Interview with Brent Laycock

It was my sincere pleasure to interview Calgary artist Brent Laycock this week (for Canadian Brushstroke Magazine - http://www.brushstrokemagazine.com/ ). Not only is he widely known for his acrylic and watercolor paintings, but he is a nice and humble man. The story will be in the next issue to be released mid-January.
I have interviewed hundreds of artists (perhaps even more). Some are humble, some are confident, some are even arrogant. In many cases the most humble are the most talented. They don't need to tell you how good they are - their work speaks for itself.
Brent is one of those artists. His work is fresh and lovely, and he has a 30+ year successful career as an artist, which obviously attests to the quality of his work.
To view some of his works, go to http://www.brentlaycock.com/ and click on Paintings. I'm sure you won't be disappointed.

Back in business!

Hello everyone,

My husband had shoulder surgery Dec. 5. I apologize for the lapse in postings since Dec. 4, but I will get back on track now that he is on the road to recovery.

I was very sad to hear about the death of renowned Canadian artist Albert Chiarandini.

The following is an excerpt from an email I received this morning:

It is with sadness that Rudy Chiarandini and Joan Tadier and their families announce the passing of their father Albert on December 18th, 2007 in his 93rd year. With comfort they reflect on his accomplishments, as a wonderful husband to his late wife Mary (nee Mayo), son, father, grandfather and great grandfather . His dedication to the arts was his life.
Albert Chiarandini instructed at the Ontario College of Art, Northern Secondary, Holy Blossom Temple and the Guild of Portrait Painters. He was proud to be a member of the Ontario Society of Artists. His contemporaries recall his familiar saying “It is only paint, my friend!” With this paint he created masterpieces capturing the beauty of the Canadian and Italian landscapes and portraits of many faces. His pleasures were the love of classical music, nature, a good red wine and polenta!!!!
In lieu of flowers a donation in Albert’s honour, in support of the arts, would greatly be appreciated. This to be made to the Georgina Arts Centre and Gallery, 149 High Street, Sutton West, Ontario L0E 1R0 905-722-9587 where many of Albert’s finest works are a permanent collection. This date of Dec 18th is special in that two years ago to this date Albert’s great friend Bruce Smith passed away.

Leduc series of 12 paintings is now complete

My trip to the Visual Arts Summit in Ottawa is now over. We had 16 hours of travelling yesterday. Our first plane was delayed from Ottawa to Toronto, but we were glad we had a connector flight from Toronto to Edmonton because all the direct flights from Ottawa were cancelled. Our flight out of Toronto had been delayed on the runway due to mechanical problems but they allowed us to board. We were on that plane for an hour or more when they announced that the problems were not able to be resolved. That meant changing planes and waiting for the luggage to be transferred, etc. With all the commotion at the airport, we were unable to move for at least another hour after we had boarded that plane because of a fuel truck in our way that they apparently could not move out of the way at the time. Finally, we were able to taxi off and then wait to get de-iced. Due to the weather, the flight was four hours and 38 minutes. That is over an hour longer than usual. I'm glad I was with artist Shairl Honey who has a high level of patience. Today I worked on finishing two paintings for my Leduc series. I completed the painting of the local airport, and one of the Leduc Civic Centre. So, I now have six completed city paintings, and six rural. That means I am now ready to have the art cards and prints done. That should all be done in plenty of time to have them ready for tourists visiting the Alberta Winter Games. While in Ottawa we visited the Portrait Gallery of Canada's archives at Gatineau Preservation Centre (highlight of the trip), the Parliament Buildings, 24 Sussex Drive, the National Gallery and several other galleries and interesting sites. At the National Gallery, we were thrilled to see several Van Goghs and Renoirs, a Corot, Constable, and many other famous works. We also saw the controversial Voice of Fire - a 40 foot painting with three stripes from top to bottom - two blue stripes on the outside and a red stripe in the centre. I'd love to hear opinions on this painting - you can see it and read about it at: http://www.carleton.ca/jmc/cnews/22101999/c1c.htm .

This particular blog is directed towards artists in Canada. At the Visual Arts Summit in Ottawa more than 450 artists and key players in the Canadian Visual Arts agreed that we can no longer sit idle and allow artists to receive almost $10,000 below the poverty line on average. They also agreed that the arts needs a unified voice and that arts needs to be put back into the curriculum at Canadian schools. The following is the compilation of all the directives from the Summit and I encourage everyone in Canadian arts to read it. If you agree with the directives, please sign it to ensure there is lots of support to allow these directives to be aggressively pursued:

Art is the face of Canada.
We, as artists, curators, collectors, dealers, educators and supporters, are united to enhance the opportunities for Canadian art to be created, seen, understood and enjoyed. We came together in the largest gathering of the visual arts in our history, to proclaim the critical role of the visual arts in an innovative and compassionate society in the 21st century. We know what is needed: we call on the governments, nations and peoples of Canada to join us in realizing our potential. The visual arts community acts within an increasingly complex environment, with stagnant or shrinking resources. The growth in public engagement with the visual arts is not reflected in government policies or support. Canadian artists, galleries and museums have been starved for too long. Too many people work in the visual arts without an adequate livelihood or long-term security. The lack of vigorous and consistent policy, particularly from the federal government, is unacceptable. The visual arts provide a high level of service while receiving an unjustly low level of support from most government agencies and departments. In a time of global challenges calling for dialogue and understanding, the Canadian government has cut support for our international cultural profile. The unique and diverse character of Canada is under threat. The visual arts offer the best opportunity to counter this threat. It is time to recognize the place of visual arts at the centre of society. We commit ourselves to work together:
To satisfy the public’s growing demand for participation in visual culture;
To communicate the sector’s needs with a united voice;
To provide a secure livelihood for artists;
To acknowledge the varied cultures of the indigenous peoples of this land;
To reflect the diversity of our society; and
To strengthen the institutions that advance the visual arts.
With a united voice, we advocate:
To create a new alliance across the sector, to advance the position of the visual arts;
To engage public appreciation for, and connection with, visual arts in all their forms;
To provide stronger and stable support to artists and to the individuals and institutions that present, preserve and interpret the work they create;
To establish a dedicated fund for the payment of artists for the public exhibition of their works;
To increase investment in arts education for all ages and from all levels of government;
To provide dedicated support for Aboriginal arts; and
To recognize and support the leading role of visual arts in strengthening Canada’s international profile.
We envision a Canada that embraces creativity in all its dimensions. We believe in art that challenges us, deepens our understanding, and bridges our differences. Visual arts build a more tolerant, diverse and creative world.
Show your support, sign the statement here, and forward the link to your colleagues: www.petitiononline.com/visarts/petition.html
For more information: Canadian Museums Association 613-567-0099 info@museums.cawww.museums.cawww.visualartssummit.ca

Despite my best intentions, I am unable to finish my report on the Visual Arts Summit results this evening because they have not yet been posted on the VAS site - I hear that will be tomorrow because of having to set up an online petition and ensure there is also French translation.
As soon as I have that information, I will share it.
I am still in Ottawa and my agenda today included a lengthy visit to the studio of portrait artist Bernard Poulin.
His studio is incredibly organized, with specific areas for each aspect of his art: an area for oils, watercolor, drawing, sculpting in bronze, office, and storage. He is a meticulous artist and all his brushes, work areas, tools, etc. are all clean and free of paint residue from other projects.
His database is also meticulous, with all his works from the beginning of his 40-year career recorded in detail. Bernard has painted important public figures such as Prime Minister Jean Chretien, Former Governor General Romeo LeBlanc, and many others. It was an honor and a pleasure to spend time in the studio of this interested and talented gentleman.
Tomorrow we will tour some of the important galleries in Ottawa, and of course we will visit the Parliament buildings.

