, yet working beautifully to unify the composition. A harmony that leaves something to the imagination and elevates the viewer to drift and dream. 

As you can see I set my goals high and I still have a long way to go to achieve them.

Working on fundamentals engages the brain. Spontaneity and gut reactions go out the door. Focusing for a full year on these has helped me develop, but a fear of being unable to shut my brain down grew. What if I can't access that creative side again? What if I want to analyze every stroke all the time? I'm striving for a balance of the two. How will this be possible?

The holidays presented me with very little time to paint. I'm certain you can relate to that or at lease to the growing desire to just pick up a brush when time doesn't allow it. The feeling became so great that one day I just exploded on canvas! I didn't want to think. I didn't want to follow any rules. I just wanted to paint!

And so I did. 

The painting posted is pure emotion pouring on canvas. Oh how it felt good! I look at it now and want to return to it to define some element more. Pick a cluster of flowers, maybe just one flower, and give it a bit more attention. I know it doesn't resemble my other work. That's ok. I could go back and define it, but I want to keep it as is. It'll be good to hang in the studio as a reminder that my creative side is not dead and can still be accessed. Now I can relax and continue in my development of fundamentals. 

Something inside still drives me. My work feels cut out for the new year. My direction is clear. Develop the fundamentals further and begin to allow the creative side to dance with it. Somewhere between my girls at the beach and this emotional outburst lies the place I'm headed. 

So I ask again. Where are you headed with regards to your art this year?

Linda Blondheim

Lupines in the Sky

Original oil painting  10x30"

by Susan Roux

I stumbled upon a little gem this morning...

Did I ever mention I live in the woods? It isn't hard to do when you live in rural Maine. Trees grow here like weeds. Even after they've been cut down, the stubborn stumps rebel by sending up five new trees in its place. Keeping the woods from swallowing up the whole property is nearly a full time job. I'm cutting and pruning and fighting them back all the time and they're still winning. What was once a sunny front yard has become a shady haven. My suffering perennial gardens haven't liked the transition very much.

As much as I complain about my growing shade, I love the woods. I always have. There's something so peaceful about it. I love the smells, the sounds and the look of sunlight filtering in. I live in a world that is absolutely green. Well at least in the warmer months... The forest is so thick with underbrush you can't see very far in. After the leaves drop, a new view deep into the rolling terrain is revealed. In winter the sun lights up the white blanket we call snow, illuminating the woods, allowing me to see into it the furthest. My world is far brighter during the winter months than it is in the shade of summer.

It's very different having surroundings that are constantly changing to seeing the same neighbors house across the street. I find it inspiring. I feel immersed in nature. I feel protected.

I know I'm not alone in my love for trees.

My neighbor's getting married next month and having a large outdoor reception. She's labeled the tables, not with numbers, but with different varieties of trees. How cool is that?

Today I found a blogger who's love for trees dips into the realm of passion. Not only does she paint trees, she also keeps a tree scrapbook. She calls it her Tree Journal. Just the title makes me think she adds to it regularly. Tidbits of bark, leaves and twigs. It's part of her reference material. Such a tactile experience...

She isn't just observing the trees, she's really connected to them.

And it shows in her work.

These are just a sampling of the lovely work you'll find on her blog. I know you haven't been there yet because I'm her first follower. Do yourself a favor and go introduce yourself to Linda Blondheim, the wonderful Tree Painter.

On a sadder note. It's hard to talk about trees and not think of the burning fires in Texas. My heart goes out to all those effected. Let's pray the firefighters can gain control over them soon.

The painting posted, Lupines in the Sky, was shown in progress on an earlier post.

Paint the poetry

Garden Stroll

Original oil painting 24x18"

by Susan Roux

I've had the pleasure of interacting at length with some of you lately via email. I have to tell you how fun and helpful it has been for me. I hope you feel the same way.

Have you ever noticed when you try to explain something about your process to someone, it helps you improve? We already know what we're doing (well at least most of the time) but putting it into words helps bring every aspect of our process to the forefront.

