Painting Haystacks

I chose the title "Painting Haystacks" since it does describe the approach of my work. I'm referring to Claude Monet's repetitious, and what appears, duplications of haystacks and other motifs.

To understand this, the artist is NOT duplicating paintings but, instead, exploring color , texture, and all of the complexities that confronts him or her in the process of creating art.

Recently confronted by an artist, I was asked if I got tired of painting tulip fields. I had to smile at this question because, this artist wasn't that familiar with my work. Yes, the migrant workers and the tulip fields of this Skagit Valley region of Washington State do contribute about 30%-40% of my work but, I also paint other motifs as well. As a business decision, I tend to send these works to galleries outside this region.

In the small study of "Alla", I was exploring the migrant farm workers from a pencil sketch. The oil study allowed me to work out the invented figures. For the final painting "Unison", I used the figures as a center compositional tool so the eye of the viewer did not go directly to the sun. The idea here was to stop the viewer so he or she would explore the painting. Now, all that I said in this paragraph are learned techniques that I've acquired over the years of working at my "craft". 
But, Fine Art is my goal here, not craft. This is what binds "Unison" and "Snow Valley" together. These two paintings, although a similar subject matter of past paintings, are not duplications. These paintings are the exploration of color and texture. To be specific, an exploration of the saturation of color provided by intense sunlight. Within each value range of color, I have broken the color down in triads of color application.

With the music playing, I dance with my brush and palette knife, lost in the process of painting and seldom acknowledging my subject matter.

http://www.alfredcurrier.com/

Plein Air Studies Inspire Studio Works

When I travel and paint en plein air, I keep my studies rather small, 8x10-11x14.  This seems to fit my needs.  I suppose I could just carry a camera but, I find the absorption of the experience is what carries my creative energy to my larger works.  It's about the process of doing for me as opposed to the end product expected.  I do use photographic reference on occasion so, I'm not an "I paint only from life" artist (see my last blog titled "Ravens"). 

So, why would I just enlarge a painting that I'd already done?  The answer is pure and simple: the plein air painting was a reaction and depiction of my environment of that particular day without much creative thought.  A lot of what I do in the studio is creatively-driven as opposed to technique-driven which is what plein air seems to demand from most.  I love the creative process to art and consider techniques only the tools of expression.  I do not feel that technical wizardry is the end within itself although, I do appreciate fine craftsmanship in all disciplines.  Sometimes craft is confused with art.     

As some of you may already know, I was invited by artist James Moore to join him and a few other artists on a painting trip to Glacier National Park this past June.  I was completely blown away by the beauty of Glacier and extended my stay by three weeks.  I had completed 22 paintings on location which will be featured in my upcoming visual chap book: Alfred Currier: Glacier National Park 101.  This book will be released in February 2012 at a show of this work at Howard Mandville Gallery, Kirkland, Washington.  Included in this show will be several large paintings that have been inspired by the plein air studies.  Seen below are three finished works with a few start photographs to show my process.



plein air study for large works

Goose Island was so magnificent!  It was also a tour bus stop that netted no fewer than 100 tourists looking right over my shoulder.  I'm used to occasional on-lookers but, this was too much.  I was so surprised to see this little study when I returned home.  I thought is was going to be a disaster but, it was one of my favorites.  The large painting became an exploration of fragmented color.



"Goose Island" Glacier National Park, MT 24x30







plein air study for large works

Many Glacier was one of the windiest paintings of the trip.  I hid behind a little tree and stacked rocks on my French easel 'til I thought the legs would break.  Luckily my 40 year old friend held up.  I searched for subject matter in this painting but, I didn't realise that it was the atmospheric perspective that drew me in when I started this large piece.



"Many Glacier"  Glacier National Park, MT 24x30





"Lake Saint Marys" Glacier National Park, MT 24x30

Lake Saint Marys was my first plein air painting at East Glacier.  The incredible light made this a no-brainer. 

Seldom do I like my paintings when I finish them because I'm too close to them and all I see is the struggle.  I have to put them in the rack to season a while.  After a few weeks, I can pull them out and see them as others do, removed from the process.

http://www.alfredcurrier.com/