Lorelei Lorelei 11 x 14 oil on board
Furthering the Romantic Imperative. That's what I do; It is what I have always done. I am just drawn to the natural beauty that surrounds us, Always have been. Do I dare blame my father for always pointing it out to me as a little girl? Developing my antennae? For instance saying, "Do you see the color transitions inside this tulip?" Or, perhaps, it was Mother always asking me to explain how any color was made. I still hear her say, "Do you see the Blue in that beige? Or, the red in that blue?" She was always asking me until I learned how I could mix any color from sight.
Then college came, and I was a landscape painter only to come to understand that genre of painting my peer group/fellow artists/critics were not interested in. It was not intellectually
worthy, groundbreaking,or even passionate. Instead, landscape painting was deemed too easy, eye candy—generic— and perhaps, even hooky or corny. It was a pursuit done to sell. The kiss of death judgement at the time. Well, that was the late 70's.
My landscape paintings eventually morphed into sculpture, a lesser traveled path for women artists in the 80's and made a name for me. Butty sculpture was always created outside, and it was always translating the environment, always interacting with it in someway.
It makes sense to me now, retrospectively, to see the development of my work over a forty year span. The expanse of the love I have for the land, the feeling of proprietorship, of protection, of responsibility, of stewardship. How that came into play, translating into the visual.
It also seems to make sense I have finally begun taking my studio painting practice outside. It is what I have always done sculpturally speaking.—Why, this move to Plein air painting has taken so long I don't know. But the documentation on site of site. to me makes complete and perfect intellectual sense; the transition is a natural progression, stemming from where I have been always been creatively building.
Perhaps, this is the most sublime of creative experiences. Instead of superimposing one's
creative intention like I used to do, or like Robert Smithson implanting his vision onto the land (Spiral Jetty) or Frank lloyd Wright parking a house over a waterfall (Falling Water) Plein Air painting takes intellectual sensibilities one step further; it takes it them into appreciation, into humility, into awe.