ArtBlog
Monthly Art Blog
Welcome to my monthly Artblog which features tips and observations about the painting process and art in general, photographs as well as poetry. The blog is dedicated to my teachers and mentors. Their expertise, encouragement, trust and honest critique have guided me, and continue to inspire me through the meanders of the painting process.
Painting and Cooking. July 2010
“Non cooks think it’s silly to invest two hours’ work in two minutes of enjoyment; but if cooking is evanescent, so is the ballet.” (Julia Child)
The weather has been glorious here. Farmers ’markets have returned and the city has regained the undeniable pulse of summer with its vibrant colors and sounds. It is time to change closets as well as pantries; in summer I like to cook summer dishes. Since I like to cook almost as much as I like to paint, I thought it might be fun to connect both.
At one end of the spectrum there are tight painters and tight cooks who follow a recipe almost word by word with a sense of duty. Then, there are cooks who hardly ever do and who like to invent their own recipes. Those cooks are not afraid to take risks. And, as they become more experienced, they are likely to start blending a variety of flavors borrowed from diverse cultures into new, exciting mélanges.
The tight cooks have mastered some dishes to perfection. They do not like it when surprises take them off guard. Improvisation is not easy for them. They are disciplined and neat. Their kitchens are germ free and resemble a laboratory where everything is organized with purpose. They have a utensil for every task and invest in professional cookware. The tight cooks have a large collection of cookbooks which they keep in thematic order. They take notes and keep records. Their meals are always a success but their repertoire tends to be limited.
The loose cooks like to cook to music. Their kitchens are inviting and resemble a general country store. They too have a formidable collection of pots, pans and gadgets which they have acquired as much for their style as for their utility. They have an impressive collection of cookbooks which they consult regularly, but hardly ever follow any one recipe. Whether their meals are simple or elaborate, they are impressive in both taste and presentation. Of course for these cooks the outcome is less predictable and they do fail on rare occasions.
These statements are for sure overly generalized, but perhaps they also contain some food for thought about both the process of painting and cooking.
Yvette Stenzel
Il buon parmigiano
Inspiration June 2010
“Amateurs look for inspiration; the rest of us just get up and go to work.”
(Chuck Close)
Where do you find your inspiration? You have probably been asked this question a number of times. As far as I am concerned, I have no need to ask myself what inspires me. Thus when asked, I never really know what to say and choose an easy cliché response such as; nature inspires me.
To many it seems an artist somehow gets suddenly an insight, a revelation and is then driven to express him or herself visually. Inspiration is connected with a romantic notion of a magical creative élan. Sounds nice, but I do not believe it.
If one cultivates an appreciation and an enthusiasm for the world and life, if one really sees, then every moment is filled with inspiration. On those days and we all have experienced them, when I don’t feel motivated to paint anything, I just start a painting anyway and usually something happens. Inspiration finds you!
Yvette Stenzel
Silhouette
Art Classroom Etiquette May 2010
A recent incident in an art class created an unpleasant situation that left me and others dumbfounded. It is always shocking when adults behave like narcissistic teenagers. Perhaps we may all benefit from a reminder of basic art classroom etiquette.
-Treat the instructor with the utmost respect and courtesy regardless whether or not you are in agreement. If you don’t like his or her approach find yourself another instructor.
-When you know you are going to be absent, please call ahead!
-Pay the instructor on time and please do not try to cut deals!
-Treat the teacher’s resource materials with the utmost care.
-Do not monopolize the teacher’s attention.
-Treat the art classroom like a sanctuary.
-When arriving late be as quiet and as discreet as possible.
-Turn off your cellphone.
-Be respectful of everyone’s space.
-Clean after yourself.
-Do not distract others from their work.
-Do not give others unsolicited advice about their artwork.
-Do not bring your personal baggage to art class; this is not a group therapy session!
-Please leave your political diatribes, racial jokes and such outside!
-Do not complain loudly and openly about the music selection.
-If you must bring your own music selection use an I-pod.
-During critique do not take over and become an art expert. Silence both your hyperbolic praise and your unconstructive feedback. The teacher is the teacher, not you!
Yvette Stenzel
Ciao from Parma
Workshops April 2010
"By my teaching I hope to inspire you to personal activity and to present your vision." (Robert Henri, 1865-1929)
When the weather gets warmer and the light changes to the more vibrant colors of spring, I long to be outdoors to both paint and breathe with greater ease feeling the new grass under my bare feet. Sharing this desire with others is engaging; it is time to participate in a workshop!
Workshops are perfect opportunities for creative pursuits while connecting with other fellow artists. Most workshops I have joined in the past have been an uplifting experience. I have enjoyed the change of scenery and pace as well as the atmosphere of immersion and camaraderie. Away from the familiar, I feel challenged and ready to explore with renewed enthusiasm. Most workshops are less structured, more fun and social than formal classes. Also, I have usually returned home with at least one finished work which gave me a sense of accomplishment.
Obviously not every workshop is the right match. You'll need to inquire about the instructor. This is crucial, it is far more important than the location. I have heard horror stories about costly painting trips abroad that basically left the participants to fend for themselves. Regardless how captivating the scenery might be, if the instructor's own art is not to your liking then it is likely the workshop is not for you. Furthermore, you need to find out about the instructor's teaching style.
Before signing up for a workshop you may want to ask pertinent questions with regard to group size, agenda, structure, set-up, demonstrations, accommodations, supplies and painting sites. Check out the instructor's web site. Is she or he easy to contact? Open to questions? The web site should include some form of mission statement. What is the instructor's approach and philosophy? The main goal of a teacher should be to give you new eyes to see. In doing so what is his or her personal style? Is he or she conventional, organized, provocative, innovative? Make a list of questions that are important to you and call the instructor for a brief interview.
In the end I am confident you'll find that participating in a workshop will no doubt foster your growth as an artist.
Yvette Stenzel
Travels with Auntie March 2010
“One’s destination is never a place, but rather a new way of looking at things.”
(Henry Miller)
“Yvette, you are not going to wear sneakers in Italy!” “Of course not.” I don’t even wear them in Boston unless I am going to my health club. In Italy only my best shoes will do; those that are both comfortable and fashionable.
When meeting my aunt Chantal for the first time, you might think you are dealing with the wrong person…not the 85 year old you expected. This is because you did not know that most 25 year old women are so much older than Auntie Chantal. Her energy, humor, quick wit, engaging enthusiasm and open-mindedness will leave you breathless. When she walks, Chantal moves the air with impressive ease. Not in the all too familiar entitled and self-centered way, but in a way that exudes compassion and commends instant respect. Chantal connects naturally with people. She has a smile and a “bon mot” for everyone. Her insatiable curiosity and discerning insights might even make you acutely aware you the tight (you know what) that you really are, for Chantal is a modern woman who wears stilettos when others think she should not.
