Website

Sea Angel  

Original oil painting  24x18"

by Susan Roux

Things here are very exciting as the opening of Roux & Cyr International Fine Art Gallery nears. We have a wonderful body of 25 artists, representing 6 countries. You can see them all on our website. Come view the beautiful work that will be adorning our gallery walls!

Our Grand Opening is: 

Memorial Day Weekend

 Saturday, May 24, 2014 

You are all invited to attend. If you can't make it but find yourself in Portland Maine at some point, please stop in! We are at 48 Free Street, across the street from the Civic Center in the Arts District. I'd be very happy to show you around!

We will not be a typical art gallery. We have a lot going on and are working to be community friendly and an inviting place for people to come see art, talk about art, learn about art, create art and last but not least buy art! I'll be busy in our back studio continuing to teach weekly courses to beginners and intermediates. We will also be offering workshops from our very talented artists, so keep an eye out for anyone you'd like to learn from. You can also contact me with a request and I'll urge that artist to set up a workshop. Our first scheduled workshop is a 2-day workshop by artist Sandra Leinonen Dunn on August 7-8, 2014. It is at a very reasonable cost of $200. Please contact me if you'd like to attend. 

Bean Pot and Green Apple

Original oil painting  16x20"

by Sandra Leinonen Dunn

The best way to keep up with this schedule is through our Facebook page. Please come like us here. Don't forget to share us as well! It's the best place to keep up with our latest news, rotating monthly exhibits, any events and openings. You can also let me know if you'd like to be on our mailing list by emailing me. Unfortunately as you already know, my blogging time has been severely cut since I began planning this gallery a full year ago. It's no longer the most efficient way to keep up with our news.

I must admit that I miss coming here and interacting with all of you. I also miss seeing all your great art. It's so inspiring to see how committed you are and how often you post. It helped motivate me as well. 

So what happens to an artist when they decide to open a large art gallery?

Every emotion you can think of! I'm busy beyond comprehension, but doing all the work with love and passion. It's been amazing to start with a vision and step by step move it forward until eventually all the parts fall into place. Watching it all turn into reality... Paintings are beginning to pour into my home and that like none other, is making it all feel so real. The day we enter our space and begin to build wall partitions will be huge as well. 

Thank you for stopping by and do leave a comment so I'll know you came. Don't forget to like us on Facebook and email me if you'd like to join our gallery mailing list. Have a good day!

Color vs Value

Ahoy Maties

Original oil painting  24x18"

by Susan Roux

Color and Value. They're quite different.

Color, we all know. It's how we've been taught to refer to the pigment of everything we see. It's green, it's blue, it's yellow, it's red... Of course as artists we know there is a lot more to color than just identifying it's pigment. We train our eyes to see beyond mere childlike identifications. Is the color neutralized? Is it saturated? Has it been lightened or perhaps darkened? Is the color in sunlight or in shadow? This is where it can get tricky.

As soon as we start thinking in terms of how light or dark the color is, we switch to talking about it's value as opposed to it's pigment. Here lies a very confusing fine line for a lot of people. My students stumble on it a lot. Value becomes confused with color.

It's pretty easy to do since we are always using color to paint our paintings. Whether we're depicting value or color, it's with mixtures of color that we work with. Even trying to write it feels like a tongue twister.

The most important thing to capture in representational painting is the correct value. How light or dark a passage is. It's what identifies form. Three values, a light, a dark and a mid-tone placed between the two will create the illusion of 3-D form. As for color, the skies the limit!

Unlike needing the correct value, color can be as expressive as the artist chooses. So long as the value is right in a passage, any pigment can be used. The decision is up to the artist. Some will opt for a close representation of what they see while others will play with the emotional factor color possesses.

I experimented once and painted an entire painting with very wrong colors, but kept the values correct. It was pretty bizarre to look at, yet when you looked at it through a red-sheet value finder, it appeared to be totally correct. A friend said it would make a great exhibition. Paint all these crazy paintings and have value finder glasses for viewers to use. I could actually picture it in large cities, but never followed up with the idea from my rural area.

Do you have a red value finder? I like to pass some around during my first class with beginner students. It blocks out color and helps you focus on the actual values. As I try to have them look at things in terms of value, it's a great tool. Squinting does a similar thing and I'm sure a lot of you are accustomed to doing so as you paint.

 Are you getting your values right? An easy way to check is to turn your image to black and white. Eliminate the color and what remains are the values. Does your work hold up to this test? If not, try focusing on it and you'll find your work will improve. Your images will become stronger. Getting the values right is primo in representational painting.

