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Artist’s Advice: On the Inner Critic

There is a phenomenon known as “the artist’s curse”–a state of perception in an artist of their own work as inferior and somehow lacking.   It is a virus of self-doubt instilled by the ever-present voice of the inner critic who notes with a jaundiced and magnifying eye only the flaws, imperfections and shortcomings in the execution of a piece of work.  The inner critic measures the latest attempt against past successes, other artists master works, or impossibly high aspirations.  It can lead an artist to destroy perfectly wonderful pieces of their labor in a pique of self loathing and doubt.  I think it must be something like the pathological state of postpartum depression in a mother who has delivered a child.

To combat this disease I believe it’s always best, as an artist, when completing a fresh work to pause, wait a while and put the voice of the inner critic on “mute.”  To let a painting “rest” for a time.  To avoid the temptation of tweaking and making “little fixes” here and there.  To avoid the nagging thought that, “if only I do this…or that…to this painting, it will be better.”  The state of final “finish” is arbitrary and elusive for each work and it is in this hyper-critical state of emotional attachment as we near the culmination of a painting that we can succumb to excessively analytical and even pathologically delusional perceptions of our own work.  It is the time when we most risk the fault of “over working” our piece.  Many a fine painting is ruined in the finish–most often by acting upon the infected perception of the inner critic.  Ironically, it is this sycophantic voice that prods us to “fix” which leads us to ruin and thereby causes us to hate and even destroy the works that somehow do not live up to our expectation.

It’s better to put the brush down and leave a canvas in a semi-finished state that conveys some truth, than to fastidiously pick at little details until the spontaneity, mystery and truth have been thoroughly abused.  By allowing the mind time to rest and detach from the passion of the moment–by muting the inner critic, we may return to comprehend with fresh, unprejudiced eyes, the beauty we’ve been fortunate enough to transmit and share with the world.

We may come to love our work as others do.

 

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Sometimes You Just Have to Toot Your Own Horn

I was surprised and pleased when an agent from Dick Blick informed me they wanted to feature an image of my painting, “The Watering Hole” in their Winter 2015 print and multimedia flyer.

Of course I agreed and also put in a plug for their “Masterstroke” brushes, which really are good quality sable brushes for the price.  I think it’s a fair deal–I get the benefit of some free (relatively) publicity and they get to feature a wonderful work of art to promote the sales of their brushes.

Above is an image of the ad as it ran in the flyer, along with the “Plug” from yours, truly. 🙂

If you’d like to see a time lapse video of me painting “The Watering Hole,” you can click on the play button below, which will play the video directly from my YouTube channel.

 

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Varnish ~ An Artist’s Hows and Whys

Varnishing a finished painting is a vanishing art.

Many if not most contemporary artists don’t bother, preferring to sell their paintings with a matte finish.  Some don’t like to wait for the paint to dry before the application of varnish, especially since the historical recommendation is to wait six months to a year beforehand. I varnish my paintings 3 to 4 weeks after they are dry to touch.  At that time the paint surface has oxidized and polymerization of the paint has stabilized (there are many studies on this, which I’ve read).  Molecular cross-linking, a form of drying will continue internally, under the paint film and then under varnish, for decades.  I don’t paint with ridiculously thick and deep impasto layers and I also use a medium, mixed with my paints to accelerate the drying oxidation/polymerization process, so I’m not concerned with areas of my paintings cracking or needing a prolonged drying period before varnishing.

I use a traditional dammar varnish–using the same recipe artists have used for centuries–which I make myself with easily obtained ingredients–dammar crystals and turpentine. Dammar crystals are the hardened sap which is gathered from dammar trees in the tropical forests of India and the South-East Asian peninsula and archipelagos.  Here’s a Wikipedia link:

An Article on Dammar Gum

It’s gathered in much the same way Maple syrup farmers tap the trunks of Maple trees to gather the sap, only dammar crystals harden on their own and do not need to be cooked down after harvest.

dammar

 

Dammar crystals, when burned also make a heavenly incense and if you’ve ever been in a Roman Catholic church on a Holiday or Feast day, you’ve probably smelled the scent of burning dammar crystals (it’s often a blend of dammar with frankincense and myrrh, or a host of other aromatics).  If you get your nose close to the surface of one of my paintings, you can actually get a sense of this fragrance.

