Of Ruination and Rescue

I'm going to be rather vulnerable here. There's a big part of me that would like to create the impression that as an artist, I always know what I'm doing, but that wouldn't really be true. Most of the time, I do feel very confident with what I paint but then there are times that make me realize I have so much yet to learn. This week, I almost ruined a 4' x 5' painting. 

The oil painting in question is a very large abstract, and as I've explained in past blogs, I am never in complete control of an abstract painting. They really do have a mind of their own. Well, it turns out this painting had self-destructive tendencies I had to deal with. I had thought I was about half done with paint application and I kind of liked where it was going and was having fun working on it. Then two days ago, I was applying paint, a little here, a lot over there, more paint here, scrape off some there, and eventually I stood back and realized I'd just completely ruined the piece. So I was going to let it all dry and then re-cover it all with aluminum leaf and start all over again. 

I felt like God just before the flood, regretting even making this monstrosity. I was ready for the 40 days and 40 nights of deluge and looking forward (though rather defeated feeling) to starting over. 

That's when Joy stepped to the back of my studio and took a look at it. "Oh, that's really bad," she whispered. (She's honest like that.) And I said I was going to have to start all over. Then she suggested just wiping off all the paint I had just applied that day and then taking a look at it the next day with fresh eyes. So I did, and something really weird happened. When I wiped off the fresh paint, a little paint film still stuck to the rest of the piece; a fog of blues, greens and whites. Hmmmm. Interesting. That slight film I was unable to remove completely softened the whole thing and brought everything together. 

The next morning I came in and was not repulsed (always a good sign) and was able to completely save the piece. Whew. 

There is a lesson here I think.

How I decide what to paint...

Today is Tuesday (my day off from painting).  By the way, if you're a visitor to Asheville and roaming around the River Arts District, looking for open art studios, never fear. My studio is open and being watched by Ruth Vann, a dear friend of Joy's and mine. So as I was saying, today is my day off and I thought I would spend some time on the computer hunting for photos that inspire me (I am constantly on the look-out for a photo or an idea that would lead to a compelling oil painting).

But...what makes a "compelling" oil painting? Glad you asked, but that's a tough question to answer!  When you go to Google images for instance and type in "compelling landscape photos", you get some very nice photography. But I can literally spend an hour looking at hundreds and hundreds of beautiful photos and not one of them would make a really great oil painting. Why is that?

One sticking point that causes most photos to be disregarded is that I'm looking for a subject matter (for the most part) that is either generic or is specific to Western North Carolina. That is because I have found it difficult to sell artwork that is obviously a scene from somewhere else in the country. About three years ago, I came up with what I thought was a really great idea:  to paint the iconic scenes from around the whole country. My thought was that people come into my art studio from all over the country so...why just stick to local North Carolina landscape scenes? Well, that year I had a blast painting Mt. Rainier, Yosemite Valley, the plains of Nebraska, the coast of Maine and the bayous of Louisiana. I loved it. This country is huge and so incredibly scenic. Great idea, huh?

Well no. I still have a few of those paintings left. I learned something that year though. Most of my paintings I sell in my studio are to people visiting Asheville, and they're looking for something to take home to remind them of their time in Western North Carolina (not a lighthouse on the coast of Maine). So now, that's the first thing I look for: something specific to North Carolina mountains and woods, or something generic (mountains, trees, lakes, rivers etc. that could be anywhere).

But then the second thing I look for in a photo I use for inspiring a painting is whether or not it "draws you in". That is what I am looking for and I'm not really sure what does that. Lighting? Colors? Contrast? All the above? Something else? Basically, I want each painting to speak to the viewer : "come home". That's it. It's that simple. Come home. We strive and work and stress-out and play and vacation so that we can re-create Eden. We really do. I don't care what religion you are, I think that's what we're all doing. We long for paradise and try hard to create. I can't create paradise, but I can let the viewer look at it. And I like that. I believe that hints at hope. This very easily turns into a philosophical and spiritual conversation, and I won't do that here but...that really does explain what I'm trying to do with my artwork and what I'm inspired by.

Musings of an artist...

I work in one art studio of many art studios in the River Arts District of Asheville, North Carolina. And I do most of my work right in front of my front door (the light is best there and, well, I like to greet people as they come in. And then, after being greeted, the questions start...How did you get interested in art? Why are you an artist? Why are you an oil painter? How did you get started doing this?

