Featured Artists

Featured Artist: Bridget Wilkinson

I stumbled across Bridget Wilkinson’s art online several years ago and quickly fell in love with her use of shapes, patterns, and color. It’s hard not to love her work because it’s so happy! Last year a purchased a set of coasters from my new English friend and they fit perfectly in my home.

I was fortunate enough to score an interview with Bridget for this week’s artist feature.

Read below and check out her artwork at http://www.bridgetwilkinson.co.uk.

You can also connect with her on Facebook at https://www.facebook.com/bridgetwilkinson.artist

1. Tell us about your journey as an artist.

I’ve always been creative. From being very little, I remember getting a ‘learn to sew’ book and making little stitched mice, we were over run. I still have one of the original ones that my grandma kept in the sweet tin. I loved art at school and won a painting competition at primary school for painting a kingfisher. I didn’t follow a career in anything arty until later in life after working in the NHS but I was always making, painting or creating something. I became disillusioned with my job and so I began to focus on my painting and develop my style. I then left my full time job and took part time work in a kiln room at a paint your own pottery studio. From then I pushed my artwork forward going to shows, fairs, approaching galleries, anything that would get my work seen. I feel very blessed that people enjoy my work enough to purchase it and it still shocks me when they do. I’ve never had any formal training as an artist but i think this has given me a certain amount of freedom. If there are rules out there i don’t know about them.

2. As a long-time fan of your work, I love your creative approach and style. Tell us a little about your process and how you discovered your signature style.

I loved to paint abstract but quite pattern based. I went on holiday to Cornwall and took a pad, a small box of watercolours and some gel pens. I was working on layered patterns whilst sitting in the sun and I put a little shoal of fish in one of the layers. I thought it looked good so did more. On the next one I worked on underwater and thats how it took off. Seems silly now but it has just evolved.

3. What inspires you to create your interesting landscapes and seascapes?

As I live by the coast I am now inspired by my surroundings and the way the sea interacts with the land. Little houses fearlessly balanced on the top of cliffs. One of my favourite pass times is beach combing. The pebbles are like little jewels and they feature in my work too.

4. Which artists have influenced you most and why?

I love Friedrich Hunderwasser his patterns and detail and of course his rich colours.

5. What five things can you not live without when you are painting?

Tea. My old worn out brushes; I keep buying new ones but end up going back to the old. Acrylic inks; I love the vibrancy. My old painting top; then I don’t have to worry about where the paint goes. I tend to wipe my brushes on my sleeve and will use the sleeve to wipe at the paint on my canvas. Little metal scraper; I use it to scratch out the paint sometimes.

6. What advice do you have for artists who are just starting out?

Keep on producing as much as possible you will develop and get better with each piece. Marketing is nearly as important as the creative side if you want to make a living from it. Work hard and you will succeed.

Featured Artist: Carne Griffiths

Carne Griffiths is an amazing abstract portrait artist who creates spell-binding work. I was thrilled when he agreed to answer some questions for an artist feature for my blog. Check out his work at www.carengriffiths.com and connect on social media at : FACEBOOK – INSTAGRAM – TWITTER

1. Tell us about your journey as an artist.

I grew up always fascinated by drawing the real world and creating the imaginary, I always considered drawing a solace and something I returned to throughout my childhood. I was unable to study art at school, as we returned to this country from New Zealand and there were no places. so I picked back up again at A Level, and went onto study a foundation course and then a degree in Illustration at Maidstone College of Art (KIAD) now part of UCA. after graduating I took a job as a draftsman at a hand embroidery firm in Soho London where I worked for 12 years and became the company’s Creative Director. After some time and it was a tough decision, I wanted to try and see what a year’s work of self led artwork would take me so I resigned from the embroidery firm and bega to paint for myself. I realised as soon as I started drawing that the influence of 12 years of embroidery design with a focus on nature was having a strong influence on the pieces I made so I began to allow this side of the work to evolve naturally.

2. You create the most interesting semi-abstract portraits and figurative work. Tell us a little about your process and how you discovered your unique style.