To make the varnish, the dammar crystals must be dissolved in a solution of pure gum turpentine (about 2 to 1 turp to crystals), which is in essence the sap of pine trees which has been distilled down to the volatile aromatics and terpenes. I usually make a batch of varnish in an empty, glass pint-sized jar with a tight, screw-on lid.  It takes a few days of occasionally shaking the jar vigorously until all of the crystals are dissolved in suspension. Then, the solution can sit for a day or two until any unwanted particles of bark, dirt or dust settle to the bottom of the jar.  Decanting of the pure varnish is then done to another clean, glass jar, leaving the residue behind.

 

Diamond G Forest Products makes an Excellent Artist's Grade Turpentine...
Diamond G Forest Products makes an Excellent Artist’s Grade Turpentine…

That’s it!  These two ingredients, both derived from tree sap, together make an excellent, clear varnish which will not only protect the surface of the paint from damage and pollutants such as dust and smoke but is easy to clean and even remove if necessary.

Dammar varnish will yellow slightly, over time (decades) but this can actually give a painting a warm and subtle tone that can in some instances (especially landscapes) enhance the atomosperic aura of the painting. If ever the painting needs re-varnishing, the old varnish is removed with turpentine alone and another fresh coat of dammar varnish is applied.  This should be done by a professional conservator or at least with great care not to remove the paint layer below the coat of varnish, because turpentine will dissolve the paint, even if it has been dry for centuries! Cleaning the surface of a varnished painting can be done with a mild solution of Castile soap and distilled water, using a soft cloth and a gentle touch.

Protecting the paint surface and making it easier to clean aren’t the only benefits of dammar varnish–It also enhances the depth of colors and accentuates the contrast between the light and dark tones in the painting. It provides a translucence, a luster and depth that is the completing step that really makes a painting come to life.

I think finishing a painting with dammar varnish is the right thing to do and shows the artist cares enough about his work that he wants to enhance, protect and preserve it for future generations.

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#Pleinair at Santa Fe Trolley Depot in San Diego

I painted en plein air recently in a place that has always intrigued me with it’s dramatic architecture, interesting shadows and reflections and of course the famous red trolleys–that is, at the San Diego Metropolitan Transit system’s Santa Fe Depot at One America Plaza in downtown San Diego.  Here’s a pic of the architecture which previously won an “Orchid Award” in the annual San Diego Architectural Foundation review of San Diego developments and construction projects which either effuse the elegance of an orchid…or the stink of an onion.

The arch of the Trolley weather port at Santa Fe Depot.
The arch of the Trolley weather port at Santa Fe Depot.

I arrived early…before 8:00am and set up my easel in the traffic island at the center of the intersection at Broadway and Kettner.  It was a great place from which to paint and provided the perfect vantage of the trolleys coming and going. Painting the trolley itself was done in fits and spurts as one trolley would leave but another would arrive in minutes and for the most part, with a few exceptions, was identical.  Here’s a pic of my easel, with two trolleys in the station in the background…

Easel and painting of Ronald Lee Oliver
Easel and painting of Ronald Lee Oliver

It was interesting to paint with the traffic rolling by and when the traffic would stop, folks would gawk out the car windows, inquisitively at the patently unusual sight of a crazed plein air painter in the middle of traffic, wearing a big, Guatemalan palm leaf, cowboy hat, pacing to and fro, wielding a long, paint laden brush like a picador, stabbing at a canvas as if it were a snorting bull trying to gore him. Many pedestrians walking by gave the big, “thumbs up” and commented that I was making a beautiful painting, which is always encouraging.  Here’s the result of the morning’s effort–a 16 x 16 inch oil on stretched canvas, titled “Rolling Through.”  Whether it is an “orchid” or an “onion” or the bull won is in the proverbial eye of the beholder…

