Color Workshop

Burning Through the Fog

Original oil painting  24x36"

by Susan Roux

This is for all of you spontaneous artists out there.

I was approached by an out-of-state artist who requested I teach a workshop at the end of this month. I've decided to honor her request. Most slots filled quickly by my current students, but there remains a few slots open. It will be an intimate/friendly workshop, held in Poland, Maine. Bring your oil paints and your sense of humor!

The focus is on color. Understanding color and using it creatively to aid in capturing your emotional response to your subject. I won't try to change your painting style, just arm you with new color-usage tools. Capture form while using color creatively. We will work with a series of exercises, a painting demo and time for artists to practice what they've learned while I assist everyone with helpful instructions. My students who took this workshop last year improved in leaps and bounds. It was so visible to all those students who hadn't participated that those who had were approaching painting with a new found fearlessness to color that translated into beautiful work. I'm positive I can help you move forward in your own artistic journey. What do you have to loose?

Dates: August 26, 27, 28. Monday, Tuesday, Wednesday.

Time: 9-4

Location: Poland, Maine

Bargain price: $100. for 3 days

Contact me if you're spontaneous and interested.

Dreams and goals

Up On Lighthouse Hill

Original oil painting  22x28"

by Susan Roux

I love this time of year.

In Maine the weather's raw, the snow is bright and glorious and my focus is to jump head first into (no not Sebago Lake with the other Polar Bears...) my art! There's something cozy about winter after the holidays. The house is warm with the smell of wood wafting each time the stoves are loaded. You could cozy up by the fire with your favorite drink or... spend relentless hours in front of your easel.

I usually choose the latter.

It's also a time to look at life and your current direction to see if you're staying on track. Goals have been made over time and if you're like the pack, the end of a year has us thinking about them more than usual. With it also comes the feeling of time. A whole new year ahead of us, much like a blank canvas, to be filled with something new. Endless possibilities. What will you fill your new calendar with?

Are you looking for gallery representation? Perhaps you'll peruse new opportunities for artist? A competition? Will you be taking a workshop or two? Maybe your contemplating teaching, sharing your skills? Will your focus be on marketing yourself? There's a certain excitement in knowing you have a choice to plan and choose whichever direction you want. Sure it will take a lot of motivation and hard work, but you have a whole year ahead of you! Piece of cake.

As for myself, yes I have approached a few new galleries for further representation. To be honest, it's still scary. The first time you put yourself out there to be judged can be terrifying but for those of us who've been out there awhile, it still holds a level of anxiety.

The anxiety goes both ways. You feel like you're holding your breath waiting for their response. You're trying to brace yourself for the rejection. Are you standing firmly enough or will it knock you right over? Those nagging questions circle in your head. I like to think I'm sturdy enough to have it bounce right off of me. Shake it off like it wasn't a big deal. But we all know that those rejections can be crippling.

Then there's the other side of the pending anxiety. What if they do accept me??? It will be very affirming and a wonderful boost. Complete joy! You can just imagine your creative energy escalating. Escalating until you get to that point when you doubt yourself and wonder if you can continue to create a level of quality that satisfies your new gallery? Ouch. The things we do to ourselves.

Art has to be one of the most difficult ventures. I know we can't help ourselves and the desire to create can consume us. But the reality of it is we are drawing from within. Exposing ourselves in our most naked form and the fear of being judged and then rejected is terrifying. I don't care how long you've been doing it. It's as terrifying each and every time. The better you get, the higher the bar you're reaching for. Will you grab and slip and come crashing to the floor? Or will you reach to a comforting hand that pulls you upward towards your dreams?

I've been looking at your blogs and I love your goals. It's so inspiring to read. My favorite is those of you professing to paint 30 painting in 30 days. It's a huge commitment. I think of it differently than the daily painters. I imagine normal size canvases with full fledge paintings. I don't think I could keep up that momentum. I'm pretty prolific but that would do me in. I applaud you for your gumption and drive.

Whatever your goals are, I wish you the tenacity to push on no matter how terrifying it might be and be successful in achieving them.

What are you dreaming for this year? What bar are you reaching for?

Make my day!

Garden Girl

Original oil painting  28x22"

by Susan Roux

It was Saturday evening. Charlie called disguising his voice and asking me to guess who he was. It sounded nothing like him or like anyone else I knew, so I didn't offer a guess. I think he was disappointed I wouldn't even try. 

Whenever anyone does that, I'm always afraid to offend them if I guess the wrong person. 

