The COVID Effect
As Artists, we are highly sensitive and intuitive people. Although, these feelings and senses are so important to have, it also makes us vulnerable to mood swings, depression and anxiety. Our emotions may go up and down like a roller coaster, as well. This artistic nature allows us to see and feel what others may not, especially during these difficult times of Covid it may feel overwhelming.
Creating takes an enormous amount of energy. As we are overcome by the tremendous amount of negative stimulations from the news and social media, we might discover that there isn’t enough energy left for ourselves and left for our imagination to create.
There is a fine balance between too much and too little, which we all must control, in order to stay healthy and productive. We thrive on stimulation, but paradoxically we need a lot of alone time to recalibrate our nervous system and refuel.
I have found that being isolated has created a need for me to revaluate my art. My environment during COVID has affected my art deeply, making me aware that I need to do what I love, without asking for permission. So many rules during Covid has made me want to break the rules that I have enforced upon myself. Isolation has made me aware of my demons along with the constant reminder that I am aging. Time is not to be wasted or to be creating without joy.
Monotony from the lack of the ability to be with others, visiting far off places and having new experiences, in a strange way has been a force in discovering my creative needs. I needed to find stimulation and joy in my art as a substitute. I no longer wanted to make going into the studio drudgery. My studio now had to be a place of boundless freedom, wellbeing, pleasure and most of all joy.
The above painting was a turning point for me, when showing it to a friend. I could feel her tension and how uncomfortable it made her feel. She almost appeared either frustrated or angry that I was creating in this way. Perhaps, because of Covid, she needed art that was more soothing and blended. She started showing the signs of agitation by asking, “Why is it so active? Not quite sure about this painting. Is it in process? What are you doing with these yellows and reds? Are you experimenting? You’ve got a wild streak going on there!” It was odd, purposely exposing my truth and obviously being rejected.
The painting previously was very dull and lacked intensity. At the last stage of the painting, I released myself and began to overlay transparent bright colors. It felt so good, in fact, I felt chills. I knew then I had to always be myself and not paint for others, no matter what, even if it wasn’t appreciated. This experience was definitely a turning point. Oddly, now I feel that my work is more honest and most people appreciate it and are more affirming.
Covid has created chaos, and out of chaos there can also be growth for the positive. The feedback of Covid has created big changes and small changes, but Covid has also forced us to be more aware, resilient and thrive. What fills you and what sustains you? It is for each artist to discover what that is. I found mine and so grateful.
Discovering Your True Artistic Self
Each sheet of twelve studies, began the same way. All started on a 22” x 30” sheet of Arches Oil Paper. All were sectioned into 12 individual blank spaces, and all used a limited pallet. They usually started with mark making, using Art Graf, stencils, oil bar and Cray Pas and ended with Cold Wax and oil paint. Play in the beginning was very important. The play progressed into them telling me what they wanted to become.
Nicholas Wilton, a great artist and teacher, uses this approach to creating. He will be having a free workshop, that you might be interested in. Here is the link to sign up https://art2life.lpages.co/2021-free-a2l-workshop/ While introducing the workshop, he had three questions to ask you. Below are the questions and how I answered. I think they tie really well into my journey of discovering what I love and where I am going with this series.
1. What are the parts that you love about your work?
a. Arches oil paper
b. Cold Wax medium how it creates texture and transparency
c. black lines (on again and off again, heavy and light, marks)
d. High intensity and high contrast
e. oil paint (how it glistens and mixes; mixing is sensual)
f. movement (I tend to always have movement and rhythm)
2. What is the reason you are creating this way?
a. more freedom
b. playful
c. expressing with no limitations
d. experimental
e. sensual
f. learning to fearlessly be myself
g. with Covid in the background, it fills a need, physically, spiritually and emotionally
3. How will your art look in the future, perhaps 3 years from now?
a. By letting go of control, I believe I will have more growth in a shorter amount of time.
b. I probably will be painting large 36″ x 36″ or even larger
c. I can imagine my paintings being more visceral, fearless and raw
d. I will be disclosing more of my true self
Please try asking yourself these questions, they are quite revealing and might increase your growth in a real way.
The painting above is called “Another Tomorrow” 36” x 36” Cold wax oil, and mixed media on Arches oil paper is the third painting of my Twelve of Twelve series. Again, because of our need to isolate and stay home due to Covid, it has made my art more colorful and passionate. I notice my work is becoming less inhibited and sensual.
Thank you again for your time. I appreciate you.
About Arches Oil Paper
Let’s talk about Arches Oil Paper. Since I’m going to be continually using this substrate throughout my Twelve of Twelve series, I thought you might want to know a little about this surface. This paper comes in a variety of sizes. I purchase Arches Oil Paper from Dick Blick.
