A Blast From the Past

Beethoven's Symphony No. 5, Third Movement

Painting Music

While visiting my son Gerin, I found a painting I had worked on about twelve years ago and it still gives me pleasure as I remember the process of its creation. The assignment I gave myself was to create a series of four paintings that visually portrayed the essence of one of the most famous pieces of music ever composed: Beethoven's Fifth Symphony. 

The only way I knew how to do this was to close the door, turn the lights out and listen to this incredible piece of music over and over and over again and (in a sense) let it take me where it wanted.  I noticed minute details I'd never really paid attention to before. The third movement (portrayed here) is a very ethereal, dark, moody section. And underneath the haunting music is a sort of rhythmic framework repeated throughout the piece: 1234...1234...1234...1234...As the third movement draws to a close, it gets quieter and quieter until it is almost silent...and then it explodes into the majestic first few notes of the fourth movement. 

Remembering the fun of the creation of this set honestly makes me want to try it again. Any requests???

Beginnings II

Makoto Fujimura

 "In the Beginning"

“It’s not where you take things from - it’s where you take them to."  Jean-Luc Godard  

In thinking about my development as a painter, it's a bit like looking at a large pot of stew simmering on the stove: I see chunks of potato, and (oh!) there's a carrot...but what's that red lump? Oh yes, I remember..." There are so many elements that have come together and are still coming together (I'm not dead yet!) to inform and shape what I do. That's what is challenging and really fun about creativity, and I hope I never, ever loose it...that childlike sense of curiosity and awe I feel at seeing something new.  And of those sources of inspiration, some of them really stand out and have radically shaped what you do. 

One of those sources for me is Makoto Fujimura. Fujimura’s work is represented by Artrue International and has been exhibited at galleries around the world, including Dillon Gallery in New York, Sato Museum in Tokyo, The Contemporary Museum of Tokyo, Tokyo National University of Fine Arts Museum, Bentley Gallery in Arizona, Gallery Exit and Oxford House at Taikoo Place in Hong Kong, and Vienna’s Belvedere Museum.  (He's a busy guy.)

His work is really mesmerizing to me. And like the Orthodox icons that got me started painting on metal, he paints on gold leaf using hand-ground pigments and centuries-old Japanese techniques. He paints with amazing color -- sometimes subtle, sometimes intense, but what's cool is that he's taken something ancient and made it new and this encouraged me to do the same (but I obviously went in a very different direction). What I love about his pieces is that though they are abstract and are beautiful in their execution, they mean something. He is so adept at combining deep, spiritual meaning into a piece, and it's fascinating to study his art and try to figure out the meaning (before I cheat and look at the title). His art doesn't just "take you somewhere else" but makes you think and feel. I really like that. 

When I began my own technique several years ago, I tried to take on that symbolism in my work, and believe me, it's not at all easy. My first series was a group of seven large art pieces based on the first week of Creation (each painting symbolizing what happened on that day per the account in the Book of Genesis). Encouraged by the results, I tackled Beethoven's Fifth Symphony, carefully listening over and over again to each of the four movements and trying to figure out how to illustrate a four part piece of music with a set of four paintings. Very challenging. All that was a wonderful experiment, but I eventually ended up returning to abstract and landscape art...but now with new "tools in my tool belt" so to speak.  

So the work I do now, though also painted on metallic leaf, is nothing like Mako's work and you'd probably never guess he has influenced me so greatly, but the idea that art can emotionally draw you in and make you deeply think -- that came from Mako Fujimura. So...thank you Mako!

Appalachian Panorama

Those "Special" Places

There are few more beautiful places than at the top of the Appalachians. Several years ago, we visited a place called Max Patch (about an hours drive west of Asheville) and it feels like the top of the world. It's definitely one of those North Carolina landscapes you never forget. On a clear day, I think you could see nearly a hundred miles in every direction. This oil painting (sold even before completed!) was painted to be installed above a door as "entrance art" and was based on memories of the many times we've hiked to the top of that bald and enjoyed a picnic dinner, glass of wine and Pim's (you have to have Pim's for dessert when you eat a picnic dinner at the top of Max Patch).