Charlie is the owner of The Wright Gallery. You know, the one in Cape Porpoise, Maine. He lives upstairs from the gallery. It's a wonderful 3-story old building with an ocean view. He called to tell me that typically at 5:00 he closes his doors and is eager to scoot upstairs and be done with work for the day. But today, he said, my sister is meeting me for diner at 7:00, so I decided what the heck, I'll just leave the front door open until she arrives.

Lucky for me, because someone walked in and purchased Garden Girl! 

I don't usually post my sales, but I did like this little story. The next morning I awoke to an email from the buyer. Oh how I wish they would all contact me after a purchase. It was so refreshing to hear someone's opinion of my work. It's been years since I've done festivals and that wonderful interaction with the buyers is what I miss the most. 

These are the words I read. I was stunned by it on display. It offers to us serenity, warm springs, and bright futures... I feel like I found a gem!

If you're reading Eric, thank you for that. You made my day! I'm so happy she's found a home where she'll really be appreciated. 

I painted Garden Girl the first year I went on artists retreat at the mansion in Freeport. We go during February school vacation. I'm sure you  remember me talking about it before. It's where we host Champagne Thursday... I knew that would jar your memory.

I'm mentioning it because this year we aren't certain we'll return. The cost is high if all the rooms aren't rented out and so far we don't have occupants for a few of them. I know if I don't book it, come February vacation I'll be booting myself for not being there. It's such a productive week filled with laughter, great food and conversation, plus lots of wonderful creative energy. So if any of you would be interested in renting with us, please step forward. 

As always, thanks again for stopping by and leaving your wonderful comments. I do love hearing from you. You all make my day!

Experience color

Dew Drop In

Original oil Painting  16x20"

by Susan Roux

Color. 

It's one of the most fascinating things about painting. It can lead the eye through a specific journey on your canvas. It can create an ambiance. It can define distance and space. It can imitate sunshine and shade. It can scream or whisper. It can be playful and exciting or it can be bland.

As artists we get to control the roll it takes in our work. 

It takes a long time to understand color. There's so much to learn because it's a very complex subject. A color used incorrectly can stand out like a sore thumb. One single stroke out of place and suddenly it changes everything. The value (light or dark) of a color must be correct along with how concentrated or neutralized (grayed) it is. 

Learning to embrace the grays will add richness to your colors and your work. There's emotion in those mud puddles on grayed color. The trick is to know how to use it correctly and be in control of it. 

Understanding the properties of color enables you to take control. At times you've probably heard or read about certain concepts but have had difficulty wrapping your brain around them. Trying to paint with a particular focus in mind that you don't totally understand can be frustrating. So much so, that it can throw you into painter's block! That happens when you begin to be aware of a concept but don't totally understand it, yet try to implement it into your work. 

Simplifying things and learning them one step at a time can be your detour around that painter's block. Trying to push too much information into your brain at once only confuses. Having time to try new things, experiment with them, helps the mind grasp the concept. Not only is it something you hear or read, it is also something you try.

This will be the goal in my upcoming workshop, held August 10, 11, 12. 

I've been teaching for over 10 years. I teach to beginners and if I've learned anything over all this time it's how to explain things in the simplest way possible! So if you've been painting awhile and do pretty well but would like to learn more on the subject of color, my workshop is for you. I'm limiting class size to ten students so each one will get individualized attention.  

Come play with color. Come take the fear out of it and place yourself in control. All levels are welcomed. If you're interested or think you might be interested, please don't hesitate to contact me. I'll be happy to help you with your lodging needs as well. 

Maine is beautiful in August. You can begin your holiday with a three day workshop to get you primed and stimulated then continue on to practice your lessons in the lush coastal setting that is Maine.

The above painting Dew Drop In is exhibited at The Wright Gallery, Cape Porpoise, Maine. Please contact Charlie if you're interested in purchasing it. Thank you.

International

Red House

Original oil painting  20x10"

by Susan Roux

Two days ago, Russia called.

It was pretty much passing as an ordinary day. A little excitement stirred as I'd just got word that my art was selected to hang in Portland's art walk during the month of September. The last time my art was up in Portland for a month, I sold 7 paintings. It's hard to forget such a thing and so the excitement about showing again had me smiling and bubbling.

I was behind my easel working on the above painting. My mom was here painting with me. A real special treat. I was down to tweaking my flowers when the phone rang. Luckily I had the insight to place the handset near me and didn't have to go running to answer it. A quick glance at the caller ID made me utter, who's that calling?

