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

file:///Users/caryjurriaans/Desktop/Wig-Portrait3.jpg

Man versus Nature

Most painters receive inspiration from their surroundings. Living in the country has inspired and influenced David Gluck’s paintings. Most of David’s subjects for his Still Life paintings are objects collected locally. The same holds true for his figurative work. David tends to paint the people he knows and is familiar with. 

David says that since moving to the country he has come into contact with many salt of the earth type people, people who know how to live off the land in a way that their grandparents and great grandparents did before them. They remind him of a lost generation of survivors, the pioneers of the past. The theme of man pitted against nature is one that continues to inspire David.

For example, last year, David was an Exceptional Merit Winner at the 2012 International Portrait Competition for this painting The Trapper. This painting depicts a man whom David befriended. When David knew him, the man did not have a job or home of his own, but he kept himself extremely busy collecting scrap metal (basically, a modern-day forager). In this painting, David depicts this man as an early settler-trapper, a grizzled breed of men that lived with few material comforts and braved harsh winters to seek a living from the woods.

Read what David has to say about his painting process:

Q: What techniques do you use?

A: I paint in a very traditional manner. My approach isn’t varied or complicated, but I do put an emphasis on textural qualities. I think one thing that always has and always should distinguish a painting from a photograph is the tactile quality of paint.

Q: Describe your process.

A: I would say at least half of a piece is in the planning. I always do a series of studies starting with thumbnails and preliminary drawings for tone and composition. I end with colors studies before beginning on the final canvas. I try to leave very little to chance.

Q: What is your major consideration when composing a painting?

A: Broad tonal relations are my primary consideration. I am a tonalist as opposed to a colorist, which means light and dark relationships are the crux of my work. I spend a lot of time working out a perfect shadow pattern, especially in my model’s face. It is important to have the features illuminated in just the right way to suggest a certain mood and psychology.

David Gluck will be teaching a Classical Still Life painting workshop at WIFAS this summer, June 3 to 7, 2013. You can learn more about his workshop on our website.

A Standard for Painting

American Still Life painter Jeff Legg will often tell his art students to just stop and really look at what they are painting and figure out how to paint it.  Jeff emphasizes three things in his art workshops:

1. Basic setup
2. Composition
3. Paint color and quality

These three things are pretty much Jeff’s standard for painting. 

Jeff Legg’s artwork is often described as "masterful, ethereal, and timeless." Every painting is an intimate conversation between artist and viewer. One believes you can reach into the scene and actually touch the objects.

In his art workshops, Jeff spends time demonstrating his approach and techniques. There is a lot to be learned from watching other artists paint. Spending time watching Jeff paint and discuss each step of his work brings a rich learning experience to the student in Jeff’s workshops.

Of his painting, Jeff states, “"My desire is to convey a personal vision through classical methods using the various visual tools and principals, not expressly to make a record, but to re-create the mood or feeling of the person, place or object before me." And he will teach you to do this also.

To get a sense of Jeff’s teaching style and technique, you can watch this video from a previous class Jeff taught at Whidbey Island Fine Art Studio where he demonstrated techniques for still life painting.

Jeff’s work is represented by some of the nation’s most distinguished galleries coast to coast. He is honored as an Oil Painters of America Master painter and has won numerous prizes. We invite you to come to WIFAS and learn from this master painter next month. 

Painting the Everyday with Pam Ingalls

Pam Ingalls will be teaching a Still Life and Portrait workshop at Whidbey Island Fine Art Studio (WIFAS) in May. Strong color and sound drawing are primary in Pam’s paintings. Her choice of simple subject matter is surprising, sometimes humorous, and always full of emotion.

Read our recent interview with Pam to get a feel for who she is as an artist.

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

A: Both of my parents are artists, so drawing was just a part of our family life. In Junior High I started to get hooked, and I majored in Art at Gonzaga U—where my father was an art professor. I also went to the Accademia in Florence, Italy my junior year. But I didn't really completely decide to give my all to art until I was in my early 30's. 

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

 A: My favorite subject matter is everyday life and everyday people. I hope that people will get a new look at their own surroundings by seeing my version of everyday life. Maybe they'll be inspired to express what they see in their own way. 

 

Q: What drives you as an artist?

A: I'm always striving to get more skill, to paint more fluidly.

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

A: It could be anywhere at all that I get inspired to paint. I was at my friend Sandy's house last summer when I spotted the sink in her loft. I knew I would have to paint the lovely, everyday scene. 

     Also, I've been painting portraits in different small communities that are similar in size to Vashon Island, where I live. One of my favorite portraits from this long-term series was a girl I painted named Josalin in Comalapa, Guatemala. Sort of an imp, she had a wonderful, honest look to her. I couldn't resist painting her!

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

A: I got hooked on DaVinci paints about 25 years ago because they are so buttery. I'm used to them, so I know just how to mix the colors I want. I use a very limited palette: two reds, a warm yellow, two blues, black, and white. I like soft brushes, and any brand will do for me. I paint on gessoed masonite.

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

A: I think making copies of paintings you admire is one of the best ways to improve. With all the access we have from books and the internet, we can learn from almost any artist that's ever lived! It's never been so easy to learn! 

Learning from a Master

Steve Whitney, a northwest landscape artist who also enjoys portraits, figurative work, and still life, recently enrolled in Jeff Legg’s workshop to learn how a master of still life approaches his work. Steve found that the workshop delivered everything he was looking for. 

 

After the workshop, Steve wrote down what he had learned. He was gracious enough to share his list us and now you can read it also.

Tips from Jeff Legg’s still life workshop:

• For chiaroscuro effects, it’s usually best to place your light source just above and slightly in front of the setup, so that the subject is spotlighted.
• If you can’t have natural daylight, use a full spectrum bulb at 5500 K.
• Arrange some objects in half light and some in shadow for drama and mystery.
• Using alkyd medium from first to last promotes quick drying, eliminates fat-over-lean problems, provides a nice luster, and makes oil out unnecessary. For slower drying with the other advantages, use another medium. This applies to all paintings, not just still life.
• The still-life boxes should have a top for adjusting lighting.
• Still life can be thematic or purely formal, with objects chosen solely for reasons of color, shape, size, and texture.
• Block in the still life by massing shapes rather than by drawing their outlines.
• Wherever possible, paint objects using horizontal rather than vertical strokes, as this prevents the formation of paint ridges along their boundaries.
• Smooth grounds accommodate all painting styles from realistic to impressionistic. Jeff prefers smoothly gessoed Masonite (even smoother than Ampersand Gessoboard).
• Tone the ground and let it dry before painting. Jeff likes a combination of raw umber and cobalt blue. Avoid making the tone too uniform.
• Consider composing the still life as a vignette, with the borders of the painting less finished. When using this approach, it is still necessary to pay attention to the shapes of the less finished portions of the painting to assure that they complement the composition.

Steve has this to say about Whidbey Island Fine Art Studio workshops, “The atmosphere was casual and friendly, yet the students were all serious and experienced painters dedicated to the ongoing improvement of their work. I'm looking forward to the Liberace workshop this summer! May all your workshops and classes fill to the brim!”

We hope so too, Steve, and thanks for sharing what you learned with us.