During my time at Art College I became fascinated with the connection between the unconscious mind, muscle memory and drawing. These led to a series of sketchbooks exploring simple mark making and meditation. When I returned to portraiture these elements were embedded like a kind of language in my drawing so I was able to float in quite a lucid way between the figurative and abstract in my work. There is always an internal dialogue when I am drawing, but there are moments when I try to bloack any critical thinking and allow impulse to take over. It is this interplay between different states of mind and meditation that create the style I work in and mean that the pieces I create are in a constant state of change.

3. I understand you often incorporate mixed media and liquids, such as liquor, tea, etc. into your work. How important is experimentation in your studio?

Experimentation and chaos are very important aspects of my work, I relate what I do to elements in nature, I love repitition and rhythm also but without the influence of chaos the work would become boring to me, so I try to take risks with each piece of work, especially when you think you have created or are creating something special – that is the most dangerous moment, that is when it is best to take the greatest risks, because you break outside of what is your normal routine. If I create a strong piece I can return to it and look at the work as though it were created by someone else, for me that’s a really important thing – to be able to disconnect the conscious mind from what is being created during the process. The liquids for me are used throughout the process and they redefine the work, they can change things dramatically sometimes for the worse, but they allow the chaos into the work, Sometimes it is a small amount of liquid thrown with energy across the piece – sometimes a full kettle of boiling water over the work, but it is always done in the moment and without consideration.

4. Which artists have influenced you most and why?

I have been influenced in my approach to art by a number of outsider artists. I think the biggest influences and game changers in respect to what I do are not stylistic influences but influences in approach and authenticity to painting. I enjoy reading manifestos from painters and approaches to process. There is a lot said about outsider artists versus trained and schooled artists but really the terms are misleading. The outsider artist is a driven creative thinker, with no formal training… however this does not mean a formal artist with training cannot approach their work in the same way as an outsider. I don’t really believe creativity can be taught and many outsider artists are celebrated for their creativity and original thinking and passion, over their academic technique. This creativity for me is the magic of art and it can be brought to the work by any artist. The most important thing is individuality, and personal vision. Henry Darger is a huge influence in this respect, as are the findings of Leonardo Da Vinci and his creative thinking and problem solving, really there is little that separates the vision of these two great artists except the acceptance of their vision, and even knowing what we know now does not diminish the greatness of Da Vincis methods of discovery. Other artists who created wonderful worlds through their own personal vision that really struck a chord with my work are, Jan Svankmajer, The Brothers Quay, Adolf Wolfli and Alphonse Mucha for his unique graphical style and pure draftsmanship.

5. What five things can you not live without when you are painting?

When I am painting the five most important things are

Music

My favourite turquoise and sepia inks

tea

alcohol

natural light

6. What advice do you have for artists who are just starting out and those who are established?

My advice for other painters is try to be fearless, look forward, paint from experience, and combine your passions to create. be aware of what other artists are creating and be selective about what you gather from others work, focus on what makes you unique and be honest with your painting.

Featured Artist: Plinio Pinto

Watercolor artist, Plinio Pinto is one of the most skilled watercolor artists I’ve ever met. He has a unique style. His watercolor paintings have an oil painting-like quality to them. The layers of color are so clean and the detail is so precise, it’s breathtaking.

I owe a lot of my success as an artist to Plino. After a 10-year hiatus from art, I took a watercolor painting class with Plinio and Full Sail Department Chair and artist, Holly Tharp. After seeing his work and taking the class, I became smitten with watercolor and it has since become my favorite medium. I’ve gone from not painting at all to painting daily. Thank you for that inspiration, Plinio!

Take some time to check out this work – it is truly amazing!