-----------------------

Ha ha. I have to laugh at myself. It's wasn't until I was sitting here looking at my image in black and white that I noticed the reflection doesn't line up with her right leg. I moved her leg to the left near the end as an adjustment, but never moved the reflection! I guess she needs to come sit on my easel a bit longer...

See. There's proof that turning your painting to black and white can help you improve your work!

A Good Exhaustion

Moving to the Rhythm 

(panel 2)

Original oil painting  28x22"

by Susan Roux

You know those moments when you do exactly what you want to do, enjoy doing it and then feel completely drained afterwards? (no... I'm not talking about that!) Well this is how I would describe our weeklong artists retreat. Completely heavenly for lots of reasons only to return home to realize how exhausted you really are.

Prior to leaving, it's common to think of it as a vacation. A whole week with other artists. Nothing to do but paint and talk about art, eat great food, enjoy wine and champagne and sit in front of a crackling fire. What more could an artist want? It does sound like a perfect vacation.

But as it turns out, marathon painting is very draining.

Long hours in front of the easel, focused. I painted for hours at a time. The beautiful mansion we were in seemed to slip away. All that remained was my canvas, palette and reference. I was lost in colors, values and folds. Music played (yes it was Luka Bloom) and all the world faded away as time passed quickly, immersed in my work.

Stimulation was high. Each time I stopped, even for a moment, I looked out the window that illuminated my canvas. The white sunlit deck railing against the beautiful blue ocean reminded me of photos of Greece. I watched the tide come in and out of the cove. Reflections were amazing and countless birds danced and sang. The ocean was their stage and the show went on indefinitely. Each time I stopped painting, it almost caught me by surprise. How could this ever changing beautiful scene disappear when I worked?

But it did.

Interesting art conversations about every aspect of our craft, from first acknowledging you were an artist to marketing, gave a glimpse into each of our creative souls. Details of our journey, our hopes and our dreams. Our frustrations. It was all discussed. Encouraging words lifted spirits.

We continued to paint.

Champagne Thursday was well attended and such a delightful evening. The setting sun created an idyllic light for the art filled mansion. Thank you to everyone who came. The euphoria of the evening fueled us to continue painting for the remaining days.

Now I've returned to reality. All the household chores and stresses of life leap back upon me. The retreat was just that. A retreat from life. I'm exhausted, both mind and body, from the intensity of my focus. But I'm not complaining. It's definitely a Good Exhaustion.

Putting it in motion

Ocean Commotion

(Putting it in motion)

Original oil painting  20x16"

by Susan Roux

Some paintings just beg to be seen in person. This one is no exception. It seems no matter how many times I photograph it and adjust it, I can't get it to look like the original. It's as though I would have to adjust the background in one direction and the foreground in another. Opposing adjustments are essential to each area. How can I do that?

Yes all those colors exist in the background, however the eye blends them together to form a grayed base upon which the figure stands un-conflicted. In this version, the background demands as much attention as the figure. Believe me, in reality it's no contest. She wiggles center stage!

I like this pose. She seems totally in the moment, enjoying the movement of the water and oblivious to all the onlookers. (remember the photo shoot?) She appears seduced by the ocean...  Seduction. The repeating sound can have that effect, can't it?

I'm trying to implement a combination of emotional with fundamentals. Gut instinct with a bit of defining details. I have to admit, it's more fun to paint like this than to painstakingly focus on every stroke. The result is much softer and more emotional. I'm really pleased I took the last year to focus so intensely on the technical part, because I feel it helped improve my finish work. 

Here is my first girl, Frolicking, that was painted just one year ago. Don't you just love it when you can see the benefits of your hard work?

How does your work compare with that of just a year ago? Does it look the same? Are you growing as an artist or do you find yourself stagnating? There are lots of ways to shake things up. Sign up for a workshop. Go paint with other artists. Try some new techniques. Add a few unusual colors to your palette. Upgrade  your paints. Read Nicolaides, The Natural Way to Draw. Whatever you choose, if you focus on improving your skills, you can do whatever it is you set out to do. Work hard and believe in yourself. It's a winning combination. Have fun. Listen to your inner voice and don't forget to Paint the Poetry!

It's all up to you. What are you putting in motion?

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!

Playing with color

Caressing

Original oil painting   20x16"

by Susan Roux

Last post I mentioned color is emotion. 

It isn't just a loose statement I've put out there in cyberspace. I experiment a lot with color and know it to be true. I can play for hours entertaining myself with color.

I'm not in a rush when I paint. Every canvas has turned into a learning playground. Don't misunderstand me. There are certainly times of major frustration. Major, MAJOR! But I like to take my time to watch what happens when I change things. Change things such as colors.

Emotion.

It's the greatest change that takes place as I alter the colors on a painting. 

