A few housekeeping notes on my art business:
On November 22, 2016 my artist’s feature on CreativPaper.com was published. This was a lovely opportunity for exposure to the website’s 22,000 readers per month, and my works were also featured on their Instagram, which has over 29,000 users.
Check out the web feature by clicking here.
You can see in the top menu of my website that I have linked my Esty store, which features giclee prints of my paintings, and I have opened up an account with SAACHI, where my original works of art can be purchased. All artwork can also be sold direct also, via my email, email@example.com.
I have begun teaching again, with an upcoming community holiday painting class at Habitat for Humanity’s ReStore, using recycled materials, of course. Starting in January I will be teaching a beginning oil painting class on Tuesday for the Art Association of Jackson Hole, located at my studio space in the Center for the Arts. A watercolor course is all set for April as well, and I am in the process of planning a springtime 10-week oil painting class for talented high school students, sponsored by the National Museum of Wildlife Art. This exclusive class will culminate in an exhibition for the students at the Center for the Arts, sometime during the early summer months.
And now that housekeeping is taken care of….
While I will continue my work with The Ecology of Memories as my inspiration flows, I’ve been newly captivated by a different exploration in painting.
I have begun a new body of work that is focused on the process of painting itself. For many years I have enjoyed the ability to translucently layer oil paint to create depth of colors, experimenting with paint in the confines of more concrete imagery. Feeling constrained within representation, I recently decided to throw caution to the wind and work on smaller canvases, so that I could play with my favorite material in a more free-spirited manner. After the creation of my first experiment, I knew I was onto something. Working with my paints thinned down with linseed oil, I’ve been moving the fluid pigment around the canvas and allowing it to dry flat, letting the colors pool and settle on their own. There is significant drying time needed for these works, as I have found the colors maintain more saturation and suspension within linseed oil than with turpentine. It’s fascinating to me, the endless possibilities of color combinations, and how the creation of multiple layers can create an almost prismatic effect of the paint. I also recognize in the works completed so far, a topographical reference, although my intention is simply to explore color by creating layers of fluid pigments. I’m still in the development stage on this body of work in terms of artist statements and promotions. I am super excited to see this body of work develop.