working

Wow. With jim's help, the framing for my Cumberland show is complete. I planned to have at least 30 pieces foe the show since i'm filling several rooms and the final count is 44. I can't believe it. And I wonder why I'm tired.

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perfect weather

I love days like today. In my opinion, the weather today is perfect. I enjoy four a week with a little fog and rain mixed in.

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explosions of color

For our monthly paint out, the Washington Society of Landscape Painters painted at the US National Arboretum in Washington, DC. This was my first visit to the Arboretum and I don't know what took me so long getting there. This is my fourth spring living in the DC area and I never discovered the place. Everywhere you turn there is a painting begging to be painted and it’s FREE.

I'm not a floral painter but as a landscape painter flowers are often element in my compositions; yet, today a flowering azalea bush became my muse. On a search for a suitable subject, I was hiking along the path in the azalea garden when I rounded the path and came upon an azalea bush that was glowing fuchsia in morning light—it stopped me in my tracks. The path before me was dappled sun puddles and the shadows were long. Going any further was pointless.

Knowing that the morning light changes quickly, I set up my kit choosing a smaller board (9x12). I began blocking in the piece and bypassed my usual underpainting because I didn't what to loose the light while the underpainting dried. The light was changing rapidly which spurred me on to paint faster.

Aside from the rapidly changing light, I was faced with the problem of not having the right value of pink for the highlights in the azalea bush. Instead, I chose a warm orange color in a similar value. Overall, I think it worked. How abut you?

If you've never been to see the azaleas in bloom, you must go and it's not too late to see them this spring.

the rebirth of spirng

Blooming flowers, longer days, cherry blossoms, sunshine, dogwood, sun showers, big billowy clouds against blue skies, drinking wine on the balcony with friends, and painting, what’s not to love about spring.

Admittedly, winters in the DC area are nothing compared to those of some of the other places I’ve lived, Chicago, Denver, and Milwaukee, but there’s the same sense of lethargic hibernation that occurs for me regardless of my domicile. Mostly, I don’t like to be cold.

So far this spring temperatures have been cooler and it seems to me that we’ve had a lot of rain. That hasn’t stopped the seasonal rebirth from occurring. The colors are spectacular as the budding trees glow their golden green in the sun and the recently barren earth bursts with a dappled array of color.

As I’m painting this spring, I reminded that my plein air kit needs an adjustment from a winter to a spring palette; swapping out the grayed hues for brighter greens and a larger variety of pinks, purples, and blues. It’s just another reminder of rebirth and growth. A time to venture into new landscapes and embrace the experiences that will shape who we are as people and artists tomorrow.

"All children are artists. The problem is how to remain an artist once he grows up." —Pablo Picasso

fine art reproductions

In recent weeks, I was approached by a potential corporate client that is interested in my work. Unfortunately, they do not have a budget to purchase original works for their offices and have asked if I have or would consider having reproductions done of my work. For some, this may seem like a no brainer; and for others, Giclée prints are out of the question.

As an artist and former gallery owner, I’ve maintained a mantra, “always buy original art.” Art is my livelihood and I worry that doing reproductions of my work may diminish my reputation and the value of my originals. However, as a small business owner—yes, artists are small business owners—trying to make ends meet in this economic climate, I understand the importance in meeting the wants and needs of my existing clientele as well as the need to branch out to other markets. Moreover, I understand the need to produce works in varying sizes so that I am hitting a variety of price points.

In doing reproductions, I will be reaching out to different markets. There is a market for fine art reproductions. In fact, I know a couple who are financially able to purchase original art but claim that by collecting reproductions their collection is extensive and diverse allowing them to rotate pieces and not feel too bad about getting rid of something if it no longer holds their interest. Included in this group of collectors are those art lovers with limited discretionary income. Buying fine art reproductions allows them to live with works with which they relate that fits within their budget.

So, now that I’ve justified why I should have some reproductions done, can I overcome my negativity and reach out to a broader market? I think so.