These pretend backgrounds I place my beach girls in have offered an opportunity to cut loose and scribble color. Layers and layers of color get placed there every time I'm tense from focusing too severely on my girl. It's created a yin-yang for me. High intensity on capturing my figure versus complete release on the remainder of the canvas. I like painting large. Many of my girls sit on 28x22" canvases. That leaves a lot of empty space to scribble color! Believe me, I need the release...

Color doesn't scare me. I enjoy manipulating it, changing it and frankly I just embrace it. I think it's my favorite part of painting. If I had to move to black and white, I'd probably give up painting. It's at my very core. No wonder I spend so many working hours being entertained by it. 

If you're a little nervous about color, one easy principle comes to mind. Combine the primary colors (any red, blue or yellow) and the result is a grayed, neutralized pigment. Upon that neutral, any clean color will stand out. This basic knowledge frees me to play as much as I desire. If all fails, the result is a neutral tone. Any color can be added on top and stand out. 

In other words, play with too many colors on canvas and they dull. Some of you call it mud. This grayed base provides a perfect surface to place pure pigment. This concept keeps me fearless with regard to color. There always exists the opportunity to work pure pigment into a neutral area. 

I played with the background pigments of Caressing a lot. The mood and emotion of this painting changed as I altered the colors. In the end I emphasized those pigments that presented the emotion I preferred. The magenta's set off her sunlit back. The golden hues added warmth and sunlight to the water and the greens added a stable base anchoring the composition. The background became a mixture of secondary colors (green, purple and orange). 

Something has really grabbed me while painting these figures. I began in January of this year and continue to be amazed and challenged. All the while having a fun release in playing with colors on this simplified stage, a single figure in a vague atmospheric presence. As I focus on sun and shadow patterns falling on the figure, I also have been enjoying playing with (and learning) color.

What's your secret passion in your whole creative painting journey?

Jean Haines

Lifted
Original oil painting  28x22"

by Susan Roux

I'm sure you remember the post I did a short while ago on modern-day pirates where Hugo Diaz Mapi was selling images copied from other artists. This post was carried by several other artists (thank you) in hopes of getting the word out. Copied art is a real problem and unfortunately it strikes many artists. Usually the pirating has been going on long before the artist becomes aware of it.

Artists are kind people as a whole. We move from our soul and we pour ourselves out for all to see. It's a complete exposure and when you come to actually know the artist, you can clearly see them in their work. We're often so involved in our own creative process that imagining other artists aren't moved the same way, seems unfathomable. Why would a creative person be satisfied copying another's work when so many of our own ideas want to explode out of us? Because of this we're probably far more trusting than we ought to be.

 I recently came upon a post by Jean Haines where she's being affected by a copying issue. Her post is very well written and I recommend you take a few minutes to go read it. It's about an encounter with a personal collector. Imagine her surprise meeting him at an opening and the conversation turned to copying! He was very concerned about original art he had purchased from her at a lofty price, that was now being mimicked by another. How original was his painting now?

I'm certain it was an interesting conversation, though not one you're expecting at your art opening.

As the UK artist points out, the problem with copying hurts more than just the artist being copied. Though there may exist an ounce of flattery involved, the effects carry on to representing galleries and buyers. Does this raise the value of your art or is it cheapening it? A good question that I'm not equipped to answer.

What do we do about it?

I've stopped posting high resolution photos of my art. It's too bad to have to resort to these changes, when there are so many artists out there interested in seeing work up close. Sometimes I add detailed clips to offset this, but I know for myself that when I find art I really like, I enjoy scrutinizing every inch of it. For that I apologize. Haines is taking it a few steps further. Her art has been evolving in a new direction and she'll be eliminating images of it altogether. It's really a shame to have to resort to such severe measures.

We spend so much of our art life getting as much exposure as possible. Art inspires people. It can have a very powerful effect on viewers, even to the point of changing someone's life. It's impossible to know how yours has affected others. So how terrible is it that an artist is moved to stop exposing any current work? It really saddens me. I hope I never get to the point where I want to hide my art from the masses. I'm not blaming Jean. As her career escalates, she feels it necessary to protect herself and her buyers.

I don't know what the solution is. Perhaps there really isn't one. Copying an artist's work to understand art with intensions of improvement is one thing. Copying art with intensions of sales is a whole different ball game...

How are you dealing with this problem? How are you protecting yourself from the few unethical ones?

Trusting instincts

A Marilyn Moment

Original oil painting  28x22"

by Susan Roux

Painting is unusual. Most things, do them long enough and you almost become an expert.  I know this like the back of my hand. Sometimes you feel you could even do them with your eyes closed.

