- This event has passed.
Painters Who Paint
June 14, 2018 - July 9, 2018
The idea behind this exhibit came to me as I was thinking about the juiciness and richness of the medium and history of paint from Jackson Pollack’s drip painting, Rembrandt’s chiaroscuro paintings and Georgia O’Keeffe’s paintings of landscapes and flowers. It is about seeing, spending hours in the field or in the studio, capturing the light. It is about visual moments.
Painting is the practice of applying paint to the canvas, wood, paper or another surface. Paint is applied to the surface via a brush, sponge, by pouring, hands, knives, sticks, thrown, dripped, airbrush and numerous other methods. The term painting is the result of an action of your hand picking up the brush, sponge or other and moving the medium across the surface. Painting incorporates multiple materials; oils, acrylics, watercolors, gold leaf, dirt, ink, fresco, tempera.
The five invited artists in this exhibit encourage you to share in a conversation with the canvas.
– Cynthia Handel, board member and curator
I see a wisdom, beauty and rhythm in Nature and the creatures that share this Earth. To participate in this conversation of wisdom and beauty, we just need to pay close attention and listen. I focus my attention with quiet observation, contemplation, drawing and painting.
Often I find that window of creative insight in the simple moments where I am struck by color harmonies or shape relationships in the natural world that I feel a need to convey. Many times this clarity comes to me with a metaphor on life and the larger world within – and the painting begins…
An educator at heart, I create my art with a deep determination to amplify that quiet clear voice for the viewer. To present the idea succinctly for them to make their own interpretations. So it leads me on….
I invite you in to this unspoken conversation by finding the essence of the scene with a simplified pattern of intriguing shapes, to convey a clearer glimpse of the beauty and rhythm that drew me in. Always looking for a way to bring stillness into our world to give our minds a chance for clarity, I try to find a quiet area in the confines of each canvas. I want to take away the background noise and give the viewer a comfortable place to rest within to feel the painting at a deeper level. Where the interest of the painted surface gives you pause to contemplate and brushwork is loose to make space to listen to your own heart. While joining in the conversation, I am trusting that the metaphor, the voice will follow, like an echo from the canvas.
Tandy Miles Riddle
It has been many years since I was given carte blanche to paint what I wished. I always make the premise when I’m teaching that I do that and that all painters should. “If you can’t paint what you want–then what in this life actually works that way? This is our opportunity!” I say this to all my students, whenever I teach through some community outreach. However, this is only true in varying degrees. But this time. I feel it. My ardent weekly proliferation of life drawing sessions is directly yielding fruit!
This grouping is like a survey course of my work. As soon as the good weather hits in Montana I am drawn like the moth…. I actually love, feel renewed by, experience endorphic elation during… plein air painting. Still life floral and figurative work is like bringing plein air inside.
I am expressing love made finite.
For me, Painters Who Paint create their own visual language. Elements of art – drawing, mark-making, color, shapes, lines, edges, composition – create the underlying structure of a painting.
As a young artist/painter, I learned these basic elements, and it is this visual vocabulary that excites my visual sensibilities and my intellectual mind to engage in painting. After miles of paint and building on experience over the years, I now have a rich vocabulary to access in the creative process of painting.
From early childhood on, I have watched, studied, and drawn animals. Over the years, I explored several mediums including pastel, watercolor and pen & ink before finding a passion for oil. Along the way, my style shifted from detailed drawings to more “impressionistic” oils. My paintings may be loose or “painterly”…but they are based on decades of drawing.
A painting, by definition is an interpretation of an individual moment…but I like knowing what led to that moment and what followed it. I have spent hours (and often, years) observing some of the individuals that I paint. Behind every painting there is a story and mixed into every brushstroke are adventures, friendships, discoveries, joy, and sometimes, even sorrow.
Beyond the stories, inspiration and learning experiences, there is something maybe even more precious gleaned from these encounters…time spent observing the wild teaches me about my place in the world. Every wild encounter reminds me that I am not at the top of a human created triangle, but rather a single thread in the great tapestry of life on this amazing planet. From me, being a “painter who paints” means choosing to live as much as possible among the animals and in landscapes that inspire my work.
C. David Swanson
My goal always is to represent scenes and subjects that capture my gaze and lay a hand on my soul, causing me to pause and see; then to paint them as faithfully and passionately as possible, with all the energy and skill I can muster. Somehow reflecting and refracting through my lens the beauty of creation, occasionally I create something which, in my eyes, has aesthetic value. Hopefully, the painting then adds to the sum of beauty in the world. If one must obey the impulse to create something, this seems like a valid objective.
My best paintings are metaphors. Although they document the temporary present (the “contemporary”), by imparting to them the right mood, they allude to the eternal also. Sometimes a painting of quite lasting value can be created in this way.
From time to time, visual moments occur that, though fleeting, stay with me. They repeatedly call to me to interact with them by painting. This, for better or worse, can involve a broad range of subjects. I do not consider myself primarily an architectural, landscape or figurative painter, but merely a painter. While some subjects lend themselves readily to painterly interpretation, others require more strenuous reconstruction or reinvention.
So, in some detail, with use of the plastic potentials of the painter’s art (i.e., color, contrast, form, line, etc.), I compose a unified representation as best I can of the view and subject that captivated me in the first place, in an attempt to share the emotional meaning, albeit through an alternative medium; and, in a sense, set it in time. That these paintings assume a documentary, or even historical, quality is a consequence of this method and my personal style, and of the alchemy of painting itself.
That said of the intellectual processes involved, working with oil paint somewhat texturally as I do with frequent impasto is intuitive and sensual, and is one of the great delights of my work. The various mediums that I use in mixing color of different consistencies are a delicious part of the alchemy.