Visual Arts Summit - final day

I have a lot of information to share about the last day of the Visual Arts Summit, but I will wait until tomorrow to write it when the compilation of information from the summit is released and I can add that to my comments.
What I can say right now is that all the money and time spent organizing and attending this historic event has not been wasted and I truly think that this one event will result in the most significant and beneficial changes for the art industry in Canada's history.
Among some of the many topics that will be addressed as a result of the summit is the fact that currently the average wage of the Canadian artist is approximately $10,000 below the poverty line.
Obviously, we cannot have a healthy cultural climate if the creators of art cannot afford the basic necessities of life.
This summit is going to be the catapult that will put the arts before the public and government and ensure attention is paid to the important and long overdue concerns of those in the art industry.

Visual Arts Summit - Day 2

Today was our second day at the Visual Arts Summit in Ottawa.

It was a fabulous day and incredibly informative, but the highlight is still our trip yesterday to the Portrait Gallery of Canada's archive at the Gatineau Preservation Centre (see yesterday's blog below today's blog).

The morning plenary session was about education and access.
Speakers brought up some of the challenges facing us in Canada, and we later broke into small groups to discuss that and ways to make things better in the future.

Some of the challenges, according to the speakers and people from the floor:
*Art programs are expensive, due in part to the need to have low student - faculty ratios.
*There is a need for more focus on community collaboration
*Art is being partially replaced by 'decor'
*More publicity is needed for the arts
*'Viseracy,' or visual literacy, has to be as important as text literacy

When we broke into the 15 separate groups, our group agreed upon some of the initiatives we would like put forward. All the groups' intiatives will be compiled at the end of the seminar and the intent is to use them to shape the future of art in Canada.

Our initiatives include:

*We would like to see free admission to galleries
*We need to find out what 'speaks' to people to get them coming through the doors of museums, galleries, etc.
*We need more help transitioning from post-secondary students to working artists
*We want to form an alliance to have an aggressive public voice that will ensure government seriously looks at culture as an important part of their future intiatives, and that they understand we have significant enough numbers to keep a government from getting a majority if they don't consider it important.
*We would like to see arts as part of the curriculum from elementary school and up, so that children learn about the arts all through school. They do not have to choose an art career, but they will be informed and not intimidated when they visit galleries, etc.

The afternoon session was about collecting and exhibiting Canadian art. The plenary session speakers talked about Canada having "an inferiority complex" and that there is an imbalance in museums regarding budgets for Canadian exhibitions. They said there are no "blockbuster" (big budget) exhibitions for Canadian art and that there was not enough publishing of comprehensive catalogues. With our limited resources for contemporary Canadian art, we have to "invent associations with collectors," said one of the panel members. We "deplore" starvation of the arts, said another, adding we have to equip the museums and galleries to take on the electronic age. Another issue according to one of the panel members is that "We don't have adequate resources to preserve works."

After the session, our discussion group put forward the following suggestions:
* Create a national acquisition strategy
* Have more dialogue, become known to each other, and have greater co-operative initiatives

The day was concluded with the Hnatyshyn Foundation Awards Reception.
Louise Dery, curator at the Galerie de l'UQAM in Montreal received $15,000 for the Foundation's first curator award, and the 2nd annual award for outstanding achievement by an artist in mid-career meant a $25,000 prize for Ken Lum of Vancouver. In presenting the awards, Mme Hnatyshsyn said, "Contemporary art is not a luxury but a necessity for a healthy society." She also added that, "It can open our eyes to see and our hearts to imagine."


Tomorrow's schedule includes plenary sessions and discussion on: the force of markets, and market issues.

Visual Arts Summit in Ottawa

This is my report from the Visual Arts Summit in Ottawa...
We had a fantastic day today - we (artist Shairl Honey and I) toured Vault 34, which houses the Portrait Gallery of Canada's archives at the Gatineau Preservation Centre. Not only did we see some great art and very valuable pieces (not to mention the incredible architecture of the building), but the tour hostess - Director General of the Portrait Gallery of Canada was riveting. She told the story behind all the paintings she showed us and her passion kept us engrossed in her every word. This was so far, and will likely continue to be the highlight of our trip, even though we had no idea what to expect when we got on the bus to go there. Initially we had thought perhaps the Preservation Centre was where they did restoration of art.
The first plenary session riled us a bit because one of the panel members is a Quebec female who voiced her displeasure about people discussing 'national.' I think it was a good choice to put her on the panel, though, because it really got everyone thinking and the discussion portion of the summit will be highly interesting and intense.
We have met some interesting people and have already been invited to Newfoundland to stay in a guest house next September.
At dinner we sat with gallery curator Catherine Elliot Shaw from McIntosh Gallery in London, gallery curator Lisa Daniels from Gallery Lambton in Sarnia, artist Nikko Sinclaire and Valorie Preston, photographer Jessie Parker, and Bonnie Silbert from Fusion - Ontario Clay and Glass Association. The dinner was in the Penthouse at the Crowne Plaza and talking about it would just be bragging, so I'll spare you that.
Tomorrow's first session is about education and access, interpretation and audience, and the afternoon session is about treasures and treasuries - collecting and exhibiting Canadian art. There are two discussion sessions tomorrow, so the day should be full of ideas from artists, curators, and other important people in the art world. I can't wait to share the update on the events.

This week was busy getting ready to go (from my home south of Edmonton) to the Visual Arts Summit (VAS) in Ottawa, so I haven't had much fodder for the blog which is unusual for me.
But, today we (artist Shairl Honey and me) arrived in Ottawa just after the lunch hour and checked into the hotel. We had to run around searching for maps, finding out about internet connections, asking about good places to eat dinner, etc.
Tomorrow is the first day of the conference (I've never been to a conference that started on Sunday before) and I am excited about the opportunities in the next few days.
We register in the morning and then board a bus and go tour the Gatineau Preservation Centre. I understand that this is where they preserve fine art. After the tour I will post a blog telling about the tour.
After the tour, the first of the plenary sessions will be held and it is about issues that have arisen due to the intense growth in the Canadian visual arts sector. The VAS information sheets say the discussion will examine the key developmental events to shed light on how artists learn, practice and earn a living, how the art market functions, how the public connects with contemporary art, and the overall policy context for the visual arts. If you understand that, feel free to enlighten me, but I'll be able to tell you in plainer English what that means after the session.
As the conference continues, I'll write daily updates on what was discussed, and what the general feeling was of the attendees about the discussion.
This gathering of the Canadian art 'world' will surely mean some great ideas flying around, and hopefully some of those ideas will mean good things for artists and the art industry.

