Orange Juice and Strawberries

OJ and Strawberries  8x10"  Acrylic on panel

Although I painted this in acrylics, it was better suited for oils. Today the temperature went up over 80 degrees and my studio was preeetttty hot. Acrylics dry more quickly when the conditions are hot and dry. I don't have my AC hooked up yet so the minute the paint went down it dried. I normally have a bit more leeway.  Maybe its time to crack out the oils, for a nice seasonal change of pace...

To the Triboro - SOLD!

"To the Triboro"  44x43"  Acrylic on Canvas

Just got the news from my gallery in NY - SOLD.  Now I want to start painting larger again! And to think I just got a gig to paint 10 - yes TEN,  4"x4" paintings... anyone out there got a magnifying glass I could borrow?

Seductive Surfaces Workshop

Here are a few techniques from the 2 day "Seductive Surfaces" workshop I taught recently in Syracuse, NY. The participants did such beautiful work, I had a hard time choosing from all of their samples.  During the workshop we covered about 15 different acrylic techniques, which involved using a wide array of gels, pastes, mediums and paints.  

The butterflies were a lesson in how to use interference (and iridescent) paints to simulate the opalescent, shimmery effects found in nature. The center image shows a resist technique using polymer medium as a drawing tool, combined with acrylic fluid washes. The example at the right shows a combination of two techniques, sgraffito and glazing.  There is never enough time to cover all the techniques that are possible, because there are endless combinations that can be layered one over the other, to create new variations. Collaging with Skins, Image Transfers, Scumbling effects over Fiber paste, Sgraffito with Heavy Gels, washes over Acrylic Ground for Pastels, Sculptural texture with Light Molding Paste, layering with Glass Bead, feathering with OPEN paints... these are just the tip of the iceberg. 

However, we covered plenty. Most artists don't realize the creative doorways that burst open when they start combining various acrylic grounds and mediums, regardless of whether they are abstract or representational painters. One student mumbled as he was walking out the door - " my head is so full, I can't even talk." I think (hope) he meant that in a good way. 

Skinny Lady

"Skinny Lady", Acrylic

I've been prepping all week for my 3 day Seductive Surfaces Workshop in Syracuse, NY. I will be showing artists how to use gels, pastes and mediums in their artwork, to get very creative effects and exotic textures that can't be achieve with paint alone.  I created about 16 demo boards of various techniques to demonstrate.

A "skin" is another word for a dried acrylic film of paint, paste or gel. Often I look down at my palette while I'm working on a painting and think "my palette is more exciting than my painting!" So I let it dry completely, then peel it up and use it in bits and pieces, sometimes as bits of collage in paintings, I've even glued it to earrings to spice them up. My husband walked into my studio and I pointed at one of the demo boards that had a big multi-colored skin glued on, and he suggested it would be cooler if I turned it into "something". So I took the middle area and turned it into a woman's face. Vouila! Instant fashionable lady with matching hat and jacket. Skins - they're cool!

Links

Oops, someone pointed out to me that the link to the students' work didn't work... the link to click on is "Students Work 3-10-13" which is underneath the "Color Theory" book image, on the right hand side of this page...

Workshop Weekend

Pink Rose 1, 6x6" (45 minute demo) Acrylic (Click to Bid)

Pink Rose 2 (15 Minute Demo)  8x10" Acrylic  (Click to Bid)

This weekend I taught a 2 day "How to paint fast, loose and bold" workshop at my studio. In order to live up to what I am promising in the name, a certain amount of discomfort is involved. The workshop starts out pleasant enough, but I gradually keep turning up the heat, so to speak, with exercises that push everyone further and further out of their comfort zone. Towards the end of the workshop their brushes have grown larger while their time allowance per painting has shrunk exasperatingly small. It doesn't feel fair to inflict this torture on them, watching from the safety of the sidelines, so I jump in too, and we all feel the pain together. Such fun, eh? 