And because I have an open studio and work about four feet from the door, I get to talk with visitors all day long, every day. And I'm asked these questions constantly. And honestly, it's really funny. I mean, I would never go to a Christmas wine and cheese party and ask an accountant or dentist or history teacher or lawyer any of these questions. Maybe that's because I'm an introvert but still -- what is the big deal with being an artist? I mean, I do like the attention (okay, I said it). But still, what is this all about?  It's interesting and amusing and humbling all at the same time.

 It's interesting because, well, I was talking to an accountant just today and I am so thankful there are people like her that actually understand numbers! Seriously. I think THAT is mysterious and awesome. I'm just a painter. I play with oil paints all day long. I mostly paint mountain landscapes somewhat specific (but not entirely) to Western North Carolina. I do that (mostly) because I can, and (mostly) because it's fun. It's not at all mystical, it's just really, really fun. Making ledgers balance -- now that is mystical to me. If you're an accountant...thank you. I need you. God bless you.

It's amusing because people come in and see me busy painting and often (in whispers) "Oh, he's working!" This makes me laugh every time. "Yes. I am scooping up paint on this brush and rubbing it all over this canvas here..." But I never say that. I always say (because it's actually true), that this isn't work. This is joy. This is pleasure. And right now, this is my life and I am so, so thankful. But...it still makes me laugh inside when people say this.

And it's humbling because I'm no rock star. I think I'm rather awkward and can be kind of a geek (just ask me about ancient history and be amazed at my geekiness). But that's okay. How many people get paid for doing what they love to do? The answer to that question is why I'm truly humbled at the attention given artists.

And then, there was the visitor yesterday who , upon looking at the oil painting I was working on said, "Well, if I can be honest, I think you're wasting your time".  Ha ha. It takes all kinds.

Winter thoughts

It's almost Spring, right??

I'm sitting here by the window in my house in Ashville, North Carolina looking at the mountains in the distance. Covered in white. Sleety snow is blowing around and clinging to all the trees in my yard. And just a few days ago, it was 70 degrees. I was going to go hiking in the woods today but those plans have changed, and I am now stuck here at home on my day off, looking at the sleety snow fall. Bored.

So in my boredom, I found some poetry that speaks to me. So pour a hot cup of tea, and pretend it's cold (wherever you are) and commiserate with me. Let's read along...

Woods in Winter
by Henry Wadsworth Longfellow

When winter winds are piercing chill,
And through the hawthorn blows the gale,
With solemn feet I tread the hill,
That overbrows the lonely vale.

O'er the bare upland, and away
Through the long reach of desert woods,
The embracing sunbeams chastely play,
And gladden these deep solitudes.

Where, twisted round the barren oak,
The summer vine in beauty clung,
And summer winds the stillness broke,
The crystal icicle is hung.

Where, from their frozen urns, mute springs
Pour out the river's gradual tide,
Shrilly the skater's iron rings,
And voices fill the woodland side.

Alas! how changed from the fair scene,
When birds sang out their mellow lay,
And winds were soft, and woods were green,
And the song ceased not with the day!

But still wild music is abroad,
Pale, desert woods! within your crowd;
And gathering winds, in hoarse accord,
Amid the vocal reeds pipe loud.

Chill airs and wintry winds! my ear
Has grown familiar with your song;
I hear it in the opening year,
I listen, and it cheers me long.

"What makes this painting so sparkly?"

Questions, questions...

I'm asked by a lot of people why I paint local North Carolina landscapes (usually mountains, lakes, rivers and trees) on aluminum leaf, and I explain (at least daily) that it's because aluminum leaf reflects light. Painting on aluminum leaf, I can create a painting that is back-lit. This greatly intensifies the color.  How I came up with that is, well, the fault of a French architect in 1163.

When I was twenty years old, a friend of mine backpacked through Europe with me and during those travels (every American twenty year old should do this trip by the way) we found Paris, and the highlight was Notre-Dame Cathedral.

I was quite surprised to see how large the cathedral actually was. It is hulking and awesome.  Honestly, I didn’t know much about the Notre-Dame apart from the Hunchback that made the place famous.

One side of the cathedral was lined with cafes for people queuing up to go in the church. Interestingly, the chairs of the restaurants were almost all facing outside. I thought it was strange as I would probably prefer to face in towards whoever I was with. If I was alone, I would not face outside, I don’t like strangers in the queue watching me eat.

