DPW Spotlight Interview: Jennifer Beaudet

Each week we will spotlight a different DPW artist who will give away one of their best paintings.

To enter to win Jennifer's painting, "Symphony for Spring" go to Daily Paintworks and click on the link at the top of the page announcing their interview.

From Jennifer's DPW Gallery page:

I grew up by the beach, in beautiful Southern California, and now live in the mountains of Northern California. My inspiration comes from the beauty that surrounds me. I paint mostly in oils with an occasional watercolor and like to keep my paintings loose and painterly. I'm primarily self-taught in oils, but also earned my degree in Studio Art quite a few years ago. Life took me on a different journey, but I'm happy to finally be living my dream creating art.

My work is currently on display at Fringe in Redondo Beach, CA, Weaverville, CA and in private collections around the world, from Australia to Japan, Canada, Paris and all over the United States.

Tell us a bit about how you first started painting.

Like so many artists, I've been an artist as far back as I can remember (sometimes that's not that far! haha). It wasn't until my daughter was about to enter college that I decided I couldn't wait any longer to express myself through paint!

When I stumbled upon the original dally paintings site, I was so inspired. Seeing other artists actually making money from their art, inspired me to immediately set up a blog and start painting. My blog was called, "My Life As a Starving Artist" and is no longer called that because I'm no longer starving! I was never really starving from hunger, it was the urge inside me to create that had been put on hold for so long. I was raising my daughter on my own and had no idea how to make enough through my art. She's all grown up and lives away now, so I have been able to put everything into creating art!

Symphony of Spring
(click to see original image)

Enter to win by clicking on the link at the top of the home page announcing Jennifer's interview.

Did you have any stops and starts in your painting career?

Yes, for most of my life, my art was put on hold while I raised my daughter as a single mom. It wasn't until about five years ago that I really started painting daily, well almost every day. If I'm not painting, I'm doing something having to do with my art business -- 24/7 it seems! But I'm not complaining, I love what I do!

What mediums and genres have you experimented with?

I use mostly oils, but used to use watercolors years ago. I also experiment with acrylics now and then, but get frustrated and go back to oils. I haven't been able to get the same look and feel as I can with oils, and they dry so fast, so I'm sticking with oils. As far as genre, I love vintage fashions and have done several paintings of vintage ladies and just beautiful dresses in general. I'm also very passionate about Hawaii and dream about living there someday. So painting it is the next best thing! I also do other landscapes of beautiful places that either I've been, or a relative has been. I always tell them to take lots of photos for me.

Birch Tree Challenge
(click to see original image)

Which ones have "stuck" and which ones have fallen away?

I would say, my watercolors haven't stuck. I don't use them very often anymore and when I do I end up using them in a very organic way, just letting it "happen".

Which ones are you looking forward to exploring?

I definitely want to focus more on figures. I had two semester of life drawing when I first started college, right out of high school. That was quite sometime ago now so I'd really like to refresh my skills by painting more figures. But, I live in a very small town and haven't found a life drawing class yet. Finding a model is the hard part. I've had my daughter pose for reference photos but since she doesn't live at home anymore having her sit is not possible.

Dance of the Tulip
(click to see original image)

Who or what inspires you most?

I'm inspired by beauty, but that's kind of vague. I think it's the color and light that certain objects and scenes possess that intrigue me the most. Even in folds of fabric (which I love painting) it's the form created by the light that attracts me. In a landscape, it's the light and atmosphere of a scene that inspires me, but I always love to add extra punches of color with beautiful flowers, which I love as well! This is a hard question. So many things inspire me, like learning and discovering new ways to paint! That really inspires me!

What does procrastination look like for you?

Me on my computer, sunning outside, talking on the phone, then back to my computer.

What techniques work to ensure that you make time for your art?

I try to have a routine, but don't always stick to it! I like to spend mornings doing computer related social media, promoting tasks. After that, I should just put the computer (and my phone) away, so I don't get distracted. I would probably get a lot more done! I do errands and try to make it to the gym, so I start painting around 2:00 and usually stop around 7:00.

Redondo Beach Pier
(click to see original image)

How do you generally arrive at ideas for your paintings?

It might be something I see in my daily life that gives me an idea or some place that I've been. I just took a trip to L.A. and drove home up the coast. I took a ton of photos, so I might get a few out of that. Some of my paintings are commissions, so it's someone else's idea and my vision combined. Those are always fun to do.

How do you keep art "fresh?" What techniques have helped you avoid burnout and keep your work vibrant and engaging?