The ah-ha moment comes when they look in disbelief at the paintings they have created in a timeframe that previously seemed un-doable. In my experience the only way to grow, in painting or in life, is to push the envelope and reach for things that seem too hard. What makes a great workshop, from my standpoint? Seeing  the transition from doubt to confidence that happens when painters realize they "have what it takes" to reach their goals. Especially in those whom have not painted in many years, and leave inspired and enthusiastic. It is very rewarding, and a true win-win, as I learn just as much from my students as they learn from me. 

Posted on a another page are some of their paintings, many created in 15 minutes! (See the link "Students Work 3-10-13" on the right, under the "Color Theory" book. BTW, in case it's not obvious, the goal of painting fast is not to break speed records, but to cure "detailitis". Or in other words, learn how to edit out unnecessary detail. Oddly enough, it's much easier to paint every detail we see, than to simply.

I'll end this post with one of my favorite sayings, " Life begins at the end of your comfort zone".  

Upcoming Workshops:

Paint Fast, Loose and Bold in Tuscany (Expect plenty of red wine, italian feasts and chocolate ... you will feel no pain here).  Sign up before March 30 and save $125.

Paint Fast, Loose and Bold in North Carolina

Paint Fast, Loose and Bold in Carmel, CA - Fall 2013, Dates TBD

Demos, Demos and more...

Rose, 6x6" acrylic on Gessoboard  Click to bid

Demo city. I have been doing lots of demos. In January I was asked to write another book (to be published in fall 2013) and it will be comprised entirely of step-by-step painting demonstrations to illustrate various lessons. It has kept me very busy painting, but obviously, not blogging. I don't think the publisher would appreciate my posting the paintings before the book is published, so my daily blogging content is limited for this reason. 

Above is a rose demo painted during a recent workshop I taught. It was done on 6x6" panel, with a 2" brush. Students often don't see how it's possible to paint with such a large brush on such a small panel, until the actual demo. I do this as an example of an exercise that helps to loosen us up. As painters, we can tend towards tightening up over time, resulting in work that looks stiff and tired. Losing a bit of "control" can help get the painterly quality back in our work.

The workshop name is "How to Paint Fast, Loose and Bold". I will be teaching this in Cary, North Carolina, April 14 - 16.  If you want to expand your horizons further, join me in Tuscany for a full week of painting plein air July 17-24. I'm told that registrants before March 30 get a $125 discount.  Painting, wine, day trips, chocolate tasting parties... o la la!

Beat the Light NYC

Beat the Light NYC,  18x24" Acrylic

I've got NYC bikers on the brain lately. It's amazing how an upcoming show can squeeze paintings out of an artist in record time.  I had to create and frame this for an upcoming show that has a deadline of today, 5PM. Deadlines... the bain of my existence and the whip-cracker of my "to do" list.

Midtown Messengers

Midtown Messengers, 18x24" Acrylic on Paper 

I'm working on a series of NYC paintings in a larger format. This summer I have a show coming up at my gallery in Provincetown, Simie Maryles Gallery, and I've decided to create a new series of work. I had a blast painting this one - hope it shows. It seemed to paint itself... my job was to not to "get in it's way" by thinking too much. This is actually 18x24" but I cropped off the top of the chrysler building for the post, because it made the image so small you couldn't see much. I will attach a few details, which make me realize that there are several paintings within this painting. I suppose that summarizes why I love New York. Everywhere you set your sights is a painting waiting to happen!

Blue Glass Bottles

Blue Glass Bottles 8x8" Acrylic on Gessoboard  Click to buy

This week in class the focus is on painting glass and reflections.  Here's my class demo, some lovely colored bottles in cool blues and greens.

Here are some new workshops I will be teaching in 2013... please join us if you can!