My husband thought I was crazy to want to travel to Italy with Auntie Chantal, she wears him out. “It’s OK honey, I can handle her.” What I meant is “I want to be exactly like her when I am her age.”
Traveling with my aunt is an adventure. How can it not be? Her positive outlook will brighten the gloomiest day and her keen insights will tame the most blasé fellow. Unlike me, she can walk up to a perfect stranger especially a handsome one with disarming confidence. I come back from a journey with her, my creative well filled with renewed sensitivity and moreover, with an incomparable élan. Chantal is and will always be “une Grande Dame”.
Everyone especially every artist should have an Auntie Chantal in his or her life. If you don’t, then you must imagine her. Open your heart and take on a journey. You do not need to go to Italy, just take her for a day excursion to the country and welcome the experience with your face turned towards the horizon.
Yvette Stenzel
Too much analysis! February, 2010
“If I create from the heart, nearly everything works; if from the head, almost nothing”
Marc Chagall (1889-1985)
Recently at a group painting session after I had announced what I was going to paint, I was challenged with the question “how are you going to paint it?” I would have liked to answer “with pigment, brushes and perhaps a palette knife, you idiot!”, but I didn’t and fell into the trap of banalities instead.
Why do some fellow painters have this compelling need to go on and on explaining themselves? There was a time when I would listen with awe to their endless analysis and theories the way I used to listen in philosophy class. And, of course I would dread it, when it came my turn to say something thinking I better drum up some intellectual jargon, and mind you, I have a vast repertoire of it. Well, that was then! I am no longer in awe.
Sorry folks, I try not to start painting with any preconceived notions, techniques or expectations. Somehow such questions simply do not arise for me anymore. I try to approach every new painting as if I were a novice. This initial attempt of no assumptions and humility fosters at best I believe a potential, the potential to open my creative channels. It is the openness and sense of novelty that does not confine me. It engages me to explore and express myself with less fear on a journey of adventure and discovery. Rather than think about what and how I am going to paint, I try to feel what I am going to paint and sense my way as I go on. Painting, or for that matter any artistic expression, is foremost an expansive, emotionally charged and metaphorical language that defies intellectual rationalization.
Yvette Stenzel
Oil painting with glazes January, 2010
Glazing consists of applying one or multiple layers of diluted pigment to a dry under painting. When light travels through a transparent glazed surface, bounces off the color underneath and travels back through the glaze, it emits an incomparable luminescence. As a painting technique glazing has been used over centuries by many artists to render a unique luminous effect, sophisticated color nuances and transparencies not attainable by a direct mixture of colors.
There is considerable dispute as to which glazing formulas work best. Since glazing can alter the original color cast from a mere transparent subtle change of hue to a more drastic change depending upon the opacity, it is essential to experiment with several formulas. Additional variations might include changes from a matte to a glossy finish depending on the medium used. And, to make matters further more complicated, the pigments themselves vary in their inherent transparency or opacity.
In general any of the following ingredients can be used in your glazing recipe:
Dammar varnish, linseed oil, stand oil, fast drying alkyd medium, turpentine or mineral spirits. A formula that has worked well for me consists of mixing 2/3 of a painting medium such as Liquin with 1/3 of odorless mineral spirits to which I add at first a very small amount of pigment. The amount of pigment can easily be adjusted later. If I plan on keeping the glaze for a while in a small glass container I simply add more mineral spirits. Liquin is a fast drying medium and over some time the stored glaze will dry out unless one adds a bit more mineral spirits. The following pigments are particularly transparent and work well when used in glazes: Indian yellow, raw sienna, alizarin crimson, viridian, ultramarine blue and indigo. Glazes are best applied with soft brushes. If you choose to apply several coats of glazes you will need to let each one dry thoroughly before applying the next.
Contrary to some information I have read on the subject, I find glazes easy to use and remarkably forgiving as areas can be swiftly wiped off and reworked. So, venture into your painter’s kitchen, mix a few batches of glaze and try glazing on an old canvas. This versatile painting technique might just open new and exciting modes of expressions for you!
Yvette Stenzel
Holiday Melancholy
December 2009
No Title
The ash grey field ahead
In its enormity distorted
And every space filled
With rocks in boredom blank
Wide open towards fading light
Still expecting a vision
As if it hadn’t happened
As if it were still possible
Within reach in each breath
Yet how stark the horizon
And how numb your canvas
When your heart in silence
Remembers a train gone by
Yvette Stenzel
Copying others November, 2009
“Good artists borrow. Great artists steal” Picasso, 1881-1973
We all get inspired by art and the sensory world around us as we should. Writers get inspired by other writers. Painters get inspired by other painters. Copying other artists can have its merit as a tool to further learning. It is also an open door to gain insights into the creative process of a particular artist whose work one admires. Many view copying as a worthwhile exercise that can help you refine your skills and technique.
There are of course degrees of “copying” from a mirror image of the original to a piece that has undergone so many layers of interpretation, it has become a completely new piece. Copying is not synonymous with getting inspired or influenced by some one else’s vision. If I may be so bold as to interpret Picasso’s quotation, I would say: immature artists copy, good artists borrow and great artists steal. I think perhaps what he meant by stealing, is that in the process of inspiration and imitation we need to indeed reinterpret and transform what has already been done with our language and our own vision.
Borrowing is not copying. Copying another artist’s painting without giving credit to the original is plagiarism. While copying can be a tool, making it a habit is not the answer. You are robbing yourself of the opportunity to develop your own creative voice.
Yvette Stenzel
Composition October 2009
“And after drawing comes composition. A well composed painting is half done.”Pierre Bonnard (1867-1947)
A composition in a painting is by definition the arrangement of shapes and colors on a surface. Placement is obviously important and needs some thought. What is a good composition? Opinions differ. Like everything in art, there are no rules. There are some techniques and strategies that you might find more effective and expressive than others.
I know I have a composition that works for me, when my eye gets drawn to the entire surface of the canvas and not to just one area and, when both positive and negative spaces have been treated with equal importance. A successful composition may also include some tension or drama even some ambiguity as well as more quiet passages. The decision behind placement ultimately has to do with intent beyond merely engaging an interest. Do you intent to report visual accuracy? Do you intent to create an illusion of depth? Do you intent to suggest a mood or an emotion? Do you intent to show movement or stillness?
When composing my paintings I try to stay away from the predictable. I search for a more unusual perspective. Yet, at times I go against my own guidelines. For example, who hasn’t heard: “don’t put your subject matter dead center!” Well, the design of many of my floral paintings is often centered, but this is usually offset by the choice of bold colors and brushstrokes.