Hello Susan. It's Stas Borodin.

You may not know who Stas Borodin is, but I certainly know him well. He's the Russian artist responsible for my exhibition in Saint-Petersburg in June of 2008. A call from Stas is always a welcomed thing!

Stas is a world traveler. He's kind and friendly, making jokes you sometimes don't understand due to the language barrier, but his hardy roar of laughter and a smile that rivals the cheshire cats makes you laugh right along with him! Some people you just feel blessed to have cross paths with and Stas is one of those people. I'm honored to have met such a man. 

He's a master artist. I know, they're rare in today's society and oddly I've had the privilege to meet and paint with two. Don't ask me why I've had these opportunities? I couldn't tell you. Mike says I'm just lucky. 

Perhaps he's right. 

Stas will be visiting in a month. He paints daily. Not at all like some daily painters that take an hour or two a day to paint. No. He lives to paint. From sunup to sundown, he'd be swatting his brush around if he had his way. Stas loves the coast, harbors specifically and we'll be making the jaunt early in the morning so he can take in a full day of painting. He comes equipped for all types of weather and I've never seen a downpour strong enough to keep him from doing his passion. The world is his studio and he is always happily at work!

He's dreamed of going to Monhegan Island. You know, the artist's island 13 miles off the coast of Maine. I really wasn't planning on going to Monhegan this summer, but it seems my plans changed. Yesterday I made reservations from July 8 to the 13. I can only imagine what it will be like to experience it with Stas. A whole new way at looking at a familiar place, I suspect...

I may have the pleasure of his company for two weeks time. He'll run me ragged, I'm sure of that, but it'll be a good ragged. 

Stas always has opportunities up his sleeve. He invited me to join him at a symposium in Normandy, France in September. Oh how I wish! The last symposium he invited me to was at a monastery in Russia. If sales ever begin to skyrocket again, I'll have saved up some money to actually take him up on his offers. These symposiums he speaks of are a gathering of artists from different nations in one place to paint for a few weeks, followed by an exhibition of the work done during that time. Yes! Such things really happen! Doesn't that sound amazing?

Someday. Maybe someday...

So if your phone ever rings and it's a call from Russia, answer it. Who knows it just may be a jolly master Russian artist!

The above painting, Red House, is a crop from a larger piece I'm working on with my Thursday afternoon class. I wanted to paint it wet on wet and it's impossible to do that with my class work. Long periods of drying occur as it sits idly waiting for the next week's session. It's a scene from Ireland. The village is Roscrea. I was told it's the fourth oldest village in Ireland. It was a beautiful place. A cross between ancient and new.

I wrote about Stas last year when he visited. It's here if you care to read more.

Thanks for stopping by. I always appreciate your visit. Please leave me a little hello, just so I'll know you passed through... 

Have a great day, allowing good surprises to happen to you!

Flower Islands

Foxglove

Original oil painting  18x14"

by Susan Roux

I made the last of my deliveries yesterday. Three sets of art to three different galleries. The day was picture perfect for a coastal delivery. The three hour drive to Blue Hill takes me through winding country roads eventually connecting north on Route 1. For those of you not familiar with this route, it begins in Florida and follows the coast all the way up to Maine. It's a lovely drive during off season, but can be a traffic nightmare at tourist time. Quaint shops with interesting names and creative signs stimulate my artistic juices. Even without stopping, reading the names and seeing original looking store fronts sends my mind dreaming. Interspersed are glimpses of the ocean always with islands jutting out and keeping the seascape interesting. I didn't think I'd be doing much plein air this year, but yesterday's drive awoke the desire.

I stopped at a roadside garden shop. Color was overflowing! Did you know I have Monet syndrome? Not only do I love painting flowers, I keep creating more and more gardens around the house! I've been mixing annuals with perennials and the changing color show throughout the summer is the perfect haven for an artist to relax in. My burst of work is in the spring and with summer-like weather, planting is earlier than usual. There's a great rush of anticipation as I design my gardens. Like adding color to a canvas, I imagine which plants will be blooming together. It's like painting blindly. As the shapes grow, shadows are created and with it possibilities for wonderful compositions!

