Fine Art, tools of expression

I had mentioned in an earlier posting that I considered my education and learned techniques as my "tools of expression." I reiterate this because it would be so easy for an artist to get into the manufacturing mode because of the pressures of living in this fast paced society. The more we use the computer with all of it's opportunities, the more we seem to develop an Attention Deficit Disorder, ADD, to life. Small bits of information that are processed quickly like the sound bites of evening news or Twitter comes to mind. I bring this up because I am a victim of this too and I have to remind myself to slow down, take a deep breath.

If I were to head out to the Valley (Skagit Valley Washington) looking around for a "formula" painting, it would be rather easy to find one. I need more than that. I need emotion. Sitting on rock with sketch book in hand, absorbing the day, and being a voyeur to the present, I watch the trickle of water moving down the slough. My eyes move along the curvature of the bank, each twig and blade of grass now coming into focus. Ten to fifteen minutes pass before I set my pencil to the paper. I'm establishing the values and contemplating the color. I write notes on the side of my drawing, "subtle shades of blues and cool greens in the shadows with some grayed reds beneath." The blaze of tulips are almost blinding but, I ignore for the time being since the fields are brown and tulips won't bloom for a few months. This is how the mind wanders when you slow the processing. As I'm sitting there, I notice a hunter in the distance, hardly moving. I contemplate entering him in the composition but, decided not. Still, I cannot keep my eyes from him. He moves one leg forward in deep concentration, herons are fascinating. Can you imagine a heron on Twitter? Back to my drawing, I wonder what this delta region of the valley would be like without roads, dikes, and sloughs. I imagine that there must have been tens of thousands of birds, flying, squawking, and just standing still like this great blue hunter. A certain bonding feeling comes over me as I sit here. The painting I'm contemplating is much too large to paint outdoors so I close my sketch book and sit for another ten minutes.

A couple weeks or so have passed. I've painted this slough before but, I've never painted this painting before. It's a new experience. I still see the hunter and wonder where he's standing now.

"Trickle to Sea" 36x48

http://www.alfredcurrier.com/

Richard Schmid, The Landscapes

I just finished reading and perusing Richard Schmid's new book on landscapes. It's no surprise to me that this book shows some of the most incredible works of art by a living artist today. He is and always has been a star that is just out of reach from us all.

The Palette and Chisel Academy of Fine Art, Chicago, was where I met Richard Schmid. We both served on the Board of Directors and Richard was president. This was in the mid 1980s when some great emerging talent adorned the halls of that old mansion in Chicago. Richard's generous mentoring spawned some of the great names in contemporary realist art in America today. This is the Richard Schmid I know, unselfish and extremely focused in his world of art.

I recommend this new book, "Richard Schmid, The Landscapes", Stove Prairie Press. see http://www.richardschmid.com/ The hardback edition is $135.00 and worth every penny.

http://www.alfredcurrier.com/

How many months in a year?

Are you sure you want to stick with your answer of '12'?
And what is a dry-seasoned year referred to? Maybe El Nino? Are you sure?

We understand beliefs vary widely from person to person, but we count on the consistency of solid facts. This reminds me of why painting commissions can be so difficult. Betty wants a French cafe painting scene with bright red awnings. We work out the details and a month later when I show her the completed piece, she says, "oh, not that color red". Everyone sees color differently, and, everyone sees the world uniquely.

How about the Chinese farmer trying to explain the unusual hot, dry weather one year? El Nino? "The traditional Chinese lunar calendar follows a system in which a month must be made up every fourth year- sometimes there is an extra ninth month, or an extra second month, and so on. This year is the fifth one. Whenever there are two fifth months in one year, you can count on a hot dry spring followed by an extremely wet summer. This is the way it has been in the past, and thus the peasants [farmers] are not surprised by the current heat and dryness. Everywhere in the countryside they complain quietly about the problems of having two fifth months in one year." -River Town, Peter Hessler

Question your assumptions. Is it really like this or like that? There are many truths.
The opportunity for expansion of ideas and awareness, whether of the world or towards art, comes from this constant questioning and observing.

