Workshop week

Midday Warmth

Original oil painting  16x20"

by Susan Roux

It's a crazy busy week over here. School's starting, my workshop begins on Wednesday and I'm hanging an exhibition on Saturday. Life glides along so smoothly at times, but on weeks like this, everything collides and culminates all at once. It leaves me spinning.

Not much time for easel staring...

I'm sure you understand this. I miss painting and find myself almost aggravated for not planning well enough to still include painting time. It's moments like this when you realize just how much you need to paint. It isn't just a desire, it feels as necessary as breathing.

Midday Warmth was painted from a photo. It's the back porch entrance at The Wright Gallery in Cape Porpoise where Charlie hangs many of my paintings. I know the photo is a bit fuzzy. I've been trying to experiment with the camera lately, in attempt to rectify my continuing problem. I photographed this zoomed out a bit to get some of the surrounding objects and colors. I found the colors registered much closer in accuracy to my painting, however clear definition was sacrificed. I thought my camera could handle it...

As artists we need to do so many things right. Paint, photograph, write, frame, curate. Which reminds me, I still need to do a bio for my exhibition... I better get to work. Have a good day and thanks for stopping by. I love when you leave me comments!

Ready, set, action!

Evening Light - Monhegan

Original oil painting  16x20"

by Susan Roux

Somedays are just special. They stand out above others for what they held. You know what I'm talking about. Those days when you're doing nothing particularly special when suddenly something far beyond your imagination happens, transforming it into an incredible day that will remain in your memory forever.

Well, to be fair, it wasn't exactly like I wasn't doing something special. I was on Monhegan painting at the time...  But that in itself is a typical thing to be doing on Monhegan. Lavina, a student of mine had come to join me and this particular day, we planned to paint from the front lawn of her rental. It was located up the first hill just as you arrive on the island.

Three boats a day bring people to the island. I found it quite fascinating to see how many people arrive in a very short time. It wasn't a problem to stay focused on my work, because I had set up with my back to the street and also to this lovely scene depicted in Evening Light - Monhegan. Lavina laughed and commented on how many times I'd been photographed by the day trippers. I had been totally unaware of them and their clicking cameras or phones.

Out of an arriving cluster, a student in her mid-20's approached us. She was from the Rockport Film School and on the island for the day on assignment. I need to make a quick documentary that coincides with an older painting I've selected and would it be ok if I filmed you painting? 

What do you say to that?

I was just there doing my work. She could film me if she wanted. Sure, why not?

Well she neglected to tell me she would interview me.

Seriously??? I felt myself wanting to back out...

The next thought that passed through my head was, how was anything interesting ever going to happen to me if I didn't take risks when the opportunities presented themselves? I swallowed hard and agreed to participate. Meg and her friend went through quite some trouble wiring me, concealing everything. Only to have it all completely exposed in the final video...

This experience definitely falls into the category of special moments as described in a previous post.

Here's a series of photos taken during our film session. I had the insight to hand my camera to Jerry Cable who lives next door. Thanks for taking the shots Jerry.

Meg would ask me questions, but I had to reply like I was just talking about it on my own. It was difficult to do at first. You automatically wanted to just reply to her question.

The filming went on for quite some time. I was surprised at the shortness of the final film with all the interviewing they did.

Here you can see a passerby clicking to capture the action going on. 

So here I am in a film debut. (I tried to attach it directly here, but it kept malfunctioning.) I'd been outside painting since 7:00 am. Hair blowing in the ocean breeze and raw as it gets for an artist. No time to comb my hair or fix myself up in any way. Why don't these things happen in our youth???

Wine and color

Bend in the Road

Work in progress  18x24"

by Susan Roux

No, this is not a drinking post. This is a reflection on where my art journey has sent me lately.

Complex color.

I've been pondering this for quite some time now. My paintbrush furiously seeks it. My eyes are beginning to open to it, hopefully my mind is beginning to understand it. I know I've only brushed the surface, but a year ago I didn't even stop for a minute to think about it. An art journey is like that. We become aware of certain things we never noticed before and our exploration of that element becomes our new focus until we finally get a grasp on it and hopefully make it your own. It's what keeps artists so motivated and powering forward. It's also what makes artists feel like they can't ever paint anything good enough. There's always so much more we seek to capture.

My best description of complex color comes from relating it to wine.

