Giverny: My Homage to the Man

A few weeks ago, Joy and I were up in Pittsburgh visiting our oldest daughter Camden, her husband Joseph and our baby grandson Elisha (who is amazingly cute). Well, one of the days we were there, we went to the Carnegie Museum of Art(which was truly amazing). After snaking our way through corridors of modern art and the medieval art, we (finally) got to my personal favorite: the impressionists. And oh my gosh -- Actually being able to get up close and personal with a Van Gogh was almost a holy moment! And then...and then I saw it: water lilies. Claude Monet. My favorite of all my favorites. I was transfixed on this massive panel of water lilies. I could see the brush strokes and understand the mixing of paint. It was beyond incredible. And Camden said, "you know, when you get back to your studio, you should create a water lilies painting as an homage to your man here." 

So I did. When I got back to my studio in Asheville, I began building water lilies on my canvas. 

This piece is entitled "Giverny", named after the home of Claude Monet, who lived at Giverny, France for forty-three years, from 1883 to 1926. I think one of the big reasons I love Monet was that he was seemingly fascinated by the play of light and reflections on the water. He worked on many paintings executed on a floating studio (in Argenteuil or on the Dutch canals). He was obviously taken with the inverted reflections you find in these "liquid mirrors". In 1893, he purchased a piece of land situated at the end of a narrow arm of the River Epte (side note: this is the same river where the St.Claire's originally settled down after a life of being Vikings, but that's another story). And this piece of land became his home. The water lilies and painted and re-painted and re-painted nearly ad infinitum were all done here (in his back yard). I really want his back yard!

So this piece is my way of "taking my hat off to the master". It is my take (with my own technique and materials) on a well familiar theme. Thank you Claude.

A Funny Thing Happened at the Studio Today...

So, imagine blissfully painting by your window (so you're in your "zone") and a nicely dressed woman (the mayor) enters your studio followed by professional looking gentlemen from HBO carrying TV cameras and a huge boom mic and she starts asking you questions about your unusual painting technique and what it's like to be an artist in Asheville. Yeah, so that was my afternoon!

Sunrise, Sunset...

Recently, some visitors to my Asheville art studio commissioned a couple of paintings from me, one of which featured a sunrise over Driftwood Beach on Jekyll Island (just off the coast of Georgia) and the other is sunset through Spanish moss hanging on oak trees in Florida. I think probably no matter where you are in the world, this time of day is the best, but the intensity of the colors and the length of the shadows are awesomely amplified when the sun is rising or setting over a body of water.

I have always loved twilight or daybreak.  This time of day has be poetically referred to as the "time in between times".  It is then the fairies (or fireflies), dipping and rising in their hypnotic evening dance.

Up to this point in my painting career, most of the oil paintings that I work on "daytime" themed paintings. Honestly, the technique I use to paint has proven to be a rather difficult technique to use in portraying dawn or dusk. But over this past year, I've learned that if I work much slower and apply layers of paint in much thinner layers, applying just one color family at a time, I have much more control over what's going on with the color and light in the piece. The results are something that I've been really, really excited about. 

So...after finishing these two commissions, feeling rather confident in my new found abilities, I started four more sunset-themed paintings, this time featuring long distance views from the top of the Blue Ridge Mountains. Photos to come shortly! 

Crossing the Bar
by Alfred, Lord Tennyson

Sunset and evening star, 
And one clear call for me! 
And may there be no moaning of the bar, 
When I put out to sea, 

But such a tide as moving seems asleep, 
Too full for sound and foam, 
When that which drew from out the boundless deep
Turns again home. 

Twilight and evening bell, 
And after that the dark! 
And may there be no sadness of farewell, 
When I embark; 

For through from out our bourne of Time and Place
The flood may bear me far, 
I hope to see my Pilot face to face
When I have crossed the bar.

Color Explosion

The thing I really enjoy about a abstract wall art is that it feels as though I have very little control over the thing. It really does feel like it has a mind of it's own. This piece (above) is a studio photo of what is the largest abstract oil painting I've done. I was given several photos of the room in which it will eventually hang, and then my task was to design an abstract painting that complimented that space and would be a real statement piece. So I had an idea of the colors I was going to use, but that's all.

As I began several weeks ago, I felt like I had some good "movement" going on with the texture I applied. When that texture was done and covered with metallic leaf, then I began the actual paint application, and that's when the fun starts. I just almost randomly chose the first color and a large paint brush and dove right in. What I've learned is that I really need to apply one color at a time to my paintings and let those colors dry before I apply the next layer. This takes days and days, but slowly the piece begins developing into something interesting. Then,  it's a matter of looking critically at the piece and determine what is "growing" that you want to develop and accentuate, and what might need to be minimized (visual dead ends). It's kind of like working in a garden -- mulching the plants and pulling the weeds until everything you want growing is mature and beautiful and everything that should not be there is gone.