Waverly Artists Group, North Carolina, April 14, 15 and 16... more information
Workshops at my studio, New York, Jan, Feb. March and April .... more information
Rising Sun, Indiana, June 15 & 16 ... contact
Tuscany, Italy, July 17 - 24 ... more information
Carmel Art Institute, California  Fall of 2013, date TBD

Ringing in the New Year

On new year's eve, I was the gal dressed to the nines sitting at the end of the bar - sketching furiously. My husband, a jazz musician, had a gig in "Campbell's Apartment" atop Grand Central Station which was the former private office and salon of 1920's tycoon, John W. Campbell. This art-deco jewel of  an apartment has since been and reborn as a chic cocktail lounge that is cited in the national media as one of "the best bars in America". I couldn't agree more. The decor was decadent, the mood festive, champagne flowed and noismakers crowwed.

As I pulled out my sketchbook and assessed my views, I immediately ran into the same old mental trips. On my right was the band, dressed in black tuxedos standing in front of a huge black antique safe.  The lighting was so low I could not distinguish the musicians and their instruments from the backdrop. If I shifted my view to the left, I had one blurred bartender working at the speed of sound, to service an entire room of party-ers. Both views felt too challenging. "...impossible...can't see enough...too much movement"...yada yada. Then the other voice kicked in... "stop your sniveling... make it work...just DO it". So I did, I sketched all night long, right into the new year.  I truly wanted to usher 2013 in, in a meaningful way, one that would set the tone for the rest of the year. This was the perfect, imperfect setting.  Take what I have and make it work. All year long. Yes, that's it! Happy New Year~

Christmas Reflections

Christmas Reflections  Acrylic 8x8"  Click to Bid

Today's class demo, cheerful Christmas ornaments. Putting them on a metal platter created all sorts of color spots that made it a "must paint" for this painter.

Maureen's Pastries

Maureen's Pastries 8x8" Acrylic  Click to Bid

I've never been good at drawing from imagination. But when your model moves, or worse yet, implodes in front of you, there's not much you can do but work from memory. That was the case in class today. One of my students brought in the most stunning of pastries, real show stoppers. No sooner had we begun painting when one of them split down the middle and began to bleed - chocolate, oozing from the middle cavity (the pastry, not the student). OK, we can deal with this, I thought, and gave my students a "show must go on" pep talk. Soon after, it was as if someone had removed its skeleton... and splat, flat, yuk. I was kicking myself for not doing a sketch first - I had no drawing to look at, no values, no nothing, except my feeble memory. Not a good place to be. OK, at least 'its a great exercise', if somewhat a drag, to mentally re-create this model in a younger, perkier stage of life.  We all struggled today, but at least we left class reasonably intact - more than I can say for the poor pastries that were disected, devoured and quickly put out of their misery.

Cafe Roma's Pastries

Cafe Roma's Pastries  Acrylic on Gessoboard  8x8"  Click to Bid

Today I taught my last class of the semester at a school in New Jersey. As is often the case during the holidays, we bring in some festive treats to eat - and paint, of course.  One of my students owns pastry shop in Little Italy and brought in a big box of Italian Pastries from the famous "Cafe Roma".  We oooh'd and ahhh'd the beautiful pastries for a while, discussed last week's killer homework, then got a late start painting. We began at 2:15 and had to be done by 3:30. Yikes! Here is the demo I did for for the class, and then promptly proceeded to eat the models, yum!

Color Fields Illustrating Color Theory

4 Barns, Acrylic, 8x8" each Click to Bid

When you get the value structure right, you can plug in all sorts of feisty colors. I took a photo of a barn, did a 3 value sketch of it and then played with color. It's fun - and addictive - to take an image and spin it off into many color schemes.

Speaking of color schemes, my latest book, "Color Theory - An essential guide to color - from basic principles to practical applications" arrived today in the mail. It looks great, if I say so myself. The publisher did a fabulous job keeping the colors accurate. It was quite an undertaking - I created over 60 paintings and numerous color charts, diagrams, color wheels and more. The only paintings that were not mine were my husband's - 3 oil portraits illustrating Asian, light and dark-skinned Black flesh tones. It's a real treat to see the final published book. Hmmm, I think a celebration is in order...something bubbly!