We all know that wines can be very complex. The connoisseur can identify subtleties in the flavor that most of us cannot detect nor specify. Be it certain fruits, flowers, spices, wood and even fungi, the palate must be very developed to distinguish many of these wonderful nuances.

Expensive wines perhaps have more complexity than really inexpensive wines. Yet for every wine out there, a buyer exists that will swear by it. The flavors found in the wine may be complex or not. If the individual drinker has not developed their palate they can drink happily completely unaware of the difference.

That being said, I think there are satisfied buyers for every type.

I believe the same is true of color.

If a painting is constructed of simple straight from the tube colors, will the unknowledgeable viewer know it? Probably not. They may be simply attracted to the image portrayed. We all know a handful of subjects that sell because of their popularity. Need I mention lighthouses? An untrained eye looks at a discernible subject and sees very little difference with one that is masterfully executed. On the other hand, someone that is educated in art or has spent hours upon hours honing their skills, the execution of the work is far more important than the subject matter itself. A deeper appreciation for the subtleties exists.

What is complex color?

Think of the difference between a gray from a tube compared to the unlimited combinations of grays achieved by neutralizing those colors on your palette. The subtleties you can achieve and the varying pull towards certain color pigments are so superior to that of the tube gray, yet the untrained eye will see both as gray on a painting. Multiply that to include every color you use and you'll begin to get a glimpse at the idea of complex color.

Stas Borodin told me some Japanese could discern 100 colors in black. I know Monet found countless shades in gray. Those artists fixated on capturing light won't just use a buttery color to depict it. No. There will exist a whole variety of shades and subtle colors, if it's done masterfully.

Yes there will be those who teach less values is key to a strong painting. I don't agree. It's a good place to start to understand how value works in a painting, but a well executed work with a full value range can bring a viewer to tears. Go look at the master works in your local museum. Sorolla and Sargent didn't limit themselves to 3-5 values. They played in complex colors...

The longer you look at your subject the more colors you'll be able to discern. This is even true of a photograph. Trying to capture every color you see while the number increases the longer you observe, can be daunting. As a representational artist, I think these things hold the secret to continuously improving your art. Now attempt to add creative spontaneity to the mix and you'll begin to get an idea where my mind's been existing lately.

So complex, it's hard to put into words...



Not only is complex color hard to achieve, control and wrap your brain around, it's far too complex for the camera to comprehend... Photographing my work has become impossible. I hope you can get to see it in person sometime.

Don Stone, NA

Monhegan Blues

Original oil painting  20x16"

by Susan Roux

Moments.

Great moments. Special moments. Are you experiencing them?

I hope you're not waiting around for them to simply happen. It helps to set up opportunities that allows them to occur. Put your wheels in motion by sewing a few seeds that just might flourish into something special and deliciously unexpected. It's what keeps life interesting. My summer has been filled with such moments.

Like the day Russia called. Or the moment master artist, Don Stone was inquiring all over Monhegan Island for me. I'm sure he didn't remember my face, but there he was speaking my name to everyone he saw. Imagine my shock and delight when a new acquaintance approached me with the news that Don Stone was looking for me! I'm certain my jaw hit the ground briefly, but I quickly tried to regain my composure like it was a natural occurrence. Don Stone, NA uttering the name Susan Roux. To this day, it still makes me laugh to think he was talking to everyone about me.

Where is Susan Roux? She told me she'd be on the island this week and I'm still waiting for her to come visit!

Yes I did write to Don with my arrival date. I expected to introduce Stas Borodin, my Russian master artist to him. But we were only a few short days into our stay... All the stimulation Monhegan holds, makes it difficult to find time to take the short uphill walk to Don's studio.

Stas was reluctant to go. Taking precious daylight painting time to go visit an artist's studio was not his idea of fun. But I dragged him away anyhow, all the while agreeing to his 5 minute visit allotment.

Who's that greeting us at the door?

It's none other than Don Stone himself waiting for us at his studio. I have to tell you, the visit lasted longer than 5 minutes... After all, how can you rush the opportunity to view his incredible art? Even master Stas was amazed! 

If you find yourself on Monhegan, do yourself a favor and go meet this witty charming man. You won't regret loosing painting time to this experience. Tell him Susan Roux sent you. He knows who I am now...