While talking to another I spoke of attempting to paint the poetry. My dictionary describes poetry as a special intensity given to the expression of feelings and ideas by the use of distinctive style and rhythm. I like these words. Special intensity, style, rhythm, the expression of feelings. Nowhere in this is anything about details or precise representation. The focus is on feeling, style and rhythm.

Doesn't that just put a whole new spin on everything?

All these years I've been trying to paint the elements in my composition and it turns out that wasn't the challenge after all. Paint a unified feeling on your canvas. Think of ambiance. You know, like that nice candlelit table setting you'll be preparing for your sweetheart on Valentine's Day. You'd pay attention to every detail so the whole entity, including tablecloth, candlesticks, dishes, flowers and vase would support an unmistakable feeling of romance. Yes the wine and dinner are probably your focal point, but everything about the table supports this feeling of love.

And so it must be with art...

I thought I finished Garden Stroll the other day. I knew she wasn't as strong as my other girls in this series. I placed her in a garden and trying to interpret this new style in a landscape was challenging. I had put her aside, but was left a bit dissatisfied. After talking to an artist about how I take a long time tweaking my paintings with the idea of painting the poetry in mind, I looked at her and realized I stopped short of what I wanted to capture. Does this happen to you?

You set a painting aside and next thing you know, it calls you back.

I couldn't ignore her. She was really urging me to continue. I'm glad I put her back on my easel. I'm much happier with the results. I may not be capturing the whole poetry thing, but I think I'm on the right track by having it in mind.

Do you ever paint the poetry?

Artists journey

Gardner's Home

Original oil painting 18x14"

by Susan Roux

Where has your art journey taken you?

I was reading Kevin Mizner's post this morning and he talked about the artist's journey, well mostly his own... He made the statement, "The more I learn, the more I realize how little I know, and how much more there is to know."

Wow. Now there's a loaded statement and it's so true.

Think back when you first started. Didn't you think painting was easy? Do you think you'd have started to paint if you'd actually known how far you had to go? It's one of those totally frustrating things. Like a cartoon mirage. Remember that desert oasis? You see where you want to go and you work towards it only to find when you get there, you're not there at all. You have a long way to journey still.

Art is one of those things that as soon as you get comfortable settling in or accepting your level of achievement as the final end, your work suddenly turns into formula painting and it automatically slips in reverse. Think about that for a minute...

I know you know artists who've done that exact thing. I won't mention any names, but even some of the greats of today have fallen prey to that terrible trap. The artists journey is one without an end. The desire to strive for improvement must remain throughout your life. Look at Monet. He pushed himself to the very end. Even blind, he continued to paint. Just before he lost his vision (those nasty chemicals. I hope you're taking precautions to protect yourself...) is when he did his best work. Why? Why were his nympheas so magnificent? He'd spent a lifetime pushing himself. He never settled into a comfortable place where he accepted his level of achievement.

I remember several years ago studying about color. I began to understand color at a level I didn't know existed. How wonderful to have your eyes opened anew to a subject that already excites you tremendously! Who would have known there was more? I certainly didn't. I floated around wanting to explode with joy and had no one to describe my new discovery to.

I've been trapped at a fairly stagnant level for a few years. Yes, there were some paintings that rose above the others, but mostly my work had flatlined. I didn't stop pushing. It seemed futile, but oddly something inside me kept telling me there was more. I listened. I was frustrated. I'd get discouraged. Still I pushed on believing there was more and if I continued trying, I'd achieve it. Now, just like the deeper knowledge of color that opened my eyes a few years back, I feel equipped with a new understanding of grays. Yes, I said grays.

I know it sounds dumb. Insignificant grays are anything but insignificant...

Suddenly I'm exploring like a child let loose in a giant toy store! Seriously, it's that kind of excitement. There is more too. A renewed realization that we aren't just portraying an image, but painting poetry, a passion, a vision of more than just objects. Suddenly I'm finding my work moving forward. I'm thrilled I never stopped pushing. Though the lulls are discouraging, the triumphs are exhilarating enough to compensate. I just want to explode on canvas.