Santa Fe Trolley Depot as painted by California artist, Ronald Lee Oliver
Santa Fe Trolley Depot as painted by California artist, Ronald Lee Oliver
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La Jolla Oceanfront Photos

La Jolla Cove, Bird Rock, the Cave Shell Shop, and the Oceanfront walk are a great place to spend an early Saturday morning in San Diego County.  I went there yesterday with my camera and recorded some images.  Here are a my favorite selections from the photos I took.
La Jolla Bight Overlook
La Jolla Bight Overlook

The geographic configuration of the La Jolla Coast is such that you can’t really call it a peninsula but it does jut westward from the coast to the North, creating not quite a bay but what I would call a “bight”–the La Jolla Bight.

Above the Roost at La Jolla Cliffs.
Above the Roost at La Jolla Cliffs.

Various species of pelagic birds make their home and spend time away from ocean foraging on the rocks and cliffs of the La Jolla Peninsula. Recently, the city spent lots of public money trying to wash the guano off of the cliffs because it makes the area smell like the sea.  The cleanup operation left pools of a disgusting dark sludge instead of the bleached white guano…oops…anyone else have any bright ideas?  The rocks in the photo above have not been “cleaned” yet but are slated for “phase two” of “Operation Poop-be-gone.”

A Distinguished Pelican Rests after Breakfast
A Distinguished Pelican Rests after Breakfast

This fellow seemed displeased that I had the audacity to get close while he was trying to digest his morning repast. He did not fly away, however as I was using a telephoto lens and did not have to get too close.

A Balmy September Morning on Oceanfront Walk in La Jolla.
A Balmy September Morning on Oceanfront Walk in La Jolla.

It is a beautiful area, especially early before it gets too crowded.  Get there early (around 8:00am) to find ample parking, which can be hard to find later in the morning.

 

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An Artist’s Thoughts on Perseverence

original oil painting, Hawaii, Maui, Whale breaching, artist, Ronald Lee Oliver

“You can’t be all things to all people.” –anonymous

As an artist It is axiomatic that not everyone is going to like your work. It would be ridiculous to believe so. Just as an artist’s own tastes tend to one genre and not another–say impressionism vs. postmodernism–therefore informing their creative approach and style, so do art collectors have personal preferences for one form or the other. That is not to say that some collectors may have a broad range of tastes but in general, the axiom holds true and even for these “eclectic” collectors, your particular brand may not be one which holds their interest. Coming to terms with this as an artist involves staying true to your sensibilities and vision and hence the direction of your work and style but it also necessitates the development of a “thick hide” when it comes to presenting the fruits of your labors to a seemingly indifferent public.

“For any artist to persevere, they must have an enthusiastic audience of at least one.” –Stuart Davis)

When sales have slumped and critical recognition is a scarce commodity, the logic of the above quote by the postmodern artist, Stuart Davis, becomes a guide stone for the artist. If there is that quality in your art which inspires you to continue developing and creating with disregard for recognition and lack of sales–if you see and believe that your art is special and worthy and will avoid the ignominy of the refuse pile of history–if you know your art will endure beyond the temporal tides of trend, fashion and commerce to be found and cherished by those who care enough to display it in an unforeseeable future, then this conviction will fuel the will to persevere, regardless of external encouragements or discouragements.

It is a fine thing to relish receiving encouraging praise, recognition, awards or rewards but when creating works of art that your friends, acquaintances and even strangers think and say are beautiful–but are not selling or finding representation in public venues or galleries–perseverance, born of conviction is paramount and will sustain you. So pick up your stylus of choice and let your creative spirit flow. The proof is in the putting of paint to canvas! From perseverance, reward will come.

Ronald Lee Oliver is a self-taught artist, working in Southern Calfornia.

 

 

 

 

 

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More from Torrey Pines

It was a busy weekend but I did get out to the Torrey Pines Natural Reserve early Saturday Morning. I didn’t paint but hiked over most of the trails in the park and took some photos. The weather was very overcast and grey, so I opted to do the camera work, smell the flowers, sage and chaparral and reconnoiter for potential compositions that might work with the paint brush.

