Back to Basics

After spending the last several months experimenting with different subject matter, I'm delighted to return to the loyal and patient muse. Don't get me wrong, my foray into street scenes, ocean, snow and a bit of plein air has been a welcome change - reassuring my brain that it can still concentrate with dogged focus and even learn a few new tricks.

It was a return to the basics of value and perspective. My equine paintings are closely cropped into somewhat abstract compositions. Spatially, here's limited depth of field and the angles are as unorthodox as I can convincingly portray. It's difficult to choose a focal point when the entire surface is so in-your-face.

My artist friend Robert Stebleton generously sent me a cd of images that he scanned from one of his Richard Schmid landscape books. I drooled over these paintings. And I stared at them for hours. What impressed me the most was Schmid's simplification of some very complex masses and his suggestion to perceive these areas as patterns. Also noteworthy is his effective technique with edges, something I really need to work on.

It will be interesting to see if my return to a large-scale, motion-infused canvas will be affected by the time spent painting scenes that were definitely outside my comfort zone.

7'x5' canvas with preliminary charcoal sketch and color washes.

I think it will.
Sharon

2012 - Much to be thankful for.

As I look back at my work year I realize how well my career recovery is underway from the travails of the recession. Here goes...

It's been a year since opening the studio on Beekman St. The Arts District has also suffered mightily but signs of improvement abound. Michael was able to stir interest in another First Friday Art Walk which will be repeated in the spring (the Art Walk he singly organized in Ocala still continues and is smashingly successful). I'm so grateful to have street presence and have the support of friends who believe in me and my artwork. The studio makes it possible to participate in various art events throughout the year. Yes, I work very hard to market myself and cannot rely solely on walk-in traffic, but the studio has proven itself necessary over and over. It's about street cred.

A great gig came my way last January with the commission to paint six greyhound fiberglass forms. My new client used the artwork to raise money for greyhound rescue. And what a fortuitous meeting! He saw my fiberglass horses in Ocala and took the trouble to find me here in Saratoga. What a fascinating, generous and easy to work with client who made my struggles with acrylic paint a bearable challenge. Angels come in all disguises.

Getting my children's book finished and published was a milestone. 101 Whinnying Riddles for Horse Crazy Kids is listed on Amazon.com and has sold very well. My book partner who wrote the riddles, Dale Sue Wade is brilliant and supportive. I made lots of mistakes but learned well about self-publishing. I'm even open to repeating the venture. In color next time.

I was invited to show at the spring exhibition at the American Academy of Equine Art in Lexington, KY. Always an affirming endeavor.

Creating and nurturing business relationships is more vital than ever. The National Museum of Racing and Hall of Fame hosted a book signing for me during the race meet. It's important to form alliances with those who share similar focus, passions and who also work hard to promote these principles.

Yup, there were some low points in the year to mention briefly but not dwell. The cancellation of the Inaugural Saratoga Steeplechase Festival for which I was the poster artist was a big disappointment and also hit me in the pocketbook. The state take over of NYRA stole some of the magic from the race meet and left many of us drained and uncertain of the future. However, the recent meeting of the new board of directors produced direction for positive change, especially during the upcoming 150th Anniversary to be widely celebrated. And I'm grateful to still be an artist vendor at the world's most fabulous race track. We remain hopeful.

The lack of interest in equine art here in Saratoga after the race meet has been a blessing. It has compelled me to spread my painterly wings and do some flying. While it's often frustrating, it's also a great challenge to experiment and grow. The interest in my "new" subjects has been reassuring.

I have amazing clients and am thankful for all who supported me throughout the year. You all know who you are and I'm so grateful for you interest in my artwork and career. Next week, Michael and I will sit down and make plans for 2013 with renewed enthusiasm. In the meantime, I wish you all a

Merry Christmas and Peace and Prosperity in the New Year!