Links:

www.PlinioPinto.com

http://gsss.bigcartel.com/products

http://pliniopinto.com/commission.html

https://pliniopinto.carbonmade.com/about

https://www.facebook.com/TheArtofPlinioPinto/

https://www.instagram.com/pliniopinto_art/

1. Tell us about your journey as an artist.

I really feel that we all have the ability to draw or to create art. Some of us just set that aside once we either find another path to express ourselves or are pushed away by some unplanned reason. I’ve been drawing since I can remember, but my professional journey as an artist started right after High School, in the country I was born, Brazil. For a few years after graduating, I worked at an Advertising company, in the production and creative departments. It gave me a great sense of responsibility. After exploring the design career for a little while, I realized that I wanted more out of it, and Illustration was a better path for me. At age 21 I moved to the U.S. to attend Ringling School of Art and Design, in Sarasota, Florida. There, I really developed my skills as a young artist. After receiving my BFA in 2002, I pursued the freelance illustrator route, and worked part time as a faux finisher and mural painter.

Fast forward to 2011, now living in Orlando, I started tutoring artists, young and already established, from my studio, which led to being noticed as a potential educator at Full Sail. Soon after that, I received an invitation to join Full Sail University, as an Associate Course director for the Computer Animation and Game Art Fine Arts department, where I currently work.

Outside my passion for teaching fine arts my subject matter passion is portrait work. I actively do commissions, freelance commercial art and gallery shows.

2. You create some of the most amazing watercolor portraits and figure paintings I’ve ever seen. Tell us a little about your process and how you execute your signature style.

I fell in love with watercolors once I figured out that I could pace myself and slowly build layers of colors. Mixing colors was always a challenge for me, and the ability to focus on subtle changes, weather skin tones, fabrics or background, allows me to get where I need to go at my own pace, without the concern of going too far and then having to back paddle. Once I figured that out, the process of actually putting paint on paper is second nature. The key is to make sure the subject matter has a meaning or connect in some level to what I feel like painting at the time. Most of my work is portraiture and figure work, so having a solid reference and a good a drawing is the first and more important step. After that, I start by adding the lightest hues to the paper, covering the entire work area. At this point, I work wet-on-wet, making sure there enough water everywhere, even in areas that are going to get a lot darker – like the background, for example. I will work wet-on-wet until I feel like I have the form well defined. With every layer after that, I’ll get darker in value and work smaller and slower, focusing on the details. This is a much slower process and I make sure that each layer is bone dry, before adding a new one. Lastly, I’ll add the highlights, where I will “lift” the paint, where necessary, using clean water and a brush. If needed, I’ll use Tinted Gesso for any extra bright highlights.

3. You’ve had some great opportunities featuring your work at Comic Con, for the Walking Dead, and more. How did these opportunities come to fruition? And what goals do you have for the future?

My background is commercial art – I have a BFA with emphasis on Illustration – and I still do freelance illustration, although it is not my main focus right now. At this point in my career, I’m lucky to be able to pick some fun jobs, such as The Walking Dead trading cards, The Hobbit trading cards and DC Comics Bombshells trading cards. These are very popular licenses and it is a pleasure to create work for them. Basically, I initially sent the company printing the trading cards my portfolio- Cryptozoic Entertainment – and now when new projects come up, the art director contacts me with the information. In the future, I would love to travel more and do more conventions such as MegaCon and ComicCon. I love doing pop art, but again my true passion is traditional portrait work and figure painting. My goal is to become an internationally recognized portrait artist.

4. Which watercolor artists inspire you most and why?

I see so much great work on Social Media lately, but I still go back to the classical paintings for inspiration, which are mostly oils. It is interesting that I’m more attracted to oil paintings than watercolors. The Watercolor Artists that I admire currently are Joseph Zbukvic and Alvaro Castagnet. Akira Beard does amazing work on Yupo paper. The illustrative work of Jack Unruh and Joe Ciardelo opened my eyes to watercolor and are still my favorite illustrators

5. What five things can you not live without when you are painting?

Jazz on Pandora, although some times silence is imperative, rolls and rolls of paper towels, my field easel, Winsor & Newton Payne’s Gray and Naples Yellow.