We got there during Mass ("hey, don't mind us Presbyterians --carry on, carry on"). It was magical. So utterly beautiful. And when Mass was done, I turned to leave and then I saw it: the rose window. Oh my gosh. I'd never seen color do what it was doing as the sun penetrated the colored glass. I remember thinking, "How can I get PAINT to do that?" At the time, this seemed like a ridiculous question because you paint on a canvas and how do you shine light through a canvas, right?

This idea went no where for many years until I saw the Orthodox church answer to stained glass windows: ICONS. Icons are painted on gold. P-A-I-N-T-E-D on gold. Well, I couldn't afford gold so I found aluminum leaf and a new genre of art was born, from a rose window in Paris and a Madonna and child on gold. You never know where a creative muse will lead you. You just follow it and see!

You're From Where?

I grew up in the crowded suburbs of Los Angeles in the sixties and seventies. Los Angeles was hot, crowded and smoggy. I remember days when it hurt to inhale deeply. I remember days when you couldn't see the mountains five miles away. I never liked Los Angeles. I remember coming back from vacation in the High Sierra's and breaking down in tears when I saw the San Fernando Valley stretching out endlessly in front of me. 

Asheville: Home Sweet Home

I chose Asheville, North Carolina because it's such a great place for an artist to do their art thing. Asheville is a small city, located in the Blue Ridge mountains of Western North Carolina. Everything my wife and I like to do is right here: camping, hiking, exploring trails and cool old towns. 

The City of Asheville celebrates the arts in so many, many ways. We celebrate food, beer, fine art, music and literature. It's awesome. It's been voted one of the best places in America to live. Why? Here are some thoughts by Matt Carmichael, a contributing editor of Livability.com. 

Why is Asheville, NC one of the best places to live in America? One consistent truth for the cities atop Livability’s Top 100 Best Places to Live is that there is no one answer to that question. For some, it’s the moderate climate. For others, it’s the arts and crafts in the ever-expanding River Arts District that has long been a draw for visitors and residents alike. For others, it’s the family-friendly atmosphere.

Increasingly, however, the answer is that it’s a great place to live because it’s a great place to eat and drink. In addition to being a two-time honoree on our overall Top 100 Best Places to Live, it also made two of our Top 10 Foodie Cities lists.

“We’re a major foodie city, so you have to go out some place great to eat, which isn’t hard to find,” says Mayor Esther Manheimer,  “but it might be hard to get a reservation.”

Even just 20 or 30 years ago Asheville didn’t see as much investment and “revitalization” as other parts of the state, which turned out to be a good thing. Its population didn’t explode during a time when tearing down and building new was fashionable. Instead its renaissance came during a time of historic preservation and reuse. That means that while the city now is home to a thriving restaurant and brewery scene, it all takes place along streets lined with historic buildings.

Asheville isn’t a big place. Its 90,000 residents and 9 million annual visitors can walk across the downtown in an afternoon, stopping to shop or grab a snack along the way. The Blue Ridge Mountains offer hiking and biking opportunities for the active outdoorsy types and a rolling scenic byway for those who like to take in their nature from behind a windshield. The fall foliage is spectacular enough to have landed Asheville on our Best Places for Fall Foliage ranking, too.

Residents have access to a solid public school system (Great Schools give it an overall 8 out of 10) and traditional health-care options at the Mission Health Systems. However, many residents choose from the array of alternative healing options, such as meditation and yoga at the Asheville Salt Cave.

Despite its popularity and rapid growth, housing remains affordable for most in Asheville with a median home price of less than $200,000. New development is an ongoing concern in town, but the city is doing its best to address the need for new housing with the desire to keep the city livable.

“We’re not creating land-locked sprawl situations,” says Mayor Manheimer. “We want things to be integrated, so people can get out, move around, and interact in their community in meaningful way and a healthy way.”

"No Boundaries"

The Great Smoky Mountains

Becoming a national park was not easy for the Great Smokies. Joining the National Park System took a lot of money and the hard work of thousands of people. Establishing most of the older parks located in the western United States, such as Yellowstone, was fairly easy. Congress merely carved them out of lands already owned by the government—often places where no one wanted to live anyway. But getting park land in this area was a different story. The land that became Great Smoky Mountains National Park was owned by hundreds of small farmers and a handful of large timber and paper companies.