I feel equipped with new tools of understanding and my journey continues. I know these new tools will take me forward for awhile. Forward in improvement, I hope. But I also know that in time it will flatline again. It's the journey. If I'm to be all I can be in this line of work, I know I mustn't ever get too comfortable. Luckily, though frustrating at times, it's also the excitement that drives me ever forward.

Don't you just love knowing it'll always be exciting? There'll always be more to learn and develop.

Have you fallen into the formula trap? It can be a tough rut to climb out of. May the new year ahead jolt you enough to push you out of your comfort zone and propel you forward in your journey. Allow yourself to be renewed in that childlike excitement of discovery. Don't stop pushing yourself. The rewards will amaze you.

Posted is the finished Gardner's Home. It was painted with a class, drying completely between sessions. I may revisit this scene on my own when I can paint wet on wet. I'd be interested to see the different results. I posted this work in progress on Oct. 29. Oddly it was the post where I introduced Kevin Mizner to you. I'm just noticing that. I wonder if that means anything?

Thankful

Returning

Work in progress 18x24"

by Susan Roux

Thanksgiving being tomorrow, its hard not to stop at this time of year and reflect on all we have to be thankful for. Yes, many of us have struggled. The economy hasn't made it easy for a lot of people. Sickness and hardships may have hit you hard in 2010. But even through the difficulties life throws at us, there is still much to be thankful for.

I have many. I won't bore you by listing them. I do however want to take a moment to thank all of you who frequent my blog. This has truly been one of the things I give thanks for: the opportunity to have met all of you. Recent hardships in our family have kept me away from painting and posting. My last post was 14 days ago, yet you still continue to visit. You amaze me...

Posted is a painting my Tuesday night class is doing. We should finish it next week. I don't expect to change many things on mine, but I'm leaning towards developing a few of the flowers. Perhaps cutting into some of the round balls of the peony. I also want to identify the irises a bit clearer in spots.

This painting moved along quickly. We didn't draw anything, just hopped in with paint. My class followed along splendidly and with Luka Bloom playing in the background, everyone's work fell into place. Luka has that effect. You should really try it sometime...

This image is special to me. Its a scene in Cape Cod, though it isn't a typical Cape painting. The photo was taken on Memorial weekend, when I traveled there to the Blue Heron Gallery's opening. The female in my painting is none other than the well-known Martine-Alison! Certainly someone high on my list of people to be thankful for. Painting this brought back wonderful memories of her visit to the States. My last post was about painting your passion. This image stuck to that suggestion. Perhaps its why it fell into place so easily.

Note: The darks beneath the flowers are with transparent paint and in reality tuck deep under the flowers. They don't jump forward like in this photo.

I hope you can all find lots of things to be thankful for. I'm certain they exist...

Happy Thanksgiving.

Viewer friendly

Sunny Burst at the Fence Post

Original oil painting 18x14"

by Susan Roux

My view counter hit 10,000 this past weekend. Wow!

Thank you all so much. When I began blogging just 11 months ago, I never imagined the visibility I would get. At first I was lucky to get three to ten hits a day. Its amazing how these things escalate. I know I have a lot of faithful readers and many casual ones too. I love it when you stop by. I love it when you leave comments. I love having had the opportunity to meet and chat with you. I wanted to take a moment to let you know how much your visits mean to me. I hope you continue to return.

So I was wondering...

If a blog gets 10,000 in 11 months, does it continue to escalate at the same rate? 20,000 in 22 months? Or 30,000? I never made a conscious count at certain increments to be able to predict the rate my blog was growing. Do any of you know? I realize its a whole math thing and most of you visiting are creative. I don't need to remind you of the left brain/right brain thing. Of course, then there's Kevin who thinks he knows %'s, but whoever was his math teacher failed miserably. Seriously though, I am curious. So if anyone has calculated a growth rate, do tell.

Posted is Sunny burst at the Fence Post. I finished it with my Tuesday night class. For the most part I like it, but I struggled a bit more than I expected to. There's a tightness about it and it seemed no matter how hard I tried, I couldn't soften it. I can't put my finger on what. My brushstroke is about as blurry as my vision, so I'm assuming its not that. Could it be my color choices that give it a tight look? I'm looking for suggestions. Can anyone tell me why it looks tight? Of course the photo never captures the various tones as they really are, so it might be terribly difficult for you to help via the internet...