The illustrations below say more than words and explanations
1. Boring 2. More interesting 3. Much more interesting
So, before you start your painting give some thought to where you are going to put what. What are you going to include and exclude? What is your intent? A few quick sketches might be helpful in order to select the composition that most pleases you. Happy painting!
Yvette Stenzel
New Beginnings September, 2009
The year actually starts in September. Every French person knows this. It is when the Parisians come back from “les grandes vacances” spent somewhere by the seashore. It is when they reclaim their city. Small neighborhood bakeries, specialty stores and green grocers reopen after their “congé annuel”. It is when opera subscriptions restart and when “La Comédie Française” presents its program for the year. A new school year begins, and if you are also Jewish, a brand new year. School children once again crowd avenues and boulevards where some tourists might still linger. September is the month of “la rentrée”, literally meaning re-entry.
New beginnings carry the seeds of hope. They are opportunities for change, new perspectives, new directions. New beginnings promote growth.
Every fall I try to bring my excitement for new beginnings to my painting. And, I do this with ceremony as if it were a ritual celebrating a passage. So, come September, I take inventory, clean the studio, get new art supplies, organize paints and brushes and prep canvasses. It fills me with the same enthusiasm and anticipation I experienced as a girl getting ready for a new school year. It energizes me.
Yvette Stenzel
The Merits of Drawing August, 2009
“Drawing is the basis of art.” Arshile Gorky (1905-1948)
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It would be quite commendable if I could claim that I draw every day. I don’t but I try to do it on a regular basis. I always carry with me both a small sketch book and a pocket camera in case I get inspired or feel I need to record something.
Drawing keeps your eye trained and yours skills sharp. Yes, it does require discipline and discipline can be boring as well as tedious. And boring it will be if you tell yourself so; boredom is but an attitude. The perceived rigor of drawing can seem so contrary to spontaneous creativity, yet one can be as spontaneous with an energetic gesture line as with color on a paint brush. Some fellow artists have gone so far as to say that they really do not need to know how to draw especially if they are not after realism anyway. Whom are they kidding? Drawing is to the artist what practicing scales is to the musician. Whatever kind of music a musician ends up playing or composing, practicing scales is a professional part of his or her routine.
Drawing exercises do not need to be elaborate or time consuming. Start with some common objects around you and simple shapes. Challenge yourself by using ink rather than pencil making corrections more difficult. This will keep you sharper and more focused on your task. Experiment with different mediums such as charcoal or Conté crayons. Soon you will discover what appeals to you. Once you gain greater confidence in your drawing ability, you will be less intimidated by more complex compositions. You may even consider taking a life drawing class. It is the most challenging class I have ever taken; a humbling experience to remember no doubt but one that has greatly enhanced my ability to draw.
You may in the end surprise yourself and discover that lulled by the inherent hypnotic rhythm of repeating lines, drawing can be a soothing opportunity to decompress.
P.S. I recommend, “The New Drawing on the right Side of the Brain Workbook”
Betty Edwards. 2002. Penguin Putnam, Inc.
Summertime Blues July, 2009
Feeling a bit sluggish these days? Who hasn’t on occasion felt indolent! Is your technique becoming too familiar and predictable? Before you risk boredom which will erode your élan and eventually send you right down the path of depression, take some action and try something new. Get out of your comfort zone! Engaging in new creative activities is a good way to regain focus and gusto.
Never have taken a life drawing or print making class? Now is the time to sign up! I strongly believe that one art form enhances another. All creative processes are somehow connected. They all participate in making us more aware and in heightening our senses. The greater interdisciplinary exposure you’ll get the more resourceful and adventurous you’ll get. The different modes of expression you will internalize will translate into a greater variety of tools at your disposal.
Of course I am not advocating that you spread yourself all over the place. It is not so much a matter of how many classes you take, but rather a matter of recognizing when you’ll benefit from a change of pace, and when your creativity needs a tune-up. For me it is like taking a vacation from a routine which I periodically need regardless how much I like what I am doing. After such a break I’ll come back to what I usually do with a refreshed eye and renewed energy.
Yvette Stenzel
Thoughts on signatures June, 2009
Obviously a signature is very personal and there are many ways to sign a painting. It took me a while to find my painting signature.
Foremost, I do not want my signature to be so noticeable that it is the first thing one would see upon viewing a painting. I prefer the signature to become an integral part of the painting. I also favor a signature that looks like a signature not like some childish block printing or overly stylized doodle one cannot recognize. I practiced my painting signature for some time until I was satisfied with the results and until it became easy and natural.
Using a small fine brush and plenty of painting medium, I sign my painting as if I painted calligraphy each letter at the time carefully copying my model signature. My signature is not very big and blends in. I choose a color in harmony or in pleasant contrast with the colors in the painting. Once a painting is signed, I habitually write on the back the dimensions, medium and title. This is a good habit that will make record keeping and cataloguing so much easier. While I predominantly sign on the bottom right corner, the placement may vary and I have signed paintings on the bottom left, the top right or left and even on the back. When a painting is very small I’ll either sign it on the back or use just the first two letters of my name on the front. A painting signature does require some planning, thought and awareness. While highly personal and by no means trivial, signing your art is an affirmative act of ownership.
Yvette Stenzel
Why not exhibit your art? May, 2009
When I recently helped to organize a student art show, I realized how very important it is for each participant to exhibit his or her work. An art opening or show is not only an exciting event, it is foremost a learning experience for every serious artist. Unless you choose to be an artist only for the sake of being an artist, exhibiting is an important aspect of the creative process. A work of art carries a message; it invites a dialogue between the artist and viewers. Sharing your artwork with others is a logical conclusion. Why bother making a statement and sending a message to no intended receiver? Why not exhibit your art?
You may be asking yourself whether you are ready or good enough to exhibit your work. If you are ready to hang a piece you created somewhere on a wall in your house or apartment, then you are both ready and good enough. Anyway, such questions are not productive as they will invariably plant self-doubt and derail you. When you find yourself on such a path and we all do at times, practice strategies of detachment and risk taking.
Planning to exhibit one’s work even if it just involves one piece, starts with a myriad of questions with regard to selection, title, signature, selection of frames and price. Furthermore, this may also be a great opportunity for you to work on your own artist’s statement. Once exhibiting becomes a part of your routine such questions become obviously much easier.
With time and discipline your exhibiting experience will not only become easier, it will lead to better art. When you show your work you’ll become more aware, accountable and responsible for what you create. With each exhibit you will be moving closer from a mere hobbyist to a professional artist establishing connections in a community of artists, art lovers and collectors.