White Tulips in a White Vase

White Tulips  12x12" Acrylic on Canvas  Click to Bid

I always find painting white subjects on white backgrounds a bit challenging. I gave that homework assignment to my students, who also found it challenging. I decided to do a demo for them - which proved to be - you guessed it...challenging, (and it came out way too colorful, almost fauvist). Not to be beat by my own assignment, I went to my studio and set up this still life and painted it.  Then I did it two more times smaller and faster, with different colors, just to play around... 

Blue Bowl

"Blue Bowl"  8x10", Acrylic   Click to Bid

Back to work after the big storm snafu. Our garage, or should I say the materials that created it, just got hauled away in a dump truck.  Our stuff is sitting out in front of our house, people are driving by and stopping, thinking we are having a mega lawn sale. I wave them on.  

Here is a demo I did for my class yesterday. It was my first day back to teaching in weeks, and when I dipped my brushes into my paint I realized it had dried somewhat while I was away. Goopey or more viscous paint seeps into the grooves of the canvas, drier paint creates a scumbled look, sitting on top of the texture and allowing the underneath colors to peek thru.  

In my earlier class I demo'ed a "limited stroke" exercise... what a way to jump back in to the swing of things... 22 strokes using a 1" brush, for this rose in a cup. I was dying to cheat but had too many witnesses to contend with.

Tomorrow I am giving a 2 hour lecture/demo on Golden Acrylics at Woodstock School of Art, in Woodstock, NY from 2-4PM. If you are in the neighborhood, stop by and say hello! 

Art, Interrupted

Heading Uptown 18x24" Acrylic/Mixed Media

Home Sweet Home, finally! I've been out of town for about 10 days. No sooner did we get our water, heat and power back, (which took 2 weeks, due to "Sandy") then we had to pack up and rush to  Las Vegas for a tradeshow. During that time we took a day trip to the Grand Canyon, and climbed down, as well as back up. (OMG)

Now that things are kinda sorta under control, I'm looking forward to painting in less chaotic conditions.  Our property is still a mess and we have lots of insurance related homework to do before things can be rebuilt. But I'm very grateful - not only the services, water/heat/power, that are so easily taken for granted, but all the support from friends - those who offered help in the aftermath and especially those who raised funds via painting auctions, that are helping us move onward. A little help goes a long way. I thank everyone that offered support to me and the other Sandy survivors.  

On another note, many people inquired about "the girls", our polish chickens, and how they fared through the storm. Thank you for asking. Although their coop was quite vulnerable in 90 mph wind conditions, someone was smiling upon them and by the looks of it, not a feather was ruffled. They're doing just swell and look as dapper as ever. Here's a photo of Gladys, Phyllis, and Esther (from front to back). 

Art and Fear

"NYSandy" 18x24" Acrylic/Mixed Media (Sold)

It was like living in the Wizard of Oz, just before the house got launched. The sounds of approaching Sandy were ferocious, I have never heard wind roar so loudly, sticks and branches flying around, banging into the windows. Very soon it would be much larger tree limbs. Waiting for Sandy to hit full force was torture, considering it was already a monster and hadn't even made landfall yet! I was feeling the dread take hold, and then came inevitable power blackout. I got a grip on myself and did what any true artist would do.  Pour a glass of wine (sizable) feel my way around for paints and brushes, strap on my miner's headlamp and do a painting. (posted above).  It's easy to become unhinged when 'the end' feels like it's closing in. Its also incredibly easy to forget about 'the end' altogether when you are in the zone of creativity. I can attest that the act of creating triumphed over fear. (storm? what storm?)

As it turns out the house kinda sorta survived but the garage and car didn't. An enormous Oak tree flattened them out - completely. All things considered, we were really lucky. 

 I want to especially thank Carol Marine who was in contact during the storm's aftermath, genuinely concerned about our situation. She created a DPW Fundraiser for folks like us who got hit, and has even donated the sale of one of her paintings on my behalf. Thanks Carol :-) In times of need, caring friends make all the difference. 

Below is a photo of our ex-garage and the oak tree. It will be a while before we get light, heat, water, refrigeration and all that other must-have stuff, but it's all OK - I've still got my paints, brushes and miner's headlamp...the true essentials!

