Positive Feedback
Last week was pretty good for positive feedback on my work.
As many of you know I work every day in my studio at the Quarry Arts Center in Whangarei, Northland, New Zealand. The winter months (opposite of the northern hemisphere) are pretty quiet for visitors, but I do have visitors to my studio this time of year.
"Long Shadows" 8x10 by M Francis McCarthy
I enjoy interaction with the public. Many artists are put off by interruptions, after years in a working art department I'm disturbed not at all when people visit. It's forced me to have ready answers to questions about my art as well as develop a thick skin when my paintings are criticized.
Working in an American tonalist mode means that many of my guests are not familiar with the style of painting I do. I hear my work compared to Constable a lot as most New Zealanders are not at all aware of American Tonalism or of the American landscape tradition that I'm connected to.
I persevere in my method of working though and I try to educate people about what it is I'm doing if they're interested. Some people are interested, many are not. Either way I must create work that I value whether I'm praised or compensated. That's part of my life as an artist
Every once in awhile, somebody will come into my studio and really let me know that they get what I'm doing. It's awesome when this happens. I'd be lying if I told you that I didn't enjoy the positive feedback.
I thank those of you that have visited and enjoyed my work from the bottom of my heart. Thank you for your support both moral and financial.
Cheers,
A bit about "Long Shadows". I did a painting many years back based on the same reference. There is a bike trail along Los Gatos Creek in Campbell California that I used to ride my bike to work along. The reference photo was taken there.
This is painted on a Pine wood panel that I've lightly textured. All in all, I'm pretty happy with this painting. I simplified the original motif extensively, opening up the composition.
Speaking of composition I've also broke some "rules" with this painting in that the main point of interest (the pine) is located smack dab in the middle of the board. I've adjusted for this by offsetting the main tree on either side with two trees of differing weight. I think it works pretty well actually.