Yvette Stenzel
When is an artwork finished? April, 2009
“A painting is finished when the artist says it is finished” (Rembrandt)
Over the years I have heard many opinions and theories on the subject. I have not yet come to a conclusion about it and that is fine since I would rather leave the door open to explore further possibilities as the desire arises. I would like, however, to share a few observations and strategies you might find helpful when deciding if a work of art is finished.
After I have worked on a painting for some time and have reached a first level of satisfaction, I set it aside out of sight. Then after a couple of weeks I hang it on a wall of my studio where I can easily see it. I let it there for a while and observe it expectantly trusting that a silent dialogue will somehow emerge. When I feel ready I‘ll take it down and either work on it some more or sign it. Yet, for me signatures are no seal of completion and on numerous occasions I have reworked a painting well after it had been signed. If after all these steps I still feel stuck, I will ask for feedback from trusted fellow artists.
As I look towards the finishing touches of a painting, I will seek a certain detachment to see it again with refreshed eyes. I hope this will give me a greater discerning approach. As in every aspect of the creative process there are no ready -made formulas. For me a painting is never finished. At some point, however, I decide this is where I want to leave it with a clear conviction that it will both echo my expectations and engage a viewer’s interest.
Yvette Stenzel
Painting to music March 2009
Much has been written about the therapeutic benefit of listening to music. Extensive research furthermore emphasizes a clear connection between music, perception and learning. Music has an impact on the brain. The advertisement industry for sure has exploited the suggestive power of music for decades.
Many artists work while listening to music. I too, like to paint to music. Music heightens my senses and elevates my spirit.
The choice of music is of course highly personal. At times this may become a problem when painting with others. In such situations a repertoire that includes a wide range of genres usually pleases everyone.
While I might listen to Mozart when writing or to Vivaldi when studying Italian, when painting I opt for what I consider sexy music, music charged with evocative energy. Such music includes Flamenco guitar, gypsy style music, sultry boleros, sambas, cool jazz and the blues. When my body moves to music my paintbrush becomes more mobile. When my body moves to music my senses tame the intellect.
You might find too that listening to your favorite music fosters a sensory atmosphere and enhances creativity.
Back stage with the "Gypsy Kings" Boston, 2/20/09
Recycling oil paint and recipes for unique mélanges February, 2009
If you have been painting for a while you probably have many “end of the tube” paints left. I keep mine in two boxes for both warm and cool colors. When the boxes recently overflowed, I decided it was time to recycle paint and came up with some amazing mixtures.
To do this you’ll need scissors to cut the tubes because some will be too difficult to unscrew as they have become seasoned. I have found that squeezing paint out of a cut tube when the tube is nearly empty is easier and more efficient. You’ll need small to medium glass jars with metal lids; they are available at most art supplies stores, vinyl gloves and something to stir your mixture. You will also need some linseed oil which will make your mixture easier to blend and more malleable. It will add renewed viscosity and body to your paint. The amount of linseed oil will depend upon how dry your paint is. I like my paint to feel like soft butter so I tend to add more rather than less. In addition to the linseed oil I suggest you add some oderless Thin-X.
In general I keep the vibrant colors together, separate the earth tones from the dark colors and also keep the more opaque tones together. Here are some mixtures that have blended themselves into beautiful hues for me and you might want to try them.
Hot Rouge
Every red except flesh tones, pinks, alizarin crimson, red earth tones and some cadmium orange.
Sunshine Yellow
All yellows except ochres and Naples’s yellow light.
Deep Green
All greens including some turquoise except terre verte, olive, chromium green and sap green.
Cool Blue
All blues except indigo.
Bright Black
Alizarin crimson, indigo, some viridian, some purple and olive green.
Terra Dolce
Yellow ochre, flesh tone, Naples’s yellow light, red earth and siennas.
Umbria
Browns, orange earth, some cadmium orange, sap green, some purple
Ivory
All whites
Clay
Whatever colors are left. At times the results are great but this mixture can also turn into a horrendous sludge.
You can recycle acrylic paints the same way. You’ll need to add water and some gel medium for acrylic paints. Have some fun experimenting with your own mélanges. You’ll find it is a creative way to recycle and use up every bit of paint while discovering new hues.
Yvette Stenzel
Happy New Year! January, 2009
Well, in reviewing the resolutions I published last year, I decided to give myself a “B plus”. Realistically it should be a “B minus”, the plus is the little ego booster we all need especially in these dreary times. Instead of listing resolutions this year, I wanted to share with you in 12 sentences the things I enjoy. The difficulty here was to limit myself to 12.
- I enjoy a sunny day, the fragrance of lavender, rosemary and fresh hay.
- I enjoy walking into a bright and spacious room filled with warm colors and only very little clutter.
- I enjoy being with happy people…no, not the kind who are always high in la-la-land…I mean really happy people who radiate and make me feel warm because they have such joy and compassion.
- I enjoy the sweet eyes of a loving pet looking at me on cold winter mornings when all is silent.
- I enjoy the sounds, smells, breath and mysteries of nature; I pray to its formidable goddess.
- I enjoy eloquence without stuffiness, open-mindedness without self-righteousness, a sense of humor without sarcasm.
- I enjoy the welcome and full embrace of those who love me.
- I enjoy being French; dressing with a hint of elegance, wearing not too much make-up and never chipped fingernail polish (mon dieu, quelle horreur!)…I also enjoy speaking Italian, it makes me feel so sexy.
- I enjoy moments of serene solitude when I can clear my head in an attempt to see better with my heart.
- I enjoy the simple pleasure of a good egg poached to perfection.
- I enjoy all rituals that celebrate life with reverence and without dogma.
- I enjoy it when music transports me and I can lose myself with complete abandonment in the sensation of a painting.
Happy New Year to all my friends and art lovers! Try your own list; it will make you feel good.