Not true with painting.

It seems no matter how long you paint, or how good you get at it, there are always those pesky paintings that give you a run for your money. For some unknown reason they just won't come together. It's like back paddling, never pushing you forward. You begin to feel like you're just moving paint around. Colors that were once alive, dull. The more you layer, the worse it gets. At some point you might even consider wiping down the entire canvas. It's how I felt yesterday while toiling on this painting.

But...

Frustration can be your friend. Seriously. It doesn't feel like it at the time, but when you get to the point where you're ready to just trash the entire canvas, freedom and spontaneity take over. The big brushes come out. There's fearlessness pumping through your veins. That "I don't give a care" attitude can propel quantities of emotion onto your canvas. With big bold strokes, you find yourself hacking into your work. Where you once delicately painted detail, you now obliterate with a single stroke. Oddly it seems to be better. Either that or you just feel better unleashing. The painting takes an unexpected turn. A clearer direction, perhaps a new direction announces itself.

Often a new day and fresh eyes help. You might even put off going into the studio. After all you're expecting to see a terrible mess, but it usually isn't as bad as you remembered. Those bold strokes of late yesterday seem to compliment. That's when you know your gut took over. There's an empowering drive in trusting your instincts. It's comforting to see your instincts didn't fail you.  Even through bad days behind the easel, the creative you persevered. There's wonderful energy in that. Part of you suddenly becomes reassured.

When the going gets tough the tough get going. Kevin Mizner recently posted about keep on working especially when everything is going wrong. He never brings it full circle to connect with the painting process, but it's implied.

Where do you land on this? How long do you work a painting? Do you try to salvage or does it get dumped as soon as it begins to go awry?

Are you trusting your instincts?

Flirting with folds

"Bonjour!"

Original oil painting 24x18"

by Susan Roux

I spent the week away in a rental house with friends and family. It was a few yards from the beach and at low tide you could walk for miles in ankle high water. Conveniently, low tide occurred in the afternoon and a promenade through the crystal clear water was the perfect way to relax after painting all day long. I arrived back home yesterday and already miss those afternoon strolls and evening sunsets...

The household was bubbling with activity. Everyone going in different directions to view the area. I'd been there many times and decided in advance to set my easel inside and paint as if it were my studio. I didn't think I'd spend the entire week on only one painting, but I did. After coffee, people would scatter and my daily activity began. It was so nice to have nothing to do but paint. You could say I was on vacation, but I worked very hard.

I'm posting her a bit incomplete. As I look at her with fresh eyes, I can see a few areas that need touching up. Aren't there always..? My focus was the folds in the fabric. I wanted to capture volume and twists. The more I work on this subject, the more I realize I have a long way to go. Folds are a challenge all their own. My wish is to capture fullness and movement while still keeping everything really soft. For now, rigid keeps creeping in.

It's ok though.

I recently took my model on a photo shoot and I have lots of new material to work with. In time with hard work and long hours behind the easel, I'll probably capture what I set out to achieve. I know I'm pretty tough on myself, but the desire to improve continues to bubble through me. If painstakingly is what it takes, then painstakingly it will be!

Thanks for stopping by. I don't spend nearly enough time thanking all of you for your continued support including the time you take to leave comments. Whether nice, sweet, humorous or critical, I love reading them all. You make my day!

With humble gratitude, I thank you.

Painting the fog

Monhegan Fog

Original oil painting 16x12"

by Susan Roux

I experimented while on Monhegan.

I began by spending two days painting a lovely garden in plein air. As you know, I'm a studio painter by preference. I enjoy being out in the elements, feeling the breeze, hearing the sounds, smelling the air, but my mind wants to paint like I have all the time in the world. After two days in glorious sun, it was time I get myself out of it.

Anticipating rain at some point, I brought a few printed images from my previous trip to Monhegan. I had a foggy scene and found myself missing painting my girls. It's odd how desire for something sparks one to deviate from normal behavior. I'd been trying to figure out how to incorporate the impressionist backgrounds I use on my girls into my scenery paintings. Suddenly in a new environment, it became clear to me.

The fog holds little detail and it seemed the perfect subject to launch myself there. I was set up indoors and aside from continual breaks to aloe myself, I was relaxed and in my element. Tucked in a corner with an ocean view, barefoot and dancing with my brush in hand while Luka played in my ears.

I took my time. I played with color. Adding, subtracting, neutralizing...