International Airport is Next in Series

With only two paintings left in the series of twelve that will be made into art cards and prints in the New Year, I have been struggling with what two paintings would be best.
I have finally settled on doing the International Airport terminal as one of the paintings. Although the airport is technically not in Leduc, it is certainly synonymous with the city since it is only a few minutes drive away.
Many Leduc residents work at the airport, the hotels host many airline travelers and airline personnel, the Chamber of Commerce/Economic Development/Tourism office building features a park where people can watch planes landing and taking off, and so on.
Although I can later add to the series, I wanted the initial dozen paintings to really reflect the area and I think it wouldn't be complete without a painting of the busy airport.
So, along with six rural scenes, the city scenes currently include a downtown scene in the daylight, a downtown scene at night, the skate park, and the grain elevator. The airport will make the fifth, and the sixth will likely be Telford Lake, a lake that is right in the city, although I've been known to change my mind last second.
The airport painting is fairly complex and has quite a number of vehicles in it as well, so I'm not sure how long it will be before I'm able to post the completed image, but I hope to post a progress photo in the next day or two.

What is art?

Although I recognize and appreciate everyone's right to create and call whatever they make 'art,' I find it incredibly amazing to see things like the results of this year's RBC Canadian 'Painting' Competition.
The winner, Arabella Campbell, took away $25,000 in cash for something that I dare say looks like a border (yes, that's right - only a border) that is often used in advertising and created in a publishing program. Granted, it is large and on canvas, but it certainly looks nothing like a 'painting' to me. There is no subject matter, there is no composition, etc. etc. etc.
It's very hard to criticize RBC - they are putting good dollars towards supporting the arts, but there are probably at least a hundred thousand other Canadian 'painters' who would come out ahead of Campbell's prize winner with most jurors and I suggest RBC insist on changing jurors for the future.
One has to assume that the jurors were blind, or that the decision is political for whatever reason unbeknownst to the rest of us.
It is indeed a shame that this competition is repeatedly won by 'art' that takes little imagination and little skill.
But, don't take my word for it - check it out yourself at: http://www.rbc.com/newsroom/20070926cpc.html and be sure to scroll all the way down. It's almost as if they are embarrassed of the winner also because Arabella and her winning 'painting' are at the bottom of the page.

Increasing Your Productivity

One of the greatest issues of a painter is productivity. There are so many outside influences that command time that could otherwise be spent painting: children, spouses, friends, groups and organizations that one belongs to, and in many cases jobs.
Sometimes lack of productivity is simply our own disorganization or procrastination.
So how do we stay productive? Here's a few suggestions that may help.

BE ORGANIZED: Keep your studio or painting area clean and all materials ready so that when you do have a short time available you can get right to it. If you don't have a painting area that can be left ready at all times, keep your materials and some photographic references or props in a container that you can open and have everything at your fingertips.
There's nothing less inspiring than having to clean up your work space before you start, or searching all over the house to find your materials.

DON'T PROCRASTINATE: If you only have 15 minutes, or a half-hour, use it. Don't talk yourself into thinking that it's not enough time. Use the time you have and you'll be surprised at how efficient you'll become. With all the outside influences, the perfect amount of time may not happen and neither will any paintings. Using mothers as an example, I would dare to claim that as many as 80 per cent of women artists put their art completely on hold while they're raising children. This is not necessary. It's just important to use what time you have to your best advantage.

WORK IN SERIES: There's so much benefit to working in series. From a marketing perspective, a series is easier to pitch to galleries, etc. because the body of work is harmonious and appealing to buyers. From an inspirational perspective, working in a series keeps your mind on one track. For me, working in a series literally drives me into the studio because I get excited about the subject matter and I get excited about completing a group of works. When the series is finally done, there's an immense level of satisfaction.

Whether you're a prolific painter or fairly slow, if you consistently use your available time efficiently, you will quickly increase your productivity.

Leduc Grain Elevator painting complete

I'm happily still working on the Leduc series. (For those who are new readers, I am working on a series of 12 paintings of Leduc, Alberta - six rural and six city paintings. I will be making art cards and prints of the paintings in time for the Alberta Winter Games in February). I am working on a painting of the new Leduc skate park now, but the Elevator painting above was finally dry enough to add the lettering, so although I'll make some adjustments in the next few days, I'm able to post the final version.

I have the skate park painting almost complete - I am excited about that painting because it's got lots of neat shadows in the deep caverns of the 'bowl' and the young boy who is biking in the bowl casts a delightful shadow. In another day or two I should be able to post it.

I have two left to complete the series, so the next one will be of a Telford Lake scene - I've drawn it out and I'm ready to start painting right away. I'm so close to the end of the series that I'm already thinking about what my next project will be.

I have a commissioned portrait of a young lady to complete in the next few months, a painting of
some hockey players, and a few other small projects that I'll work on, but I am starting to think about a series for my next year fall show.

Marketing is a huge focus of mine, and I'll be keeping my eyes and ears open for new opportunities in the year to come. Johnson Gallery in Edmonton features my work in their ads in Canadian Brushstroke Magazine - a really great magazine for the Canadian art industry. (There's some wonderful stories about CDN artists covered in the mag - www.brushstrokemagazine.com )

This blog is a marketing tool, but to me it is also a motivating tool. In order to keep regular updates on a blog, one has to have either work or articles to publish. I can't recommend this highly enough, however if an artist is not prepared to update at least three to four times per week - every week, it's probably not the way to go. People who get interested in your blog will want new information on a regular basis or they will get bored and choose other blogs over yours.

After 25 years in publishing, I rarely am at a loss for things to write about, and I am constantly stimulated by artist friends, gallery owners, art suppliers, collectors, etc. When they ask me questions, it gets my thought process going and suddenly another article is in the works. I am just thrilled that my love of writing and my love of painting come together in such a cohesive way.

If you have any products you'd like discussed, I'd be glad to do some digging with the manufacturers or other artists; or if you have any topics for future articles, please sent me a message or post it in the comments. If it's about painting, I'd love to discuss it.

Marketing an artist's work

I was speaking with a few other artists about marketing artwork the other night.
We spoke about the alternatives and where each thought we should go with our own work.
The talk was enlightening, inspiring, and I really thought it might interest others as well.
One option was to get involved in the community, attend meetings, and shake a lot of hands. In other words, network and collect names that could be applied to our mailing lists. This could mean a greater audience to future shows and more people familiar with us personally. The downside of the self-promotion, according to some of us, is that the time spent doing that would mean less time to spend at the easel producing work to actually promote. Less time at the easel could mean that we don't continually improve our skills and become the best painters we can be.
Another option mentioned was to paint our 'hineys' off and become such good painters that we're desired in galleries world-wide and we could let them promote us, always leaving us the time to paint.
I believe that there should be a balance of both. We cannot paint all day, every day, or we don't have any idea what is going on in the outside world, and we become very dry in what we have to offer in our paintings. On the other hand, we cannot tie up all our time in self-promotion, or we have created no wares to peddle.
Getting out in the world on occasion and meeting and greeting, adding names to our mailing lists, and hearing what the world is thinking is very important. And, learning to say no so that we are not joining every committee and volunteering for everything that comes along is also important.
It's my view that the combination makes a well-rounded person who will have lots to offer in his/her paintings, and will have amassed a group of devoted friends and collectors.
Doing so leaves the bulk of the promotion of one's work to the galleries, but it sure doesn't hurt to have a following who will add to the sweetness of the promotional pot.