This painting is headed out to it's new home in Knoxville, TN in a couple weeks (after it gets the resin application).

My Largest Painting to Date...

Last August, I was hiking with my wife Joy around the mountains of western North Carolina and my mind was relaxing. I could feel it. And when that happens, when my soul "breathes deeply"...that is when I come up with crazy ideas. I can't help it. I'm convinced Joy was brought into my life to consistently bring me back to reality when I start a conversation with "Hey, I have an idea!"

But this time, she just listened and said, "I think you should try it." The idea I had shared was to create the largest painting I've ever done by far. Most of my paintings take about one month to complete. What my mind was questioning whilst hiking that day was "what would a six month painting even look like?" I had no idea. Hmmm.

I still have no idea. This baby is going on nine months now, but it is 90% complete thanks to yesterday. See, yesterday was the last day of studio stroll and it was pouring rain most of the day which was perfect weather to get going on the final stretch of my "big mamma" painting, since no one was exploring the River Arts District in such horrid weather. And because I needed to be there all day, I painted through the downpours and now I'm nearly done.

"Is this a commission?" people ask. "No," I explain. "This is the most impractical art related idea I've ever had." But I had to do it. I am so incredibly thankful that my wife Joy blew on the spark and didn't douse it. Will this ever sell? Is it actually worth the time and effort I put into it? I have no idea and for this one, it doesn't matter.  I want this to be the absolute best oil painting I am capable of creating to date. That is what it is for.

Most of what I do is for very practical reasons, but now and then, I am convinced people need to be okay with doing something simply and only for the joy of doing it. This monster painting is giving me great joy. And when I complete it and it's hanging on the wall in my studio, I will have a party and celebrate. And you'll be invited.

What to do with 2000 visitors in an art studio...

Over the last several days, I've been preparing for our spring Studio Stroll. This is an even that happens this weekend in Asheville's River Arts District and also in the fall and is immensely popular (mostly with locals who spend this time checking in with all their favorite artists). 

"What's a Studio Stroll?"

It used to be the studio stroll meant that for two weekends every year, all the art studios were open to the public and could be visited by, well, by anybody. I don't know how long it went along like that but eventually, some enterprising artist decided to open their art studio to the general public more often than just twice a year, and guess what? People visited their studios. Eventually, artists began to adopt the "open studio" business model and banded together and started advertising that they were here and open to visitors. And so nowadays, people can visit over 200 artists within about a one square mile area and have a good chance of walking in on some artwork actually in the process of being worked on. And because Asheville became known for this business model, I can make a living here doing artwork and greeting visitors from literally all over the country (and other countries). 

So what is the studio stroll like for an artist? That kind of depends on the artist. I love it but it's really exhausting. Imagine being asked by about 2000 people throughout the two days, "hey, why are these paintings so shiny?" "How do you do this?" "Do you really make a living just doing this?" (I love that last question! Ha!) It's honestly great fun talking to so many people who are visiting our studios because they love artwork (so we have something in common right from the start). 

The first couple studio strolls I did I just sat there all day long and greeted people, but not doing anything but sitting there was unbearably boring, so...now I have several canvases ready for the aluminum leaf application (people like watching that) and I will be working on my "Big Mama" 8' x 10' painting when I get tired of the aluminum application. 

You're invited!

So if you're in Asheville or close-ish, please know you're invited by all 200+ artists to pay us a visit. There are free trolleys both Saturday and Sunday. We're ready for you. 

Regarding Art & Beauty

Beauty is an odd thing. It sometimes seems like beauty is a luxury; a very nice “add-on” to life that isn’t really necessary but does a lot to make life nicer. I don’t agree with that take on beauty though. I think beauty is something that human beings need nearly as much as oxygen, food and water. Beauty and the recognition of beauty is so much a part of what makes us different than other animals. I think beauty is spiritual, and nothing short of a primary connection to God. 

And as an artist, as someone who feels deeply and who attempts to create something beautiful on canvas all day long in my art studio here in Asheville, I thought I would spend a few moments and talk about what I do to intentionally grow beauty, because especially today, I think beauty is something that should be being cultivated in large and infinitesimally small ways by all of us every day. 

Beauty often doesn’t just happen, it can be planted and cultivated by our thoughts and acts. For instance, I walk the three miles to work every day rather than save time and drive. Walking is not only great exercise, it’s quiet. Walking is slow. When I walk, I think, I sing, I pray, I meditate. I have come to really treasure this “slow time”. It means I sacrifice nearly an hour and a half every day (if I drove instead of walked) but at the end of the day, I don’t just want to get lots of tasks checked off my “to do” list. I want also to have enjoyed life that day, and I do not enjoy life while rushing from thing to thing. Slowing down allows beauty and creativity to be cultivated and tended to. 

