September / October blog for Whidbey Island FAS

Teresa Oaxaco will be doing a workshop at Whidbey Island Fine Art Studio in 2015.

“My work is about pleasing the eye. I paint light and the way it falls. Simple observation reveals beauty; often it is found in the unconventional. Because of this I have learned to take particular delight in unusual pairings of subject matter. Frequently my compositions are spontaneous. When a person comes to me, they occupy a space my mind. Arrangements form from there until with excitement I see and have the idea. The design is both planned and subconscious. For this reason I surround myself with Victorian and Baroque costume, bones, and other things which I find fascinating- I want subject matter to always be at hand.

My paintings are created with oil paint on canvas. I am conscious of the traditional craftsmanship I have attained in Florence. While my interest in new pigments and tools may cause minor alterations in my materials, these really remain fundamentally the same. All my evolution is taking place on the canvas and in my head; in what I see in nature and interpret in two dimensions on the picture plan. I have the fundamentals of design to work with when planning a painting. I make preparatory studies. I use multiple layers to build an illusion of light and form. When this illusion is convincing and to my taste, the painting is done.”

Teresa graduated at The Florence Academy of Art in 2010. Also was Life Drawing Instructor during that academic year.

Interview with Teresa some years ago.

Only Teresa Oaxaca could pull off this photo. She’s dolled up in  Victorian grandeur like a character that should have stolen the roles of Alice in Wonderland and Kirsten Dunst’s Claudia in Interview with the Vampire right out from under their  boring blond noses. Teresa’s sitting under a portrait of a somber girl with her hands folded praying to an unknown deity with a displaced tea set on the floor. She’s also holding a rat.

We talk to Teresa about her art, her Victorian era bodices, the Capuchin Crypt and vestigial tails.

1. What is your artistic background?

I started sculpting when I was pretty young. I had private instructors when my family moved to the Netherlands from 1996-1998. I went to school as soon as I could at the age of 17 (2005) in Florence, Italy. Everything I have accomplished so far would have been impossible without the training I received there – I am very influenced by the history of European painting, sculpture, and architecture.

2. Explain your spontaneous process.

Frequently my compositions are spontaneous. When a person comes to me, they occupy a space my mind. Arrangements form from there until with excitement I see and have the idea. The design is both planned and subconscious. Simple observation reveals beauty; often it is found in the unconventional. Because of this I have learned to take particular delight in unusual pairings of subject matter.

3. How would you define your style and its connection with your art?

The history of costume has been ever changing. I like to “cherry pick” from history, to take ideas from my travels and from books. I own a few authentic Victorian Era bodices however most of my clothes are modern reproductions or dresses inspired by past fashions. My clothing, like my painting technique, is heavily indebted to the past.

4. Tell us the inspiration and process behind one of your favorite pieces.

In “Remembrance,” Walter is the name of the skull in the painting. I bought it in Florence. When in Italy I visited the Capuchin Crypt. Since visiting this tunnel of death, it has recurred in my dreams and what was once a curiosity is an ominous memory…the small and yellowed skull, missing all but two teeth, utterly devoid of the occidentals and parietals is Walter… and like an old friend, I cannot keep it from my mind for long. Walter sits on your shelf; you dare him to make another appearance in one more painting.

5. What are your artistic stimuli?

I surround myself with Victorian and Baroque costume, bones…I ordered a few books on carousel horses and gothic art. Lately I have been interested in frame building and design. I think it is a shame that painting has distanced itself so far from architecture and sculpture to the point where it nearly becomes lumped in with photography. I like to think of modern wooden frames as “vestigial tails – leftovers from the days when a painting was made for an alter niche, and adorned with carved figures and intricate patterns of architecture.

for more details visit  http://www.teresaoaxaca.com

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Redefining Realsime by--Allison Allison Malafronte (senior editor of American Artist)

http://www.artistdaily.com/

Attempting to define realism or to clarify the various styles of representational painting can be a challenging task.  When writing about today's painters, I always hesitate to use words like "classical," "realist," "contemporary," "traditional," or "modern" because they do not always fully capture what I'm trying to describe. For example, a word like "classical" by definition refers to Greco-Roman or Renaissance ideals, but by connotation has come to mean an art form that embodies a certain timelessness and order. "Contemporary" undoubtedly means anything taking place in our time, so by that definition any painter alive is contemporary. But critically speaking, I would not call all painters today contemporary--I'm more apt to use that distinction when a painting has a more modern or conceptual feel.