The Importance of a Good Business Card

I was hoping to post the final version of the Leduc Grain Elevator, but I didn't get it done early enough in the day to photograph well, so instead I thought I'd expand on something I said in yesterday's blog.
I talked about leaving a business card when I was taking photographs of young people at the skate park so that if they go home and tell their parents some strange person was taking their photo, the parents can call and find out what I was up to.
That being said, an artist should leave a business card everywhere they can - it's a very inexpensive marketing tool and something that can show off your talents in a glance.
Here's an article I wrote about the importance of artists having a good business card...

THE IMPORTANCE OF A GOOD BUSINESS CARD
Although most of us would like to be financially stable, and perhaps even a bit above ‘comfortable’ if possible - let’s face it - we don’t paint for the fame and fortune. If we were artists for the sole reason of making money, there are many of us who, after a few pathetic tries, would have given up and tried something a little more secure.
So, we’re obviously driven to create for other reasons. Some of these reasons include the need to tell a story, to share an emotion, to show a technique or to leave a legacy. But reality states that if you buy canvas, paint, frames and other art supplies continuously, you must find a way to make your art pay back at least enough to allow you to continue paying the costs of creating.
That means working on a plan to market yourself and your art to others in a position to purchase.
One of your greatest assets in your marketing plan is a really GOOD business card. Be sure to have business cards with you at all times. Have them professionally designed to have the highest impact. Although there is a cost to this, consider it your best investment. Your business card is the first impression that many businesses and individuals will have with you and your art. A professional business card says you care about detail and you are going places with your business.
The initial design will be a bit costly, but after that your remakes won’t be as expensive since the design is already complete. Be sure to have the obvious details such as name, address, phone, email, etc. Also include your title: Artist (or Portrait Artist or Landscape Artist for example). If you paint a specific style or will take commissions, or do something else specific, include it on your card. And, of course there should be an example of your art.
EDIT, and I mean EDIT your bio and you can include that in VERY BRIEF on the back of the card if you can spare the extra expense. Don’t be convinced that all of your information is so precious and important that it needs to be included in 2 point type. That will NOT be effective. Make sure your type is in an easy to read font and in AT LEAST 7 point. That means you’ll have to get only the very crucial details in very brief form.
Give out your business cards liberally. If ANYONE asks about your art, pass on your card. You have no way of knowing where it will go and in whose hands it will eventually wind up. When you present your portfolio anywhere, include two business cards. Sometimes there are two people involved in gallery decisions, and you are ensuring you’re in both their files and you won’t be forgotten.
When you send Christmas cards or any other mailed correspondence, include your business card. At any art function, be sure to have plenty of business cards on hand. There would be nothing worse than giving out your last business card and then a particularly important gallery owner coming along and asking you for one. You may never get the second opportunity.
A business card may seem like a very small and almost unimportant piece of paper, but sometimes it can mean the difference between you getting a commission or show, or the other artist who always comes prepared. Although your marketing plan will also need a lot of your own energy and time, your business card is really the most cost-effective marketing tool you’re ever going to find - make it good!

Leduc Night Scene

I got so excited about doing this Leduc downtown night scene that I didn't take progress pictures again. So, although it needs some tweaking when dry, here is the virtually complete scene. It's lacking the warmth of the original, but that's the downfall of taking photos of oil paintings - especially when they're wet.

Downtown Leduc is a very picturesque place, especially at night when the old-fashioned style, red light standards are all lit up and give the street sparkle.

I absolutely love doing late evening and night scenes of any kind, and this was no different. I got so caught up in the painting that I couldn't put the brushes down until I was pretty much done.

Now that this is done, and the Elevator painting only needs a few nips and tucks (I'll show you tomorrow), I only have three more paintings left to do for the series of 12.

I'll be finishing the elevator tomorrow and then it's on to the skate park. I can't wait - that's something I've never painted before.

Tomorrow night (Thursday), I'll be attending Jennifer Annesley's 14th annual exhibition at the Fairmont Hotel MacDonald. She does amazing watercolor interior architectural paintings, as well as landscapes and still life. Check out her website at www.annesleystudio.com . She's truly a wonderful artist - I'm sure you'll enjoy her works.

Community Responding Favorably to New Series

I'm still waiting for the Leduc Grain Elevator to dry so I can add cloud detail, etc. I've started another painting in the series - a Leduc downtown night scene.
If the elevator painting is dry in the morning, I'll be able to finish and post it by tomorrow night, but if not, I should be far enough along with the night scene to post a progress photo.
I am excited about how the community is responding to this series. People from the City of Leduc, the local gallery, and others who have heard I'm working on this have all told me how much they're looking forward to it.
I know that the first 12 in this series will not be the end of the series. I will continue adding to this series for many years to come.
And, in doing this, I'm getting in touch with many people of all ages in the community. I went to the skate park to get reference material for a painting. There, I met about 15 teens who were all excited someone would be painting their playground. I must say, it certainly warmed my heart to find that these teens were not only friendly, but very polite, too. I'd be proud to be any of their parents.
Incidentally, my advice, for what it's worth - ALWAYS leave a business card with them if you are hanging around young people. That way, if they go home and tell their parents that you were speaking with them or photographing them, the parents can call you and find out why.
It's not worth having parents think that someone is hanging around their children for the wrong reasons.
Plus, if you do want to use a child in one of your paintings, you will need written permission to protect yourself. If you give the child a card, you can ask him/her to have Mom or Dad phone you to arrange it.

Progress on Leduc Grain Elevator

Here's stage 2 of the Leduc Grain Elevator painting. I've added in a sky base and will later add the clouds. I've worked more on the track details, and I've started adding in the buildings across the road from the elevator. I've also added more detail to the rocks that the tracks lay on.

As this dries up a bit (oil paint takes quite a long time to dry), I've been busy drawing preliminary sketches for two others in the Leduc series - a night scene downtown, and two boys playing at the skate park.

I was in Butterfly Boutique - a local clothing store - the other day and the owner has several old photographs of his store in the early 1900s. The only visible change to the outside has been new doors and the Butterfly Boutique sign. If you can believe it, the store, which is not considered large by today's standards, was a Safeway store way back then.

With little change in the outside appearance, it wouldn't be that difficult to paint it today, as it was then. Perhaps in the future this will lead to another Leduc series of historic scenes - who knows?

There'll never be enough time in my life to paint everything I want to - I'm sure all other artists can relate - but while I'm still here, I'll be trying hard to record everything I can on canvas. I often feel like I've won the lotto - I am able to paint to my heart's content, and I have been graced with the ability to do it. That's a huge jackpot for me!

Leduc Grain Elevator next in series

This is the start of the second city scene in the Leduc and Area series of 12 paintings. When this is complete, I'll only have four more city scenes and then the series (which can be added to later) is ready to make into 5x7" art cards.

So far, I've roughed in the elevator buildings and the track area and added some of the shadows. I am painting it on a beautiful sunny day and there will be spectacular fluffy clouds with lots of purple, which are set off beautifully by the teal of the elevator. Even though I thought grain elevators are over-done, this may well end up being one of my favorites in the series.

This grain elevator used to be the centre of agricultural activity in Leduc, with farmers coming from all around to unload grain so it could be shipped via train cars first to the Alberta Wheat Pool, and later, after the Wheat Pool sold the facility, to Agricore. Threatened with extinction several years ago, when it was to be torn down, a Leduc farmer named Bob Caine fought long and hard and gathered volunteers who raised substantial sums to turn the elevator into an interpretive centre/museum. The facility now hosts tours and demonstrations on the workings of a grain elevator.