With lots of love,
Sharon

Go to the Light

I've been fortunate to gypsy around the country with my horse-trainer husband Michael. As I scrutinize contemporary masters to expand my subject and, in the process, hopefully improve my painting skills, I've become so mindful of the light in all it's glorious lumens.

Now I'm in the north country and it's...oh so different. As winter encroaches, the sun is a diluted watery thing that mostly hangs out behind a veil of clouds. And not for long! It drops behind the tree line before 4:00 pm which makes for a very short day (and in summer the opposite makes for little time to star-gaze). With a rare, clear sun, the light produces long shadows all day long. Weird.

3:30 pm

Michael has asked why an artist would want to plein air paint here in December. Everything's brown and dead, he observes. Well, everything is more like resting and it's about a sense of place. The weak light is particular to this region at this time of year and I'm enjoying the seasons (even though snow still...STILL!... eludes us).

Holsteins, oil on canvas, 16"x20"

Because I sold the first little cow painting unframed and still wet, of course I had to paint another. It was overcast but I wanted to color the cloudy sky. The bare trees in the background say winter even though the grass oddly stays so green around here freeze after freeze. I added a slight indication of shadow to add dimension even though there were none and used a palette knife to create the hay in the mud. The cows are brightly lit in an un-sunny way.
Mooo,
Sharon

Graffiti and Other Masterworks

As I fumble around my paint box, flummoxed and forlorn, I wish I had begun my young painting career as an illegal street artist, stealthily stalking substrates off limits.

Okay, that's enough of that. There's a lot of luck in this game...serendipitously finding yourself in the right place, in perfect timing and landing in the company of some very, very helpful people. Talent and ability are often secondary. Frustration abounds for the workaholics (me) who take themselves way too seriously (me) and continuously bang their exhausted heads against the graffitied wall (me).

Consider Basquiat...then Banksy...and now KAWS aka Brian Donnelly. If I were a street artist like KAWS, Macy's would ask ME to design a colorless balloon for the big day (I'd call it Buddy) and I'd have MY few minutes of fame on the CBS Sunday Morning show. Cool, huh?

And for the record, I absolutely adore Banksy and his artwork. I'll never, ever be this cool. Damn.

Just sayin',
Sharon

Made in the U.S.A.

One of the hot issues of the recent political campaigns dealt with the outsourcing of American jobs to cheap overseas labor markets and the resulting unemployment it created here at home. I care about this. A lot.

Not to be morose, but I ask you to consider: as you stand in line at the big box store craving the latest version of that electronic gadget, try to comprehend the fallout produced by the overseas manufacturing company who has installed safety nets to save the leaping miserable. Okay, that's extreme, but it bothers my conscience and, to be quite frank, I believe we are either part of the problem or part of the solution. It may seem overwhelming, but we can do our small part to contribute to the solution in the next several weeks of holiday shopping.

Buy local. Purchase merchandise from a small shop in your area. You'll be appreciated, enjoy attentive service and you'll be supporting a business that very likely cares about it's employees, offers a better product and stands behind it, pays American taxes and contributes directly into the local economy.

It's difficult to find products made in America but not impossible.

My mugs - proudly made in America by Americans!

My mugs and coasters are manufactured in the U.S. The coasters are from a company in Virginia and my mugs are created at a company in Texas. Heck, even the mug itself is American made. Yes, of course it costs more but the product is of excellent quality, survives hundreds of trips through the dishwasher and microwave, and you need not be concerned with dangerous toxins mixing with your morning beverage. Oh, and the lovely images on the mugs and coasters are created by THIS American.

Even my oil paints are made in the U.S.A. and my book is printed in America.
Think red, white and blue, baby!
Sharon

Genre to General

After the race meet ends, Saratogians express little to no interest in equine art, especially horse racing. Either they've had their fill of it during the summer, aren't particularly inclined toward the sport, or it reminds them of huge crowds, insane traffic and the hopelessness of obtaining a dinner reservation.