As an artist, I feel deeply. I can’t help that. I have always felt deeply about most everything so I don’t have to try. I have sometimes wished I came with an emotional “on-off switch” so I could turn it off sometimes. However, I came equipped with no such switch, but as time goes by, this emotional awareness is something that really does sensitize me to the beauty around me and when I see it and am in awe of it, I can't help myself...I have to respond. Art is my response. 

Getting Better Acquainted

A couple weeks ago, I received an email by a studio visitor that wanted to include me in their blog. Of course, I said yes because I love attention. :) Here is some of the questions he asked. (And by the way, if you have questions about my artwork or about art in general), feel free to email me. I'm very happy to answer questions or give art advice!

Q&A

Q. Your website mentions various you venturing into dialuminism around 2001. What made you want to start painting this way? 

A. About 17 years ago, I was at an outdoor street art festival in Mt. Dora, FL. At that event, there was an artist that had a booth filled with Greek Orthodox icons. These were legit. He was painting with hand-ground pigments and traditional gel mediums. They were amazing. I had never, ever seen the color of paint do what it was doing on top of 24c gold. It was incredibly rich and intense. After about an hour in the booth, I went home with an idea. I had to try painting on top of gold leaf (I had a couple scraps around) using the medium I was familiar with (oil paint) to see if it could possibly work. And it did. And then I realized I did not need gold to achieve the effect I wanted. Gold works because it is reflective. After a good deal of hunting around for a metallic leaf that would work, I found Italian aluminum leaf (the most pure aluminum leaf there is). That is what I paint on. And I do that because it reflects light back through my paint, creating a "backlit" oil painting. And I do that because when you back-light pigment (as in a stained glass window), you greatly intensify the color.

Q. What is your favorite piece that you've created? 

A. Whatever I happen to be working on at the moment. I'm serious. Every piece I do is my favorite one I've ever done as I'm working on it.

Q.  Who’s your biggest inspiration as an artist?

A. Makoto Fujimura. He is a Japanese-American artist who paints atop metallic leaf as well.

Q. What drew you to the River Arts District? Why Asheville? 

A. In Asheville, in the River Arts District (at least for right now), I can have a art studio that is open to the public six days a week, and because there is a unique community of over 200 artists within a square mile all of whom are basically doing the same thing, there is enough of a presence to attract people from all over the country (and other countries) to our square mile. And because of that, artists can actually make a living creating their art and selling direct to the client.  (Some art studios I recommend in the area.) 

Q.  Do you know of anyone else in the River Arts District who deserves some exposure?

A. Yes. Daniel McClendon (an awesome abstract wild-animal painter), Cindy Walton (one of my favorite cold wax painters) and Matt Tommey (he makes incredible baskets out of wild vines native to the WNC area).

Q. Is Joy also a painter?

A. Yes. Joy is a painter and awesome #1 assistant. She works on her own pieces (all the small work -- she says she doesn't have the patience for the larger pieces). And she assists me on various steps of my work when I'm slammed. A lot of the gold edges on my paintings have been applied by Joy and she's applied a good deal of the aluminum leaf faces I paint on. And she runs to Walmart and Michael's for art supply runs. I am deeply in debt. 

Q.  Any future developments worth mentioning? 

A.  Always. I'm real excited about a 12' long installation piece (on twelve panels) that I sent to the gallery in Oklahoma City that represents me (Kasum Contemporary Fine Art). I'm experimenting with a new idea (also for a large installation piece) featuring aluminum leaf and dichromic film on clear plex panels. This could be super cool because the color of the panels change depending on the angle you are when you see it. I mean, it changes from yellow to orange to blue as you walk around it. More to come on this.

Personal Thoughts

"How do you decide what to paint?"

A young couple was visiting my studio yesterday and had commented that each of my paintings made them feel quiet and peaceful inside, and that although they each depicted a different landscape, that the resulting emotional impact was the same. I told them that that was the greatest compliment someone could pay me. And then they asked how I decide what to paint. And after pausing for a few moments (because I'm not usually asked that question), I realized the answer to that was simple: I want to go back home to Eden. Please pardon my philosophical/spiritual answer, but the question itself turns out to be a philosophical/spiritual question. Eden is in my ultimate goal. I can't help but long for it and depict it in my imaginings. My faith tradition teaches me that I was made for a Garden...a place that is filled with beauty, peace and safety. A place where people can be completely vulnerable and unashamed. And I can't help it -- this is what I'm depicting with my imagination in every painting that comes off my easel. Quiet woods, mountains reflecting in a serene lake, early morning sunlight poking out of the shade canopy in the forest...each scene I paint depicts a place I want to sit (preferably by myself or with just one or two close companions) and be quite, absorbing beauty as a dry sponge absorbs the water. I was made for that. I think everyone was made for that. That is why I paint what I paint. (See my FAQs for more)

The Conundrum Of The Workshops
by Rudyard Kipling

When the flush of a new-born sun fell first on Eden's green and gold, 
Our father Adam sat under the Tree and scratched with a stick in the mould; 
And the first rude sketch that the world had seen was joy to his mighty heart, 
Till the Devil whispered behind the leaves, "It's pretty, but is it Art?" 

