My wife Lin and I spend a few days in D.C. We had a couple objectives. First, as artists, it is important for us to be engaged in the world of art beyond the events where we sell out work. Second, Lin had sold some work to the Smithsonian which placed it in the National Museum of American History gift shop, and we really wanted to see it.
I hadn’t been to Washington for a very long time and never for any extended time. So I was very excited to go. And, honestly, I needed the spark that going to great museums gives me. I always come away from such visits with new creative gusto.
Lin and I went to the Renwick Museum, and The National Gallery of Art. Both museums are must-sees during any visit. The Renwick has a more contemporary collection comprising various mediums. The NGA has a collection of primarily paintings and sculptures by the masters. The current special exhibit at the NGA is called “True to Nature: Open-air painting in Europe, 1780-1870.” It was awesome!
Whats nice about D.C. is that if you are staying in walking distance of the Mall, you’ve got a whole lot to explore without needing to get into a car. We are already looking forward to another visit as there was so much we didn’t have time for.
Here’s Lin standing in front of the display of some her work (floral felt trivets and coasters, and felt-art inserted into tea cups). There’s a sign identifying her as the artist and a business card holder on the middle shelf. The National Museum of American History was fascinating, and having Lin’s work in their Museum Store was exciting to see!
In the area around Lin’s display is a variety of work by other artists. These hand-made pieces are all kept around the central check-out area and mostly behind glass.
See more of Lin’s work HERE.
I received a fantastic email from a woman who purchased a print of mine at a show last year. Jen wrote to tell me that she had been searching for over two years to find just the right portrait of a hawk. She saw my work at a show here in Pennsylvania and was very pleased to discover my image titled Icy Stare. Deciding to purchase the print, Jen informed me that she “couldn’t be happier” with it.
“I am so pleased with the quality of Paul’s work. He captures the raw emotion of the natural world in seemingly effortless portraits” ~ Jen L.
Thank you Jen, for sharing your thoughts about this image with me! And thank you for asking me to share them here. Obviously, some real thought went into her custom matting and framing as well. It looks great!
The image Icy Stare was made in Bucks County, PA on a cold winter morning. The bird is a Coopers Hawk, a very handsome raptor with strong features and intimidating talons. I was working from a blind and was thrilled to see this bird show up. It remained for quite a while and enabled me to really consider my rendering. I had to be careful that my excitement didn’t cause me to make mistakes. When I began to relax, I allowed instinct to take over and created a variety of images.
One of the things I like about living in north-central Pennsylvania is our four distinct seasons. And while I don’t particularly like the coldest weather we get here, I do like the visuals of leafless trees and the landscape covered in snow. This type of scene elicits a mood within me that tends to be rather sentimental, nostalgic, or cozy. The cold air outdoors can be countered by a fresh cup of Pike Place coffee or hot chocolate (a bit of peppermint Schnapps helps too). Maybe a favorite blanket, a fireplace, a comfortable chair come to mind as well.
So it’s not really the landscape itself which has a mood, it’s our response to a scene which is projected onto the landscape that elicits our feelings. When I am creating images outside in the winter I am working mostly by gut instinct. A combination of conscious and subconscious responses to the visual environment effected by the feeling of cold, the sounds around me, maybe the smell of a distant fire. I cannot, of course, put all of these sensations into my image, but they impact the creative process.
When the images are brought into my studio and viewed on a computer screen away from the conditions in which they were made, I can evaluate them at a different level. Without all of the sensory stimuli which were associated with the making of the images in the field, I can look at them with fresh eyes. Elements like contrast, tonality, texture, composition, visual impact, and even just how much I like the image, can be evaluated more consciously. My goal in this part of the process is to be authentic to my visual experience in the field and my aesthetic response to that image in the studio.
The image below was made a short walk from my studio. I was drawn to the texture of the trees and to the way they surrounded the small red building. The evergreen trees provide a visual color balance to the red and a color harmony with the blues in the shadowy parts of the woods. Strong diagonal lines throughout the image lead from the the upper left to the lower right and so to the red building as well. Most of this analysis takes place in the studio and not in the field, at least not consciously. But I am sure that the studio analysis of the image impacts my subconscious responses going forward when I am working in the moment.
As an indie artist I feel it is important to maintain an authenticity in my work that speaks honestly to who I am. In the art world in which I exist, there are many players. It is both a smart business move and my absolute desire to distinguish myself as an artist. When I’m comfortable and confident in the work I am doing I have also been more successful in the art I create.
For me, this image only ever had one interpretation. An independent, self assured, non-conformist who would do it’s own thing regardless of the social pressures put upon it. The title “Be Yourself” came to me quickly. Notice the bird doesn’t completely isolate itself from it’s social system, but neither does it feel compelled to always be a part of the group. It is still close enough to be a part of the picture, but also able to be it’s own…….well, bird.
