Wednesday, December 05, 2018
Tuesday, November 27, 2018
Southern Colorado I, 2018, oil on linen mounted on panel, 12 x 12 inches
It has been a strange year when it comes to painting. I know that I spent a lot of time in the studio, but I don't have much work to show for it. I have been doing a lot of drawing since last year and 2018 was the year of the sketchbook, mainly because I saw that my sketches were becoming extremely popular on Instagram. Trying to give people what they want I lost focus for a bit, but since the end of summer I picked up my brushes again and began a series of three paintings.
Southern Colorado II, 2018, oil on linen mounted on panel, 12 x 12 inches
I worked on these landscapes simultaneously as I raced my own clock to finish x amount of paintings by the end of the year. I think I'm on track so far, I guess we'll see once Dec. 31 arrives. I have been wanting to do some Colorado paintings, the place where my husband grew up, a Colorado that is far from the picturesque ideal of what people think when you say the name.
Southern Colorado III, 2018, oil on linen mounted on panel, 12 x 12 inches
Over the years we have visited a number of times, and it always hits me every time we land; Southern Colorado is a very harsh, dry, expansive place. I hear that it used to be more green perhaps fifteen to twenty years ago, climate change has bestowed upon this area of the country drought. This has caused the land to be very arid, as if this desert place could get any more dry. To a person who grew up in the North East, where lush tall tress grow and the landscape tends to be very green in Spring, Summer, and part of the Fall, Southern Colorado can feel like Mars. There is always a deep sense of loneliness when I look at this landscape, the vastness of it all can feel suffocating yet free. From time to time this area is awarded some moisture, and green can begin to creep in on the pale grey brown of the ground. It's almost like a little glimmer of hope that one day things will get back to the way they used to be in a not so distant past. These three paintings are my first takes exploring this landscape, and what it means to me as a painter with no emotional attachment to it and experiencing its expansive dry geography. As I visit more in the years to come and become intimate with the place it will be interesting to see how my views change about Southern Colorado through my paintings.
Friday, November 16, 2018
The three watercolor sketches above were done that weekend in East Hampton between swimming, laying down under the sun, and taking in some libations. Not a bad way to live right?
Friday, October 12, 2018
Sugarlift event I began sketching subway riders as a way to prepare myself for it. It was fun while it lasted, and also very frustrating.
Tuesday, September 18, 2018
Recently I completed my fifth Moleskine Sketchbook which is great because I get to move on to another one with endless possibilities, and on the other hand it is like saying goodbye to a long time companion. Once the book goes on the shelf I rarely look at it again.
Friday, September 14, 2018
Doing a random search online for Moleskine sketchbooks I came across these three artists. It's always interesting to see what people do in these little black books which have a huge following world wide. Each one of these three artists has a different vision and style, but all are connected through the expression of drawing/sketching on a regular basis.
These three books are a testament of how creativity is boundless, all you have to do is pick up a pen or pencil and start putting down some lines on paper, you might be surprised where that may take you. I hope you enjoy these videos by Marco Mazzoni, Nicolas Weis, and Little Su.
Tuesday, August 28, 2018
(with friend and painter Robert Szot)
Sugarlift's DRAW: Artists Take Over the Subway event last Saturday was a success. More people than we expected showed up to draw with us and many of them very talented. There was an incredible energy at our meeting spot in Union Square, as artists from all walks of life introduced themselves and chatted. Before you knew it sketchbooks were being shown off and everyone talked about what they did and how they went about it. We were all dorking out with each other, an experience I've never had before in my years as a practicing artist in NYC.
(Installation view of Robert Szot's work and mine)
After going up to 96th St and back down town we all walked to the gallery space at 2 Rivington St, where the host artists frantically put the last finishing touches on their sketches and hung them up.
(Installation of Robert Szot and Anne Watkins' work)
(Installation of Sugarlift Director Wright Harvey's drawings on left, next to Guno Park's subway riders)
(Guno Park's subway riders)
This was an amazing experience, so much so that I think I may keep drawing subway riders. I was inspired by a lot of the people I met on Saturday, and I took a few pointers as well. Stay tuned.
(Drawings by Evan Kitson)
Wednesday, August 22, 2018
"Most of these are private drawings to find out something, to make notations, or just to experiment. You want to feel that these are things that will never be seen."
- Wayne Thiebaud -