yvette Stenzel
This poem I wrote 3 years ago is my "artblog" choice for December 2008
Christmas
It was a time too long ago
When I lived with Papa’s parents
In a small town in Eastern France
Grandpa was not Christian
And Grandma was very so
Not that any of this ever mattered
Papapa Jacob instructed me early
That the Christmas tree mind you
Was a pageant tradition
Mistletoe picked by the druids
Every fall Papapa Jacob would gather
Pinecones tree mushrooms
Treasures from the forest
Which he handled with reverence
Above the barn the attic full
Of flagrances of drying herbs
Secret remedies and wild flowers
Hanging like magic lollipops
From the high beamed ceiling
Together we would decorate
The tree with nature’s ornaments
One week before Christmas
Grandma also hung tiny chocolate
Bottles that looked like rare wine
Wrapped in brightly colored foil
And oh yes I was to open one
Every night before going to bed
With my teddy bear Nounou
It was a time too long ago
When Christmases were good
The one when Papa made for me
A toy kitchen in the basement
The time he played Santa Claus
And the time my aunt Adele
Visited and she and Papa talked
The time I made paper angels
The time I spent Christmas with Edgar
Later in college when it was so warm
All the snow melted in one day
The many Christmases I collected
Exotic hand made ornaments
Carefully kept wrapped in boxes
When I lived in Cambridge
Other Christmases followed
Waiting for the baby that never came
The time just before one Christmas
When love left me sitting in a cold
New York apartment in a snowstorm
The time I threw the ornaments in the trash
The time I went to California alone
The last Christmas I talked to Papa
The time when mother said
She did not know me
Christmas spent in an airplane
Above the Atlantic Ocean alone
The time when Christmas music
Nearly drove me insane and
I drowned myself in eggnog
Like Papa and his papa
I am not even Christian
And yet I envy those who lull
Themselves into some kind
Of Christmas metaphor of salvation
Wallowing in pathetic cynicism
I can no longer stand the mall
The Santa hats on grownups
And plastic reindeer antlers
The what have you not stuffers
The jingle bells and neon garlands
And yet I know
It is all really up to me
I mean the holiday spirit
It has always been up to me to see it
In the perfection of a snowflake
The laughter of children at play
The joy of unconditional giving
The extended hand of a friend
I can look at a winter sunset
Revel in the gratitude for receiving
The memories of past Christmases
When I believed in wonders
It is all up to me
To bask in Brahms’ Requiem
Marvel at the colors in his paintings
To close my eyes and feel
Papapa Jacob’s smile in my fingertips
To rejoice in the gift of this moment
(December 2005) Yvette Isabelle Stenzel
A question of style November, 2008
“I am never fixed and that’s why I have no style.” Pablo Picasso (1881-1973)
Upon seeing my paintings at an exhibit, one viewer once commented with a hint of disappointment that I really do not have one style. In a similar vein several teachers in the past have emphasized the importance of developing one’s own discernable technique, one’s own painting vocabulary. Surely there is comfort in being able to immediately distinguish a painting by Van Gogh from one by Matisse. We pride ourselves when we easily recognize a Rembrandt, a Bonnard or a Modigliani. We have studied their choice of subject matter, surface treatment and palette. We know our art history. Indeed, once one has seen a painting by Thomas Kinkade, one can for sure identify another without hesitation. A distinct style becomes an artist’s signature so it seems.
Just as switching languages brings out shifts in personality 1), working with different media fosters diverse approaches. My style varies according to whether I work in oil, acrylic, watercolor or whether I use a mixed media technique. I find that when I work with a variety of media new doors open to experimentation. In the process of self-expression I do not wish to be locked into one mode; to me that would be equivalent to a form of self-censorship.
Furthermore, my style shifts depending upon which motifs and perspectives engage me. It seems to me that different visions elicit different modes of expression. Besides how boring to be trapped in only a few choices when one can embrace endless possibilities! Just as one becomes a more sophisticated speaker by acquiring a greater and more nuanced lexicon, one becomes a more experienced artist by experimenting with different art forms and exploring new approaches. The making of art is an evolving process to which there is no conclusion.
Coming back to the question of style, as far as I am concerned not having a style is a style. It is a matter of choice whether you speak only one language or develop fluency in several. Don’t get trapped by conventions, expectations or assumptions; the sky is the limit!
Yvette Stenzel
1) David Luna et al. “One Individual, Two Identities: Frame-Switching Among Biculturals” Journal of Consumer Research: August 2008
Vacationing at the Cinque Terre October 2008
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Giving Titles September 2008
Someone recently asked me how I choose titles for my artwork. I hadn’t given it much thought before, titles just came to me it seemed. Yet, the question is interesting and invites some exploration.
As a matter of principle I prefer not to give a title with a negative connotation. Who in his or her right mind would want to hang on hi or her wall a painting titled “His Compulsion” or “Neurosis III”? No thank you! I do not wish to contribute to the pool of bad news; I’ll leave that to the journalists or to the provocateurs.
Titles can be just plainly and unpretentiously name the subject matter such as “Tomatoes”. I like to add a nuance but without too much interpretation since I hope the viewer will discover an attribute on his or her own. So instead of just “Tomatoes” or “Bouquet” I might prefer “Ripe Tomatoes” and “Birthday Bouquet”. To me, short titles limited to two words are preferable as they are perhaps easier to remember. Evocative titles without too much drama are usually also pleasing such as “First Sail” or “Quiet Embrace” as they may invite to imagine a narrative. I stay away from titles such as “Composition #3”. To me such titles are too clinical; I can’t warm up to them. While I might opt for an occasional foreign noun especially if it is a cognate, I usually stay away from esoteric terminology only a few can understand. Ultimately choosing a title is obviously a question of personal preference.
Are titles important? Different artists will give you different answers. I feel titles are very important. Naming a painting that I have produced and finished is for me a form of acknowledgement. It gives me a sense of accomplishment the way signing a painting does. Furthermore it is a form of reverence for the creative process itself.
Yvette Stenzel
Painting With a Palette Knife August 2008
My friend Sheila O’Donnell just reminded me the other day how much easier clean up is, when using a palette knife instead of a paint brush. Wiping the blade clean with a paper towel or rag does not require the use of any solvent which is so toxic to the environment let alone to your skin. For plein air painting, when keeping the amount of supplies to a minimum is desirable, palette knives are a great alternative to paint brushes.
Palette knives come in all sizes and shapes. Technically knives fall into 2 categories; painting knives and palette knives. Palette knives are flat and resemble spatulas or spreaders. They are designed to pick up paint and clean the palette. Painting knives have a more distinct bend between the blade and the handle, and look a bit like a trowel. To me such distinctions are inconsequential, I use whatever feels right.
I usually have 3 ready to use; a large flat one that allows me to quickly spread a lot of paint, a medium size and a triangular shaped one for details and small strokes. I prefer to use the ones that have a metal blade and a wooden handle over the plastic ones which I find less sturdy.
Using a palette knife is ideal for a variety of techniques such as impasto, when a thick layer of paint is applied to create volume, shape and texture. It is also great for splattering, scratching and for sgraffito, a technique in which paint is scraped off of a multilayered surface to reveal a previous layer. It is an optimum tool for creating all kinds of texture.
With a palette knife paint goes on to the canvas like butter. One cannot be timid about it. When using a palette knife, I find that several layers of paint tend to sit on top of one another rather than get blended quickly to way they do when applied with a brush. It is easier to keep colors separated and clean.
Beyond the obvious advantages, I find the use of a palette knife over a paint brush less fussy. Indeed equipped with my palette knife, I approach a painting with greater spontaneity…pretty much the way I like to cook. I feel energized, ready to experiment and improvise, confident that the effort will somehow pay off.