There is an interesting article by artist Mamata B. Herland titled, The Impact of Giclée: A shift towards digital print in future art on Lux Art & Design's website.

painting the Tidal Basin

This photo shows my value-based
under painting for "Tidal Basin"
a 16x22 pastel painting on
Wallis sanded paper.








And, the same piece

after adding some color.
This painting will rest
on a spare easel, which
allows me to study the
painting. Doing this gives
me the opportunity to
step away from the piece
and study it. It may set
there for a couple hours
or days. This gives me
space—physically and
mentally—allowing me
to critique the piece before
going back into it.

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knowledge

This is a little (9x12) painting that I recently did where I was focusing on the light and shadow. No matter how much I paint or how often I study, I feel as if I will never “get it.” I suppose that is the nature growth. I will never stop learning.

The further I go, the sorrier I am about how little I know: it is this that bothers me the most. —Claude Monet

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taxes

For years I have done my own taxes to save money. This year is no different... or so I thought. I've spent the past week trying to get everyhing together to pay my taxes and I am amazed at the disorganization, my disorganization. What makes it worse is that I know better. As the business manager foe a design firm, I'm very organized and keep excellent records. What I now realize is that in my own business--yes, being a working artist is a business--I am as disorganized as I am organized at work. My advice? Don't wait until April 2010 to start working on your books. Get things set up now and keep them updated as you go.

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sunrise

I was in awe at the beauty of this morning's sunrise. It stopped me In my tracks.

"The sky is the soul of all scenery. It makes the earth lovely at sunrise and splended at sunset. In the one it breathes over the earth a crystal-like ether, in the other a liquid gold." --Thomas Cole

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adventure

Although the exhibition, 383: Viewing the Potomac, is over I'll continue to work on the theme as I paint the diverse Potomac River. Today, I took the show down, hauled the remaining pieces to the studio for storage until my May exhibition in Cumberland, Maryland and sighed—partly out of relief and partly in sadness. For nearly two years the show has been a part of my life. I thought about it constantly as I developed the theme, painted the pieces, and planned the exhibition. As the date drew nearer, it became more of a presence in my life. I'm relieved that it is no longer in my daily thoughts and sad that it's over. More important, I'm thankful for the support and opportunity. This adventure prepares me for all that I will do tomorrow and beyond as I pursue my dreams.

"The biggest adventure you can take is to live the life of your dreams." —Oprah Winfrey

painting daily

I read an article about an artists' income survey. The researchers surveyed Canadian artists on income, education, and employment. Two things that really struck me were how little artists earn from their art, Canadian $20K, and how many hours they spend making art, 26 hours per week.

My first thought on both counts is, that's not enough. It's a shame that artists (all diciplines) must work second jobs to pay the rent. Second, that artists work at their craft less than three hours a day. That's practice time!

When in full swing, I'm clocking 40 hours a week painting. Granted, I don't have much of a life outside of the studio and my FT job, but I feel it is necessary for me to paint everyday to meet my goals. As I've said many times, all I want to do is paint.

So, let's get busy. Let's turn off these computers and paint.

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working through the fear

Recently, I was having a conversation with a talented artist friend who was telling me how a painting would often remain untouched in the studio because he's fearful that he'll ruin it. Though not surprised, it was a realization that other artists, myself included, deal with such fears. I'm not trained in psychology or counseling and can therefore comment only on the fears and barriers that prevent me from working on my art. I can talk about my experience with fear and its similarity to my friend’s.

So, what is fear? Is it a lack of self-confidence? From where does it come? Why is that I question my abilities and myself? Of what am I afraid: I'm not good enough; of success; of failure; that someone won't like my work; of rejection? Why do I allow it to prevent me from taking those steps forward to achieve my goals and dreams? Like you, the answers to these questions must come from within.

Being an artist is not easy. We put our heart and soul out there for others to judge. Heck, as artists there's very little we do that doesn't come with a jury or someone deciding if our work is good enough or the right fit. The only way I've found to deal with this irrational—but very real—emotion is to keep moving forward. To be true to my art and myself. To focus on the work and not on the "projected" opinions of others. In other words... just keep painting.