So, what's an equine artist to do? Many of my peers are expanding their artistic repertoire in the wake of the stifling recession that put the kabosh on more than a few thriving careers. Experimentation's necessary course of action has produced these recent inventions:

Islands of Lake George, oil on canvas, 8"x10"

Simplify has become my new mantra and the word loops over and over in my head. Here, I'm playing with atmosphere and pushing the color expression. I feel like I want to re-work the value of islands to bring it closer to the air and water.

Lobsterman, oil on canvas, 11"x14

From my now infamous Maine vacation, I awoke early on the shore to observe the laborious hauling and inspection of lobster pots. The canvas ground is a cool, light yellow mixture of cadmium light and yellow ochre. The background was a wash of  pthalo blue and white. I was going to work in some water action behind the boat but decided to simplify and left it as is with the yellow showing through. It may not work but it was an interesting decision for me.

Sherman Farm, oil on canvas, 8"x10"

This plein air piece is a feel-good stretch. It was rendered quickly and simplified as it was only in the upper 30's outside. I've been studying landscape painting and pining to be good at it! It may be a matter of practice, practice, practice - or not. I've got a long way to go before I make friends with the greens. Whatever, it's good to get out and paint directly from life. A great help has been Landscape Painting by Mitchell Albala.

Untitled (as yet), oil on canvas, 22"x24"

I simplified these brushstrokes with a deliberate application...no unsure back and forth blending like I caught myself doing in the landscape pieces. It has an abstract feel to it and I'm especially pleased with the composition. Thrusting, powerful bodies in space...gee, that's familiar.

I feel like I'm starting over in some respects. It's uncomfortable and although it's interesting to try new subjects, I'm not very secure regarding my motives and direction as an artist. After a couple of decades of branding myself as a "dynamic equine artist", where am I going with this? Will I still be able to apply an aesthetic of striving for excellence, a dialog of visual communication and convincingly convey my ideas in paint that will translate as...me?    

It's good to step out of the box (I guess),
Sharon

Illustration vs. "Art"

We visited the Norman Rockwell Museum recently, specifically to see the Howard Pyle exhibit. Surprisingly, it was quite crowded but evidently the throngs were there for the Rockwells. The galleries in the rear of the museum containing the Pyle paintings were almost deserted. This left lots of room and time to intimately savor.

I'm a major fan of Howard Pyle. If historical accuracy is sketchy, dream it up and make us believers. And do a stunning job while you're at it with a maniacal imagination, rule-breaking design and excellent painting skills. So moving to finally see the actual paintings I've drooled over in picture books for years. The Flying Dutchman is over-the-top for diagonal thrusts creating uneasy motion:

Do you think I'm NUTZ about this painting? The Coming of Lancaster. It's almost a religious experience, a pilgrimage of sorts, to see the real brushstrokes. Adore this horse. In the olden days it was called a piebald (think Caravaggio's Conversion of St. Paul) and the depiction of his watch eyes (blue) is perfect. The expression is priceless and it's haughty posture which mimics the rider - magnificent. We have arrived to save you.

And yes, this amazing painting was there as well: The Mermaid. Wisely, a bench had been place before it for those of us who couldn't peel our eyes away:

The art snobs have always looked down their noses at illustrators. Nevertheless, one must be a superior draftsman and accomplished painter to create this kind of imagery. Their drawing skills are phenomenal and I find tremendous inspiration in this traditional genre. Pyle's imagination speaks to me, urging me to step out and express my own inventiveness.

Norman Rockwell, whose very American art is quite rooted in...well...Americana, interprets the joy of commonplace and home. However, he bravely goes out on a limb to express social injustices and causes he believed in at a time when it wasn't cool. This is so powerful...especially in 1964: The Problem We All Live With.

Here's another painting I couldn't pull myself from. The composition is uncanny with cropped faces lining either side of the canvas leading you to the turkey focal point. I was so mesmerized, I forgot to read the gallery card. Is that Rockwell's self-portrait smiling out at us from the lower right? Freedom from Want.