"How do you get the aluminum on the painting?"

Aluminum Leaf Application

My big new tropical fish / giant kelp painting is basically half done now with the application of the aluminum leaf (and I haven't even begun to apply the paint). That's the next step but the hard work is now complete. Painting is the fun part. 

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Beginnings

A New Art Genre is Born

"What has been will be again, what has been done will be done again; there is nothing new under the sun."   -- King Solomon, Book of Ecclesiastes.

When I see artwork that is unique or hear music that is really different, or taste a really innovative flavor combination at one of our local restaurants, I can't help but wonder, "how did they come up with this?" What was the creative process? What were the steps that led from the conception to completion?

I'm just a painter and I'm still in "learning mode" every day, so I have not "arrived" yet. I am no "art sage". But I have come up with a form of art that is (happily) my own. I call it "dialuminism". I love saying that. It makes me feel smart. You should try it. Seriously, it's a word that basically just means "light passing through" and it's what I call my art genre because that's how it works. I paint on metallic leaf, and so light reflects off that metal and shoots back through the paint, basically creating a back-lit painting.

And as much as I would love to take all the credit for what I do, I think it's time I "fess up": I am not the first to think of painting on metal leaf. The ancient Egyptians started it and the Greeks perfected it. 

I was listening to a TED Radio Hour a couple weeks ago and the subject was Creativity. The point was that there is nothing really, truly unique: All creative ideas build upon previous creative ideas. There is truly nothing new under the sun. What I gleaned from the hour program was that what we "creatives" do is basically take pre-existing "ingredients" (or ideas) and re-mix them into a combination that is itself unique. I can live with that.

So as I consider the steps I've taken, I think I need to confess that I owe my genre to the Virgin Mary and Baby Jesus. Now before you dismiss me as a right-wing nut job, let me explain. Around 2002, I was strolling though the Mt. Dora Arts Festival in Mt. Dora. One of the booths was staffed by a gentleman that created Greek Orthodox Icons.  When I approached the booth, the sun was shining down through the ancient oak trees and Spanish moss and striking the surface of countless icons, each painted on gold leaf, and I could not leave the booth. I had never seen color do what it was doing. Turns out, that when you back-light color (with light reflecting off the gold leaf), you amplify that color tremendously. I had seen icons in my art history book in college, but I had never actually seen any in person. What I saw stunned me. When I got home, I began playing with metal leaf and oil paint and I couldn't stop. Today, I paint no angels, or Virgins or baby Jesus's, but every painting I create now began with a spark of creativity launched off the face of an icon.

That was the beginning. But I have two other muses that have spoken into my art. I'll get into them in a future entry.  

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St. Claire Art News & Updates

Western North Carolina Design Guide Show

at the Studios in Flat Rock

April 8 - May 14: 

Several of the artists included in the WNC Design Guide will have our work displayed at The Studios at Flat Rock. In addition to viewing the art, the public will have a chance to meet the artists and hear each artist explain their work. 

The Studio's at Flat Rock  2702A Greenville Highway, Flat Rock, NC  28731  

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Asheville RADical Daze (Spring Studio Stroll)

May 21-22, 2016, 10 AM-6 PM: 

Part of the RADical Daze with three big events. In addition to the Studio Stroll, watch 50 artists create a massive 15,000 square foot mural at the Burners and Barbecue Mural Event, and go to a Arts2People fundraiser for the very unique Foundation Skate Park on Saturday.  

The Studio Stroll is free and self-guided. Many studios are within walking distance of each other, and there is plenty of free parking. Go home with new ideas, gifts for friends and even something special for yourself. Free trolleys run approximately every 15 minutes throughout the mile long district during Studio Stroll hours. Come enjoy the exhibits, kid's activities, and art demonstrations, such as glass blowing, wheel throwing, wood turning, and more. For more info, click here.