I bought a few colorful annuals to place in unusual planters. I've been designing a new outdoor seating area with a great view of sunset. All my flower beds have curves, most being ameba shaped. I don't like straight edges in my landscape. I'm finding the negative space (lawn) as interesting and important as the flower beds themselves. When I think of the various shapes I've established, I'm reminded of all the islands making Maine's waterfront so spectacular. As you drive by, one island seems to be moving in front of another. It makes those rock hard planters covered in evergreens come to life! And so it is with my island flower beds. As you walk around, the flowers from one bed seem to move in front of another. I've always been attracted to that illusion of motion. I find it interesting that without consciously thinking about it, it's how I've designed my surroundings. 

Everything is a composition. Colors, shadows and splashes of light. Whether painting or planting the journey is similar and the passion is present.

Do you have Monet syndrome too? Have you created flower islands? As an artist, where do you go to unwind?

Note: Foxglove was a little corner garden on Deer Isle. I painted it with one of my classes. It was included in the body of work I delivered to Blue Hill Bay Gallery. If you come to Maine this summer, it's a beautiful artsy coastal town to visit, only 30 minutes south of Bar Harbor. Do stop in and say hi to Peter.

Susan Roux Workshop 2012

Monarda

Original oil painting  18x24"

by Susan Roux

You're invited!

I'll be teaching an oil painting workshop in August and would love it if you'd join us in three days of fun with color! The focus of the workshop will be on Color and Value and it's purpose with regards to design.

It will be three days packed with exploring color. Come stimulate yourself as we dive fearlessly into luscious color! Learn to add excitement to your paintings while remaining in control. 

Do you fear color? Are you having trouble with color harmony when using too many? Are you limiting yourself for fear of not achieving harmony otherwise? How about neutralizing? Is making mud a problem? 

Then this workshop is for you!

I'll be explaining many properties of color to help you understand it, thus help you keep it in control. 

Free yourself by allowing your inner creativity to unleash on canvas. Learn to add visual excitement to your work. Let your paintbrush dance on the canvas. Don't be so preoccupied about staying within the lines and achieving harmony will become an ease. 

I'll encourage you to apply paint in various ways to help you expand your choices of brushstrokes. We'll be working wet into wet. As the paint gets thicker on the canvas, we can begin to push and pull paint around. Drag your brush, twist your brush, just let it dance on the canvas! Free your spirited energy to just pour out.

Depending how tight or loose you want to keep your paintings, I'll show you how to bring this burst of color into shape. Color and value work together to create the illusion of light, depth and form. As a unit, they can help direct the viewers eye around the canvas, adding power to the overall design. 

This workshop is intended for all levels. 

Come to Maine during the dog days of summer and deepen your understanding of color!

Hope to see you soon...

For further information click here.

Note: You may remember seeing the distance in this painting. It was posted in February before the entire painting was complete. This painting is at Blue Hill Bay Gallery in Blue Hill, Maine. For purchasing information, please contact Peter. 

Don Hatfield Workshop 2012

Nature's Dance

Original oil painting  12x36"

by Susan Roux

Basic fundamentals. I can't say enough on the importance of them. I don't care how seasoned an artist you are or if you're just a beginner, those fundamentals are of utmost importance to the representational painter. Sure there's creativity and you may want to simplify things in your own way as part of your creative voice. But without a clear understanding of the fundamentals, your work will remain a hit or miss sort of thing. Some are good and other's ...not so much. 

The artist's journey is lifelong for most of us. In this journey we strive to find our unique voice and hope to see continued growth. We're usually our worse critics, often allowing that terrible voice inside to spook us.  Art is a very revealing thing. It's pouring yourself out on canvas, exposed to the masses. Criticism crushes often giving voice to that inner demon. The best way to arm yourself against it is having clear knowledge of the basic fundamentals.

How good is your foundation? Solid? Shifting? Crumbly? Wouldn't it be great to answer Solid with confidence?

I for one, would like more confidence in that department...

Don Hatfield. It's not uncommon for his name to pop up on this blog. (By now, I think it's even surpassed Luka Bloom! How can that be???) Don is not only my mentor, he has grown to be a very dear friend. The longer I know him, the more he amazes me. As an artist, I've admired his work since I first came upon it in the early '90's. His voice is filled with soft beautiful color and arrangements that let the viewer dream. Serolla and Sargent are among his favorites and it's easy to see signs of their inspiration in his work. Basic fundamentals are strong in all these great artists.

Nowadays, you can sign up for workshops from all sorts of "masters". I can't vouch for their teaching abilities. I can however vouch for Don's. His focus is Basic Fundamentals. Improve on those and your art improves. Plain and simple.