The Desperate Man by Gustave Courbet, 1844-1845, oil painting, 17 3/4 x 21 5/8.

Artists themselves have felt the confusion and in an attempt to bring clarity have adopted such labels as new realists, figurative realists, classical realists, contemporary realists, and so on. These phrases have found their meaning in a Post-Modern context, which generally defines what it is by comparing itself to what it is not. The New Realists of the early 1960s, for example, made it clear that they were not your grandmother's realists reveling in Caravaggio and Jacques Louis David but rather were trying to bring elements of representation to the Abstract Expressionist aesthetic. The Classical Realists of the early 1980s led by Richard Lack were differentiating their brand of realism from other forms of representational art of the time, even though they knew that within the context of art history "classical realism" was a contradiction in terms.

Realism can mean different things to different people and has changed meaning over time, which is another reason why it's difficult to define. Most would agree that realist painters are recognized by their choice of subject matter. Like Gustave Courbet--by most accounts considered the first Realist--or any of the Russian painters throughout history, a realist paints the real world and finds beauty and interest in everyday people, places, and things that the rest of society might find mundane. The realist is also defined by his or her technical execution, which aims for an accurate, truthful representation of the subject. The stylistic differentiation gets tricky among artists, however, because many realists who work from life do not want to be put in the same category as realists who work from photographs or in a  photorealistic manner. This confusion translates to the public, who will often comment that a painting looks like a photograph, as if that were the highest compliment one could pay an artist.

As you can see, the parameters surrounding realism are rather ambiguous. I think this is because realism is redefining itself as we speak and also because a new movement is on the horizon. I believe that movement will embody a language that is not yet in our artistic vocabulary, forcing us to find new words and a new criterion.

--Allison

Susan Lyon and Scott Burdick at WIFAS

Two fantastic painters at WIFAS this past week
Susan and Scotts, draftsmanship and color are superb and they are able to convey their knowledge very well also!
Every morning brought a new demonstration, 3 days of Susan and 3 days of Scott, they were brilliant!!

Outstanding instructors,great studio space,serious students,organized monitor,dedicated director,friendly people,delicious food-the perfect workshop experience

Joe 

 Cary painting with Susan and Scott after the workshop! Lucky her!!

 Beautiful Lady with a nice apron!!

 

 Student / Instructor dinner

ONE OF SCOTTS DEMO'S

MORE SCOTTS DEMOS:

STUDENTS WORK:

Representational Figurative Painting

Robert Lemler’s students report that they see immediate improvement in their art under his instruction. Next year, in June 2014, Robert will be teaching a workshop at Whidbey Island Fine Art Studio on “Painting the Figurative Subject.” His course will focus on exploring the art of painting portraits, nude, and costumed subjects. 

Recently we caught up with Robert and asked him to share with us a little about his art.

Q: When did your interest in art begin and how long have you been an artist? 

A: My interest in drawing began at an early age. While in elementary school, I was encouraged to develop my interest in art and began occasional art classes. As a high school student, I won a scholastic competition sponsored by the Phoenix Illustrators Group which awarded the winners scholarships toward their educations. I then attended Northern Arizona University, majoring in painting and drawing. I never considered another educational path. I have worked as an artist and teacher my entire adult life. 

Q: What do you seek to communicate through your art? 

A: As an artist, I seek to interpret the visual characteristics of the motifs I chose to paint in a naturalistic manner. I hope to find a resonance of veracity that may be felt by those viewing my works. 

Q: What drives you as an artist? 

A: I am constantly driven as an artist by the desire to improve my skills while exploring the various motifs in which I am interested. I consider myself as primarily a figurative painter who also enjoys still life and landscape subjects. 

Q: What is a recent piece of art you created and what inspired you to paint it? 

A: Within the figurative subject, there are many possible interests to explore. In a recent painting of a seated nude subject I found interest in the dark tonality of a narrow depth of field. I was also interested in the further exploration of mylar as a painting ground. 

Q: Do you have a favorite brand of paints, brushes, or canvas that you use? 

A: I generally use good bristle brushes, Classens canvases, and Rembrandt or Utrecht oil paints. 

 Q: What advice do you have for artists seeking to improve their work? 