My reference photo was soon pushed aside and the canvas took over. It wasn't about copying anything. It became all about feeling. The feeling different colors emitted. The feeling of certain pigments against other pigments. Pure color navigated the course. I delighted in observation as color touched color. It became a time for learning, for experimenting. I can get pretty chaotic with color on canvas before pulling it all together in the end to hopefully find a soft relaxing scene. My housemates came over periodically to see what I was up to. They found wild color scribbled all over the canvas. They looked at my printed gray image. Confusion was written all over their face. They didn't say a word. Each observer had the same reaction. I know they couldn't imagine where I was going with this. Needless to say when it was finally finished, they were surprised with the results. It went from chaos to tranquility.

Clarity in the fog. How can you beat that?

Note: Unfortunately just as in my girls, photos cannot do justice to the rich, luminous, seemingly-alive backgrounds my technique is creating. You'll just have to see my art in person someday...

Paint a story

Coming Out

Original oil painting 24x18"

by Susan Roux

A blogging-writer friend recently sent me an excerpt from a book she's writing. It's a very rough draft she told me. I have to tell you it was very interesting to experience the work in progress. I've never stopped to think about writers and their creative process, but suddenly I couldn't get it off my mind.

It fascinated me how the idea she created needed to be "hatched" before outlines and chapters could be written. Just reading a short bit opened my eyes to how the many pieces of the process come together. It gave me a glimpse into her idea and made my imagination run wild, almost to the point of making me feel like I wanted to write this story...

But who am I kidding?

The funny thing was, afterwards I couldn't shake it from my mind. As though clear as freshly washed glass, I realized the aspects that make art good are the same aspects needed in all forms of art, be it writing, dancing, singing etc. The comparisons flooded my head...

Words, like brushstrokes, could be colorful or dull and grouped together to suggest a unified idea. Every paragraph, every chapter needs a focal point. Needless brushstrokes or words only get in the way, busying up the composition. Making it hard to follow. The more I thought of these things, the clearer and clearer creating art became to me.

It's not about painting a girl or a fruit or a tree. We learn to do that very early on in our painting lives. The juice of the matter is to capture these elements with passion. The colors, the strokes we use need to be so unified that a single one missing would render it incomplete. Imagine a song with a crucial note missing? Everything must work harmoniously together, supporting one main idea.

More than an idea, really.

A painting must tell a story. It's what pulls the viewer in, lets their imagination run free therefore keeping them engaged.

A book must paint a picture. It's what pulls the reader in, lets their imagination run free therefore keeping them engaged.

It's the same thing. But with a switch. The painter must tell a story and the writer, paint a picture. As painters we are not painting pictures. Why didn't anyone tell me this years ago? We are telling a story with paint. All you writers, you are not writing a story. You are painting a picture with words. Why was this easier to see through a different form of art?

So in conclusion, if you can follow my skewed way of thinking, artist should be grouped with writers. They'll be the ones who'll let us know if we told a story. Conversely, writers should be grouped with painters so we can help them paint a picture. After all we know how to paint a picture. We could be very helpful with that.

Paint a story. A passionate story.

Now that's a challenge. Go find yourselves writers to help you.

Note: Coming Out was painted from a black and white photo. It's the first time I've attempted this and found it to be completely freeing! Colors weren't dictated at all. How would I have painted such a rainbow hat with suggested colors hampering my imagination?

Time

Tassels

Original oil painting 28x22"

by Susan Roux

Where does the time go? I feel as though it's whizzing by!

I think I'm trying to do too much. I'm running on exhaustion lately and still have plenty of things I'd like to get to. Energy. Lack of energy and a tired body slow me down. I heard this could (would) happen with age... Don't you just hate it when they're right?

Thoughts usually ricochet in my head like the silver ball in a pinball machine. Creative thoughts, imaginative thoughts, even organizational thoughts. So many thoughts and ideas, it's often hard to sleep because they don't turn off. Today I sit before you with a blank mind. It seems so strange. I know it's because it wants to shut down and sleep, but not today. There is still too much to do.

Here is my latest girl. Charlie at The Wright Gallery sold Sundress after having her for a week. This is for him. I'll be delivering it early next week, hopefully. It's like my husband says. Charlie can't sell them if I don't paint them.

Words of wisdom.

Catching the rain

Hello Little bird

Original oil painting 20x16"

by Susan Roux

sold

Did you receive an email from Eric Rhoads about catching the rain? He's the publisher of Fine Art Connoisseur and a few other artists publications. In it he talks about having alternative strategies in our difficult economy. Thinking outside the box, even looking outside the box, when seeking ways to market our art. We are all creative. I know a lot of you are marketing yourselves effectively over the internet. It does offer a wide range of avenues. I personally don't take advantage of them. I could learn a lot from many of you in this realm.