I don't know if it's "fresh" or not, but I'm always learning new things by reading books, browsing the Internet, and taking a few online workshops. So I feel my work is always improving. I haven't yet experienced burnout and hope I don't ever get there, but if I do I think traveling somewhere new or maybe taking a new workshop might help.

Anemone Botanical
(click to see original image)

What do you feel you are learning about right now as an artist?

I feel like I'm always learning about everything! Color, light, value, you name it, I'm learning and practicing. I can't really say one particular thing that I'm learning, except that I've always worked on small and medium size canvases and have recently received two different commissions for very large, as in 30x60 inch canvas! So I've been learning about getting the same feel with this size as I do with the smaller pieces.

What makes you happiest about your art?

I feel such a sense of accomplishment when I finish a piece. It's a great feeling and I'm not going to lie, I love when someone likes my art enough to buy it and display it in their home! I've also been able to donate my art for several causes. That makes me very happy! I just love everything about painting and am grateful to be able to do it.

Thanks, Jennifer!

© 2014 Sophie Catalina Marine Cruse

DPW Spotlight Interview: Sandra Spencer

Each week we will spotlight a different DPW artist who will give away one of their best paintings.

To enter to win Sandra's painting, "Smooch II" go to Daily Paintworks and click on the link at the top of the page announcing their interview.

From Sandra's DPW Gallery page:

Yay, I’m happy to be a member of Daily Paintworks! I have been a daily painter for the last 8 years, selling art work to customers around the world. I am glad you have found me here! I am mainly an animal painter -- pet portraits are a specialty. I also love to paint our local Eastern Oregon horses, and you will be seeing many of them here. I am always willing to paint requests, so if you would like me to paint something special for you, please just ask.

Tell us a bit about how you first started painting.

I was fooling around, trying to be creative with many different avenues, and realized that I was making too many things to actually keep or give away, so I should focus on creating something I could sell. That led me to painting, which fulfilled my desire to "make" something every day. I sold my first painting on ebay for more than I expected (it was a pretty rustic scene of bright yellow lemons on a cobalt background) and I was encouraged to keep at it.

Did you have any stops and starts in your painting career?

No, I just kept painting or sketching almost every day, learning what worked for me (and did not). Creating things gives me pleasure in knowing I am leaving something fairly permanent behind after I am gone. I don't have to paint things the whole world loves, but just that one person loves. That's enough for me.

Smooch II
(click to see original image)

Enter to win by clicking on the link at the top of the home page announcing Sandra's interview.

What mediums and genres have you experimented with?

I started out painting acrylic still lifes and landscapes, until the day someone asked me to paint her dog. That painting changed everything and I focused on pets after that. I continued in acrylics for eight more years, then switched to oils which I work in now. At the time, I loved acrylics and couldn't imagine ever changing, but now I can't imagine going back.

Which ones have "stuck" and which ones have fallen away?

I like capturing the spark of life in an animal, in either its expression or its behavior. I love to capture a face full of joy. I don't think I have ever painted a landscape in the last ten years. I look at the terrain of where I live now (the high desert) and sometimes I think I should try to paint it. But I just don't see the color transitions of a landscape in my mind's-eye like I do animals.

Perry
(click to see original image)

Which ones are you looking forward to exploring?

I want to paint more cowboys. There are so many rodeo events where I live that I've recently realized I need to seek them out and capture the participants. I'm sure the local landscape will all of a sudden "pop" into my head like the figures do. One day.

Who or what inspires you most?

Years ago, before I started painting, I met Ray Bradbury at a book signing. There were no other customers around and he had ten minutes to talk with just me. We talked about writing, but the philosophy applies to just about anything. He told me to wake up an hour early every day and write something even if I didn't know where it was going to go -- just let it flow out. Make the time to be creative. I applied that philosophy to painting, making sure I painted every night after work (up an hour early every morning didn't work for me). He told me to read his book, Zen and the Art of Writing, which I have since done. I'd recommend the book to anyone trying to follow a creative path, every chapter was good advice. Don't listen to nay sayers, and cut out the people who criticize you in your life. Practical advice.

Nuzzle
(click to see original image)

What does procrastination look like for you?

My gosh, I don't procrastinate about painting. One day a week, I will sketch up what I intend to paint the next week. And even then some of the sketches get left unpainted, or I realize they won't work like I planned, so I am glad I sketched up five other things to choose from. I find that every day my head wraps differently around a painting, and sometimes something I had planned to work on just doesn't come together right -- the colors, or the shadows -- and that I need to work on something that is completely different. Having multiple things sketched and ready to go leaves me choices about what I feel like doing that day, instead of having to address one thing that I feel only so-so about.

What techniques work to ensure that you make time for your art?