Suggest soon, because I'm ready to sign it. Its coming to my exhibition on Saturday. For those nearby, its at CMMC in Lewiston, ME at the main lobby entrance from 10-4. There'll be about 30 artists exhibiting, so lots of art to look at! Do stop in and say hi.

Art talk

I flew down to the Cape this past weekend. Well not literally, but almost with the way traffic flows. It took four hours to our hotel on Cape Cod and another half hour or so to the Blue Heron Gallery. Its end of the season and time to pick up any unsold art. Sadly there were a lot to pick up. Sales continue to be a struggle, not only for me, but for all the artists in the gallery.

I traveled with my friend Sandy. Conversation through two days of driving was stimulating to say the least. I don't know what it is with Sandy and me, but get us together and we discuss art, our goals and desires deeper than with anyone else I know.

I think it has to do with the questions she poses.

Sandy lives an hour away and is an elementary school art teacher. (Those lucky kids. She really teaches them a great foundation!) Consequently we don't get to see each other frequently. Conversation always starts with, What have you been painting lately? ...but goes much further. Short term goals. Long term goals. How have they changed since we last talked about them? Why have they changed? Desires to travel to different places to paint. Workshops. Workshops you need to travel to. Sandy would love to take one in Scottsdale, AZ. She tried to talk me into joining her, but my desires lie somewhere else.

We both expressed a feeling of being on the brink of something very good and wishing we had time to just paint without the typical responsibilities of life. For myself, its as though a deeper understanding of what I'm trying to do with paint is circling in my head. I feel if I had the time to devote to it, I'd create something at a higher level than my usual. It all makes sense in my brain. I just need to make my paintbrush do it! I talked about wishing I was on an art retreat. Nothing to block my mind, just there to paint. Somehow I'm sure something would break through and emerge from within.

We wished we were painting.

All this talk about our desires, yet stuck in the car...

Wouldn't it be great if at the end of our drive we would be on a painting retreat? Our suppressed desire to paint would burst out on canvas! Why don't we rent a house during February school vacation and do just that? Paint without interruption. We wouldn't even have to go far. Stay in Maine and paint indoors. Just be out of our homes so laundry, cleaning and errands are far from our minds. Paint. Paint all day and keep each other stimulated with conversation. What a great idea!

After returning home, I scoured the internet in search of the perfect "home" to do this at. I think I found it. It has four bedrooms, so we need to get two other artists on board. I don't think that'll be hard to do.

The house in question is on the ocean with lots of windows for good light. There's plenty of room to set up easels everywhere. The plan is to bring drop cloths and paint our brains out! Well its not really our brains we want to pour out, more out hearts, but you get the idea...

Karen Choquet laughed when I invited her to join us. "You're always up to something, aren't you?"

Oh, for certain!

(Posted are a few of the tiny 4x4" paintings I did for the November art show.)

Sun versus shade

From the Shade

Original oil painting 14x18"

by Susan Roux

My weeks been crazy. I've been running around everyday and it won't stop until after the weekend. I suppose you all get weeks like this too. I find myself wishing I had three days of solitude to just paint...

Thank goodness for my classes, at least they force me to stop and pick up a brush!

I finished From the Shade with my afternoon class yesterday. I chose this scene so we could focus on shade versus sunny passages within a painting. We took a very different approach than usual. I had them block in the shady foreground area, in monotone, to remind them that everything they developed in this section needed to be in shade. Any color they placed within this area, if it looked sunny, needed to be changed. The class stayed focused on this idea. I find if you simplify things enough, everyone can easily understand what you're trying to get them to achieve.

It proved to be an extremely successful approach. Everyone's paintings leaped with sun and shade.

I decided to try this approach with a few of my other classes. I thought you might like to see the odd beginnings. With the painting posted, we began working on the light area, because it was further back. In the following two, the background is deep and in shade. I'm finding it challenging keeping the students from painting too much light. The photos we're working from have beautiful sunlit flowers in the foreground. They want to paint the light, but as you can see, I'm holding them back.