6. What advice do you have for artists who are looking to improve their work?

In order to improve in any way, you have to be willing to try something new, being that a new technique, subject matter or medium. Also, not being concerned about failing if that new thing is not working at first. If you have found the medium and subject matter that you love working with, then practice, practice and practice – but be your hardest critic; if you’re not happy with it, start over!

Featured Artist: Ali Cavanaugh

Today’s featured artist is Ali Cavanaugh. I’ve been admiring her work for years. It is simply stunning!

Her work is currently exhibited in museums and curated shows. She has work at Robert Lange Studios, Charleston SC and Sirona Fine Art, Hallandale Beach FL.

You can check out her website for more details about shows and exhibitions at www.alicavanaugh.com She also has a huge Instagram following. You can follow her on social media at @_alicavanaugh_

1. Tell us about your journey and how you became the accomplished artist you are today.

I was born in St Louis, Missouri in 1973. My mother was a school teacher and my father an auto worker. After the tumultuous years of my early childhood passed, my mother remarried and I became part of a blended family with siblings. My parents raised us on a small rural farm in the St Louis area. I have been married to my husband, Brett for 22 years. We have four children. My children are my biggest source of inspiration, but I also love spending time with the elderly.

I began drawing and painting in middle school. I was drawn to the figure and portraits from the beginning. I do believe that my hearing loss influenced this. At two years old I contracted meningitis and it took most of my hearing. I have been hard of hearing my whole life and so this has forced me to depend on reading lips and being attentive to the body language of others to communicate.

2. Describe your process and how you create.

I carefully layer watercolor pigment on a wet kaolin clay surface using round synthetic brushes. My methods of layering translucent pigment on the white surface give the paintings a sense of being lit from behind. The luminous quality is often described by collectors as being transcendent or sublime and the detail and light can only be experienced in person. My paintings are most similar to fresco-secco paintings, but I use all modern materials; hence, modern frescoes. My panels are constructed by Ampersand Art Supply located in Buda, Texas. Ampersand first treats the wood panels with its trademarked ‘Archivalseal’ primer and then they coat the panels with a ph balanced kaolin clay veneer. This archival clay coating is delicate to the touch but very durable to the watercolor medium. I use a variety of watercolor brands; Holbein is my current favorite.

3. Who are the artists who inspire you most and why?

Andy Warhol, Alex Katz, Ingres, Andy Goldsworthy. Two of my contemporary favorites are Felicia Forte and Cesar Santos. My inspirations in no particular order- folk art textiles, Scandinavian textiles and design, the sky, bodies of water, good poetry, and good music.

4. What do you hope to convey to others through your work?

In my process I try to paint people with love. My ultimate goal is that when one looks at my work they see a body/soul composite, not just a physical body. Painting the unseen presence of the person is what I’m always striving to capture. So what am I trying to share with the world through my work? Love others, value others, every single person on this earth has immeasurable value and potential to love and be loved.

5. What five things can you not paint without?

florescent lights, large yogurt containers, white ceramic tiles, paper towels, and curiosity.

6. What advice do you have for established artists, and those who are just starting out?

Following your dream of being an artist is a wonderful concept, but if you do not think through the reality of life and what it takes to provide for yourself, the idea of “following your dream” can become a heartbreaking disappointment. For example, if you have creative talent, and want to be a professional working artist then I do not recommend spending money on art school. I would instead recommend watching you tube videos to learn about materials and techniques, travel, and apprentice under artists. Spend a year or two taking business classes and graphic design at a good community college. Most artists spend a fortune to get a degree in painting and graduate without any knowledge of how a business is set up. I recommend taking graphic design classes because there is so much design required in preparing your art to be marketed on the internet. You need to know how to use the software to market your own work. Learn how to make a business plan for your dreams. Then you have a blueprint -that’s based in reality- to follow.

Featured Artist: Ken Austin

Ken Austin is this week’s featured artist. Ken was one of my first watercolor teachers. I took a class from him at Crealde in Winter Park a few years ago. I remember calling the school and asking for the perfect teacher to take my limited knowledge of watercolor to the next level. The person on the other end of the phone didn’t hesitate in referring met to Ken. Ken was the founder of the Central Florida Watercolor Society and has been impressing art lovers for many, many years.