Are you finding yourself stagnating? Could your art use a little more Punch? Definition? Impact? Emotion? Are you having trouble elevating to the next level? 

The answer lies in the fundamentals.

I'm so excited to be hosting Don Hatfield again this year for a series of workshops in early August. Actual dates and specifics will be announced soon. Don will teach 3 separate 3-day workshops: portraiture, still life and figurative in costume. Cost for the 3-day sessions is a reasonable $300. with reductions for multiple workshops. Whether a beginner or a seasoned artists, you would benefit from his teachings. 

Aren't you just itching to come to Maine? August is a lovely month. Think about it. You could begin with a 3-day Hatfield energy boost and continue on to a beautiful coastline town for an extended stay and paint, armed with precious fundamentals and a new-found confidence. 

Does it get any better than that?...!

(Note: I can't get this photo adjusted to look as soft and delicate as the actual painting.)

Word verification

Coastal Simplicity

Original oil painting  14x18"

by Susan Roux

Is it just me or are you annoyed by the new word verifications too? I'm finding myself commenting less and less since the change to the double word. Many times, the verification is longer than my comment! It's becoming tedious and frustrating.

I suppose I could write to blogger urging them change it back, but something tells me that would be an impossible feat. After all there must be some reason they suddenly change it in the first place.  Who am I to tell them to revert to the old one?

No. It's not my approach. Instead I prefer to appeal to you. All you lovely artists bloggers. Do we really need the word verification anyway? Who among us will spam comments? I think it's safe to assume that that really isn't an issue here. Perhaps if we were targeting the masses, it might be an issue. I know we like to think we're reaching all of them, but seriously, who are your comments coming from?

Other artists.

I thought I disconnected my word verification back last summer. Recently I was in my settings and realized it was still turned on. I apologize for making you type all those unnecessary words for so long. Apparently I mustn't have "saved the changes" when I made them. Now I believe it's really disconnected. If you still have to type their crazy letters here, please let me know.

You're already aware from my last post, my eyesight isn't great. Even with my glasses on things aren't perfectly clear. (maybe it's time to visit an eye doctor, but I just don't want to) I suppose if the new letters in the word verifications were clear and straight, this wouldn't be an issue for me.

However they aren't.

I find myself wondering if it's an r pushed into an n or if it's an m. Today I came upon a double o. You'd think if I discerned the first o the second one would be a snap. No, it wasn't that easy. The second o looked nothing like the first one. It was all dented and bumpy and attached to an l. So was it a d or another o???

If I would have written like this in grade school, I would have flunked penmanship.

So please everyone, be comment friendly. Go to your settings and change that nasty word verification to a "no". And please be smarter than I was in July and remember to click save changes.

I blog with morning coffee. It's a nice way to wake up. Unfortunately lately, frustration builds with every comment I leave, making me start my day on the wrong foot! I hope you'll join me in simplifying are comments. Let's take matters into our own hands and annihilate the word verification from our blogs. Please pass the word around.

(If we begin to have problems with spam comments, we can always turn it back on...)

Thank you and happy commenting!


Note: Coastal Simplicity is a scene from Monhegan Island, Maine.

Painter's photo shoot

Come Fly With Me

Original oil painting  28x22"

by Susan Roux

This summer I took my model to the ocean for a photo shoot.

Sounds simple enough, right? Well you need to remember we're in Maine, nicknamed Vacationland. People flock here from everywhere. Summertime is the busiest. Many arrive ready for a bellyful of lobster with the beach as their destination. It was a beautiful warm July day and it was no exception.

How I found a parking space on a side street adjacent to the ocean with a sand path for the rentals is still a mystery to me. It was perfect. A long stretch of sand where cottages line the streets located between two very busy/popular beaches. My model hadn't been to the ocean yet this season and she was already bubbling with joyful emotion. Laughing and giggling, her whole body was already wiggling as we parked the car. Her eager enthusiasm was uplifting. It was like taking a young child to the beach.

The salty sea has a distinct smell that arouses the spirit long before you reach the sand. Excitement was in the air. We had been trying for awhile to find an open moment for this day, but busy schedules made it difficult. Our anticipation coupled with the perfect weather had me imagining a wonderful shoot.

I came prepared.

We found a nice open area in a sparsely filled section. I laid out an old bed sheet on the sand. My bag was full. I unloaded it telling my model, these are the skirts, these are the tops, hats, scarfs etc. I had shopped for white clothes, borrowed white clothes and gathered lots of accessories. The sheet looked like a clothing store. As she looked at every piece, I explained that she could mix and match any of the pieces. Even if they didn't exactly match, they were all various shades of white and I could paint them to look like they did. I had been wanting new photos to work from and the moment had finally arrived.

