But... what's in a title?

But...

Original oil painting 28x22"

by Susan Roux

This is the final painting I completed while away on my artists retreat. A week has passed since my return and that amazing carefree feeling slips away a bit more each day. Soon I suspect it will be but a memory. As I talk to the other artists who shared this wonderful experience with me, transition back to normal has not been easy.

I hesitated painting this red-skirted female after the thrashing Scarlet the tartlet gave me. Somehow my fears stepped aside because something about her pose sucked me in anyway. I approached her differently. Being keenly aware of the power of red this time around, I began by instantly adding lots of it in my background. I even kept her skin quite red to balance her skirt. Since the focus is directly on her red bottom, the color aided pulling the eye. She actually fell into place easier than I expected. I wonder, did being in the presence of all those other artists give me the nerve to attempt another red skirt? After the last, I didn't think I'd ever paint another one.

What do you think of the title? Is But... too severe? I had quite a few other titles come to mind, but somehow But... stuck. One of my other potential titles was Dry Skirt. Not nearly as catchy. I feel like I need to explain myself. (I'd go swimming) But... (I still have my clothes on). Do you think a potential buyer would cancel the sale because of a title? I wouldn't want to offend anyone. Perhaps they'd see the title as cute and sassy as my sweet model is? I'd love your opinion on this.

Do you have subjects or colors you shy away from because of past difficulties they've given you? It can feel good to face your fear head-on and keep in control to the end. It's very empowering. Why not give it a try?

And I don't want any But's for excuses...

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?

I'm back

Bird Watching

Original oil painting 28x22"

by Susan Roux

I've been living in Freeport, Maine for nearly two weeks now and haven't walked into LLBean. Some people would find that utterly sinful. It wasn't about shopping. It was about art. My artists retreat turned out to be even better than imagined. So good infact, that some of us chose to extend our time. I apologize to all my students for canceling classes, but if you'd seen this place, you'd understand.

Six artists in a mansion on the ocean in the heart of winter, wind howling outdoors, makes it easy to stay cooped up indoors. From sunup to sundown, there was always at least one person with a brush in hand. Everyone's process, different. Everyone questioning and talking about art. Strewn about were various art books. Excerpts were read aloud and discussions blossomed. Some of your blogs were shared as you waltzed into our conversations. Ruminating the Profundities had us all rolling in laughter, with excerpts recited by heart at random times during the day. Laughter filled the house. Creative energy bubbled and vibrated within its walls.

The fireplace was lit. Wine was poured. Art videos were watched. Gourmet food was prepared. The jacuzzi was churning. Artists began to experiment out of their comfort zone. Suggestions were made. Confidence grew. Camaraderie settled in.

Then it happened. Champagne Thursday...

I want to thank everyone who came. What a night! Artists entered with their spouses and immediately felt the energy in the house. We had been productive and there was an extensive art show to view. How amazing it was to share our experience within the same walls where it all took place. Don even called that night and felt the explosive energy over the phone lines. He wished he was here... We wished you were here too, Don.

The best way to describe it was checking out of reality. Each day was eat breath and sleep art. Nothing else to worry about, think about, stress about. Everyone who participated wants to do it again next year. I highly recommend this to any of you out there. Houses in high tourist areas rent for cheap in the off season. It's a great way to have a serious work vacation. Jennifer said it was the best vacation she ever had! How cool is that?

The beginning

Through the Grass

Original oil painting 18x24"

by Susan Roux

I almost didn't post this painting. I just completed it with my class and it looks so different from the series I'm working on in my private time, that I hesitated to show it.

It's interesting when your work evolves and you're a teacher, because what you're teaching still resembles your older stuff. I think of my galleries and wonder, what they will do with these varying looks? I'm not sure they can even hang together...

But there is a story behind this work.

Class started this painting before Christmas. It's been a long road, between cancellations for snow days and holidays. It was also a good challenge for both students and myself to direct them through this complicated scene. Fields of wild grasses are one of my favorite subjects. How I love to let my paintbrush dip in colors and scribble the canvas. Most of it is spontaneous and therefore hard to describe to a student. The other difficulty was having several figures. Those figures are where my little story lies.

My studio is downstairs. It's too small to teach in, so I hold my classes in the dining room. Every week after classes, I'd remove the plastic from my table, replace the tablecloth and assemble the chairs around it. As time passed and the number of classes increased (I'm teaching 5 a week now) my dining room became a second studio. It's a rare occasion when I pull out the wall-matching tablecloth and replace the chairs. As one class rolls into another and I try to paint on my own, the partially painted canvasses collect. I often place them against the hallway wall where the staircase is. Some of them make it all the way down to the real studio, but lately most of them line the hall. It's sort of like a floor-level gallery.

One day as my husband came up the stairs, the figures in the above painting were directly in his sight. I hadn't painted figures in my work in awhile at the time and he complimented me on them. He seemed so delighted that when Don Hatfield called that week, I mentioned having put figures in my work. I asked if he wanted me to send him an image? Totally expecting him to give me an enthusiastic yes, I was quite surprised by his response.

Rather than ask to see the figures, he began to talk to me about the danger of painting figures in a scene. He spoke of how they too often jump out at you and in actuality they should be part of the scene. I remembered how he taught us to let our strokes move from the background into our portraits and reverse. My mind started to wonder (like it doesn't already do enough of that on it's own...) and inspiration emerged.

I pulled out a fresh canvas and a photo of a girl. I had one thing in mind. Make the figure be part of the background. Frolicking is what I created and this is how my latest series started... The big difference was not drawing my figure. When I do, I want to stay within the lines. This time I began with paint, not a pencil.

So it's for this reason that I've posted this painting. Sometimes it's nice to know where and why something new began.