I don't get distracted by the things left undone around home. If the house isn't burning, like the saying goes, it can wait a while. I make sure to sit down first thing in the morning and plan what I will do, and then paint for a half hour before taking a break. I do need frequent breaks, or else carpal tunnel is waiting in my future. I've had to buy a new painting table at the right height, because an earlier one was causing problems with my wrists. So I'll walk around or go fool in the garden for a few minutes, and then go paint some more. Taking small breaks helps me come back and look at what I'm working on with a fresh eye.

The Labs
(click to see original image)

How do you generally arrive at ideas for your paintings?

I take loads of photos, carrying my camera everywhere. I stop by the horses at the fence, and ask people at the park if I can take photos of their dog. I spend hours at the county fair visiting with the rabbits and goats. I am so grateful for digital cameras, because I know no one could have afforded to take as many photos as I do with the old system. Only one out of 10 photos results in something that will translate well into a painting. I look for shadows, and how the subject interacts with the viewer. If the sun is behind the horse making it appear all in shadow, I don't even bother stopping the car anymore.

How do you keep art "fresh?" What techniques have helped you avoid burnout and keep your work vibrant and engaging?

I take a day off now and then. I can tell when my creativity is flagging and the painting lacks life. If I am coming down with a cold, I also take a break. I have found that my mood is directly telegraphed in my paintings, and I only want to paint upbeat scenes. There's no reason to sit down and waste canvas and paints when I know I'm just going to be going through the motions and no spark.

A Smile a Day
(click to see original image)

What do you feel you are learning about right now as an artist?

I am finally recognizing why something does *not* work. I'd say one out of fifteen of my paintings is not entirely successful, and I am learning how to spot those before I even create them.

What makes you happiest about your art?

It's sort of bittersweet, but I like hearing from a customer five years later how their pet has passed away and they are so happy they have the painting to remember him by. I have heard that a lot over the years. So on the one hand of course it's hard to hear, but on the other hand I'm glad my customer has a happy memento to look at every day.

Thanks, Sandra!

© 2014 Sophie Catalina Marine Cruse

DPW Spotlight Interview: Gary Westlake

Each week we will spotlight a different DPW artist who will give away one of their best paintings.

To enter to win Gary's painting, "Pink Lotus" go to Daily Paintworks and click on the link at the top of the page announcing their interview.

From Gary's DPW Gallery page:

I guess I am addicted to making art. Sometimes, I get distracted with the hurly burly, but I always seem to come back to it and at all times I have my antennas out looking for ideas on how to make it better. I have been painting off and on my whole life and that is a long, long, long time. In the past, I used various mediums in my paintings – mostly acrylic but some watercolour and even a couple of pastels, but the last few years, I have worked exclusively with oils which suits the images that I like to make. (click to read more)

Tell us a bit about how you first started painting.

I could tell you that my Mom arranged for me to have painting classes as a child, which is true but she is ninety-eight and probably would not be able to remember to verify. I am getting up there myself, so some of the early years are getting a bit fuzzy. I am pretty sure about this. I have always been interested in art and have painted off and on most of my life.

Did you have any stops and starts in your painting career?

“Career” is such a strong word for it. From the very beginning, I had a feeling that this was no way to make a living, so I did something else most of my life to put food on the table to raise a family. When I got a chance though, I would squeeze in a little painting, or a life drawing course, etc. I always seemed to find a way to use my art at work, illustrating reports, etc.

Pink Lotus
(click to see original image)

Enter to win by clicking on the link at the top of the home page announcing Gary's interview.

After retiring, I was able to set up a permanent studio which made a great difference, but still there were a lot of distractions, and life seemed just about as busy as it was when I was on the job. Then a couple of years ago, I was not allowed to do much physical work for a while and I turned to painting to fill the time. I tried a couple of the DPW challenges and enjoyed the experience. Then someone convinced me to sell her two of my paintings and that was just the kick in the back side that I needed to try painting almost every day and joining DPW.

Occasionally, I wonder what life might have been like if I had lived it as an artist full time (I would have been poor but - I could have been a contender). I have learned that at whatever age you are, expecting big things from yourself is much better than worrying about your limitations. One advantage I have now, is that I have a lifetime of experiences to paint about.

Blue Umbrella
(click to see original image)

What mediums and genres have you experimented with? Which ones have "stuck" and which ones have fallen away?

When it comes to genres, I cannot settle on any in particular. The images that interest me can come from just about anywhere. For quite a while, I designed with stained glass. The colours can be vibrant but the mechanics of realizing the final work requires a lot of time and attention to detail. I like the immediacy of paint. I also tried pastels and loved the pure colour that you could create with it, but quickly discovered, after framing one piece, that it was going to get very expensive for mats, glass, etc.