Leduc Antique Mall Painting Is Complete

Well, it's just about done - a little 'tweaking' here and there and I'll be done. I have to wait until it dries again to darken the front of the sandwich board which should be somewhat in shadow. There's a few other small touches, but for the most part, it's complete. If you notice anything you'd like to bring to my attention, please feel free to comment.
When I'm completely done, I'll sign it and have it professionally scanned, so the quality of the image is better on the screen.

Now I'm really excited, because I'm on to the eighth in the series and the second in the city part of the series. There will be six rural and six city scenes total. So, that leaves five more to complete before I have the art cards made in time for the Alberta Winter Games that are in Leduc in February.

Varnishing oil paintings

Today I picked up Gamblin Gamvar varnish - it's a kit. I had blogged a few weeks ago that I will be testing MSA varnish, and I will also test the Gamblin Gamvar varnish.
I'll be trying these over the next few weeks and then I'll post the differences in usage and the results I get.
If anyone has already tried the two and has some input, please feel free to post it to my comments so everyone can have the benefit of more than my opinion.

I heard today that artist Doug Swinton, who I wrote about yesterday, is doing much better. That is good news and a great relief.

I am working on the final details for the Leduc Antique Mall painting and the pomegranates, and I am planning the details for a commissioned portrait of a little girl I will be painting very soon.

I'd like to thank artist Joan Bolen of Saskatchewan who sent me a tip for the pomegranates. I had written that they turned brown quickly, like apples. She suggested I try rubbing them with lemon juice, since that works well for apples. I will definitely try that next time I paint pomegranates.

I want to wish a very speedy recovery to Calgary artist Doug Swinton - someone who has been a Godsend to me and my painting.
Doug is a wonderful instructor, great fun, and very informative. To a tight painter like myself, an occasional workshop with this very talented artist has helped me to not to diddle my work to death.
A workshop with Doug means stepping out of one's comfort zone and working fast, but with fresh brushwork that conveys the subject simply and juicily. (Is that a word, anyway?)
Doug is kind and friendly, with a great sense of humor.
I know that everyone who knows him joins me in wishing him a quick recovery.

I ended up with a lot more of a workload than I thought I was going to have the last few days, so I haven't yet completely finished the Leduc street scene yet. I'll post it as soon as possible.

Here's a poem I wrote a while ago - I hope it inspires you to paint.


THIS PLACE

In this place that I live,
With brushes, paint and mind,
Hours go by that I have lost,
Not again to find.

A sunset may appear,
Or landscapes could unfold,
Familiar faces oft are found,
Of young ones and of old.

The vastness of the sky,
With its clouds and sun aglow,
Captures that within my soul,
That only artists know.

Short strokes and the right touch,
With a strong desire and will,
Can change a landscape in an instant,
From plain to magical.

The caustic scent of oil,
To others may offend,
But to those who live in this place,
It’s life’s blood and oxygen.

On the artist’s easel,
With its treasure that’s been built,
Is the artist’s very being,
On that surface at a tilt.

When color touches canvas,
And its white’s no longer bare,
You’ll see everything that I can see,
In the painting that leans there.

In this place that I live,
With calm, no angst or haste,
Hours go by that I have lost,
Not one has been a waste.

By Susan Abma

Pomegranates need to be painted quickly!

As I waited for the Leduc Antique Mall painting to dry so I could add more layers, I am working on these pomegranates. I have never painted pomegranates before and I found out something that I didn't know - these lovely, oversized fruit with their delicious jewels inside turn brown - fast! So, I painted as much as I could as fast as I could - a lot of the rest will have to be finished from memory except for the one that's not cut.
Because the paint is so wet, there is a lot of sheen and, as I've said before, wet paintings don't photograph well. But, I think that watching other artists' paintings in progress is incredibly interesting, so I hope you do, too.
There's still a fair bit to do on the 'poms', but I'll post them again when they're done.
In the meantime, the Leduc painting will be dry enough for another layer tomorrow. So, with luck and grace, perhaps I'll finish it by then end of the day tomorrow so I can post it.
When I'm done, I'll be starting another painting in the Leduc series.
I need to finish another five in the Leduc series before releasing a set of 12 separate art cards of Leduc and area (six country and six city paintings). I hope to have the cards printed and available in the New Year.

More Progress on Leduc Series #1

Today I added more detail to the vehicles parked on the left, the sidewalk, the building and the Antiques sign.
I also added a figure in the background and blocked in some antique items and a sandwich board sign outside the Antique Mall. More detail and shadow will be added to these later, and the figure will need a shadow and the light between the legs toned down a bit when it's dry. The buildings all need a little 'cleaning up' and the entire painting will get some little 'juicy bits' before I can call it complete.
So, there's still a fair bit to do, but it's really starting to take shape.
Now, since I have to leave it dry for a day or two, I get to turn my attention over to my succulent pomegranates. I can't wait...

Ready to work on Leduc series again!

Well, the first layers in my new series of Leduc city scenes are finally dry enough that I will be working on that painting again tomorrow.
So, all things going well, I should have another updated version of it on the blog tomorrow evening.
In the meantime, I have been creating a still life set-up with pomegranates. The pomegranates are so beautiful at this time of year, and the fruit is so juicy.
As soon as I see them in the grocery store, I can envision the transluscent jewels of the fruit inside. How wonderful nature is that the fruit of a pomegranate can mirror the beauty of a fine ruby? The sight of the unusual fruit makes me want to run to the studio for paints and a brush.
I'm not sure yet, but I think I will paint the still life on an 8 x 10" canvas, or perhaps 9 x 12" - whichever it becomes, it will be an intimate piece that is likely going to be life-size.
It's so hard sometimes to decide whether to paint a still life of a wonderful object that may deteriorate in a short time, or the ongoing project (in this case, the Leduc painting). Sometimes I find myself starting on one, being drawn to the other, and then going back to the first. I must have attention deficit or something, but I find it difficult not to try to do everything I love at the same time.
And, somehow, it works. When I'm that inspired to paint, I can spend the whole day and a lot of the night while that feeling is still there. Then, the same thing the next day(s) until both paintings get completed. Then, I might take a day or so and do some writing and take long walks so that I don't overdose my enthusiasm and I keep the desire to go back to the easel with vigor.
Just a note - I found an artist on the internet today who I think is absolutely fantastic and I thought I'd share where I found her: http://www.birchwoodgallery.com/croft.htm . Her name is Helene Croft, her paintings are of the Canadian North and I think they are spectacular. I don't know her, but I do hope she will be interested in being interviewed for Canadian Brushstroke Magazine ( http://www.brushstrokemagazine.com/ ) in the near future.

When should you approach galleries?