Here's how I see red.
Do you see what I mean by red?

p.s. Colors may vary according to individual monitor settings. ;-)

www.alfredcurrier.com

A free book: Alfred Currier: Impasto

It is soon to be Thanksgiving, so in that spirit, I am giving away 5 copies of my art book. The 112-page full-color book focuses on my work in the past 15 years, including a chapter detailing my process. "Alfred Currier: Impasto" was published in 2003 by the University of Washington Press in association with Marquand Books. It was written by Ted Lindberg, former curator for the Vancouver Art Museum. It retails for $40. Shipping will be included.

To be eligible, all you need to do is post a comment on my blog answering the question: "What is your favorite quote on art ?". Sunday, I will draw five names at random then announce the winners! You must check back Sunday November 29, 2009 or after to lay claim as a winner.

My Favorite quote is from Scott Adams, The Dilbert Principle: "Creativity is allowing yourself to make mistakes. Art is knowing which ones to keep".

http://www.alfredcurrier.com/book.cfm

The Process

Cafe' del Esplanade, a video short of 3 1/2 minutes

My Sweet Life In Paris

I've traveled and painted through France before but, never in Paris. I had a past preconceived idea of Parisians so I avoided Paris because of my weak French skills. I just spent 1 1/2 weeks painting on the streets of Paris with my partner Anne Schreivogl who used to live in France, therefore fluent in French. It was a wonderful experience and I found the Parisians very engaging and friendly. As it turns out, my language skills were just fine as I provided the Parisians with cheap entertainment. I stayed in the Marais district, two blocks from the Bastille monument in an apartment owned by Rob Horby from San Diego, a nice affordable place with close access to everything.

Paris is about art, food, and love, through and through. It's such a melting pot of cultures. Painting on the streets of large cities tend to draw crowds of people and Paris was no exception but, they were extremely courteous. They would only talk when I would turn and say "bonjour" first. This was where I got in trouble because they would assume I could speak French and they would then barrage me with questions. I then would level the playing field by saying; "Parlez-vous anglais?" That would slow the process of communication and the fun would begin. I know some French and they would know some English and the rest was waving arms, rubbing chins, and scratching heads

I became fixated on sidewalk cafes with their colorful umbrellas. Painting these cafes requires you to be fast and deliberate with regards to your painting. On a sunny day, these cafes are packed with animated conversations and people watching. Every shape and angle is exaggerated, the way they hold a cigarette or a glass of wine, it's all part of the visual show. Down along the River Seine, the city will haul in sand for the summer so Parisians can sun bath, a sight to see. It was along the Seine while I was painting that I happened to look up and spotted Laurie Gere taking my picture. Laurie is a friend from my town of Anacortes Washington, small world. Bicycles, scooters, and mini cars everywhere. Police on roller blades and bicycles maneuver through the streets as if in a carefully orchestrated dance routine, protecting us from what we are oblivious to.

With special permission, artists can still paint and copy the Masters in the Louvre and Museum D'Orsey. As a right of passage, I would have loved to have done this but, no time to apply was afforded me. Instead, I set up my easel in the Louvre courtyard and painted the Arc Du Carrousel from the Pyramid. During my painting of three hours, the Louvre guards would occasionally circle around me on their bicycles taking a look at my progress. When my painting was finished, I stepped back for a look. Two guards approached me and said that the Louvre was private property and I had to leave, ......"are you finished?" with a smile. Art first, then we deal with the consequences, I love it!

This post title, "My Sweet Life In Paris", is inspired by a newly-released book of the same name, that I highly recommend for those who enjoy reading about la vie in Paris. The author, David Lebovitz, was giving a talk in Paris while we were there. We sadly missed it.

For those of you who follow my Blog posts, I'm sure you haven't heard the last of this Paris painting trip. http://www.alfredcurrier.com/

Deception Pass

I was really moved by my last impasto painting and couldn't get it out of my mind. I drove to the south end of Fidalgo Island a few weeks ago to watch an intense sunset that seemed to be forming by late afternoon. A rather trite subject, it always intrigues me. They become trite because of the beauty that draws painters and photographers into their web. The question in my mind is can I paint it differently than anyone else? Can I find something that no one else has found? Is this what goes through the minds of all artists as they approach this subject? Should I walk away? No, I'll stay and play.

http://www.alfredcurrier.com/