Frolicking

sold

I have been represented by galleries for the past decade. I sometimes have trouble with other marketing venues due to the prices my art requires, to stay abreast with my galleries. As you may already know, undercutting your gallery price is detrimental to your gallery relationship, your representation. I've struggled with this. It seems to limit my possibilities because I no longer have the freedom to fluctuate my prices to accommodate varying venues.

Hat Dance

sold

But I have to agree with Eric. As you may know, I hung my art at Nosh, a restaurant, for the month of March. I received less than a 24 hour notice before the show had to be hung. It would have been very easy to decline. But something made me hustle and get a nice selection of art on their walls. My prices remain high and sales were far from my hopes. At best I'd wished for a local gallery to stop in for lunch, see my latest girls and want to represent me.

Quite the contrary happened.

In one month's time, I sold seven paintings! I can't believe it. At a restaurant! I'm sharing this information with you so you won't close the door on opportunities you might think are pointless. We are all at different stages in our art journeys and what works for one person may not be the answer for the next. But keep your eyes and options open. Like Eric points out in his article, you need to reach out in different areas to find customers. Just imagine if I hadn't rushed to put an exhibit together in record time? I'd have missed all these sales...

Thank you my new collectors. You made my month!

sold

Sweet Dreams

Sweet Dreamer

Original oil painting 28x22"

by Susan Roux

This series of ladies at the beach has me entranced. My spare time is completely devoted to creating more of them. Even times that aren't spare get caught up in it. Certainly I would define this as crossing over from passion to obsession. I can't describe what fascinates me the most as I'm painting these. Is it color? Is it the sensuality? It's almost as though life breaths into them. I've never been so directed by what's emerging on canvas as I am now.

Both the figure and the background tantalize me equally.

The beginning starts off simply. A quick gesture sketch put on by a large brush, allows the form to move and morph into shape. Colors start to appear as random as my whim. Slowly it takes shape. This is when the fun or stress really kicks in.

The decisions I make stop being random and the art takes control. What starts out vague and undefined begins to have a voice. The further I develop the canvas, the more important it is to listen to it.

Is the canvas really talking? Well not in the out-loud voice we recognize with our ears. Someone better lock me up if that happens. Just make sure there's an easel and paints with me behind those locked doors...

No the voice I'm talking about is quiet and soft. Sometimes it's hard to hear. Backing away helps. Reflecting. Really seeing what's happening on canvas. Making decisions. Unwavering. The painting takes a turn. It finds a direction. Until I grasp this feeling, I can't bring the painting to completion. It's just a figure in a space prior that.

Each one is different. They all speak differently to me. Sometimes it's difficult to know the direction. Other times it's loud and clear. Usually the title will come to me when I find the direction. It wasn't the case with Sweet Dreamer. She sat completed. I observed her trying to come up with the right title. The longer I contemplated I began to notice she was also in a contemplative state. She looked so far away, deep in thought. What was she thinking about? Who was she thinking about? Was she longing? Was she sad? Was she reliving a moment from earlier in the day? I didn't have the answer.

Luka Bloom was singing in the background. Oh, how he serenades me continuously while I create. Sweet dreams Baby were the words that softly repeated from his lips as he sang True Blue. It fit my girl. It didn't matter if I understood her mood. She was dreaming. Day dreaming about whatever. I wanted to think it was a happy dream. Her clothes and stance supported that thought. And so it was that she became titled Sweet Dreamer.

I wish I could show you how the light moves in the background. Seeing them live is the only way...

The endless journey

Warm Breeze

Original oil painting 20x16"

by Susan Roux

An artists journey is an interesting one to say the least. As we progress down the many winding roads of this journey, we come to realize that the end of the journey only exists if we choose to stop. Otherwise the journey is endless. Meaning that the more we know, the more we discover or are educated about art, the more we realize that there is still further to go. I don't care how masterful an artist may be, there is always more to learn.

I've been very fortunate this past year. I've seen my art evolve through experimentation and hard work. For those of you who follow me, you also know this improvement is due in large part to Don Hatfield. He has been a constant who keeps me focused and stimulated by opening my eyes to things I hadn't yet observed on my own.

If you can't see it, you can't paint it.

I repeat this phrase over and over. I feel a vision needs to exist, whether in our minds or through our eyes. Until you observe the light and the shadow, you cannot paint the light and the shadow. The same is true for all aspects of painting. If you can't see it or don't have the ability to break down what it is exactly that you're observing, it is impossible to replicate it in paint.

I'm not just referring to the representation of objects in one's work. I'm also referring to the emotion an artist has towards these objects. In fine art, it isn't simply representation that is necessary. It isn't only about a pretty picture. Fine art also captures emotion.