Here is a shot of the Isomeris arborea, or commonly named “Bladderpod” bush, with the characteristic pods. They say the pods are edible but spicy hot…I haven’t tried them:

Isomeris arborea

…and here is a photo of some unidentified (at least by me) shrub with pretty little flowers the color of pink coral…

Tiny Flowers

…eventually I made my way down to a view of the beach and “flat rock.” Bet you can’t guess why they call it “flat rock.” 🙂

Flat Rock, Torrey Pines

While hiking up and out of the beach area I saw some really lovely flowers and shrubs growing in the sand…

Beach Walkers at Torrey Pines

…and the exceptionally pretty flowers of the Sand Verbena that must be very hardy to grow where they do…

Sand Verbena

It was a good morning, despite the cold, overcast and drizzle.

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Winter Swell, Cabrillo

I got out for a plein air session last week-end. Had been sick for some time with a nasty flu that left me with a persistent nasal drip and cough. It was good to get out and the day was absolutely gorgeous. I’ve been meeting up with a painters group that uses online social media to designate places to have painting sessions. This morning, I was the first to show up (as usual), and I arrived early at the Entrance to Cabrillo National Monument on Point Loma in San Diego. It was a crystal clear and chilly December morning. As I drove into the park and headed down the hill to the lower parking lots where there is access to the tide pools, a magical thing happened…

…a Peregrine falcon swooped down not more than five or ten yards in front and to the left side of my slow moving truck–and without flapping soared down the hill about three feet off the blacktop pavement…it was almost skimming the tops of the buckwheat and sage bushes at the side of the road, leading me into the park. It was so magical, I was laughing as I drove behind my escort. I followed it all the way to the bottom of the hill–nearly half a mile. What a great way to start the day.

When I parked, I got out with my easel and bucket and took some photos as I went…I’ll share them with you…

First I got out and took a photo of the view from the parking lot…

Then, I walked down the trail a ways and saw this…

and this…

and I painted this…

which came out like this…
(apologies for the phone photo)

And then I packed up, hiked back to my truck and drove out of the park but had to stop and take some shots because it was just too beautiful to resist…

looking West…

…and looking East…

A very quiet and emotional place.

What a great day it was.

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Why Purchase Fine Art?

You may decide to patronize a particular artist and purchase an original work or limited edition print because the image pleases, moves or inspires you–or, you may believe the artist’s work will appreciate in value as a long-term investment–or it may simply match the colors of your couch. Whatever the reason–purchasing original and limited edition art is a satisfying and rewarding experience unlike any other, with the dual benefit of capturing and preserving the enjoyment of the beauty in the work but also in rewarding the artist, who will continue to create works and expressions of their creative spirit and inspiration.

While Fine Art originals and limited editions may seem expensive, consider that they are extremely rare, and are the culmination of many years of an artists observations, experiences, and practice. Jewel-like, Artworks are multifaceted expressions of human existence that bring a special satisfaction each time your eyes gaze upon them. They are indeed, more rare than jewels, which are merely accretions of minerals dug from the earth, while Art is mined from human consciousness and soul and is the medium through which they are shared.

These truths make Fine Art a fool-proof investment, because not only does it immediately bring such great joy and enjoyment, but it will also hold or appreciate in monetary value over time. Inevitably, when the time for personal enjoyment has passed, the art remains as a tangible asset to be left for others, conferring a reciprocal benefit in the joy of holding it for a time as steward and then in the joy of passing it on.

There is truth in the axiom that “a thing of beauty is a joy forever.”

Fine Art of collectable quality will endure the test of time and will remain long after you are gone. Others, possibly heirs, unto posterity, will have the opportunity to feel the same sense of wonder and emotion that inspired you to collect the artwork. By purchasing Fine Art, you become part of the legacy of preservation in this cycle of inspiration for generations to come.

Purchasing Fine Art is a reward for everyone.

Meyer Lemons Plein air painting by RLOArtist
Meyer Lemons Plein air painting by RLOArtist