Its been a great way to have them recognize the difference between foreground, middle ground and background. This painting has yellow flowers against a fence post. In the photo the middle ground was sunlit as much as the foreground. I worked with them to keep it toned down so our final subject will appear to leap forward. Getting them to paint the feeling of sunlit foliage while keeping it subdued and void of detail was a bit unsettling for them. By the end of class this week, they had finally managed to capture this look and they left happy. I've been pushing them pretty hard lately. This class has been painting only a year and the results I get from them are pretty amazing.

My Wednesday night ladies were very happy with the new photo I chose for them. A sunlit garden makes this entry so inviting. Unfortunately I didn't let them paint any of the fun stuff. Keeping them in the darks to capture the house in shadow was difficult. It felt like we were painting a Halloween painting, the haunted house...

Keeping everyone's values in check has been tough. I think after these paintings are done, they'll understand how it all worked and it'll be easier to keep them in the dull deeps next time. Frustration was a visible emotion, but by class end, they had captured the deepness I was proposing. Another group left happy. Its not always easy to do. Especially when you push them out of their comfort zone.

I've been preparing a list of which paintings my students will exhibit in December. I want to know how long they were painting when they did the piece they chose. Its been astounding to us all when I get told 4 months or 6 months or even it was my second painting. It makes me step back in surprise at the achievements they've accomplished. I'm so proud of my students. I'm going to be thrilled to show them off in December!

Been outdoors...

I've been gardening.

Its one of my other great pleasures. I know I've mentioned that before...

Perennials are my favorites. From bulbs to plants, they begin their colorful show just as the snow melts. Unlike annuals that require warm temperatures, many perennials can tolerate Maine conditions. Yeah! Its only the beginning of May and I have color throughout my yard. We had a mild, early-ending winter and plants are eager to burst into bloom well before their usual debut. Tulips are still blooming and typical June flowers have large buds ready to pop!

I can't stop myself from going outside.

Everything has come early. The leaves, the grass, the birds, the warm temperatures and yes, even the bugs!

There are plants like Russian Sage and Lavender that I've wanted in my garden for awhile now. Size is a factor. I have little room left for such large plants. My solution has been to make a new garden. So lately I've been removing grass and adding compost to create a bed for these desired "purple" beauties.

I must say, we use different muscles doing this work than when we paint...

My body screams at me in the morning, but it isn't enough to stop me. My love for nature and color extends pass the easel. For me, imagining which flowers will bloom together and placing them so the colors and size will compliment each other is very similar to painting. The biggest difference being that I have to wait to see the results. Little green tufts, that will later bloom in color, or tiny bulbs are like my paints. Place each at a special spot and the result will be beautiful. My imagination peeks and I'm swept away with this more physical type of creation.

The work is plentiful in the spring. Its easiest to move plants around at this time. Spring rains and the lack of scorching temperatures help ease the transplants into their new locations. Every year the show, the completed canvas, is different. Soon my heavy work will be done. The remainder of the season is devoted to enjoying the creation in its constant performance. As one color fades a new one replaces it, like an ongoing dance titillating the eyes.

Later I will bring my easel outside. Somedays I'll paint the floral display. Other times I will paint, like in the studio, but in the beauty of my gardens. I paint best when I'm happy and at peace. In the midst of my flower dance, my creative spirit easily takes flight. All the work I do now is in anticipation of the display later.

Luka Bloom, you know the Irish singer I like so much.., spoke about writing songs. For this creative portion of his work, he requires quiet times of peace and reflection. Its when you can really hear your inner-self, your spirit speak. I feel the same about painting. There are days when its better for me to stop, relax and listen. Haste doesn't benefit my results. To paint nature, its essential that I take time reflecting in it. Quiet time.

So don't worry that I'm not painting. Soon I will be and this quiet, yet physical time, will add to my creative spirit. The more I absorb in, the more I will have to release out!

Don't spend all your time hurrying through life. Make sure you allow yourself quiet times of reflection. They're essential, for many reasons. Just like the buds on my plants ready to explode into blossoms, you will find your creativity ready to explode on canvas!

Marvelous things can happen...