Which ones are you looking forward to exploring?

I have just purchased a number of water mixable oils and hope to try them when travelling this summer.

Barrel Cactus
(click to see original image)

Who or what inspires you most?

I have a long list of artists whose work I look at daily, mostly that paint similarly to how I do, or hope to do. I have their work pop up on my Feedly newsreader and on the DPW site. When I see a painting I like, I try to deconstruct how the artist created the piece. I think this all gets incorporated into what I do somehow.

What does procrastination look like for you?

Looking at art instead of creating it (see above).

What techniques work to ensure that you make time for your art?

A personal commitment to posting daily for as long as I can, has kept me working at it more consistently. This has done wonders for learning how to paint and, more importantly, is giving me insight into what I need to work on. It helps me notice small irritations or details, and to work on them, like the lighting on my palette or what paints I use, or how to get the photo of a painting to actually look like the painting.

Paddleboats on the Lake
(click to see original image)

How do you generally arrive at ideas for your paintings?

I’ll be driving down the road and every time I pass a certain place at a certain time of day (bing!). I’ll be flipping through images on the internet or through my gazillion photos ( bing!). There is something about an image that sticks in my brain until I can get it out by painting it. Perhaps I am deluded, but I cannot remember staring at a blank canvas wondering what I was going to paint. There are always a lot of images, and the hard part is deciding which to do next.

How do you keep art "fresh?" What techniques have helped you avoid burnout and keep your work vibrant and engaging?

I hop around from one subject to the next and it has not felt like burnout so far. It is for others to judge whether it is engaging or not. After a while of watching what people seem to like and not like, I am not sure that I completely understand what engages viewers.

Calm Before the Storm
(click to see original image)

What do you feel you are learning about right now as an artist?

I am trying to simplify colour schemes, think more in terms of value masses instead of detail and to incorporate more ambiance or meaning into my work (not just a pretty picture). I hope there are enough years in my life left to do this. Lately, I have been experimenting with various methods of toning my boards and of transferring my drawings.

What makes you happiest about your art?

Working on the answers to your previous question.

Thanks, Gary!

© 2014 Sophie Catalina Marine Cruse

DPW Spotlight Interview: Jessica Miller

Each week we will spotlight a different DPW artist who will give away one of their best paintings.

To enter to win Jessica's painting, "Tulips" go to Daily Paintworks and click on the link at the top of the page announcing their interview.

From Jessica's DPW Gallery page:

Originally from northern Michigan, Jessica now makes her home in the Hudson River Valley. She is best known for her portraits, recognizable for their expressionist style and vibrant color. Particularly popular are her half-hour portraits, small paintings done in one quick sitting, which effectively capture likeness as well as mood.

After graduating from the University of Michigan, Jessica studied at the School of Visual Arts and at the Art Students League in New York, with legendary painter Hananiah Harari, later continuing her studies with acclaimed portrait and landscape artist Andrew Lattimore.

Her work is shown regularly in galleries in New York and hangs in private collections throughout the U.S.

Tell us a bit about how you first started painting.

Oh, I've always been painting. I didn't begin to find my "voice" until I moved to New York City and started taking classes with Hananiah Harari at the Art Students League. A tiny, sweet man, well into his eighties when I knew him; he was a giant of an artist. I am so lucky to have studied with him. He gave me the confidence to be brave in my painting. My style loosened up as I experimented with color and realized that I was free to paint however I wanted. It was during this time that I found myself gravitating to the face and started to focus on portraiture.

Tulips
(click to see original image)

Enter to win by clicking on the link at the top of the home page announcing Jessica's interview.

Did you have any stops and starts in your painting career?

Oh, sure. For a long time, I wouldn't have even called it a career. I had dreams of making a living from my art, but I didn't know how, and I didn't paint often enough. Eventually, I became more disciplined. The more I painted, the better I became, which I guess is true of anything.

Then, several years ago, I was asked to paint portraits for an event at the Katonah Museum of Art. The catch was, each portrait had to be completed in half an hour or less. I experimented in the weeks leading up to the event, until I found a size at which I could finish a portrait in half an hour. And it was amazing! Having to paint quickly forced me to paint loosely and freely, concentrating on the big things, like getting a likeness, value, and of course, color. Plus, people loved them. I've since painted hundreds of half-hour portraits, at gallery or museum events, and in my studio. I just love doing them.

Walking with Mayzie
(click to see original image)

What mediums and genres have you experimented with?