The emotion we capture is created by many factors. Color, brushstroke and values play a huge part. But a vision or understanding of the emotion you wish to portray needs to be present. Without the vision, the idea, it will not happen.

And so it goes... This is the great mystery, the giant labyrinth that we call the artist journey. It's a combined mesh of skill, observation and emotion. The variables are endless making the combination of the parts endless as well. So where are you on this journey?

I ran across an excerpt today by Barry John Raybould in his Virtual Art Academy. It opened my eyes to a level that I've yet to discover. It's perhaps a direction I'll need to focus on if I want to continue improving. But it seems a difficult step, so don't be expecting too much in this direction from me yet... Here is the excerpt.

Old master artists knew how to suggest a lot of detail without actually rendering it. Look closely at any of John Singer Sargent's paintings and you will notice that an elegant dress is no more than a series of abstract brushstrokes. If you make your viewers exercise their own imagination, you stimulate them to contribute their own thoughts and images to the work and become a participant in the experience. If you depict everything to make it look like a photograph, you leave nothing up to the imagination of the viewer. The other big advantage of the principle of suggestion is that once again you can say more with less, simplifying and strengthening the abstract design of your painting.

The abstract he refers to in John Singer Sargent's dresses is more than just a loose stroke. It's also a combination of loose color. Both of these combined creates the abstracts he speaks about that stimulate the viewer's imagination. Phew, do I have your head spinning yet? Mine is.

The endless journey... I wouldn't have it any other way.

Blue Heron Gallery

Sundress

Original oil painting 28x22"

by Susan Roux

Think sunshine, warm sand, long beaches and vacation. People strolling about relaxed and smiling. Tank tops, flip flops, shorts and ponytails. The smell of salty air.

Think Cape Cod.

Have you ever been? It's a wonderful peninsula, shaped like an arm if you're showing your muscle.

Locals here refer to their locations by using body parts. For example, Orleans is located on the inside of the elbow while Chatham is on the outside of the elbow. Truro is the wrist, Provincetown or P-town as it's known are the fingers, and Falmouth is the armpit. Ask for directions on the Cape and these are the words you'll hear. It's pretty self explanatory and with a single highway running to the tip, finding your way isn't very difficult.

Blue Heron Gallery is located halfway between the inner elbow and the wrist in the lovely town of Wellfleet. People come to Wellfleet for the art. It has many art galleries all within walking distance. Aside from these it's also known for it's oysters. I've been very fortunate to be represented at this fine gallery for years now. The owner, Roy Thurston III, is a wonderful kind man and will happily greet you as you enter. He loves art. He loves the female form and his walls are hung with beautiful amazing pieces of art. You'll also find swirling sculptures, chiseled sculptures, tiny sculptures and whimsical sculptures. Beautiful colored glass pieces sitting on pedestals are placed to capture your eye and enhance the art. The whole experience of walking through this well known gallery is exhilarating to say the least.

The gallery sits behind a lovely perennial garden, center-pieced by a sculpted female with water trickling down her body. You'll walk among the flowers on a brick-laid walkway that leads to the front door. The garden stroll is just a hint of what lies inside. You'll be surprised by it's size. There you'll find a series of rooms on two floors and well placed art that pulls you through the space. Each time you turn another spectacular piece catches your eye in the distance and soon you're drawn further into the maze exploring every inch of the gallery. It's so easy to get lost in the art. At times you may even get lost in the gallery!

Delivery time is approaching. Blue Heron is a seasonal gallery and April is when all the art arrives. Roy is an amazing curator and in a week's time he'll have the empty walls dazzling. I'm looking forward to another season and the opportunity to have my latest series of females out in view for the public. So if you find yourself on the Cape this summer, remember Wellfleet is between the inner elbow and the wrist. Do stop by and let me know what you think.

Momentum

Swirling Glow

Original oil painting 28x22"

by Susan Roux

Did I learn anything for my last post? Only that using a celebrities name for the title, adding a video and posting it all over facebook didn't yield me any more hits than usual. Actually it yielded less comments than usual... Interesting.

Over time I've noticed that when a person's name is used in the title, I'll receive hits on that post if someone googles them. Sometimes it's over a year later and the post can get very active. It seems more effective when the person isn't well known and there isn't as much written about them over the internet.

With regards to the Sheen post, what I would like is to tap into how to create a growing interest around what I'm doing, without it being bad stuff... I'm not sure if it's even possible. We live in a society that preys on the misfortune of others. Why is that?

I prefer to separate myself from all that. Yes I did post about Charlie Sheen, but it was to inform you about how quickly someone's idea can materialize into something concrete. It wasn't to slam Charlie down. I feel far removed from all the celebrity gossip. Tucked away in the woods of Maine, I prefer to slip into my own little world. My imagination can keep me quite entertained and with a large entourage of family and friends, I live a very nice life here. I don't need others misfortunes to keep me ticking.