A: I always encourage aspiring painters to explore various tools and materials and to build their skills painting from life as much as possible. 

Q: What do you think is unique about Whidbey Island Fine Art Studio’s workshops? 

A: I have not previously been to the Whidbey Island Art Studio but desired to teach there based on the quality of the program and the talented artists they work with. 

Capturing Humanity

One of our goals at Whidbey Island Fine Art Studio (WIFAS) is to bring exemplary teachers to host workshops so that our students get the best possible instruction to help each one improve as an artist. We are pleased to have artist couple Scott Burdick and Susan Lyon hosting an oil painting workshop in portraits at WIFAS in July 2014.

Scott Burdick and Susan Lyon are award-winning artists who travel the world and paint its occupants. They enjoy passing on the knowledge that they have received from teachers who were significant to them in their artistic development. Scott is known for his ability to capture the humanity of subjects as well as his mastery of color and light. Susan is admired for her sensitivity and delicacy of hand, especially in portraits.

These two artists have the special knack for getting inside an artist’s head and making it come out your hand. With the unusual ability to easily go back and forth between both sides of the brain, Scott and Susan make great teachers because they can communicate while they paint to help other artists understand their process. This coupled with Scott and Susan’s ability to put their students at ease creates a wonderful learning environment. In addition to working to make the atmosphere comfortable and accepting, Scott and Susan also make a point of spending time with each artist in the class so that all students receive input from both teachers.

This workshop is sure to be an excellent experience for everyone who attends. However, if you are not able to attend, but want to learn from these master painters, you can:

• Order their video lessons availablethrough their website.
• View the images from their step-by-step painting demonstrations, also on their website.
• Order Susan’s book Visions & Voyages.

The most powerful learning tool is in-person, hands-on instruction. That’s what WIFAS is about, nurturing your artist talent and soul!

Imparting Knowledge

Deuteronomy Rabbah once said, “In vain have you acquired knowledge if you have not imparted it to others.”

Fortunately for Whidbey Island Fine Art Studio, we have many artists who are willing to impart their knowledge of excellent technique and style to artists who are willing to learn. One such artist, Henry Yan, teaches art full-time. His students report that Yan has a huge wealth of knowledge that he is willing to share.

Whidbey Island Fine Art Studio is excited to have Henry return to teach a class on Drawing and Painting theCostumed Figure in January 2014. The workshop will focus on drawing techniques with charcoal (or red chalk) on newsprint, drawing paper and toned paper. Painting will be done the last two days of class for those who are interested.

Henry has much knowledge to share about paintings. A few of his tips include:

• Be especially careful when using light yellow and white so you keep it clean.
• Don't show brushwork everywhere because you need some areas more finished
• Always have a portion of your painting that is mysterious.
• Subtlety is power: make clear, lose, but with some areas really loud.
• The juncture between two shapes looks more natural if you paint the first shape larger than necessary, and then overlap slightly with the second shape.
• Distinguishing between cast (hard edge) and core (soft edge) shadows will enable a 3-diminsional look right away; often need to sharpen cast shadows.
• Be careful about the light source on your canvas and palette. If it’s too yellow you will paint a yellow painting. 

 

Henry also has some advice for new painters:

• Follow the rules when you’re learning.
• Copy master paintings.
• Pastels are very helpful for getting used to oil painting with color.
• Students tend to make everything clear—need to move beyond that stage.

Artist Henry Yan describes himself this way: “I teach drawing, I teach painting and I teach anything that my students like to share with me. Many years I have taught, and still I am teaching. My shoulder hurts, my throat's sore—because I paint and I teach.”

Other than teaching techniques, Henry will encourage students to find their own way of seeking beautifully designed compositions from each pose and interpret what they found with a personal artistic approach rather than simply copying what they see.

 

If you are not able to attend our workshop with Henry next year, but want to learn more from his wealth of knowledge, Henry has written a book to help you. His book, Henry Yan’s Figure Drawing: Techniques andTips, can be found on highest recommendation lists by many popular art book sellers and used as text book by instructors and students of art schools. 

Nourishment for Your Soul

With so many art workshops across the country and even internationally, choosing the right instructor and setting for an art class can be overwhelming. 

Why come to Whidbey Island for your next art class? What sets Whidbey Island Fine Art Studio (WIFAS) apart from other art studies offering art workshops? 