Taking that class with Ken opened my eyes to a new way of painting. He taught us theory and the importance of experimenting. I consider him to be one of my mentors. I’ve certainly learned a lot from him.

When I approached him about writing for my blog he graciously agreed. I asked him to share some details about his art journey.

You can see more of his work at http://www.kenaustinartist.com/page/page/1653983.htm

He is still a teacher at Crealde and has a studio at FAVO in Downtown Orlando.

ken-austin-3

Ken Austin:

The first watercolor I remember painting was when I was four years old. My mother, Betty H. Austin, was an accomplished artist (MFA from Peabody) and during WWII, when my dad was overseas, she would take me with her when she went out on plein aire rambles. She would give me watercolor to paint with and I’d dutifully paint while she did her own thing in oils. I did this even into my teens and so was never afraid to make art.

In college, as an architecture student, I took classes in rendering, and one of the mediums taught was watercolor. We had a talented instructor, a professional, and the more I learned about it, the more I liked it. I used it at home summers freelance and in architectural offices when I had a job to make presentations and sketches for clients. By age 19 I was spending summers selling my skills to architects in my hometown and beyond.

ken-austin-1

But in 1975 we moved to Houston, Tx and it was there I saw the traveling exhibition of the American Watercolor Society. It was sponsored by the Watercolor Art Society – Houston (WAS-H) which I joined on the spot and was active in all the time I lived there. It was there I met Polly Hammett, AWS, NWS, who became my teacher, friend and supporter. A great teacher, she took me under her wing and I learned about design in watercolor, watercolor technique, and developed an “I can do it” attitude. We later became studio mates, and remain close to this day.

The result of this relationship offered me another learning option; watercolor workshops. At Polly’s urging I took a workshop with Skip Lawrence at the Springmaid Watercolor Workshops in Myrtle Beach, N.C. His incredible teaching skills and his support for my work made me even more aware of the value of design and a deeper understanding of materials, subject, and style.

ken-austin-2

By 1987, when we moved to Orlando, I was involved in finding a new and different expression in my art; something I could love doing and the art audience would enjoy seeing. I continued painting on my own, and joined the Florida Watercolor Society. Within a few years I had begun painting my “Big Women” series, using the gouache resist technique. This work was accepted into various national and local shows, winning awards in some. Soon after, perturbed that there was no opportunity for workshops or an identifiable community of watercolor artists in Orlando, I founded the Central Florida Watercolor Society, now numbering around 160 members. In 2009 I began teaching watercolor at Crealdé school in Winter Park, FL. That, interspersed with workshops in Orlando and beyond, has been my main teaching activity in watercolor since .

This brief description of the high points of my career with watercolor is, I’m happy to say, still growing and I am still learning.

Artist Feature: Linda Blondheim

Artist Feature

Linda Blondheim is the featured artist this Friday. I’ve been admiring Linda’s work on social media for years. Her landscapes are incredible.

You can check out her work at https://lindablondheim.com.

shore_drive_trees_linda_blondheim_art

Tell us about your journey as an artist and how you got to where you are today.

I started painting when I was 8 years old. I had a little neighborhood art club with my friends. We studied still life and horses. I graduated to oil painting when I was 13 and worked all through high school. I was an art major in college and graduated with my BFA. I studied painting in graduate school as well. I began to paint as a full time professional in the early 90’s.

Your landscapes are stunning. What medium do you use and why?

Very kind of you. I paint with oils and acrylics. I have also used gouache and casein at various times in my career. I like painting with two mediums because each one teaches me technique that I can use with the other. Using two mediums keeps me fresh and eager to learn.

clouds_linda_blondheim_art

Tell us a little about your process. How do you design your paintings?

I was very lucky in undergrad school to study with a very fine design professor. He instilled in me a love for design and composing, which I feel is my strongest ability as a painter. I like to think of composition, values, and color mixing as the “BIG Three” of painting. If you get that right, you can’t lose.