Nyack Center

Nyack Center, 9x12" Oil on Canvas

I veered from acrylics and played with oils on this one. I do enjoy how different they are, and what they both offer.  The white church took on a fauvist air and then road decided to join in too. Biker dude got in just under the wire... the scene needed 'something' and he did the job!

Coffee, Tea or Tulips?

Coffee, Tea or Tulips? Acrylic on Canvas 12x12" Click to Bid

I've had this teapot forever, and love its classic shape. A while back, I dropped the lid and broke it, so I've been on the lookout for another one. This gives me an ongoing built-in excuse to rummage around flea markets and thrift stores, my favorite pastime besides painting.

Mixed Media Extravaganza

This weekend I'm holding a workshop, "Exploring Mixed Media" at my studio. It is a one day, hands-on workshop that will cover a wide array of new ways to spice up your artwork, whether you are seasoned professional or a beginner, representational or abstract painter. Although many of the materials we will be using are acrylics, they integrate perfectly with pastels, watercolors, dry media (colored pencil, graphite, oil pastel), even oil paint. All materials are included in the workshop fee, and I will be giving out lots of free stuff - hand painted color charts, color mixing guides, paint samples, "watercolor paper in a jar", "white-out for watercolorists" and other cool grounds and samples. It's sure to be a day of big fun as we pour, sgraffito, glaze, layer, drizzle ... and more. Here is a link to the workshop, as well as a painting that uses pastels, airbrush ink, Heavy Gel Matte, Acrylic Ground, Light Molding paste, Coarse Molding paste, Absorbant Ground and...oh yeah - paint! I love working traditionally, with "just paint and a brush" but its a very freeing experience to work in this mixed media manner.  If you want to be on the list for upcoming workshops in 2013, sign up here. If you are interested in a workshop in your area, invite me!

Lion Low

New York Public Library  Oil on Gessoboard 12x12"

I realized that I still haven't posted all the paintings from the NYC plein air gig I did in August. The painting above is from my first day, totally freaked out by all those moving people, hiding out behind Fortitude's butt. It's very difficult to keep a low profile in this city. Originally all the angles of the library were pretty straight and perpendicular but then I decided to scrape it, push the perspective and give it some attitude. When in Rome...

How I spent my summer vacation

Summer Tulips  12x12"  Acrylic on Canvas   Click to bid

Considering my summer vacation started last week, after I finished the book and ended this week, when I start teaching again, it didn't include travel, beach, suntan lotion or any of those summery icons. I spent this one week "vacation" in my studio just goofing around with all my paints, gels and pastes. I had a simple objective in mind: to have fun, not be under pressure, anything goes, nothing has to look good and most importantly, no deadlines. I worked on about 5 or 6 pieces at a time each day and had no clue as how they would turn out, nor did I care. This, in contrast to the past results and deadline-driven year of books and more, was strictly about "the journey"which is so different than how I normally work. Below are a few of my creations, altho the photo doesn't show how may layers of "stuff" I dripped, drizzled, poured, scraped, scumbled, or finger-painted on. About the only thing I didn't use was a brush. With acrylic materials, one can play forever, adding new layers - there are no limitations, other than the fact the pieces start getting a bit heavy.

 I snapped out of "vacation mode" last night and felt it was time to indulge my realism roots with this painting of my favorite teapot with tulips. I suppose it represents the end of summer...which sure seemed short this year!

Why I've been a lame "daily" painter

I cringe every time I see my blog title "A Painting a Day by Patti Mollica"  Hardly, right? Once a week... maybe? Well it's time to come clean, I actually have a credible alibi. I just finished writing and illustrating my second book.  The title is: Color Theory: An essential guide to color - from basic principles to practical applications". The writing was the "faster" part, (using that term loosely), all the paintings and diagrams that went with the writing were the time-gobblers. So in my defense - I actually have been painting daily - but not posting the new work created as color examples for the book. I did over 100 diagrams and charts to illustrate color as value, absolute color temperature, relative color temperature, color as focal point, chroma contrast etc etc.  The paintings created show examples of various color schemes, value depictions, lighting conditions, color moods, color movements throughout history, etc etc. I have to say, the final-chapter-paintings were the most fun: "throw out all the color theory models and just play with color like a kid".  How could I leave that concept out - isn't it how we came to love art in the first place?