Very often beginner artists ask the question: How do we get into galleries, or approach galleries to show our work?
This is like asking how to go about finding a needle in a haystack. These artists are fresh and excited and, although many think they “have what it takes,” they are, more often than not, inexperienced. They have usually been highly praised by family and friends, and they are perhaps at a point where they think their work compares favorably to works already in galleries. Even if this were true, it’s not the golden ticket to acceptance by any art gallery.
These artists should first ask themselves some of the following questions:
• Do I have a track record of sales? In other words, can you prove to a gallery that your work has not only been praised, but also purchased?
• Do I have a complete portfolio, including an up-to-date biography, artist’s statement, and crisp, clear photos of my work (hard copies and digital)? Galleries require as much information as possible to assess you as an artist, and also, if they accept you, they want to provide as much information as possible to clients interested in purchasing.
• Can I provide works on a regular basis? Galleries require their artists to consistently provide them with new works so they can attract their clients to the gallery often.
• Am I prepared to regularly promote my work at the gallery or in other locations? Providing demonstrations, or being available to meet and mingle with clients is very important. Early in your artistic career, the more people you meet, the greater chance you have of selling your work and amassing new collectors.
• Am I prepared to listen to the gallery owners about their needs? The gallery owners know their markets. That means you might be required to frame to their expectations, or they may only want a certain type of work you do and not every piece you crank out. If doing that is not for you, the gallery route may not be either.
If you really want to work with galleries, you have moved from being an artist, to being an artist and business person. You will need to consider the marketplace, supply, customer service, possible guarantees of your work, etc.
So, if you’re putting out good work with consistent quality and are thinking about approaching galleries, consider the above points first. When you’re REALLY ready, you’ll have a much better chance of impressing the gallery owners and perhaps even becoming one of their favorite artists.

By Susan Abma

If You've Ever...You're Probably an Artist

Today I had several interviews to do for Canadian Brushstroke Magazine ( www.brushstrokemagazine.com ) and I never got a minute to paint.
I do, however, have something I wrote a while back that I think you might enjoy.

The tell-tale redneck signs of creativity: If you've ever...
You're probably an Artist!

If you've ever burned your supper because you're deepening a shadow...you're probably an artist.

If you've ever spent three times what you charge for your work on supplies...you might be an artist.

If you'd rather spend all day painting the trunk of a tree than going out on the town...you must be an artist.

If you have hardly any clothes without paint on them, you're probably an artist.

If you list your assets as canvas, brushes, or pencil crayons...you've got to be an artist.

If you think an upside down vase, a coffee can and a lit cigar go well together...you're probably an artist.

If your kids can't sit in your vehicle because it's full of pieces destined for a show...you must be an artist.

If you spend more on framing than your wardrobe...you have to be an artist.

If you take more ‘reference photos’ than family pictures...you're an artist.

And... if you might be worth more dead than alive...you're definitely an artist.

Progress on new Series of Paintings of Leduc and area

Edge of Night
Susan Abma
2 x (8x10")
Acrylic on Canvas

I love oil painting and rarely work in other mediums. This is a rare exception. Either portion of this diptych (two paintings that form one painting when together) could stand alone, but together it makes a compelling image of an Alberta sky in late September.
The sky views I get from my home on a farm near Leduc, Alberta (just south of Edmonton), are like a grand performance by an orchestra of color and movement. When I have an opportunity to view this splendor, I am humbled and awestruck. I have also painted another evening sky that I actually did call Evening Performance. I will share it with you soon.

Below is the latest progress report on the first of my new series:

Today I worked some more on this first painting in my new series. When the paint is wet, the photos of oil paintings aren't top notch, but by posting this regularly, you'll still be able to follow the progress of paintings from start to finish. When the painting is completely done, I'll scan the final image and post it.

I have sharpened the image up a little in this second session, deepened shadows, and added a bit more detail and some reflection to the glass in windows and doors.

In the next layer, I will work on even more detail in the buildings, some more detail in the sidewalk and the lovely red street lights that make Leduc's downtown so unique. If all goes well, I will also try to put some detail into the fronts of the vehicles parked along the left side, although I will be careful to leave the Antique Mall as the most detailed area in order to retain it as the focal point of the painting.

Start of New Series

Today I blocked in the background for the start of the first painting in my new series -Streets of Leduc. The building that will be most prominent in this particular painting will be the one that is currently grey/blue. It is the Leduc Antique Mall - a place that draws people from all over the region to view the engaging antique dishware, furniture, etc. A visit to the Antique Mall is more than just a shopping outing - it is an experience, and a dip into our ancestor's lives. Although any of these charming store fronts would make a great focal point, I had to start somewhere with this series, and I feel the Antique Mall is a worthy place to start. I'll show progress pictures regularly as I work on this painting.
The rest of this series will contain other noteworthy corners and street scenes, including scenes from the new skatepark. There I hope to capture some action scenes of the very talented and respectful young 'boarders, scooters and bikers' that I have met there as I have been researching this series.

The day started early today - my first interview (for Canadian Brushstroke Magazine) was at 6 a.m. with Marlene Joudry, a Nova Scotia artist who is keeping alive the tradition of Mi'qmaq porcupine quill art.
As I listened to her story, I could only admire her stamina - quill art means finding dead porcupines (roadkill), collecting the quills - often a two or three day process, digging up spruce roots, finding birch bark, etc.
Before she even gets to the art, she has a whole season of collecting the material. Then the art can take months to complete and it, too, is a painstaking process.
The fabulous, colorful, intricate art is a sight to behold, and through it she feels connected to her ancestors.
My second interview was with artist Carl Shinkaruk - an extremely talented British Columbia artist who is currently doing a significant body of Western art - cowboys, horses, etc.
Our interview was almost four hours in duration, and I can't wait to write and share his story. Find out about his usual palette, his technique, and more about the personable artist.
In addition, find out more about Ontario artist Bernard Poulin (I interviewed him about a week ago). His 40-year history in the art world has a multitude of accomplishments. The story has some of his secrets and philosophies and is well worth the read.
All of these stories, and more, will be featured in the upcoming issue of Canadian Brushstroke Magazine: http://www.brushstrokemagazine.com/ . The issue will be released at the end of the first full week in November. The magazine is free to anyone in or interested in the Canadian art industry and is coveted by many artists, collectors, galleries, suppliers, etc.

Part-time Hooker

The debate on whether one should be 'pure' or whether to create reproductions from one's originals is always on.
I have made reproductions, and will likely continue to do so. I have many artist colleagues who do, and then there's a few purists who don't.
And then, like a dear friend of mine who shall go unnamed to protect her 'guiltiness,' some only do when it suits them.
She was vehemently against reproductions and swore she would never prostitute her work -until she painted an old homestead. The family, naturally, loved the painting and many members asked for copies.
Since she didn't want to paint a dozen copies of the same painting - guess what she did? You got it - she made giclee reproductions.
I jokingly told her that she was only a 'part-time hooker' and we have laughed heartily at our secret little joke ever since - at least it was secret until now when I'm sharing it with the world.
Whether to do reproductions or not is a personal decision by the artist. As in the case of my friend, an artist is also free to change his or her opinion later if they wish to.
There are many factors involved in making any business decision, and choosing to do reproductions is almost always a business decision. Why is it that some artists feel they should suffer for their art and stay starving artists?
They have a gift and why not use that gift? That doesn't mean the artist has to compromise his or her subject matter or style, or anything else. It simply means that once the artist has created something, he should be able to share it with the world, and in doing so, if he makes a buck - more power to him (or her).
Would Tiger Woods turn down money? Does it make him any less gifted? What about Celine Dion or my personal favorite, George Clooney?
Money is a fact of life, and most artists like to eat.
If you're a purist through and through - more power to you. But, if you earn an extra buck from the gift you're lucky enough to have - never let anyone make you feel guilty for that, either.
I personally think there's room in this world for every type of artist and I applaud you all!