I have a few axioms for painting that I swear by. Use the natural armatures that occur in the landscape effectively. Use 7 or fewer objects. Place focal objects carefully. Link secondary and tertiary objects effectively and give the main area of the painting it’s due attention. If it is a sky painting, make the land minimal and complimentary to the sky. If it is a land painting, minimize the sky. I like to use neutrals beside color. Use good brushwork, choosing a variety of loose and tight work in the painting. I like a very clean palette and clean brushwork. I don’t like muddy, messy work.

Who are some of the artists who have inspired your work most?

Daniel Greene

John Singer Sargent

Pissarro

Edward Manet

Anders Zorn

Alex Katz

Jim Dine

Francis Bacon

fish_prairie_linda_blondheim_art

What five things can you not live without when painting?

Paper towels

Canvas or board

Brushes

Paint

palette

What advice do you have for established artists; and those who are just starting out?

Paint only what you truly love. Mimic no one. Develop your own work. Spend many hours in front of the easel. Study endlessly. Learn how to paint a body of work that makes sense and shows a consistent strength, whatever the subject, before you dream about selling art. Only when strangers tell you they want to buy your work, should you consider selling your work. There are many struggling amateurs trying to sell paintings who are frankly not ready.

For established artists:

Be a professional at all times. Do what you promise and show up when you are supposed to. Remember that your collectors are more important than you are. Treat them like the stars that they are and they will reward you. Market your art every day. Use your mailing list constantly. Be consistent in your quality of work and never stop, whether the market is bad, or family issues intrude. Remember that being a painter is your job.

Artist Feature: Holly Tharp

I’m going to try to get back into the habit of interviewing artists for my blog. Each Friday, I plan to feature an artist who inspires me. This week, I’d like to introduce you to Ms. Holly Tharp.

Holly Tharp has been one of the most influential artists in my career. She hosted a class at Full Sail University on watercolor painting and that lit a fire within me. It got me painting after 10 years of focusing on a marketing career. I wouldn’t be painting today if it wasn’t for her. She is a Department Chair for the art program at Full Sail University and she is truly amazing.

You can check out her work at www.thehollyblossom.com. Don’t forget to “like” her page on Facebook too: https://www.facebook.com/thehollyblossom

1. How long have you known you were an artist and what steps did you take to get to where you are today?

I have been interested in art since I was in elementary school. I took every art class offered in middle and high school, then went on to study art in college. I focused on steel sculpture and photography for my BS at Florida State University. I didn’t begin painting until 1994 and can say that I am self-taught, I didn’t take any painting classes during college.

2. You paint a lot of figures and abstract paintings. What inspires your work?

I am super drawn to gesture, color, and texture and how they can tell a story. I like challenging myself to find new ways to communicate through those three elements… Simple figurative work can show as many emotions as color- when I mix the two with texture, it exemplifies what I want to convey. My non-objective work is more of a meditation practice for me- I do them in one sitting and never know exactly how they will turn out; it is really the process that is the most important.

3. What kind of creative patterns, routines, rituals do you have?

I am not sure that have patterns or routines, but I definitely paint in groups of three. It doesn’t matter what I am working on; landscapes, figures, abstracts/non-objective, I complete sets of three. I have no idea why I do it, I just have always done it this way.

4. Who has been your biggest inspiration?

I surround myself with incredibly talented people, their work, experience, drive, and friendships have pushed me to continue my practice and inspire me to try new ideas and work out old ones.

5. What five things can you not paint without?

Wine, a book on tape, isolation, light, and sleep.

6. What’s the best advice you have for artists who are just starting out?

It depends on the type of artwork that interests them. If they love realism, then they need reference (without question)- they need to start by taking their own photographs to learn to see and observe their subject matter. I would also say, stop asking how others do their work and spend time experimenting with all kinds of mediums. Everyone has to put in their own time and shouldn’t try to skip on the hours it takes to become good at what you do. A teacher can only “teach” you so much, it is up to you to practice, experiment, and fail in order to learn.