Yvette Stenzel
Silent Dialogue With The Canvas . July, 2008
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Silent Discussions Leave the outside for a while |
Yvette Isabelle Stenzel , July, 2008
Graduation Time June 2008
You have enjoyed being in the same class for a while and may continue enrolling. It has become a part of your routine and expectations. However, there may come a time when it is practical to acknowledge that you’ll need to move on.
It might be time for you to graduate when you experience any of the following signals:
You find yourself criticizing the teacher or other fellow painters on a regular basis.
You too often feel like imitating the teacher or others in class.
You spend your time socializing more than painting.
You habitually forget some art supplies or come late to class.
You are done before class is over most of the time.
You feel discouraged most of the time.
You get quickly offended by feedback or suggestions.
You feel envious when others get positive feedback.
You are using class as a form of therapy and find yourself indiscriminately disclosing
your private life.
You find yourself going to class because you have nothing else to do.
You feel the teacher habitually does not understand you or lets you express yourself.
As positive an experience as taking a class may have been, there inevitably comes a time to let go and move on
It will be good for you as well as for anyone else in class.
Yvette Stenzel
Painting on York River, Maine June '08
Why not take a class? May 2008
No matter how confident an artist you may have become, there is always something to be gained when taking an art class and painting with others. Even when I took a class from a teacher who irritated me a times, being in a class has helped me to better articulate my own perspective.
Taking a class gives me foremost a framework. I seem to manage my time more efficiently when I have a definite schedule and deadlines. Without such a structure I get too easily distracted. I’ll end up procrastinating and putting the creative process on hold while the domesticity of daily life all too quickly fills my spaces.
Painting with others provides me with a supportive environment. It is usually an enjoyable and informative experience provided you can ignore the occasional obnoxious self-centered student who loves to monopolize the teacher’s attention and give you unsolicited advice. I have always learned something; if not from an enthusiastic teacher than certainly from other fellow painters who like me struggle with the process of creating art. Becoming a regular member of a group can be quite rewarding. Beyond the obvious camaraderie, inherent to most such groups an “esprit de corps” develops over time. This feeling of belonging and experience of inclusion is to me an important component of knowing my place; I feel validated and connected in an artist community however small it may be.
At times I have enrolled in more than one class. The more accelerated pace has energized me resulting in heightened creativity. I find myself so busily involved that any censorship or resistance fades and I just go with the flow. Other times I have taken classes that are not my main interest, such as life drawing; these classes have greatly sharpen my skills which I could then incorporate into my paintings. Unlike some, I do believe that one art form enhances another, and taking different media has never been a source of confusion for me.
Workshops, whether short and intensive or involving a longer stay, are particularly great for concentrating on your art. Set in a different environment, away from the daily comfort and traps of your routine, you are more likely to awaken to refreshingly new sensations. You might experience seeing things for the first time again. To further maximize your experience, I recommend that you do not come with a spouse or partner even if you are both artists. Doing so to me would somehow defeat the purpose of participating in an art workshop. Rather than a true retreat it would be reduced to a mere theme vacation.
Ideally I look for teachers whose guidance, honest critique, encouraging support, tolerance and sense of humor engage me as well as others.
Yvette Stenzel
........................... .On Vacation in Martinique................................................. April 2008
Cleaning Oil Paint Brushes: March 2008
You will need: 3 Mason jars with lids, heavy duty paper towels, odorless paint thinner and Murphy’s liquid oil soap. Do not use any plastic containers. Overtime the paint thinner will dissolve plastic and the container will start to leak and you won’t believe what a mess it will be!
There 3 parts to a brush: the handle, the bristles and a metal part called the ferrule which holds the bristles inside the handle. Never ever pull the bristles!
When you are ready to clean your brushes, first make sure to wipe off any excess paint with a paper towel. Pour some paint thinner in one jar and some liquid oil soap in the second jar. Protect your hands with either latex or vinyl gloves to prevent any toxicity to be absorbed by the skin. Also make sure there is good ventilation wherever you are working. Dip your brush into the jar with paint thinner and tap it several times against the bottom of the jar. As the bristles go far through the ferrule inside the handle, paint tends to collect there and you’ll need to remove as much of it as possible. After having wiped your brush with paper towel, dip your brush into the jar with liquid soap and repeat the same process as with the paint thinner solution. Finally run your brush through some water and towel dry it thoroughly, reshape it and let it dry onto a hard surface. Cover both jars with a lid.
Reuse both solutions. When they become too dirty pour both into a third jar which will become your “waste” jar. As with any hazardous material, dispose of it properly.
Never ever pour it down the drain. The mixture of paint, thinner and oil soap will create highly toxic goo which will clog your pipes and poison the environment.
Tip: Murphy’s liquid oil soap conditions brushes. When my brushes need to be conditioned I let them soak overnight in clean Murphy’s soap. Brushes become wonderfully soft again.
Yvette Stenzel
Dedicated to artists and friends of the arts.
V’s Day
I do not care for Valentine’s Day
A consumer culture’s celebration
What about the many lonely people
They’ll gladly do without it
And if you have lived for a while
Of course you know what I mean
Yes it is Valentine’s Day big deal
I could chose to ignore it again
Like last year despite Chet Baker
Or write a perfunctory silly
Red hearted card with a printed
Make believe love message
The one I will not give to you
This day no more or less ordinary
No day ordinary when you are in it
So I tell you today and tomorrow
Here is to you and to your art
Your unrestraint impish smile
Your quick frown your intent drive
Your attentiveness your tenderness
Your tough guy surface your colors
Your patience and your impatience
Your shamelessness your humility
Your strength your contradictions
Your reliance your inconsistencies
Your naughty vocabulary your gallantry
Your jazz sophistication and gipsy passion
Your surprises your predictabilities
Your guidance and your inquiries
Your strong profile your chiseled body
Your sensitiveness your wisdom
Your playfulness and serious veneer
Your expediency and your slow motion
Your maturity and your boyishness
Your virility your seductive charisma
So here is to you today and ahead
Happy Valentine’s Day 2008
Yvette Isabelle Stenzel
2008 Painting Resolutions
Who says one won’t stick to resolutions? As long as they are reasonable it is up to you! Here is a list I wish to share:
- Do something art related every day. This does not need to take much time! It could be as easy as paging through an art book while waiting for the tea water to boil. Keep a little sketch book handy where ever you are.
- As you plan your week schedule some time to paint.
- Tidy up your studio or work space on a regular basis. Too much clutter clutters the mind!
- Go on a solo “art date” at least once a month. Take yourself to an art museum, a quiet ride to the country or treat yourself to a decadent cappuccino served in real china. Nurture your senses!
- Treat your art supplies with care. Clean your brushes well, recycle your canvasses when appropriate and take inventory of your painting tubes regularly.