The book will be available January 2013, and now it's time to enjoy my summer... but why is it so chilly?

Room With a View (of the receptionist)

Bryant Park Fountain, Oil, 12x12"

 A truly dreary day it was, rain was imminent. Naturally I assumed - I'll take some photos and go back to my cozy, dry studio and paint. No such luck! I was asked to schlep up to the 24th floor of the Bryant Park Corporate Offices and set up in the conference room. Huh? Fortunately I did a sketch of the fountain area before the downpour, and with a lovely view of Allison, proceeded to "go with the flow" of this plein air-less setting. 

Showers in the Park

Showers at Bryant Park 12x12" Acrylic on Canvas

For the most part it was sunny and hot during the two weeks I was painting in the city, but there were a couple of days that started out cloudy and then it eventually started pouring. I moved my entire operation to a nearby outdoor restaurant that had awnings, which I took shelter under. I didn't bother setting up my easel again, I just sat at a table with my painting in my lap and all my stuff on the floor. Not an ideal situation, but that's plein air for you ... the show must go on! 

Blue Man Group

Blue Man Group 12x12" Acrylic

Here is another painting from my NYC Plein Air Painting project. I kept noticing that a lot of men were wearing those deep blue shirts, such a pretty color! They must be in fashion now. Someone asked me in an email why I did these NYC Paintings. It was basically a commission in which the Bryant Park Corporation chose 4 artists to depict the setting, over a 2 week period. We each had a different two week time slot. We were allowed to paint anywhere we chose in the 2 square block area of 40 to 42nd St, between 5th and 6th Avenues. The only stipulation is that we be present all day, painting plein air. Two of the days it rained, and I will show those paintings in my next posts. For the other days, it was mostly sunny, verrry hot. The paintings I did during that time became their property, as part of their collection, to display as they wished. Here is more information on the project, with links to the other artists too. 

Extreme Plein Air/Water Painting

" Fly Me to the Moon"  12x12" Oil on Canvas

Here's a funny story, albeit a little long. I got an email newsletter today from Plein Air Magazine. The title mentioned "Extreme plein air painting." My first thought was - boy, do I know what thats about. Then I clicked on the link and saw that my recent gig in NYC was the featured story. Who knew??  I told my husband and he said, "do they know about us drawing underwater surrounded by sharks? That's more extreme" I said "You're right - I don't think so, but I'll send them pictures if they want to see what real extreme plein air - err, water looks like. " So I did. I never meant to start a new category like "extreme painting" but, if the shoe fits, I think I'm wearing it.

A little history, my husband, Mark Hagan, a jazz bass player, scuba diver, surfer dude and inventor of the aquaSketch, (the only underwater drawing device), happens to also be a very talented artist on his own. He wanted to sketch during his dives, and since no waterproof drawing tool existed (no surprise there) and since he doesn't like to work from photos, this explains how his unique product came to be. Fast forward now, to a scuba magazine that heard about this and wanted to feature him sketching...sharks. He needed a videographer to take photos of this ordeal (or more specifically, a FREE chump videographer - thats how I got roped into this sordid ordeal). Long story short, and lots of balking and swearing, I agreed to get a scuba license for the purposes of filming him in action.  This link shows what I saw as I dove into a circling pool of sharks and then immediately and passionately wished I hadn't. I have to admit, the NYC deal was a bed of roses in comparison.

That being said, above I have posted another painting from my urban adventure. I set up at 10:00 am in a location where there were the least amount of people present. By 11 am I was in the epicenter of the most amount of people contained in one square block of Manhattan, on the hottest day of the summer. Little did I know that a Frank Sinatra impersonator would be giving a free concert just a few feet behind me. Clearly, everyone in New York knew but me.