She picked her favorite skirt. It was a long flowing one. I told her to go dance at the water. I love this model. She has such elegant movements, perfect for the look I was seeking. Still giggling, she bounced to the water's edge. I followed with my camera. The sun lit her up. The breeze was gentle and consistent. I couldn't have picked a better day.

People were gazing. She didn't care. Still like that child, she began to dance in the water. She was totally uninhibited by the onlookers. It wasn't long before what seemed like every man on the beach wandered by. I've never seen so many males walk the beach without a sweetheart by their side. How they slowed their gait as they circled wide around us. We laughed. She continued to dance.

I took shots from the left, shots from the right, shots from the back. The sun made different patterns as I switched sides. She made many costume changes and with each one, she became a different character. Sometimes she strutted, sometimes she flowed. She threw things up into the air. The sun danced with her every move.

We didn't take a break. Outfit after outfit we continued to work. I couldn't help but think I had the perfect job. Who else gets to go to the beach while they're working? Not many.

Every piece of clothing was soaked by the time we were done. She was exhausted. It had been quite a workout. As we stopped, nearby sunbathers came to talk. They wondered what we were doing. They had been entertained by my little beauty. People had their reading material, but not a book was opened while we were there.

As we walked off the beach, an older couple stopped us. They had decided we were taking pictures for the cover of a magazine and wanted to know which one and when it would come out. She did look very beautiful out there dancing in the sun. It's no wonder they imagined this scenario.

I returned home with nearly 1000 pictures. Certainly there are a few real good ones to work from.

Do you work from photos? Do you go on photo shoots to set up the pictures you desire? How about still life's? Do you ever set them up and take photos? It's a great way to have original material. Pick the perfect day and you could have enough material to work from for a year!

Linda Blondheim

Lupines in the Sky

Original oil painting  10x30"

by Susan Roux

I stumbled upon a little gem this morning...

Did I ever mention I live in the woods? It isn't hard to do when you live in rural Maine. Trees grow here like weeds. Even after they've been cut down, the stubborn stumps rebel by sending up five new trees in its place. Keeping the woods from swallowing up the whole property is nearly a full time job. I'm cutting and pruning and fighting them back all the time and they're still winning. What was once a sunny front yard has become a shady haven. My suffering perennial gardens haven't liked the transition very much.

As much as I complain about my growing shade, I love the woods. I always have. There's something so peaceful about it. I love the smells, the sounds and the look of sunlight filtering in. I live in a world that is absolutely green. Well at least in the warmer months... The forest is so thick with underbrush you can't see very far in. After the leaves drop, a new view deep into the rolling terrain is revealed. In winter the sun lights up the white blanket we call snow, illuminating the woods, allowing me to see into it the furthest. My world is far brighter during the winter months than it is in the shade of summer.

It's very different having surroundings that are constantly changing to seeing the same neighbors house across the street. I find it inspiring. I feel immersed in nature. I feel protected.

I know I'm not alone in my love for trees.

My neighbor's getting married next month and having a large outdoor reception. She's labeled the tables, not with numbers, but with different varieties of trees. How cool is that?

Today I found a blogger who's love for trees dips into the realm of passion. Not only does she paint trees, she also keeps a tree scrapbook. She calls it her Tree Journal. Just the title makes me think she adds to it regularly. Tidbits of bark, leaves and twigs. It's part of her reference material. Such a tactile experience...

She isn't just observing the trees, she's really connected to them.

And it shows in her work.

These are just a sampling of the lovely work you'll find on her blog. I know you haven't been there yet because I'm her first follower. Do yourself a favor and go introduce yourself to Linda Blondheim, the wonderful Tree Painter.

On a sadder note. It's hard to talk about trees and not think of the burning fires in Texas. My heart goes out to all those effected. Let's pray the firefighters can gain control over them soon.

The painting posted, Lupines in the Sky, was shown in progress on an earlier post.

Monhegan Island

Step back in time 100 years.

This is what Monhegan feels like..

Monhegan is an island ten miles off the coast of Maine. It's known as the Artists' Island and for good reason. Artists have been flocking here for years. So what's the draw? What makes Monhegan so exciting? Why do I see artists gathered at every turn?

You could ask this question to many and get lots of different answers. It's inspiring to say the least.

