My proposition is this; Your studio does not exist only in the real world - it exists primarily and more concretely in your mind before it ever takes shape in wood, tile, concrete and plumbing. Your 'studio concept' is what goes on in the time prior to the building time, in the pre-execution, in how, and what order you direct your efforts to the making of your studio and by extension your art.
We put in the walls of my studio before we put in the floor. We secured a water source before we put in the sink. We plastered before we painted. All this seems obvious. But how does an artist plan a painting? A work of art? It is even more critical in plein air. We are assaulted by a barrage of input. All demand the same attention. We must distill, create a mental image, discard the flotsam and solidify the concept, the plan to build upon.
So why do I need a studio if I paint 'en plein air'? Well to paint plein air is to learn to distill, to study and to execute. Does the musician study only to study? Of course not, he performs, to the delight (he hopes) of his audience. An artist performs by enlarging his studies into larger canvasses. By the building of my actual studio, I will have the space to build upon my plein air studies. But I will always be doing plein air, because that is the spark for the concept.
Below are 2 new pieces that I did two weeks ago when I went to the Plein Air Convention in Las Vegas. That could be a blog entry all on its own. Two days spent painting and two extremes in environment. From squalling rain and wind to extreme sunshine and wild burros.
If you are interested in either oil, please let me know. Both are 11x14 and are framed.
|Rainy Day at Red Rocks|
|Red Rocks at Spring Valley|
"A work of art which did not begin in emotion is not art."Paul Cezanne