A New Idea

The idea to create a national park in these mountains started in the late 1890s. A few farsighted people began to talk about a public land preserve in the cool, healthful air of the southern Appalachians. A bill even entered the North Carolina Legislature to this effect, but failed. By the early 20th century, many more people in the North and South were pressuring Washington for some kind of public preserve.

Efforts to create a national park became successful in the mid-1920s, with most of the hard-working supporters based in Knoxville, Tennessee and Asheville, North Carolina. Surprisingly, motorists had the biggest role in the push for a national park. The newly formed auto clubs, mostly branches of the AAA, were interested in good roads through beautiful scenery on which they could drive their shiny new cars.

In May, 1926, a bill was signed by President Calvin Coolidge that provided for the establishment of Great Smoky Mountains National Park and Shenandoah National Park. This allowed the Department of the Interior to assume responsibility for administration and protection of a park in the Smokies as soon as 150,000 acres of land had been purchased.

Since the government was not allowed to buy land for national park use, the former political boosters became fund raisers. In the late 1920s, the Legislatures of Tennessee and North Carolina appropriated $2 million each for land purchases. Additional money was raised by individuals, private groups, and even school children who pledged their pennies. By 1928, a total of $5 million had been raised. The Laura Spelman Rockefeller Memorial Fund matched what had been raised and donated $5 million, assuring the purchase of the remaining land.

But buying the land was difficult, even with the money in hand. There were thousands of small farms, large tracts, and other miscellaneous parcels that had to be surveyed and appraised. The timber and paper companies had valuable equipment and standing inventory which required compensation. Worse, in some ways, were the emotional losses to people who had to walk away from their homes. Lifetime leases allowed some people to stay temporarily, particularly if they were too old or too sick to move. Others could be granted leases on a short-term basis. However, they could not cut timber, hunt and trap at will, or otherwise live as they always had.

The facts about this place (to me anyway) are interesting, but the real interest is the nitty-gritty history of this place. People lived out their lives here. They composed their music here, wrote their stories here and crafted their poems here. And walking the trails, you can still make out the presence of the past if you listen...

There’s an old weather bettion house
That stands near a wood
With an orchard near by it
For almost one hundred years it has stood

It was my home in infency
It sheltered me in youth
When I tell you I love it
I tell you the truth

For years it has sheltered
By day and night
From the summer’s sun heat
And the cold winter blight

But now the park commisioner
Comes all dressed up so gay
Saying this old house of yours
We must now take away

They coax they wheedle
They fret they bark
Saying we have to have this place
For a National Park

For us poor mountain people
They don’t have a care
But must a home for
The wolf the lion and the bear

But many of us have a tltle
That is sure and will hold
To the City of Peace
Where the streets are pure gold

There no lion in its fury
Those pathes ever trod
It is the home of the soul
In the presence of God

When we reach the portles
of glory so fair
The Wolf cannot enter
Neither the lion or bear

And no park Commissioner
Will ever dar
To desturbe or molest
Or take our home from us there

-By Louisa Walker

Appalachian Trail

The Appalachian Trail is the longest "hiking only" footpath in the world, and extends from Georgia to Maine. Some of our favorite places to hike in North Carolina cross-cross the AT here and there. This painting is from one of my favorite balds near the border of Tennessee.

Living as an artist in Western North Carolina, the Appalachian Trail is never far, and is always an inspiration for my oil paintings. I simply never run out of creative fodder! In thinking about this awesome trail, and the amazing adventures found upon it, the landscapes, the trees, the rivers and the mountains, it seemed like I needed a poem to really do it justice.  (See some of my favorite hikes in the area)

Endless Ranges

The month of February I will begin

a trek through woods as wide as the seas,

from the foothills of Georgia 

to rock altars in the mountains of Maine,

a pilgrimage of whole hearted discovery.

 

I shall walk on this Appalachian trail,

following the blazes of white,

beneath the wide open sky,

gazing north, always north 

across wide rivers, rocky ridges, and green meadows.

 

Twenty-two hundred miles it is,

twenty-two hundred miles to reach the end.

From this point on I now must find the will

to go onward every day until Autumn’s chill,

with the last days my youth has left to lend me.

 

And in these lonely months of walking,

when I’m lost amidst fog draped mountain peaks

timeless truths I hope to find as I am quiet and just listen --

to the whisper of branches, the gurgling of the stream,

the roaring wind -- listen for The Voice. He is here.

 

This trail I trek not because I’m bold or brave,

but from fear of that days when I've grown old,

I will with regret, I’ll only quietly sigh

because of the unlived life that has passed me.