Miniature Series

Here's the final versions of the paintings in this miniature series:

That's A Roma

Susan Abma

5 x 7"

Oil on Canvas

Real Lemon

Susan Abma
5 x 7"
Oil on Canvas

It's All Gourd
Susan Abma
5 x 7"
Oil on Canvas


I had a wonderful time painting this miniature series. I rarely work on pieces this small, but it is nice to have such intimate little works, and I think they will be in the right price range for people to purchase for Christmas gifts.

In addition to this series, here is another of my small works. It is part of the farm series I did for the fall show at Johnson Gallery this year. I was inspired to paint this because of the extraordinary lighting. For a short time, a sky hole opened and the light shone down on the centre of the field. It was what I would consider heavenly lighting - a little surreal - and that is why I called this painting 'Chosen.' And, aptly it was chosen - it has been sold. I will release prints of this painting.

Chosen

Susan Abma

6 x 12"

Oil on Canvas

Great Art and Shows!

Today being Sunday, I don't have a lot to post, but I will tell you a few things that I think are worth checking out.
First of all, my friend, Bernard Poulin had his 40-yr anniversary exhibition last weekend, and his paintings are posted on his site: http://www.poulinstudios.com/ . I think they are worth checking out, as is the rest of his site. Bernard is renowned also for his portrait work - check his site and see his outstanding work - portraits of former Prime Minister Jean Chretien, former Governor General Romeo Leblanc, Premier of Bermuda Jennifer Smith and so many more.
Bernard is very much one of the Canadian artists that I seriously look up to and admire.

Another item of note if you're in the Edmonton area: Artists Doris Charest, Shairl Honey, Susanne Loutas, Cindy Revell, Judy Schafers, Diane Way and Laura Watmough are in a show at Urban Roots - 10418 Whyte Ave. The opening reception is Oct. 19, and the show runs until November 17. These artists are well worth the time you will spend.

Tomorrow I will post the totally completed miniature series that I have shown in progress, and I have a picture of another painting that sold in the fall show recently.

I Need An Idea

Hi there,

I have no painting to post today, but here's a little poem I wrote when I just couldn't find anything that inspired me to paint...

I NEED AN IDEA

I need an idea,
‘cuz I want to paint,
The desire is here,
but inspiration, it ain’t!

I’ve looked through my photos,
I’ve walked ‘round the town,
And nothing’s outstanding,
It’s gotten me down.

I’ve checked in the garden,
and under a rock,
I’ve climbed up a tree,
and looked down by the dock.

There’s nothing that’s waiting,
For me to appear,
And trap it in time,
With my paint and veneer.

No dogs, cats or butterflies
Out and about,
It’s saddened me really,
and I walk with a pout.

But wait, what’s that yonder?
An old pair of shoes,
Left in the trash can,
Now I wonder whose?

What story can they tell,
with their holes and no lace?
I can’t wait to hear it,
as my canvas I face.

Ever so carefully,
I pick up a brush,
With my heart all excited,
And my cheeks all a-flush.

Sometimes the simplest of things are the best,
Yet we keep on seeking from east to the west,
Looking for better, and bolder, more bright,
When we finally stop, We oft see the light.

Now I am so happy,
my muse finally sate,
The shoes are remembered,
I’ve recorded their fate.

But better than that,
And more aptly put,
I’ve learned to see more
Than just what’s afoot.

Challenging Painter's Block

Summer's End
Susan Abma
24 x 12
Oil/Canvas

Today I took a break from the miniature series to write some articles for Canadian Brushstroke Magazine
( http://www.brushstrokemagazine.com/ ).
The painting above is one of my paintings that is currently in a gallery show that I spoke about in an earlier posting. Unfortunately, this photo is not showing all the warmth of the original -but then what copies ever do. This year I did several paintings of farm landscape scenes for the show and I truly loved painting this bale 'portrait.' Although it sounds a little sad, Summer's End holds promise for farmers who are able to sell their crops or livestock after a busy farming season. The bales are hauled off the fields and the field will get a well-deserved rest before next spring when the process will begin again at seeding time.

I just remembered an article I wrote a while back - perhaps it will inspire you a little.
Here it is...

CHALLENGING PAINTER'S' BLOCK

Here’s a few ideas to think about whenever you get a creative block and find you ‘just can’t paint right now.’ There’s no guarantees, but they just might work, so it could be worth a try…

1. Paint your favorite drink – whether it’s a cup of tea, a pina colada, a steaming latte with lots of foam, or an ice cold beer – paint it in such a way that would show the viewer why it’s your favorite and how much you love it.

2. Go through the newspaper and find a photo – the first one that catches your eye – and paint your version of it – it could be abstract, realistic, finger-painted, or painted any way that might get your creative juices flowing for the next project.

3. Look in the mirror at yourself in this painter’s block mood and paint just your eyes, so that it shows how you feel and why you can’t paint right now. In doing so, you’re already on your way to stifling the creative block.

4. Paint yourself as a person with the occupation you wanted as a child – did you want to be a fireman, a hairdresser, a bungee jumper, a police officer, a dancer? Give yourself a day as the person of you childhood dreams.

5. Do you love spaghetti? Eggs benedict? Chocolate Mousse? Strawberries? Your secret recipe? Paint it so everyone can taste it with you.

6. Repaint the first thing you ever painted. Just knowing that you now have a greater technical knowledge will help you paint that image with more confidence.

7. Paint your worst habit – do you smoke, drink, eat too much chocolate? Paint in a way that will show how bad this habit is. Perhaps your painting, over time, will actually even help you quit your habit – if you even want to.

8. Paint about conformity – peas in a pod, ducks in a row, bananas in a bunch, etc. Make sure that part of your group doesn’t conform – for instance, leave one of the peas out of the pod.

9. Paint yours or your child’s favorite toy. Show some of the worn areas that clearly display how much it has been loved.

10. If you’re really hoping for some particular thing in life – paint it – maybe a cottage at the lake? A diamond ring? A new tool box? A particular make and model of vehicle? A child? Live your dreams through your painting. Remember that at one time you only dreamed you could paint – now you truly can paint your dreams. Just make those first strokes that will put you back on your way – you can do it – you just need a little motivation. Hopefully you’ll find it here.

Well, I did it again - I got so caught up in painting that I didn't really take progress pictures. I still have a little bit of work to do on all of them, though, so they are sort of progress pictures. I just wish I'd remembered to have them in a further from finished stage. The lemon still has quite a long way to go, though.

Here's this new miniature series:

That's a Roma
Susan Abma

5 x 7"

Oil on Canvas

I set up this luscious Roma tomato in the studio and it was a pleasure to paint and find the subtle changes as the form turned from light into shadow. If I paint this same tomato again, I'll have to call it 'Future Bruschetta.'

It's all Gourd

Susan Abma

5 x 7

Oil on Canvas

At this time of year I can't resist the delightful masses of colorful gourds that decorate our local grocery outlets. I am drawn like a child to candy and I can't wait to get through the till, get home, and paint them. I lead a truly charmed life.

Real Lemon

Susan Abma

5 x 7"

Oil on Canvas

As Yet Unfinished

Lemons have always been a favorite of mine. Unlike many people, I find them truly delicious. As a child, I would come home after school and peel a lemon for a snack, sending my brother into a series of horrified looks and me into stitches of laughter.