It was wonderful to see two great artists appreciating each others work. Here is Don at an impromptu exhibition I set up for Stas on Monhegan. Yes I do it all. Paint, hosts artists, introduce artists, set up exhibits and be the immediate PR person. It might be a lot, but it leads me to some really amazing special moments. Special moments that make my heart smile.

I hope you're having some of your own too!

Note: Monhegan Blues is how you feel after you return home from Monhegan and reflect with all those amazing photos you took of the place...

Experience color

Dew Drop In

Original oil Painting  16x20"

by Susan Roux

Color. 

It's one of the most fascinating things about painting. It can lead the eye through a specific journey on your canvas. It can create an ambiance. It can define distance and space. It can imitate sunshine and shade. It can scream or whisper. It can be playful and exciting or it can be bland.

As artists we get to control the roll it takes in our work. 

It takes a long time to understand color. There's so much to learn because it's a very complex subject. A color used incorrectly can stand out like a sore thumb. One single stroke out of place and suddenly it changes everything. The value (light or dark) of a color must be correct along with how concentrated or neutralized (grayed) it is. 

Learning to embrace the grays will add richness to your colors and your work. There's emotion in those mud puddles on grayed color. The trick is to know how to use it correctly and be in control of it. 

Understanding the properties of color enables you to take control. At times you've probably heard or read about certain concepts but have had difficulty wrapping your brain around them. Trying to paint with a particular focus in mind that you don't totally understand can be frustrating. So much so, that it can throw you into painter's block! That happens when you begin to be aware of a concept but don't totally understand it, yet try to implement it into your work. 

Simplifying things and learning them one step at a time can be your detour around that painter's block. Trying to push too much information into your brain at once only confuses. Having time to try new things, experiment with them, helps the mind grasp the concept. Not only is it something you hear or read, it is also something you try.

This will be the goal in my upcoming workshop, held August 10, 11, 12. 

I've been teaching for over 10 years. I teach to beginners and if I've learned anything over all this time it's how to explain things in the simplest way possible! So if you've been painting awhile and do pretty well but would like to learn more on the subject of color, my workshop is for you. I'm limiting class size to ten students so each one will get individualized attention.  

Come play with color. Come take the fear out of it and place yourself in control. All levels are welcomed. If you're interested or think you might be interested, please don't hesitate to contact me. I'll be happy to help you with your lodging needs as well. 

Maine is beautiful in August. You can begin your holiday with a three day workshop to get you primed and stimulated then continue on to practice your lessons in the lush coastal setting that is Maine.

The above painting Dew Drop In is exhibited at The Wright Gallery, Cape Porpoise, Maine. Please contact Charlie if you're interested in purchasing it. Thank you.

International

Red House

Original oil painting  20x10"

by Susan Roux

Two days ago, Russia called.

It was pretty much passing as an ordinary day. A little excitement stirred as I'd just got word that my art was selected to hang in Portland's art walk during the month of September. The last time my art was up in Portland for a month, I sold 7 paintings. It's hard to forget such a thing and so the excitement about showing again had me smiling and bubbling.

I was behind my easel working on the above painting. My mom was here painting with me. A real special treat. I was down to tweaking my flowers when the phone rang. Luckily I had the insight to place the handset near me and didn't have to go running to answer it. A quick glance at the caller ID made me utter, who's that calling?

Hello Susan. It's Stas Borodin.

You may not know who Stas Borodin is, but I certainly know him well. He's the Russian artist responsible for my exhibition in Saint-Petersburg in June of 2008. A call from Stas is always a welcomed thing!

Stas is a world traveler. He's kind and friendly, making jokes you sometimes don't understand due to the language barrier, but his hardy roar of laughter and a smile that rivals the cheshire cats makes you laugh right along with him! Some people you just feel blessed to have cross paths with and Stas is one of those people. I'm honored to have met such a man. 

He's a master artist. I know, they're rare in today's society and oddly I've had the privilege to meet and paint with two. Don't ask me why I've had these opportunities? I couldn't tell you. Mike says I'm just lucky. 

Perhaps he's right. 

Stas will be visiting in a month. He paints daily. Not at all like some daily painters that take an hour or two a day to paint. No. He lives to paint. From sunup to sundown, he'd be swatting his brush around if he had his way. Stas loves the coast, harbors specifically and we'll be making the jaunt early in the morning so he can take in a full day of painting. He comes equipped for all types of weather and I've never seen a downpour strong enough to keep him from doing his passion. The world is his studio and he is always happily at work!