Foot power is the mode of transportation. Only a few trucks inhabit the island and they're used for deliveries - your baggage to your rental and supplies to the local residents. Oddly here, vehicles have the right of way.

One of the things that struck me most, especially as a landscape artist, was the strange atmosphere. Aside from the west coast, our weather, the clouds in the sky approach from having come over land. On Monhegan they approach from traveling over ocean. The island is so small, it's as though it isn't there and doesn't effect the passing clouds. You wouldn't think it makes much difference, but the sky and conditions here blew me away. You'll experience cloud formations and sky colors you've never seen. You're there to paint the island, but somehow the sky captivates you. I was in awe.

Photos can't do it justice. The look here on the blog is a simple gray. But the light here is nothing but a simple gray. The fog that rolls in is saturated with glowing warm light. The sun burning through, or just attempting. It renders the island a magical look. The air is fresh and you fill your lungs with the moisture of salty goodness. You walk at a slow pace, visually taking everything in. Quiet. The sound of quiet with the rhythm of ocean waves crashing on the rugged Atlantic side hums continuously. The only place it can't be heard is in the dense forest. It feels healing here.

Your creative soul is at peace. Clarity...

There's no schedule on Monhegan. Artists can be found from the crack of dawn, capturing the incredible sunrise that makes Monana glow, until dark for the orange sunset. Monana is the tiny island across the harbor seen in the top image. It helps protect the island creating a quiet cove, good for fishing boats and the ongoing ferry.

Nearly everyone you meet is an artist. The locals are artists. Beautiful artistic artifacts, sculptures and gardens adorn your walk. You can't help but sense an artistic power in the air. If you have artists' block, this is your hospital of cure. It's impossible for an artist to come to Monhegan and not paint.

This coming weekend, I'll be arriving here. 12 artists will share a large house on the ocean facing Manana for a week of painting and good healing. We'll unplug from life for a brief while and see what our creative souls conjure up. Awhhhhhh... I'm relaxing just thinking about it.

Step back in time 100 years. This is what Monhegan feels like..

Jim Bean

An Artist's Cottage

Original oil painting 16x20"

by Susan Roux

Don't you just love surprises?

A few weekends back, the lilacs were in full bloom. I don't know about other places, but Maine grows lilacs like they were nursed on Rapid Gro. My favorites are the one's planted near old farmhouses. Grand porched-expanses, of addition upon addition with dormers tucked in everywhere, these white old-fashion beauties can be seen on any country drive. The lilacs hugging corners of these charming homes have grown enormous over time, oozing sweet perfume that lingers in the air.

Did people have uses for lilacs back then? It seems every old house had them. Now-a-days when people build a house they plant rhododendrons or azaleas. Back then it was, build a house plant lilacs, rhubarb and raspberries. Two can be eaten, but it still leaves me wondering why everyone had lilacs? Was it just because it was easy to get free from your neighbors?

Whatever the reason, it was height of blossom season, and Mike and I set out to capture them on a photo shoot. There is a wonderful 30 mile loop around a nearby lake with many of these old houses along the way. The sun was shining and stop and walk (the car, that is) became the rhythm of the day.

Somewhere in the middle of our loop a garage door opened as I walked by. Mike had stayed back in the car, because seriously how many pictures of lilacs did he really need? I on the other hand was out in search of good painting material and every lilac bush along the way got its chance to audition.

I was caught by surprise when I glimpsed the gentleman who opened the door. He was an old Mainer from the word go. Almost Santa Clause looking but with faded jean overalls rather than the typical bright red ones. My first thought was I wonder if I can quickly get an inconspicuous shot of his bearded face? The thought was fleeting however, for when I saw what was in his garage, I began to talk to him. He truly was a Santa Clause.

His garage was anything but a garage. It was like landing at the north pole. A wonderful saw-dust filled workshop that smelled of freshly cut pine, with a makeshift store-front of wood creations. I didn't hesitate to flag Mike over. This was a "must see".

Do you mind if I take pictures? Can I blog about you?

My fascination with every inch of his meandering workshop was instantly evident. How wonderful to find this wood artist tucked in the middle of nowhere! Maine perhaps has more artists per capita then any other state. Some are boisterous and flashy, trying to make their name known. Others are tucked in quietly hanging only a little shingle outside their door announcing their art. (I don't suppose I have to tell you which category I fall into...)

We stayed and talked for a long time. He was happy to have visitors including the opportunity to show his many creations.