- Join art associations and take at least one class.
- When painting in groups or in a class exercise compassion towards your fellow painters. Unless you are truly an expert art critic, refrain from singling someone out with either your hyperbolic praise or with your uncensored disapproval. And please do not undermine your teacher’s expertise. If you do not like his or her style and approach choose another teacher!
- Participate in as many events and exhibitions as possible. OK, you’ll get rejected at times…GET OVER IT!
- Reward yourself periodically with an “art toy” like a tube of paint in an exotic color or a special brush.
- Cary at all times a travel size digital camera. AND USE IT!
Recommended reading: Julia Cameron, The Artist’s Way.
Yvette Stenzel, January 2008
December 2007
This poem is dedicated to my friend Susie Kaplan who died of cancer a year ago. It celebrates her omnipresence in the beauty that surrounds us and sustains us throughout the year. It is in French, a language she loved.
Molto Cantabile
Tu es le vent dans les arbres quand
En automne jaunissent les vieilles vignes
Quand murissent les dernieres figues
Une douce sonatine qui s’ecoule
A jamais dans les jardins de Provence
De saison en saison un peu vagabonde
Molto cantabile
Tu es la rosee les matins de printemps
Aux parfums de lilas et de roses sauvages
Quand la lavande embrasse le romarin
Tu es la terre ancestrale l’eternel feminin
Sous le grand soleil lourd de l’ete
Tu es la longue plage chaude
Des belles iles grecques de la mer Egee
De saison en saison une sonatine
Molto cantabile
Tu es la passion des nuits romantiques
Desirs secrets des amants separes
Orangers andalous et flamencos gitans
Sous les caresses d’une lune magique
Tu danses un tango nonchalant
De saison en saison une musique
Molto cantabile
Tu es l’hiver en robe de mariee
Pres des cypres en pilliers endormis
Figuiers et amandiers en sourdine
Font fumer un feu de cheminee
De saison en saison une sonatine
Molto cantabile
Molto
Yvette Isabelle Stenzel
November 2007
Treasured Miniatures
Who hasn’t felt hesitant to throw away unused paint or wondered what to do with all the left over paint on one’s palette at the end of a painting session? Good quality paint whether oil or acrylic is, after all, expensive. We know all too well how quickly the cost of art supplies can add up. Perhaps out of a practical sense of economy, you have even at times hesitated to use much paint.
The following suggestion can both be fun and productive. When possible, have a few very small canvasses handy such as 8”x8” squares. At the end of a painting session, why not paint a miniature with whatever paint left on your palette? For me it is like playtime at the end of a labor intensive endeavor.
Perhaps as a reward for the entire effort one has just done by working with focus and intent, painting a miniature for the sole pleasure of painting can result in some great surprises. Spontaneous painting without the censorship of either our intellect or expectations can be extremely liberating. By spontaneous, however, I do not mean to imply painted with haste. While I might spend less than 10 minutes at the time on a miniature, I often let it sit and finish it over several sessions thus letting the painting emerge through many transformations. As one phase leads to another, in the end, it becomes more and more about the process of discovery and that can be a tremendous learning experience. I have found this to be far more exciting than painstakingly saving left over paint in some small plastic containers which really only adds to more left over paint!
Yvette Stenzel
October 2007
“Before my friends entered the studio, they always had to wait. That was nice to give me time to tidy up, to put on my clothes, for I worked in the nude.
Marc Chagall (1889-1985)
The Artist’s Studio
The need for one’s own studio is a great motivator to become quite creative with the use of space. Before my lavish present studio I had transformed a walk-in closet into a formidable studio space. Since it had a tall ceiling I maximized space by designing overhead storage where I kept mostly canvasses and frames. With some resourcefulness one will find ways to claim studio space. An artist friend of mine transformed a garage into a lovely studio, while another, remodeled a section of her basement and with clever usage of partitions created an innovative work space to suit her needs. As an artist your need for a studio is more than a necessity, it is your right.
Practical strategies can further help to keep expenses low while installing your studio. There are really only a few basic needs such as a sturdy work table, good light, an easel, a tray table, ventilation and some shelves for storage. My own workbench consists of a thick rectangular piece of plywood on top of adjustable sawhorses underneath which I store canvasses. One short side of the workbench is set against a wall where I hang tools for easy reach, while the remaining three sides are free standing such that I can walk all around it. Storage shelves can be very basic and inexpensive such as boards on top of plastic bins or recycled crates. Most of what one needs can be purchased at a large discount hardware department store including drop clothes and cheap commercial style rugs.
The meaning of one’s own studio goes far beyond the need for a work space. For me the studio is perhaps foremost a sanctuary; a place where I paint and meditate, a place where I find respite and solace, where I seek inspiration and solitude as well as companionship. Surrounded by many art books, soothed by heirlooms, alluring music and aromas, moved by symbolism and quietude, it is where I can replenish my creative well when I am not outdoors in nature. And while unlike Chagall, I have not yet painted in the nude, the studio is however, where I feel truly unencumbered and free to experiment.
Yvette Isabelle Stenzel
August 2007
“It is very hard work to turn out anything that looks like a good painting.”
Georgia O’Keeffe (1887-1986)
Why Aren’t You Painting?
When you find yourself neatly rearranging your studio, taking inventory of the many paint brushes you proudly possess, filing clippings or paging through an art supply catalog filled with tempting gadgets and luscious new colors, you are not painting! Who hasn’t indeed procrastinated under the convenient masquerade of getting involved in some kind of art business…yes, it is so easy to do. Don’t most of us secretly wish to fit the mold fostered mostly by non-artists, namely the romantic image of the artist who leads a carefree bohemian life style and picks up a brush driven by some mysterious moment of inspiration? Don’t we wish!
Painting is mostly manual messy labor that requires some of the discipline of a routine and the dedication of rituals. You may want to set time aside for art with the same seriousness and sense of purpose you would for any important work project. If being an artist is the only job you have, why not treat it as a full time occupation? Plan a weekly realistic schedule during which time you make a commitment to your art. Taking classes can provide an easy locked in structure. In addition, there are the obvious benefits of painting with others especially if you prefer the comfort of a more social environment. The energy generated by a group can be exhilarating, furthermore feedback from both participants and the teacher usually adds positively to the experience. Just like in any work situation you will need some kind of work outfit. Changing into your painting gear might just help to transition into that work mode. Set aside a pile of painting clothes which you can discard once they have become too worn.
Should one keep a schedule when traveling and/or vacationing? Obviously that depends a great deal. I do and I don’t. Between occupations I always give myself some transition time. When traveling, regardless of the length of the journey, I take my sketchbook and camera, but I give myself a vacation from painting. I take some time to purposefully fill my well with images and sensory experiences. Later with some distance I hope to draw from my repertoire and translate my enthusiasm into paintings.