Like many images I have been making recently, this one was made on our farm. Tall electrical poles and long wires run along the creek at the back of our property. I often watch how various birds use this seating area and how they interact with each other. My university background in Psycho-biology (Animal Behavior) still informs my work. I was initially absorbed with pondering this individualist soul. Rock Doves are very social animals as can be seen by the tight group behavior on the top wire. So what was up with this rebel bird?
After a short while I began to see the scene for its simple geometry. I began composing in my head……….then ran to the studio to grab some gear. I’d need a long lens but one that would give me compositional freedom…..a zoom lens then! Since the sky was overcast, I knew I’d need to over expose the image. I wanted a stark, blank sky anyway so that worked out. Ultimately I printed the image as a black and white on a matte finish paper which gives the piece the character of a pencil drawing.
Its a fun piece, one that I have been offering at shows only since the beginning of June. The response has been interesting eliciting a variety of feelings about it. Some see the individual bird as I do, others as an outcast. Some just feel sorry for the poor thing. It may be a bit of a Rorschach Test type of image. We relate to the bird on the lower wire in our own unique personal-history, life-experience kinda way.
Archival pigment giclee prints are available matted and framed on my website HERE.
As an independent artist one of my greatest rewards is seeing how people live with the work I create. My photographic prints hang in locations throughout the United States and in several countries. Recently a few patrons sent me pictures of how they have made my work part of their daily lives. Their selections represent a cross-section of the type of images I make and two of the substrates on which my images are printed.
In the first case, below, the couple selected two canvas giclees from me. What is particularly fun about their purchases is that the two pieces were bought at different times and for each other’s birthdays. In both cases, these purchases were surprise gifts which was a tricky thing to pull off because they always come to my shows together. The picture of the space where the canvases hang depicts a landscape image – Hazy Shade of Winter, and one of my water drop pieces – Morning Jewels.
The second example shows a setting in a private home in Vienna, Austria. The picture shows a lovely space that I am very pleased to have my work be part of. In addition to being especially beautiful birds, I find cardinals uplifting whenever I see or hear them. I suspect this patron feels the same way. Her choice of three giclees (on paper) celebrates these spiritual birds, both male and female. From left to right are Flowers for Him, By Heart and Flowers for Her,
“The enjoyment of beauty is a kind of escape from, a going out from, the urgencies of place and time.” ~ Virgil C. Aldrich (American Philosopher, 1903-1998)
There was a point early in my career where I realized that the process of creation was no longer an option. The act of creating had became an escape from the everyday stresses of life. If I didn’t get into the field at least once a week, I went into a low level depression (withdrawal?). Being out in nature was a big part of what drove the creative process. The science is clear about the benefits of being in areas of woods, around water bodies; even just looking at pictures of nature lowers stress levels.
I have come to realize as well that beauty itself drives my creative process and can serve as an escape. One of the benefits of working in the arts is the ability to create things of beauty. I can create my own escape when I need it. In my farmhouse studio space I can explore subjects in detail at my own pace and experience a world of beauty all to myself. For me art is all about experiences.
The image above was the result of an exploration of a silk moth which I found on our farm earlier this spring. Discovering its intricate wing scale design was a joyful experience. It felt like I was looking at a mosaic of tiles when I viewed a section of wing close-up. For the period of time in which I created images I thought of nothing other than the wonderfulness of the color and pattern. With its rhythm of scales though, it was the curve of the wing that I was drawn to most.
Curves introduce a feeling of tension. While sensual in form, curves imply resistance. Straight is less tense while driving; a curved road requires more expenditure of energy to maneuver. A river that flows through an oxbow is constantly fighting the curves. Straightness implies a fight with gravity which is lost, or even a struggle with death no longer fought. Leo Stein (American art collector/critic, 1872 – 1947) remarked, “Tension in line can be observed if one will follow the outline of a vase and notice the force it takes to bend the line of a contour.” Curves to me speak to a life force, something I think art can convey uniquely.
My first foray into the medium of photography was in making close-up images, technically called “macro photography.” Growing up in a city, even in rather suburban-like Northeast Philly, I had access to limited nature. My interest in nature drove my image making anyway. Because of this, I had to find my inspiration in very small areas (square feet instead of square miles). A macro lens allowed me to make images within a field of view of inches. At that level of exploration, everything becomes interesting and new.
Since that time, the content of my images has expanded to include every scale of nature (wildlife, landscape, even the universe!). Now I live on a farm (very un-city like). And, I find myself looking to explore again at the macro level. I find that I can express as much in the space of a few inches as I can in a landscape depicting a few acres.
Images of the macro kind are made with the same thoughts and feelings as any other type of image. I still deal with experiences, metaphors, color, line, shape, texture, light — just in a smaller area.
Above is an example of an image I made a while ago at Longwood Gardens (just outside of Philly). It is a minimalistic piece with strong color. The color content is harmonious more than complementary. The yellow against the red is very powerful. Keeping the brighter yellow as a small part of the image, I feel, keeps the image balanced.
“Just as you say that a body feels warm to the hand, so you might say that it feels red to what you see with” ~ Virgil C. Aldrich.