There were wooden toy trucks and trains. There were bird feeders and birdhouses.

There were ornamental scroll-cut filigreed pieces. Some of which were used to create large clocks. There were wooden baskets and whirligigs, wooden boxes and plaques.

Even trucks in a box!

Some items were hand-carved. Some he sold to artists who paint designs and resell then at craft shows. He wondered if I was interested in this too?

If I blog about you, I need to know your name. My name is Jim.

I need your last name too. Bean. My name is Jim Bean.

Like the drink? Yes, just like the drink, but with an N.

Well I shouldn't have trouble remembering that!

I need to bring my Dad here. I'd love to talk to your Dad. I like talking to old folks.

So there it is. Jim Bean is a modern day Santa Clause who lives in the woods of Maine. He's a gentle man, an artist, a jolly soul who thrives on visitors stopping in. He treasures his simple way of life and like many artists, sells his creations for less than they are worth. He was a true find on an artist's photo shoot and I loved exploring his studio...

Stas Borodin

Susan Roux

Painting at Great Falls, Auburn Maine

I've been absent from Blogworld for awhile, but with good reason.

A very unexpected visitor came to stay with me last week. The Russian artist I mentioned recently in my post about the traveling painting, Stas Borodin, phoned me out of the blue announcing he was in Providence, RI and had some free time to come to Maine. It's been three years since I've seen or heard from him. How odd that at the moment I mention him, he contacts me.

Stas has never stayed with me before, though I've painted with him many times. This was a new experience for all of us. Being with Stas means one thing. Every day, no matter the weather, you go out to paint all day long. If you recall my last post, I was telling you how exhausted I've been. I wasn't in the best condition for the start of a Stas visit. I have to say, keeping up with Stas nearly killed me. My typical day of sitting at the computer blogging with morning coffee and standing in front of my easel in a warm house with Luka Bloom serenading me was a far cry from Stas's normal day. That said, my time with him was very precious and though tiring, I wouldn't give it up for anything.

Stas is a master.

I've been talking to you lately of the importance of fundamentals and how they're no longer taught in today's schools and universities. To really learn them, one must do so from the masters of today. If they don't pass down this knowledge, it will be lost forever within a few decades. That sad thought ripples up my spine. So no matter how tired I was, when a master offered to come paint with me, there was no hesitation to say yes!

If you've been reading any blogs from other Mainers, you already know the weather has been windy, rainy and cold. What was predicted to be a warm sunny week, turned quite differently when a large storm stalled out in the Atlantic, turning and churning the clouds overhead. I only froze on day one. Afterwards wearing my modern day long-john's became daily attire.

Stas is a wonderful person. Don't let the things the government taught us about Russians years ago scare you. If you've had the pleasure to know any, you already know how nice and gentle they really are. Stas is no exception. His kind soul pours out on canvas. His paintings are timeless, brilliantly orchestrated with layers of colors that vibrate the eye and shine with similar luminosity of the inside of a shell. His strokes are broad and rigid, like mosaic tiles scattered atop the canvas. His compositions are unusual. Not the typical lead in with pointers to direct the eye. His paintings grab you with something, some object, and once in, your eye dances a happy vibrating dance bouncing around pleasurably throughout flecks of color. His work is impressionistic. The light it emulates is captivating and entrancing. His work is not always understood at first glance, but get into a roomful of his art and you find yourself touched with a flood of emotion. A rainbow of pastels and grays surround you and with such softness speak the emotions of a well traveled man.

Stas is a unique artist in today's world. It's never about money. It's always about painting. He travels for months at a time with minimal baggage. His art supplies and a few clothes. From country to country, staying with friends he's made along the way, he hops around the world with magnificent stories and a smile on his face. He'll sell a painting right off the easel to a passerby. A few dollars in his pocket help him hop the next bus out of town. He arrives without notice and leaves like the wind blowing pass.

It feels like a quick dream. There is no contact. His cell phone is a Russian number. He doesn't have a laptop. You pinch yourself wondering if it was even real. But photos and a few paintings left behind are proof that he was really here.

He left for NYC where his paintings from Providence and Maine are being exhibited as I write. I got a sneak peek at the entire body of work. It's magnificent. I can't even tell you the venue. Communication is choppy and sometimes difficult. All I can tell you is it's a former synagogue turned art center on Manhattan. Also on view there is an exhibit of the famous Russian artist, Ilya Repin. If you can decipher this code and are nearby, do yourself a favor and go visit.