Easier said than done, right? When the grip of fear begins to overtake us maybe, we should ask ourselves; what's worse, working through the fear at the risk of destroying something in which we have invested so much energy; or, give in to the fear and never give our work and ourselves the opportunity to flourish. After all, isn't it through trial and error that we learn and grow?

The great soprano, Beverly Sills said, "I'm not happy, I'm Cheerful. There's a difference. A happy woman has no cares at all. A cheerful woman has cares but has learned how to deal with them." I think being fearless and fearful are very similar to Beverly's happiness and cheerfulness... I have fears but I'm learning how to deal with them.

Pastels on prepared panel

"What are you painting on?" is one of the questions that I'm most often asked. While I paint on many surfaces including, Wallis sanded papers, Sennelier La Carte pastel card, and Richeson premium surfaces to name a few, I prefer the surfaces that I make myself with plenty of irregular texture.

To begin, I use Amersand's Gessobord™. I use the surface rather than a hardboard that can be purchased at your hardware store because Gessobord is sealed and the surface is pH neutral and acid free. I trust the manufacturer has done it's reseach to assure it's product is everything they claim. Next, I apply three more coats of Gesso brushing it on with short cross-hatch stroke. I do not sand between coats. When the gesso is dry I apply several (3 or 4) coats of Golden Acrylic Grounds for Pastels to which I've added additional grit. The grit I use varies depending on how coarse I want my surface. Some of the substances I use are marble dust, pumice, and grog.

Since this takes some time to do, I usually prepare several panels at one time. I've also used this technique on 300# watercolor paper with good results. The surface accepts many layers of color and allows me to achieve a painterly quality.

"Paint" Alexandria Plein Air Festival

With several other artists, I've been invited demonstrate and teach as part of "Paint" Alexandria Plein Air Festival. I'll be on location Saturday, May 16 (time to be announced) where I'll do a pastel plein air demonstration. Registered participants are invited watch or paint along--so bring your kit and let's have some fun.

The Art League's annual "Paint" Alexandria, a two-day, all media, plein air event. Participants will be guided in the fine art of sketching, painting, and photography.

Workshops and Classes

Over the past several months, I've been asked if I'll be leading any workshops or teaching classes. Teaching has always something I've considered doing but I have never felt as if I were ready... until now. Currently, I'm exploring the opportunities that are available and gathering information. I hope to have something put together by Fall 2009. If you're interested in classes or workshops, please visit my Web site, www.danielwisestudio.com, and sign up for my mailing list and I'll keep you posted.

PR - it's all good!

DC Examiner reviews 383 show

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a great demo

Many thanks to everyone who attended my demo at the Torpedo Factory this afternoon. It was great fun because of you. I loved your enthusiasm, questions, feedback, and smiling faces. I'm looking forward to next time. Until then, I'd love to receive feedback on the demo: What did you learn? How can I improve the presentation? What would you like to see next time? Etc.

Please feel free to contact me if you have any questions or requests.

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Let's give this another try

I'm going to give this another try. Life's been very busy with painting, shows, travel, work and whatever else. I moved into a new studio last June and love it. I've never worked so much on art making. Currently, I'm working on work to exhibit in two solo shows for 2009. Check out my exhibitions page for more info.

Cha Cha Changes!!!

Wow! What can I say? The last eight months have been a just a busy. No, I haven't fallen off the face of the earth but I have moved my studio out of my home, had a piece added to a permanent collection, done commissions, and now have an opening in New York City. I suppose my time is limited and with that time I'm better off painting than texting. I'll try to make my posts more frequent moving forward.

Believe it or not

Believe it or not... I have been painting. Not as often as I'd like but all the same, I have been painting. Today, I started a large (18x24) pastel of San Francisco Bay. I only got as far as the underpainting and will start with color tonight or tomorrow morning.

As I previously stated, posting is not as easy as I thought it was going to be--considering work, commute, art-making, sleeping, etc. One day soon I'll post all the new pieces that I've been working on on.