This brings us back to Champagne Thursday... which will be held next week, February 24 at 5:oo pm. The address is 94 Shore Drive, Freeport, Maine. Please come. Admission is champagne and an appetizer. I'll be away painting all next week. Sure hope this sinus thing moves on before Saturday!

Don Hatfield's Workshop

Hat Dance

Original oil painting 24x18"

by Susan Roux

Everything is in order. The venue is booked, the local Inn has reduced rates for you and Don Hatfield is definitely coming to Maine in July to teach you. He's laid out all the specifics on his blog, so I won't regurgitate here. Just go pay him a visit.

I will tell you that you need to sign up through me. So if you're interested or thinking about it and need an extra nudge, contact me. There are four 3-day slots you could be booked into, so in order to keep it all straight, Don has me in charge of registration. If you are interested in being in the same class as a friend, let me know.

I told you about Don's humorous side and today I want to tell you about his dedication to teaching anyone who is driven to improve. Yes, I said dedication.

We are all aware that college art degrees nowadays fall very short of teaching the real principles of art and painting. It's been common knowledge that if an artist desires to really learn the specifics they must do so through an apprenticeship, mentorship or workshops. The real secrets are handed down from seasoned artists to beginners and intermediates. As time marches on, the greats of today are sensitive to this and want to ensure that the knowledge continues through generations and time.

As I see it, it's our purpose to learn as much as we can in order to pass our knowledge along. Otherwise, art and painting as we know it will be a dying art...

Here's where Don Hatfield comes in. He's interested in teaching you. Really teaching you. I hosted him last July and he taught a workshop to the locals. Since then I've been in weekly communication with him. Phone calls, emails, skype... you name it. Anything and everything I could do to keep him informed on my progress. If you've been following me since then, you know my drive to improve has been very strong. I have Don's support to thank for this. He's continually feeding me bits of information that help me progress forward.

I never knew what it would be like to have a mentor. Now that I have one, I can't possibly tell you how amazing it is. I've been teaching for years and find it so nice to have someone I can bounce my ideas off of and get real valuable input in return. It's like having the best teacher in the world at your disposal. Wow!

When you read his workshop page and he makes mention of staying as much in touch as you desire, he isn't kidding. Aside from the initial workshop fee, he asks nothing of you except to work hard at improving. How can you beat that? It's the deal of the century!

So incase you're sitting on the fence, wondering if you should sign up or not, do so. You won't regret it. Don won't try to mold you into something else. You can still paint your way. What he will do is teach you about relationships and open your mind and eyes to things you most likely miss. He's mastered it and can offer each person what they require for advancement. Many of my beginner students will be taking his workshop, so don't think you aren't advanced enough to take it. He'll help you at any level.

Hat Dance is my latest painting. I didn't refine her as much as the others in this series. For some reason I really liked her initial block in. She looked so fresh and summery. I decided to keep her and work the background to compliment the look. Each one of these evolves. I've been having so much fun. That's not to say I don't get frustrated from time to time, but watching them evolve on canvas, taking on a life, a personality of their own is a wonderful experience. I never know where it's going to take me when I begin...

Don't forget to sign up for Don's workshop. He won't teach you tricks or gimmicks just the real fundamentals that will help you improve. (Plus you'll get to meet me!)

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?

Gentle approach

Hello Little Bird

Original oil painting 20x16"

by Susan Roux

After being thrashed around by Scarlet, my hot ticket, I was determined to find innocence. I took Hello Little Bird to the opposite extreme. I needed to calm myself after the frustration and aggravation Scarlet the tartlet gave me.

I must admit that though my anger stills surfaces at the sight of her, I do think she's well done. I laugh thinking she may be the first in the series to sell. One thing for certain, she sparks conversation!

The art class that convened after she was painted was instantly in an uproar of excitement and laughter. I mentioned how I couldn't hang her on my wall because she still upset me so. Without hesitation, the gentleman in my class blurted that he would have no problem with her hanging on his wall! His eyes were popping out of his head. I think his forehead beaded with sweat. Comments of what this tartlet wanted rang sharply and continuously through the two hour session. Laughter on how she had control of me the entire time and my still visible anger permeated the room. Scarlet caused quite a raucous! At one point, I had to move her out of the gentleman's sight. She was too distracting for him to accomplish any painting...

By the end of class I had become the brunt of their jokes. Finally I picked her up and held her in front of my easel at the height she was when I painted her. Instantly the laughter stopped as they glimpsed the angle at which I was being stared at. That strong glaring attitude piercing down on me was extremely intimidating. Suddenly they understood my boiling feelings.

Next, an observation made from a beginner student, surprised me. She has only been painting since September. Her insight is keen and she mentioned that since I created her, there must be part of myself in her. Somewhere in my core is this floozy and perhaps I'm so upset with her because she exposes a part of me I like to keep hidden... Ouch.

Moving on to Hello Little Bird...

I started with a calm pose and changed a lot of things during the painting process. I was crabbing at a direction, a feeling, I wanted this painting to possess. I was unsure of what that should be. At the beginning I had a breaking wave in the foreground.

She didn't seem to want to pop like all my other girls in this series. Finally I removed the wave that lined up with the highlight of her skirt. She became a stronger image. I kept struggling with challenging focal points. I painted splashes around her feet. At one point the bird was nearly annihilated all together. A clear direction for this painting was not visible. Then it hit me. It was all about her approaching the bird. The splashes need to go. The feeling I was looking for was one of gentleness. A soft non-intimidating approach was necessary. The bird needed to trust her.

Finally with a clear focus, she quickly took on an angelic feeling. The drape of her dress reminded me of wings. I can almost imagine her raising her arms and watching them transform into beautiful, light-catching feathers in a vision on an angel that only the bird can see...