Happy Canadian Thanksgiving

Happy Canadian Thanksgiving. Today I found some wonderful gourds at the grocery store. I couldn't resist buying about a dozen of the wonderfully colored future paintings in the making. I actually put off finishing 'That's a Roma' (from yesterday's posting) because I was so excited about starting a painting of a lovely dark green and yellow gourd.
I decided it would be lovely as a set with the Roma tomato and some other vegetable that I haven't decided upon as yet. I think a set of three will be a wonderful, complete trio and I'm really enjoying painting the set, as well as my quest for the final vegetable (fruit?) to finish the trio.
Tomorrow I hope to finish 'That's a Roma' and also post the start of 'It's all Gourd.'

Still Life Roma Tomato

That's a Roma

Susan Abma

5 x 7"

Oil on Canvas
As yet unfinished

Last night I set up a quick still life with a single Roma tomato. I am painting it on a 5 x 7" canvas, simply as an exercise in developing form, or in other words, making the tomato curve nicely around so that it has shape and doesn't sit as a flat object on the canvas.
The lighting is very important, and when setting up any still life, we have to be sure to have good light and good shadow. Without a strong light source, the subject has consistent lighting all over it. That makes it very difficult to establish the form.
In this case I set up the lighting to the left and a bit above the tomato, establishing a shadow mainly on the right side.

I'm going to call the painting, "That's a Roma." Cheesy? You bet - but I just can't think of anything that suits it better - and I am a little punny sometimes, actually quite often if I'm going to be honest.

Yesterday I went to several of the local art supply stores to purchase paint, thinner, canvas and varnish. I am trying Golden's MSA varnish for the first time - it was recommended by one of the store owners who I trust.

The MSA varnish is supposed to be mixed with mineral spirits until it is the consistency of homogenized milk. I am going to apply the Gloss varnish first until the entire painting has the same level of sheen. Then I'll apply very thin coats of Satin varnish until the painting is the lower level of sheen that I am looking for.

I'll try this on several old studies that are well-cured and then post how I feel about the results. If I'm happy with the results, I'll post the 'formula' I used - ie: 1 part varnish to 2 parts mineral spirits, or whatever it works out to. I'll also post the method I used to apply the varnish.

Alberta Oil Painters Fall Show

Wow! Tonight we had hundreds of guests at the Johnson Gallery on the southside of Edmonton visiting our fall show and sale.

We doubled our sales from last year, and I sold several pieces myself, including 'In the Rough' shown here.

We had almost 100 paintings at the show, including 14 'Knee High' paintings. The Knee High portion of the show was a series of 8x10" studies of subjects one would see at or below knee level. 'In the Rough' was one of those small studies.

It was exciting to paint for this show - working towards deadlines is natural for me after having spent 25 years in the newspaper/magazine industry.

Just when I had completed all the paintings for this show, the gallery called and had sold one of the paintings I had planned for the show. So, one week before the show I had to paint another painting. Several days in a row of painting until 2:30 a.m. and then starting again at 7 a.m. resulted in a still life with a partially bitten apple, partially peeled orange, and a cut lime. It is a painting I am particularly proud of because it has very nice light on the fruit, and a lovely reflection of all the fruits on the surface beneath them.

I can honestly say it is a delicious painting, since as you can see -

I had a chance to sample the subject.

Now that the hub-bub of this show is over, I am really looking forward to starting my next painting and I can already almost taste my next subject - yum. I'm pretty sure it's going to be another still life.

I will be photographing the progress and posting it on the blog.

Fall Shows Coming Right Up!

I am working very hard to get ready for fall art shows.
There's not only the painting - first of all they have to be scanned or photographed for my files, framed so they will look their best, inventoried so that I have a record of the pieces for tax time and for future reference, and packaged for transport - even if they're only going to a local gallery.
After all of the investment of supplies, time and expenses, they need to be protected.
For this fall I have, for the first time, done a series of farm paintings.
I have several paintings of bales and stacks of bales, a swather in the field swathing grain, and cattle in the field.
My inspiration for these paintings came right from my own home since I live on a dairy farm. The men in the family do the farming (three brothers), but I view the amazing backdrop of grain and hay fields every day.
It was great fun and a terrific challenge to paint these farm scenes in a way that does them justice. Warm, glowing fields as the sun sets; a single bale serving as a sentinel on the field; cattle lazily grazing on pasture - I can only hope that I have done them some justice.

The paintings in this posting are part of a 'Knee High' feature in a show at Johnson Gallery Thursday, Oct. 4 from 5 - 9 p.m. The Knee High features a veariety of subjects that one would see at or below knee height. It was great painting them, but it was at least as much fun coming up with the concepts for these special little paintings that are all 8 x 10."
I will soon be starting a new painting and I intend to post pictures as it progresses. My challenge will be remembering to photograph the painting since I get very wrapped up in the process and lose track of things like taking pictures.

GO RE-APPLY FOR YOUR 'JOBS'... EVERY DAY!

Can you imagine if you had to re-apply for your job every day that you went to work? Would you still want to do it?
Well, obviously we artists are a crazy bunch, because that's exactly what we have to do. What happens when we want to sell our work in a gallery or to a client? First, we pull out our portfolio, our bio and our artist's statement. As they casually glance through our material, we wait like a young child looking for his parents' approval. Then, if they approve and accept our work, we breathe a sigh of relief and/or satisfaction, and we are in their good books in the future, right?
No, even if we've sold hundreds of paintings, we are still only as good as our latest works, and they have to be as good as or better than our previous works. If we don't continue to improve and create works that are infused with our tyle and usual standard of excellence, we can quickly fall from grace. If we do that, the second climb up the artistic ladder will be extremely difficult, if it's ever attainable again.
So, you take workshops, or give workshops - you learn and grow either way! Read every art book you can get your hands on, join art societies, and have many artist friends. With all these inspirational tools under your belt, you can't lose.
What's the recipe for any artist's success? First of all, we all need to check our egos at the door before we even leave home every day. This means listening, REALLY LISTENING to what the galleries and clients, and ourpeers, have to say about our work. Instead of being on the defensive, which is easy to do when our work is so personal, we must learn to first evaluate the merit of the suggestions or comments. Even if we later decide against changes due to the comments or suggestions, at least we have appeared to be taking them very seriously, and this is often enough to make others feel an important part of our career. Welcome even the unsolicited critiques. Another artist may see your work and suggest that a portion of a building has the wrong perspective, or the color temperature in one area is not quite right. This is sometimes a little hard to swallow and it's easy to get defensive - after all, look at the time you've invested in the piece. But if it's someone you respect as an artist, give it some serious thought to see if they are right. They may not be, and you may leave the piece as is, but at least you'll be doing that with an enlightened outlook.
A gallery may suggest that your bio and statement need to be more exciting and include more details, or that you need to be more particular with your framing. Their job is to sell paintings, and if you want to be part of the group of artists they promote, it's important to understand their needs as well as your own.
And, be very aware that you will never sell paintings if you are not considerate of your collectors. Utilize every opportunity, within reason, to speak with them about your paintings, and thank them for supporting you as an artist. They will feel that every hard earned dollar spent on your work is more than worth it. They are your bread and butter and they deserve to be part of your banquet.
Yes, we have to essentially re-apply for our jobs every day, and yes, we have to consider others as partners in our artistic success. But we have important, great and satisfying 'jobs' that we love with a passion, so... get out the portfolios, bios, statements and PR skills - go re-apply!