PS: I am planning a vacation to South Africa and will be leaving soon. My next Artblog will be published in October.
Yvette Isabelle Stenzel
July 2007
Recycling canvasses
“Do not fear mistakes, there are none.”
Miles Davis (19226-1991)
I was very fortunate to recently move from my cluttered closet of a studio to a beautiful new space with plenty of storage. It is amazing how many canvasses of both unfinished and below standard pieces one can accumulate. I pledged to recycle before purchasing another canvas especially since my collection includes a variety of sizes.
You have, I am sure, been told that one should not apply acrylic over oil paint; oil dries slowly while acrylic dries very quickly thus it would adversely alter the surface finish and paint may even chip off. Well, Gesso is an acrylic product; yet, I have found it works quite well even over oil when applied properly in the recycling process. Our friend Madeline LaFarge suggests using a latex based product called Kilz available at the hardware store; it works really well and is inexpensive, thank you Madeline! First, choose oil paintings that have been seasoned for at least 6 months. Using medium grade sandpaper, sand the surface to a dull finish. Then, apply the first coat of Gesso or Kilz with an inexpensive disposable sponge brush. When dry, lightly sand it with fine grade sandpaper before applying a second coat which can also be sanded. If one desires a rougher surface for the paint to adhere better, one can mix sand or pumice to the final coat. You may wonder why not simply use Titanium white to cover a used canvas. It will work of course; however, I find both Gesso and Kilz to have a more neutral effect at less cost and much faster drying time.
Using recycled canvasses can give you the benefit of a more textured surface, the effect of which can be maximized in a new painting. Another way to reuse a bad painting is simply to keep pushing it to a different level of expression without any concerns or expectations. I have found this process to be very liberating and fun, and on occasion, I have even surprised myself with a successful new painting.
So, you think you painted some bad paintings! Who hasn’t? Acknowledge what it is that in your opinion didn’t work… get over it and have some fun with it! When in doubt, recycle, I have not yet regretted it.
Yvette Isabelle Stenzel
June 2007
In search of subject matter
“Oh, young artist, you search for a subject, everything is a subject, your subject is yourself, your impressions, your emotions in the presence of nature.”
Eugene Delacroix (1798-1863)
When asked at times by people who have not seen my work what the subjects of my paintings are, I feel a bit uneasy and I usually describe my latest piece or hide behind generalities.
True, I have experienced many times the anxious discomfort of looking for a subject matter or theme. I am embarrassed to admit that some years ago I even bought a book by Carole Katchen: 200 Great Painting Ideas for Artists. I have fretted before many a class looking frantically through my collection of photographs and clippings in the hope to find the one image that would hold the vision of a painting. Even when painting en plein air, I have looked with determination to find the perfect spot with just the right alluring light to imbue me with a visual moment that will truly inspire me. I have found value in doing serial paintings; one can certainly refine technique and expend one’s painting vocabulary.
In truth it seems the more confident I feel, the less important it becomes to find the right subject matter. So, if I somehow feel a driving enthusiasm for a particular scenery or subject I go for it head on. If I do not feel particularly inspired, I just start painting anyway, soon I find myself engaged in the process and the pleasure of painting. In either case the less preconceived notions I have before starting a painting, the freer I feel to experiment with new possibilities. Once freed from the mandate of finding a subject matter and perhaps even from the subject itself, one can focus more on the magic of paint.
This is not to say that subject matter is immaterial, that would be absurd. Painting to me is like poetry, there is a consequential duet between content and form which the poet can manipulate with intent. If the lyricism of rhythm, the power of imagery and the choice of nuanced words do not evoke a mood and captivate the reader’s interest, the content looses its impact. Content is as inherent in a painting as it is in a poem. The challenge is to train the eye to see beyond the immediate and subject matter derives; a raindrop can become the subject matter.
Yvette Isabelle Stenzel
May 2007
The challenge of beginning a painting
“Of course, I don’t go into the studio with the idea of “saying” something – that’s ludicrous. What I do is face the blank canvas, which is terrifying. Finally I put a few arbitrary marks on it that start me on some sort of dialogue.”
Richard Diebenkorn (1922-1993)
For me the beginning of a painting is unquestionably the most important step in the process. When I am planning a journey I spend time packing carefully with a sense of purpose, yet, leaving some space to be filled with things I might want to bring back. Most of the time before starting a new painting I do not have a clear or detailed concept. While I may have thought about a motive or chosen a subject matter beforehand, I try to keep an open mind to the possibility of discovery as I proceed. Painting becomes an opportunity to experiment and grow.
I never start with a white canvas. There is something viscerally frightening about a blank canvas as if the sterile white nothingness were an engulfing void. The responsibility of filling that void can feel overwhelming for sure.
I start taming my canvas by applying a variety of thin washes creating a layered abstract surface using a big flat brush, the kind I buy at a hardware store. I prefer to prep my canvasses with warm tones using acrylics for their versatility and quick drying time. I’ll never incorporate a pencil drawing of any kind regardless of the medium. Should I somehow feel the need for composition purposes to sketch, I’ll do so quickly on separate paper. I want to keep my paintings as open ended a feasible especially in the beginning. To me the contours of a drawing can be too stifling as I find myself limited by their linear restrictiveness.
I do not mean to imply, however, that one can forgo the ability to draw well, quite the contrary! If I feel confident about my skills I do not need the crutch of an underlying drawing to guide me. It is a misconception that somehow one does not need to know how to draw in order to paint. Whether or not one’s style is representational, the ability to draw with accuracy is an invaluable foundation. Surely there are exceptions…yet, like most musicians, painters too need to practice their scales and tune their instruments regularly.
On occasion, when an anatomically correct figure is called for, I trace a grid on the canvas, and then sketch the shape in a quick gesture fashion not concerning myself with details. As I move on I ‘ll adjust, refine details and make the necessary corrections.
After I have prepared the canvas, I paint in the general bigger shapes while deciding where the darker areas will go. Then, I quickly sketch with the paint brush, but rather than drawing outlines, I form shapes by drawing from the inside out.
Unless I decide to purposely work with a limited palette, I set out all of my many colors as well as a wide variety of paint brushes which I arrange with a ritualistic precision. When possible I like to paint to music. All of these strategies foster a comfort zone in which my senses can be heightened in order to better equip me for the sensual experience of painting.
Finally, I always hope for some excitement. When I do not feel an initial enthusiasm, I sense that my painting will lack in energy. On such days I may opt to sharpen my skills in doing exercises. At such times, a momentum is likely to be built which can fuel a renewed sense of engagement. Painting is a journey, the end of which shapes a new beginning.
Yvette Isabelle Stenzel, May 2007