I have great respect for Rockwell. What technical skill and talent! It's just that I resonated to the Pyle's in a way that I find so stimulating.

Let's all go to drawing class...
Sharon

What I Did on My End-Of-Summer Vacation

I'm having a difficult time getting back to work. Vacationing on the Maine coast was so relaxing and inspiring that I'm beginning to understand the term "retirement." Michael and I brought all our own food and camped as close to the shore as possible - twice we woke up to lapping waves right on the beach.

Acadia National Park

Although Acadia National Park possessed stunning scenery, we were turned off by the commercial aspect. Buses dropped off tourists at all the choice scenic locations and it got so crowded I couldn't even set up to paint. Two days of that annoyance and we were off to explore a bit further south.

Harbor at Stonington

Artist studios and galleries were flagrantly abundant. Every town, and I mean every one of 'em we visited hosted several art galleries. In the outskirts, signs that appeared to be county or town appointed indicated individual art studios located down this or that road. Even dirt roads. Which begs the question: how can so many artists and galleries survive here along the Maine coast? Is it that lucrative? Do they stay all winter or leave for warmer climes?

The highlight of the trip was taking the boat over to Monhegan Island. With equally stunning scenery as Acadia, it's understandable how the island has held a long tradition as an artistic destination. It was almost a religious experience as I payed homage to the artists who have painted there for generations. There they were: all the subjects, scenes, landscapes and seascapes that have been painted by some of the greats...right before my eyes.

Artists at work.

Teel Island, owned by the Wyeth family, on the way out to Monhegan.

The bluffs of Monhegan Island.

Sigh. I've got to get back to work sooner or later. After all, paint is paint and a muse is a muse.
Sharon

Trouble in Paradise

I meditate every morning. If I can shut off the incessant chatter in my brain and get truly quiet...that's when inspiration manifests.

After an exhausting and challenging summer as an artist vendor for the entire Saratoga meet, I'm heading to the Maine coast for a few days. My lodging of choice is to camp. I want to hear it, smell it, taste it and feel it...my way of returning to my source.

Working hard is my nature, and the series of events we encountered made me grateful for dogged perseverance. It wasn't just me. Last May the State of New York took the helm from NYRA leaving a beautiful ship tossing aimlessly with no clear course of direction. By the end of the meet I could hear the weariness in the voices of most everyone. My wish is for this Grand Dame to return to her former glory, rejuvenate her beauty, integrity and pride because Saratoga is special and elite and so many of us, past and present, love her dearly.

When the Inaugural 2012 Steeplechase Festival at Saratoga was cancelled I could only imagine that the organizers were swept up into the chaotic maelstrom that was the Summer of 2012.

But I survived, I got through it, and this week I'll be meditating to the sound of crashing waves.

Ommmmm...
Sharon

Catching Up on a Dark Day at Saratoga

We're almost two weeks into the race meet here at Saratoga.

For my artists peeps: imagine working a weekend art festival times six weeks. It's a challenging grind but worth every minute. Double the pleasure as Michael and I attempt to keep the studio open during normal visiting hours. It's amazing what can be accomplished with determination and drive. The trick is to stay healthy by eating well (not easy for Michael) and getting enough sleep (not easy for Sharon). Fourteen to sixteen hour days are the norm.

My little riddle book is selling a bit. I haven't had the time to properly promote it but think I'll have a better chance come the holidays. We've received a positive review on Amazon.com where you can also purchase via the link on the sidebar to the right. A reminder: I'll be at the National Museum of Racing on August 23rd signing copies from 10am to 1pm.

I managed to finish the artwork for the program cover of the 2012 Inaugural Steeplechase Festival at Saratoga a few days before the meet began. Posters are available. Here's the original painting followed by the poster designed by graphic artist extraordinaire Maria Miller here in Saratoga:

So luvs, if you don't hear from me much this summer on this blog, know that I can be found by the horse path across from the jockey silks room at the Spa. I'm having the time of my life!
Sharon