Slipping away into my own little world...

It seems to be what my latest series is about. Swirling Glow is the tenth. I like to place them near each other and though half are away at an exhibit, I can still group the others here. It's hit me that since their backgrounds are all ambiguous, they represent the world I make for myself. Maybe not make exactly, but it's where my mind likes to escape to. My own solitary little world.

Don't most artists? We love to really get into our paintings, transforming ourselves, pouring out our soul, or creative energy onto canvas. When all goes well, we find ourselves in a trance. Interruptions can cause us to explode verbally. Slipping away into our creations is what we thrive for. Returning to reality is often resisted.

And so it is with me lately. Perhaps more than ever. I think this latest series taps from deep within. For once, I love what I'm creating. I'm hoping the buying public, if they still exist, will love it too. I was overwhelmed with a phone call the other day from a gentleman who purchased 3 of my girls, exhibited at Nosh. Wow! Could this be a glimpse at the reaction people will have to them? It's the first time they're out in public. What a nice compliment. Thank you sir. Periodically these boosts are necessary to keep our momentum going. Lately my momentum is going strong.

How about you? How is your momentum going these days?

But... what's in a title?

But...

Original oil painting 28x22"

by Susan Roux

This is the final painting I completed while away on my artists retreat. A week has passed since my return and that amazing carefree feeling slips away a bit more each day. Soon I suspect it will be but a memory. As I talk to the other artists who shared this wonderful experience with me, transition back to normal has not been easy.

I hesitated painting this red-skirted female after the thrashing Scarlet the tartlet gave me. Somehow my fears stepped aside because something about her pose sucked me in anyway. I approached her differently. Being keenly aware of the power of red this time around, I began by instantly adding lots of it in my background. I even kept her skin quite red to balance her skirt. Since the focus is directly on her red bottom, the color aided pulling the eye. She actually fell into place easier than I expected. I wonder, did being in the presence of all those other artists give me the nerve to attempt another red skirt? After the last, I didn't think I'd ever paint another one.

What do you think of the title? Is But... too severe? I had quite a few other titles come to mind, but somehow But... stuck. One of my other potential titles was Dry Skirt. Not nearly as catchy. I feel like I need to explain myself. (I'd go swimming) But... (I still have my clothes on). Do you think a potential buyer would cancel the sale because of a title? I wouldn't want to offend anyone. Perhaps they'd see the title as cute and sassy as my sweet model is? I'd love your opinion on this.

Do you have subjects or colors you shy away from because of past difficulties they've given you? It can feel good to face your fear head-on and keep in control to the end. It's very empowering. Why not give it a try?

And I don't want any But's for excuses...

I'm back

Bird Watching

Original oil painting 28x22"

by Susan Roux

I've been living in Freeport, Maine for nearly two weeks now and haven't walked into LLBean. Some people would find that utterly sinful. It wasn't about shopping. It was about art. My artists retreat turned out to be even better than imagined. So good infact, that some of us chose to extend our time. I apologize to all my students for canceling classes, but if you'd seen this place, you'd understand.

Six artists in a mansion on the ocean in the heart of winter, wind howling outdoors, makes it easy to stay cooped up indoors. From sunup to sundown, there was always at least one person with a brush in hand. Everyone's process, different. Everyone questioning and talking about art. Strewn about were various art books. Excerpts were read aloud and discussions blossomed. Some of your blogs were shared as you waltzed into our conversations. Ruminating the Profundities had us all rolling in laughter, with excerpts recited by heart at random times during the day. Laughter filled the house. Creative energy bubbled and vibrated within its walls.

The fireplace was lit. Wine was poured. Art videos were watched. Gourmet food was prepared. The jacuzzi was churning. Artists began to experiment out of their comfort zone. Suggestions were made. Confidence grew. Camaraderie settled in.

Then it happened. Champagne Thursday...

I want to thank everyone who came. What a night! Artists entered with their spouses and immediately felt the energy in the house. We had been productive and there was an extensive art show to view. How amazing it was to share our experience within the same walls where it all took place. Don even called that night and felt the explosive energy over the phone lines. He wished he was here... We wished you were here too, Don.

The best way to describe it was checking out of reality. Each day was eat breath and sleep art. Nothing else to worry about, think about, stress about. Everyone who participated wants to do it again next year. I highly recommend this to any of you out there. Houses in high tourist areas rent for cheap in the off season. It's a great way to have a serious work vacation. Jennifer said it was the best vacation she ever had! How cool is that?