PRO’s
- Weight 140 lbs, 100% Cotton, Acid Free and sized
- Needs no preparation prior to use, use paint or mixed media directly
- Slightly toothy
- Absorbant
- Archival
- Economical
- Can be framed without glass
- Can be varnished or sealed with Cold Wax
- Easy to store
- Great for transparent colors
- Allows quick drying, especially when you like to paint wet on wet like me
- Oil will not soak through paper
- Doesn’t curl or buckle when saturated
- Weighs practically nothing, easy to transporting during travel and Plein Air
- Colors don’t shift in value or intensity
- Very strong
- Can be used with a variety of mediums, including watercolor, acrylic, mixed media and collage
- Because of its verstatility there is no need to purchase different types of paper
- Arches oil paper is formulated to protect the paper fibers, without priming
- Framing is easy, just mount paper on board
CON’S
- Paint can’t be scrubbed off like canvas; it will leave a stain to only be covered by opaque paint or medium
- May need to take some time to think ahead before painting, similar to watercolor
- Water abrades paper when scrubbed
I have never found a paper that shows off pigment with such clarity and purity. It is such a sensual substrate, that allows such wonderful interaction between the artist and the material. Additionally, Cold Wax medium and oil paint is a perfect match made in heaven when combined. Using Cold Wax and Oil paint with Arches oil paper, allows for the wonderful transparencies initially and in layers creating the most beautiful affects and pleasant surprises. And as the layers build one can see the visible work. This paper is amazing.
A Life Of Its Own
I am continuing my Twelve of Twelve series, in which I have chosen 12 studies to enlarge up to 36” x 36”. There will be many observations that I want to share along the way.
I believe the most important piece of creating art is the emotion and energy. Can you recreate the original piece of art or study and still retain its essence or soul?
I have seen artists try to copy the original by tracing, using the grid method, a projector or printer to enlarge a painting. What happens when you do this?
It is a priority for me to not only keep the integrity of the original piece, but also not to lose its freshness and vitality. And as I scale up the small studies to a larger format, I have to allow the creation to have a life of its own.
Some of the undertakings I considered prior to increasing the size were:
- Keeping the same mediums and substrate; arches oil paper, oil paint and cold wax, mixed media
- Establishing the major shapes and composition, and allowing change if needed to make stronger
- Understanding the original and its transparencies, layers and textures; what came first, what is over, what is under, how can I increase the same effect in a larger scale
- Using the same tools but larger, that includes stencils, rollers, bowl scrapers, brushes , etc.
- And what is the mood and essence that I want to repeat from the original piece?
As I enlarge the original, I am always focusing on improving the composition. But, I also had to allow myself to drift off into another direction if called. I still want to create something new and exciting. The study is the starting off point, not the destination.
6" x 6" Study
The painting above is called “The Year of the Ox” and is the second painting of my “Twelve of Twelve” series. I hope I captured the energy and celebration of the coming Chinese New Year, “The Year of the Ox”. We have all had a tough 2020. “The Year of the Ox”, brings us the opportunity to work hard and deliberate and also to acknowledge the opportunity for resetting our lives to create a more positive future for ourselves and others.
Evolution Of An Artist Series
Who knew that my desire to learn more about mark making and abstraction would take me on another journey? From November 2019 to March 2020, I created 120 small cold wax studies on arches oil paper. The studies allowed me to grow quickly, and began to influence my style when painting figures and landscapes. I noticed that I was enjoying creating freely and channeling my authentic self. I was discovering my power of imagination and allowing my spirit to enter the expression.
I kept the studies tucked away for nine months, wondering what to do with them. What was my next step? I knew that this journey and exploration needed to continue. Even though the paintings are small, averaging 6” x 6”, they still lent themselves to a larger scale. I decided to select 12 studies to enlarge to 36” x 36”. Going deeper allows me to explore the possibilities and create a series that not only brings me joy, but also creates a cohesive body of work.
The collection will have a common theme:
- Using cold wax medium and mixed media
- Substrate Arches oil paper
- All squares
- Abstraction
- All the same size 36” x 36”
- High chroma
- Subconscious exploration
The painting above is the first of my new series called Tis-sa-ack. In creating the larger piece, the water element became more apparent, something I didn’t notice in the smaller one. My husband mentioned that it looked like Half Dome in Yosemite. I also got the same feeling, even though I was not trying to make the painting literal in any way. The long blue shape to the left created the energy of a waterfall. Thus, the name Tis-sa-ack (crying girl in Native American Paiute language), is the original name for Half Dome, which is the name of a mother from a native legend.
Creating a series allows the artist to evolve and grow. I found that the process allows me to reveal my subconscious emotions in a visual way. As I explore the series, more ideas will come up and allow me to push the series and my ability to a higher level.
I would love to hear of your experiences in creating a series.