The Day after Stopping by Fields to Draw, part 1

It is now a little over a week since the day I wrote "Stopping by Fields on a Sunny Morning," and I've been meaning to write what happened next. That is, what happened the next morning.

Inspired and energized by sitting in the sunny field drawing two very quick sketches (that really don't even look like much), I was determined to go out the next morning to paint. Honestly, I'd been thinking of doing this for several days if not weeks, but just hadn't really pulled myself together to do it. Partly, I am guessing and confessing, because of a subtle undertow that had kept me from painting outdoors since the fall of 2008--something that might sound silly and insignificant, except for the fact that it really did keep me (or became an excuse I used to keep me) from doing something that I had really loved doing from April to October of that year.

I am almost embarrassed to admit this--and only do so because perhaps my being honest will help someone else not to get so stuck or caught in a similar way--but I put the brakes on painting outdoors largely because I had had the brilliant idea of showing my outdoor paintings to a noted landscape painter whose work I admired, and he wasn't exactly highly complimentary. He did say some positive things about my sense of color, eventually, after having spent quite a bit of time critiquing (or was it criticizing?) my totally favorite painting, the one dearest to my heart that I dared to put out there first, and then showing me images on his laptop of famous artists' work to illustrate what he was trying to say. I really couldn't hear anything positive after the not so good stuff he had said up front.

And did I mention that I paid, and paid good money, for this privilege? Oh well. (I had recognized, and David had asked me about, the potential for investing too much authority in this guy, not trusting my own felt sense of delight and vitality and passion for painting as guide enough for my work at that time. What did I expect of myself, anyway? I had squeezed oil paint from a tube for the first time in my life only eight months before! )

Because it was November, when the weather in Maine is rather cold for painting outdoors, I probably would have taken a winter break anyway. At least that was my "cover" for the month going on two, even three months, in which I refrained not only from painting outside but even from painting at all, other than showing up for the last few sessions of a class I was taking at the time. After which I cleaned up my brushes and shut down, not with any sort of conscious decision to stop (how could I possibly have explained that?). I just stopped painting and told myself, if I told myself anything at all, that I was taking a break.

Perhaps this didn't sound so strange, especially given that there were Thanksgiving and Christmas to attend to, and one thing and another, and soon January became February. But given that the undeniable high water mark of the previous seven months had been my falling in love with oil paint and my subsequent steady yet passionate devotion to painting outdoors, simply to stop really was rather odd and highly questionable behavior. An outsider looking in might easily have smelled a rat; I was a little too close to the matter to observe or think about it with clear eyes.

All of which is to say that it was no small matter that stopping by fields on a sunny morning finally provided sufficient fuel to get me outside to paint the next morning. And in the process of getting ready to head out, I remembered just how much work it really takes to do just that: all the steps and pieces that are essential to being able to paint somewhere (paints, solvent, brushes, a surface to paint on, rags, a palette knife), plus others that might not be essential but assist greatly, like an easel, a hat, sunscreen, bug stuff, water, a snack, and a car. And then there's deciding where to go to paint and hoping that the conditions are interesting enough to get your creative juices flowing.

So before I even left the house, I was marveling that I had done this very thing so many times two summers ago (many times I simply painted what I could see in my own back yard, or in our neighborhood). And I was appreciating all the devoted outdoor ("plein air") painters I know who do this on a regular basis. It is no small commitment.

Getting Clearer: A New Artist's Statement

While preparing to deliver a few small paintings for an exhibit at the Dodwell Gallery on Long Island in Casco Bay, I decided it was time to update and upgrade my "artist's statement". After a few false starts, it finally started to click and I worked at it happily until I happened to glance at the clock. It was time to go meet Maggie Carle, the curator of the gallery.

I threw on some proper outdoor clothes and got to Portland in perfect time! But not before printing out my new statement, which is here:

Curiosity, amazement, joy and wonder--these are essential elements that I bring to making art that celebrates being alive in this world of "things". I find the natural world an endlessly fascinating source of inspiration and rejuvenation, so it makes good sense that I choose to paint landscapes as well as interiors featuring flowers, fruits, and vegetables. I paint whatever captures my attention and curiosity and quickens my pulse. These are usually not scenes of staggering beauty or grandeur but of more ordinary loveliness--a certain slant of light, the curious shapes and lines of bare tree branches, or the complexities of color in a single piece of fruit. Sometimes I paint from direct observation and impression; other times from a quick drawing or series of drawings that help me to simplify my response to what I am seeing and feeling, perhaps even to the point of abstraction.

I paint primarily for the joy of it. I love playing with paint--mixing colors, pushing the paint around with my brush, palette knife, or fingers--see what happens in a process of discovery, intuition, and a bit of trial and error. At times the creative process flows through me, and my goal is to hold myself open to collaborate with a living energy rather than to "think my way through" in a any methodical way. Other days I am more deliberate and considered. Nearly always I start a new painting with a mixture of excitement and fear, summoning courage (since there are no guarantees) and a commitment to show up and do my best with what evolves, with hopes that some measure of my own joy and quirky delight will be received by the eyes and spirits of my viewers. I consider myself hugely fortunate and richly blessed to be a painter.