This is an adventure is not one I can ignore.

 

While I do not know if I shall succeed,

I do ask the reader -- listen!

Live your one-time Life. Really live!

And should you find your path twine across my own,

Welcome home. 

What is 'good' art?

There are different answers to that question, which doesn’t surprise me. What does surprise me is that even asking the question scandalizes some people. I’ve heard folks say things like, “there’s no such thing as good art or bad art. Art comes from inside the soul. How can you judge that?” So before I even begin to take a stab at answering the question “what is good art?” Let me first defend the right to ask the question in the first place.

You Can Judge Art??

To begin with, let me say that yes, it’s completely improper to criticize the self-expressive art of a six-year-old. A six-year-old cannot produce good or bad art. To a parent, it’s all beautiful. It can’t be judged. The same could be said for someone who enjoys dabbling in watercolor or oil paint for fun or self-expression. Painting, sculpting, practicing the piano… is all fun and personally, I would encourage anyone to explore their creativity—society would be healthier for it. But not all art is like that. The art of a college student earning his painting degree should be judged and analyzed. The work of a professional artist is judged all the time, and rightly so, because he has submitted it to the public eye, not simply as self-expression, but as true art—as expression of something transcendent. If you handed me a page from your diary, it would be completely inane for me to redline a spelling error. On the other hand, if I were a creative writing instructor and you were my student, it would be kosher for me to mark up your essay. Indeed, I would be a poor teacher if I did not, even if it were a good essay. So whether we can judge art is entirely dependent on our context. In the right context, we are free to make certain judgments. In fact, we judge all the time, and that’s not inherently problematic. Does everyone sing equally well? Are all poets equally skilled? If you have a favorite restaurant or a favorite beer or favorite movie or a favorite band or a favorite anything, you’re judging—you’re praising something as superior to something else, or to everything else. We judge, and that’s simply the truth. Some things are better than other things, and it is inconsistent, even dishonest, to pretend otherwise. So can we judge art? We do, whether we think we can or not. What we need most, then, is to critique and analyze our criteria. The criteria which we use to judge between good and poor art will be the subject of my next few posts.

A Trip to the Art Museum

Have you ever felt intimidation stepping into an art gallery? Have you been to a modern art museum and felt like a cultural moron, stuck wondering, “why is this oil painting even in here, and who decided this is art?” If your answer is ‘yes’ to either question, read on.

I’ve heard people say things like “with art, there are no mistakes. It’s all art” (and this assertion is ridiculous). You see, contrary to the opinion of those who esteem themselves as culturally elite postmoderns, art has rules. Don’t get me wrong…you can haphazardly throw paint on a canvas and it may be great therapy, but it’s not necessarily great art.

Think about it...

Consider, we don’t approach any other creative endeavor with the assumption that “there are no rules – there are no mistakes!” Can I record myself pounding on a piano and expect to go platinum? Can I string together 50 random words from Webster’s dictionary call that poetry? Can I close my eyes, dig through my refrigerator, pull out great gobs of mystery contents, whip up something special on the stove, and call that cooking? It may be special but not likely edible. And that’s because music has rules and poetry has rules and cooking has rules and if you break those rules you have a mess. It should be no surprise then that creating artwork is exactly the same way.

Rules can be our friends...

There are rules and it takes time and painstaking work to master these rules. But with mastery, they can form an incubator for truly great artwork. Let me be honest. I don’t think everything heralded as art is truly art. I think a great deal of confusion happens when we don’t make a distinction between “art” and “visual expression”. Visual expression does not have to conform to any rules at all. It can be shocking. It can be crude. It can be poorly executed. It doesn’t matter. Visual expression needs only to say something and make you think (e.g. graffiti spray painted on a wall to incite rebellion or express angst).  The confusion arises when visual expression winds up in art museums. Don’t let that intimidate or confuse you. It may be a powerful visual expression, and it may be valid. Please listen to it. Try to understand what it means. Maybe it is completely inane and nonsensical (but maybe that’s how its creator views their world, so it can still be insightful). But you don’t have to process someone’s visual expression like you would process true art. Visual expression seeks to communicate, but without reference to the rules of design and beauty. I believe true art recognizes the rules and design within the universe and works within the grain of these patterns to create something beautiful and emotive.

Art has rules and structure. Those rules and that structure provide a framework for for the creation of something truly amazing.