Wherefore he called to his wife, and fled to fashion his work anew -- 
The first of his race who cared a fig for the first, most dread review; 
And he left his lore to the use of his sons -- and that was a glorious gain
When the Devil chuckled "Is it Art?" in the ear of the branded Cain. 

They fought and they talked in the North and the South, 
they talked and they fought in the West, 
Till the waters rose on the pitiful land, and the poor Red Clay had rest -- 
Had rest till that dank blank-canvas dawn when the dove was preened to start, 
And the Devil bubbled below the keel: "It's human, but is it Art?" 

They builded a tower to shiver the sky and wrench the stars apart, 
Till the Devil grunted behind the bricks: "It's striking, but is it Art?" 
The stone was dropped at the quarry-side and the idle derrick swung, 
While each man talked of the aims of Art, and each in an alien tongue. 

The tale is as old as the Eden Tree -- and new as the new-cut tooth -- 
For each man knows ere his lip-thatch grows he is master of Art and Truth; 
And each man hears as the twilight nears, to the beat of his dying heart, 
The Devil drum on the darkened pane: "You did it, but was it Art?" 

We have learned to whittle the Eden Tree to the shape of a surplice-peg, 
We have learned to bottle our parents twain in the yelk of an addled egg, 
We know that the tail must wag the dog, for the horse is drawn by the cart; 
But the Devil whoops, as he whooped of old: "It's clever, but is it Art?" 

When the flicker of London sun falls faint on the Club-room's green and gold, 
The sons of Adam sit them down and scratch with their pens in the mould -- 
They scratch with their pens in the mould of their graves, 
and the ink and the anguish start, 
For the Devil mutters behind the leaves: "It's pretty, but is it Art?" 

Now, if we could win to the Eden Tree where the Four Great Rivers flow, 
And the Wreath of Eve is red on the turf as she left it long ago, 
And if we could come when the sentry slept and softly scurry through, 
By the favour of God we might know as much -- as our father Adam knew!

Who Else Should We See in the District?

“What other artists should we make sure we see today?”

I’m asked that a lot as folks are leaving my painting studio in Asheville’s River Arts District. There are over 200 artists within about a square mile here, and I would recommend people see everyone but…if your time is limited and you just an a morning or afternoon, here are my suggestions for my favorite “must see” artists who work around me. 

The Official St.Claire Favorites...

1. The Lift Studios is the creative home of Daniel McClendon (www.theliftstudios.com) Daniel’s paintings are process-focused and examine the connectivity of instinct, impulsive action, and identity. The work begins non-objectively in the form of a chaotic black and white abstract painting, and from there the animal— a central figure in all his works—emerges. These animals, created from a variety of colors, patterns, textures, forms, and symbols, take on the role of both a totem as well as the embodiment of instinct itself.
2. Michael Hoffman (LiveLifeArtfully.com) In a world of sameness, Hoffman Studios offers you something truly unique. I invite you to visit our gallery and working studio to view the varied selection of handbuilt porcelain we offer for your enjoyment. Each piece of pottery is made using antique lace, some centuries old, to create objects that will be cherished for generations to come. Using the materials that nature has provided, we formulate glazes that dress each piece in a skin of dazzling colors. Colors that often mimic precious gems, stones and weathered metals.
3. North Carolina Glass Center (www.ncglasscenter.org). The North Carolina Glass Center is a non-profit, public access glass studio providing daily educational offerings & demonstrations. You can watch glass being blown and even take a class and learn to blow glass yourself! 
4. Bee Sieburg (www.beesieburg.com) Bee is one of my favorite people on the planet. She loves to paint countryside (local and European) and farm animals. Her style is loose and free with an awesome use of color and brush strokes. She’s upstairs in the Wedge Building.
5. Matt Tommey (www.matttommey.com) Matt’s handcrafted baskets are a whimsical collaboration of traditional weaving techniques, vines, bark and recycled metal. Every basket begins with a walk in the woods. His artistic “voice” centers around the ability to speak the language of natural materials. By responding to nature and incorporating many different materials, he’s able to create one-of-a-kind sculptural creations. If you see someone rummaging around a kudzu field gather vines, that’s probably Matt. 

Honestly, this is is really minimal but at least it’s a start. There are so many other talented artists around here. To explore the district properly would take all day or a weekend. These artists are another one of the reasons why we love living in Western North Carolina and Asheville in particular. The mountains, trails, and woods, the restaurants in downtown Asheville and all the mirco-breweries, the music — what a fun place to live or visit.