In keeping with the title of this blog post, I have attached a photo of me drawing the sharks too. So I couldn't resist. I heard this advice once "don't be distracted by your subject". OK - I'm trying!

Le Carousel at Bryant Park

Carousel 12x12"  Oil

After I got done painting Patience, the Lion Statue, who posed so gracefully and perfectly still, I decided to ratchet up the anxiety level and go for something that moved continuously. The Carousel beckoned me... kids jumping on and off, the horses and frogs and carriages a whirring blur of color. I would have killed to work from a photo, but that was not the nature of this gig. Truth be known, this is not my favorite painting of the batch. I scraped, re-worked and re-painted many areas; it got a bit overworked. However, I will pat myself on the back for taking it on. It was way beyond my comfort level. I can't say that I succeeded in pulling off a great painting, but I definitely succeeded in "feeling the fear and doing it anyways". Hey, why play it safe when you can torture yourself for kicks? ha ha

Below is a photo of me wrestling with this alligator...

Patience the Lion at NYPL

"Patience" the Lion  12x12" Oil  Click to Bid

I did this piece during my recent plein air painting gig in NYC. The tricky part is that by the time my easel was set up, the light and shadows on the Lion had already changed drastically. That, and the fact that I planted myself smack in the middle of the sidewalk at Fifth Avenue at 42nd street, The New York Public Library, it was quite the hectic atmo. It's truly amazing how once you pop in your headphones and get the itunes cranking, the rest of the world pleasantly drops away -  until a kid trips over your easel leg and jolts you back to reality. I put the people in as an afterthought...Patience looked too lonely by himself. 

Two Blondes

Two Blondes, 11x14 Oil 

Here is another painting from my series of plein air paintings in NYC. I had to figure out a system to deal with all these moving people. I mean, its hard enough to paint figures when working from  models who are posing for hours -- capturing them in seconds flat seemed impossible. Enter my trusty sketchbook and charcoal pencil - nail down those poses quickly and when the people change positions, or take off, as they inevitably do, work from my sketches.  Vouila!

Dealing with Joe Q Public was just as challenging as the dealing with the unpredictability of plein air conditions.  Of all the tables and chairs available to sit at, this little Jewish guy decides he must sit at my table, with me. Didn't he realize his black top hat would soon be decorated with purple paint blobs? Only in New York.

Feel the Fear and Do It Anyway

Thats the title of a book I read in 1992, which forever re-positioned how I dealt with fear. Along those same lines, my favorite quote is by Eleanor Roosevelt "Do one thing everyday that scares you".  Well I had an ideal opportunity to deal with some real fears this past two weeks, painting in the middle of midtown Manhattan, en plein air. Sandwiched in Times Square, Bryant Park and 5th Ave. at 42nd Street (the NY Public Library), I was hired to paint the area - plein air only, for two weeks, 8 hours a day, part of a program offered to 4 selected local artists.  My gig ended yesterday and I was featured on the cover of the New York Times today - very nice payback for the grueling schlepping in 100 degree heat.

My big fear was less the intimidation of being surrounded by huge crowds of people, it was more an artistic fear - how do you paint people that are constantly moving? I became acutely aware of why most plein air painters choose landscapes. Mountains, trees and rocks don't move. People don't stop moving. Lets just say I had no choice but to figure it out, the hard way - by doing it on the spot - with no place to hide.

As it turns out, I got pretty fast painting one minute poses, often thats all the time I had to capture someone before they completely changed positions or left altogether. Memorizing was key, as was sketching fast, and also reconstructing (mentally) the physics of how the human body is put together.  Just like anything that is a great learning experience, it often happens at the expense of comfort. Well this wasn't comfortable on any level, and I learned more than words can say.

I will attach some of the paintings I did in upcoming posts. This one below was a 10 minute painting of people relaxing on the park lawn. They were not lying together like this, I just kept pivoting my easel around and capturing whoever was nearby.

New York, New York... if I can paint here, I can paint anywhere

"Lawn Loungers, Oil, 8x8"