He's dreamed of going to Monhegan Island. You know, the artist's island 13 miles off the coast of Maine. I really wasn't planning on going to Monhegan this summer, but it seems my plans changed. Yesterday I made reservations from July 8 to the 13. I can only imagine what it will be like to experience it with Stas. A whole new way at looking at a familiar place, I suspect...

I may have the pleasure of his company for two weeks time. He'll run me ragged, I'm sure of that, but it'll be a good ragged. 

Stas always has opportunities up his sleeve. He invited me to join him at a symposium in Normandy, France in September. Oh how I wish! The last symposium he invited me to was at a monastery in Russia. If sales ever begin to skyrocket again, I'll have saved up some money to actually take him up on his offers. These symposiums he speaks of are a gathering of artists from different nations in one place to paint for a few weeks, followed by an exhibition of the work done during that time. Yes! Such things really happen! Doesn't that sound amazing?

Someday. Maybe someday...

So if your phone ever rings and it's a call from Russia, answer it. Who knows it just may be a jolly master Russian artist!

The above painting, Red House, is a crop from a larger piece I'm working on with my Thursday afternoon class. I wanted to paint it wet on wet and it's impossible to do that with my class work. Long periods of drying occur as it sits idly waiting for the next week's session. It's a scene from Ireland. The village is Roscrea. I was told it's the fourth oldest village in Ireland. It was a beautiful place. A cross between ancient and new.

I wrote about Stas last year when he visited. It's here if you care to read more.

Thanks for stopping by. I always appreciate your visit. Please leave me a little hello, just so I'll know you passed through... 

Have a great day, allowing good surprises to happen to you!

Flower Islands

Foxglove

Original oil painting  18x14"

by Susan Roux

I made the last of my deliveries yesterday. Three sets of art to three different galleries. The day was picture perfect for a coastal delivery. The three hour drive to Blue Hill takes me through winding country roads eventually connecting north on Route 1. For those of you not familiar with this route, it begins in Florida and follows the coast all the way up to Maine. It's a lovely drive during off season, but can be a traffic nightmare at tourist time. Quaint shops with interesting names and creative signs stimulate my artistic juices. Even without stopping, reading the names and seeing original looking store fronts sends my mind dreaming. Interspersed are glimpses of the ocean always with islands jutting out and keeping the seascape interesting. I didn't think I'd be doing much plein air this year, but yesterday's drive awoke the desire.

I stopped at a roadside garden shop. Color was overflowing! Did you know I have Monet syndrome? Not only do I love painting flowers, I keep creating more and more gardens around the house! I've been mixing annuals with perennials and the changing color show throughout the summer is the perfect haven for an artist to relax in. My burst of work is in the spring and with summer-like weather, planting is earlier than usual. There's a great rush of anticipation as I design my gardens. Like adding color to a canvas, I imagine which plants will be blooming together. It's like painting blindly. As the shapes grow, shadows are created and with it possibilities for wonderful compositions!

I bought a few colorful annuals to place in unusual planters. I've been designing a new outdoor seating area with a great view of sunset. All my flower beds have curves, most being ameba shaped. I don't like straight edges in my landscape. I'm finding the negative space (lawn) as interesting and important as the flower beds themselves. When I think of the various shapes I've established, I'm reminded of all the islands making Maine's waterfront so spectacular. As you drive by, one island seems to be moving in front of another. It makes those rock hard planters covered in evergreens come to life! And so it is with my island flower beds. As you walk around, the flowers from one bed seem to move in front of another. I've always been attracted to that illusion of motion. I find it interesting that without consciously thinking about it, it's how I've designed my surroundings. 

Everything is a composition. Colors, shadows and splashes of light. Whether painting or planting the journey is similar and the passion is present.

Do you have Monet syndrome too? Have you created flower islands? As an artist, where do you go to unwind?

Note: Foxglove was a little corner garden on Deer Isle. I painted it with one of my classes. It was included in the body of work I delivered to Blue Hill Bay Gallery. If you come to Maine this summer, it's a beautiful artsy coastal town to visit, only 30 minutes south of Bar Harbor. Do stop in and say hi to Peter.