Our motto “Feeding the Artistic Soul” sums up what we do. A workshop at Whidbey Island Fine Art Studio will feed your artist's soul in three unique ways. 

1. Our picturesque, pastoral setting. 

Whidbey Island, located across the Puget Sound just 30 miles from Seattle, is a wonderful place for relaxation and tranquility. WIFAS’s location in Langley, a quaint historical village, offers views of the water. In addition, the island’s farms, forests, bluffs, and beaches provide the foregrounds to many aquatic vistas. The quiet and romantic surroundings that are so much a part of the Whidbey Island experience help to restore and feed every artist’s soul. Coming to a workshop at WIFAS is like taking a relaxing vacation with picturesque gardens and farms, and water, island, and mountain views in every direction. 

  

2. Personalized approach. 

Each workshop offered at WIFAS includes personalized instruction for the artists in attendance. There is always plenty of room for everyone to have their own easel with elbow room to allow creative juices to flow. We place an emphasis on utilizing seasoned artists who provide good instruction delivered in such a manner that it sticks with our attendees long after they go home, continuing to strengthen and nourish each soul. In addition, WIFAS ensures that our students’ needs are attended to, from delicious snacks to personal questions answered.

 

3. Class dinner. 

Every workshop presented by Whidbey Island Fine Art Studio includes a dinner hosted by Cary Jurriaans in her home for the instructor and all the students in the class. For many students, this dinner is a highlight of their time at WIFAS as they get to interact with their instructor and the other students in an informal, relaxed atmosphere. We guarantee the food will be delicious, ensuring that it feeds your soul as well as your stomach. 

 

You can find a list of our upcoming workshops on our website at http://whidbeyislandfas.com/workshops.html. Sign up for one or more of our upcoming workshops and get the nourishment your artistic soul.

Improving a Palette

We recently asked a couple artists who have taken workshops at Whidbey Island Fine Art Studio (WIFAS) to answer a few questions for us about our classes. Pat Brookes jumped at the chance to tell us how she has benefited from her WIFAS art instruction experiences. You can read what she has to share about our classes and her resulting growth as an artist in the interview below.

Q: Which workshop at WIFAS have you recently attended?

A: I have taken multiple workshops over the past couple of years at WIFAS including Jeff Legg, Dreama Tolle Perry, Ron Stocke, Pam Ingalls, Qiang Huang, and Jim Lamb.

 

Q: What did you find most helpful about the art instruction you received at the workshop?

A: I am finding that a limited palette seems to make my paintings integrated; less chance of mud, although even mud if you can identify the base color has an interesting quality.

Q: Did you learn any new techniques or were you reminded of old ones in a new way in the workshop?

A: I learned to make a color base, and then change up that base to darker, lighter, warmer, cooler.  In addition, I learned to make fewer pat-pat strokes and more meaningful placement of color. Various artists taught interesting techniques:

Pam Ingalls takes three strokes with one color before changing the color. She uses a limited palette only earth color is yellow oxide. Her setups are exciting and different.

Dreama may take one or two strokes and loads her brush, then lays the paint down. She also works with a limited palette that doesn't include earth colors other than transparent yellow oxide. Dreama uses specific brushes that she tells you about.

Qiang Huang also uses a limited palette, transparent paints and pure colors. His b rushes are non-specific and cheap, but he makes them work well! His work is extra ordinary and we all felt privileged to take a class from him

Q: What did you appreciate most about the setup or structure of the workshop?

A: I think that Cary goes overboard in making everyone feel welcome. We were fed and pampered as if we were in her own home.

Q: Were you inspired to paint a particular image during or after the workshop?

A: I sold my best painting done during the Jeff Legg workshop.  

Q: How do you feel your painting has improved as a result of a workshop you attended?

A: My friends tell me they can see a difference in my painting.  I have just been using oils for a year-and-a-half, but it’s messed up my ability to paint watercolor.  

Q: Could you share a highlight from your experience at WIFAS—either from the workshop or your time on Whidbey Island?

A: I just painted plein air with Jim Lamb at Double Bluff.  We started early in the morning and it was such a beautiful day. I enjoyed the experience of being outdoors and working at representing what I saw. There were tons of people on the beach and even Rainier was out. What more could you ask for?

Q: Are you planning on attending any other workshops with WIFAS in the near future?

A: I feel so lucky to have a quality place to continue my art education right here in my own town! Yes, I will be back.