I wouldn't say that I've consciously tried different genres. It was more a subconscious progression from realism, because that's what I originally thought being a good artist was all about, to a more impressionist style, to whatever my style is now. I never set out to paint in a certain style, but I'm happy with how it's evolved.

I use oil paints for my landscapes, many of which are painted en plein air, and Golden Open acrylics for my portraits. A huge part of my evolution as a portrait artist is due to the advent of "open" acrylics, which stay wet for much longer than conventional acrylics. They allow me to mix all kinds of colors on my palette and come back to them over and over throughout a portrait session, something that was impossible before.

Which ones have "stuck" and which ones have fallen away?

I simply cannot figure out pastels. They seem so handy and portable, but I always end up with a mess on the paper and all over me. So that may be one that has fallen away, but you never know. Watercolor still eludes me, but I hope to someday get better. I've really settled on oils and open acrylics for now.

Which ones are you looking forward to exploring?

I'd sort of like to try encaustic painting, but not yet.

Half-hour Portrait
(click to see original image)

Who or what inspires you most?

VAN GOGH! His paintings, not his life. Matisse's portraits. The Society of Six, Tom Thomson, The Group of Seven. Whenever I feel myself getting too tight, I look at their work.

What does procrastination look like for you?

It looks a lot like eating. Or making lists of things to do instead of actually doing them.

What techniques work to ensure that you make time for your art?

I plan for it. I look at my schedule for the week and note on which days I'll have a block of time for painting. Some weeks are better than others. I also pay close attention to the weather forecast, trying to leave time for plein air painting on nice days.

Lake Minnewaska
(click to see original image)

How do you generally arrive at ideas for your paintings?

I like coming to a portrait session with no preconceived ideas, letting whatever I see in the face of that particular person determine the feel of the painting. For landscapes, I note views that I'd like to come back to and paint as I'm driving or running. In the winter, I bring a camera along with me when x-country skiing and take photos to use as references for paintings. I really love painting farmland, which is in short supply where I live. For that I drive north, something I should be doing more of.

How do you keep art "fresh?" What techniques have helped you avoid burnout and keep your work vibrant and engaging?

As I mentioned before, I look at work of artists who inspire me. A trip to the Met is always good, too. I do find that I work in cycles--sometimes I feel as if I have suddenly lost any shred of talent that I ever had, and those are not fun days. I've found that I have to make myself keep painting, if not that day, then the next and the next. And at some point, just as suddenly, things change, and I hit a groove, and I've got a painting that makes me happy. Sometimes that process happens all within one painting, and sometimes it takes a lot longer.

Morning at the Beach
(click to see original image)

What do you feel you are learning about right now as an artist?

It's hard to put this one into words. With each painting, I learn a lot of little things, and painting after painting, those little things add up. Sometimes it's something concrete, like how to mix a certain color, or how to achieve a particular effect. But often I'm not even conscious of what I've learned; it's something more like muscle memory. Right now, much of what I'm learning has to do with capturing the light, airy feel of spring before the green of summer closes in.

What makes you happiest about your art?

There are some paintings that just don't go well at all. They start out simply awful, but occasionally, if I just keep painting and trying to figure it out, something suddenly clicks. Sometimes it's as simple as one good brush stroke that reveals what I need to do to fix things, and from that point on the painting just flows, and I end up loving it. It's a rare occurrence, but it does feel good. And a little magical.

Thanks, Jessica!

© 2014 Sophie Catalina Marine Cruse

DPW Spotlight Interview: Dietrich Moravec

Each week we will spotlight a different DPW artist who will give away one of their best paintings.

To enter to win Dietrich's painting, "Plums and Starfruit" go to Daily Paintworks and click on the link at the top of the page announcing their interview.

Tell us a bit about how you first started painting. 

I started drawing and painting when I was a teenage boy. I remember when I was about twelve or thirteen, my room was wallpapered with my gouache paintings from bottom to the ceiling. I never went to art school, I am completely self-taught.

Did you have any stops and starts in your painting career?

There were times when I didn't have much time for artwork, but I never took a break from it for long. I always tried to do at least a little bit of drawing and painting.

What mediums and genres have you experimented with? Which ones have "stuck" and which ones have fallen away? Which ones are you looking forward to exploring?

In the early 1970s, I adored the old masters and their techniques. There was no art school or academy to teach this kind of stuff. So I had to learn from books and by trial and error. At that time, I experimented with egg tempera, casein tempera and oil colors, mostly in combination. It's called "Mischtechnik". I used to be an admirer of the "Vienna School of Phantastic Realism". Some of it's members used this technique. It's a wonderful painting technique, but not too easy and very time consuming. So, in the following years, I changed to acrylic colors, which allowed a faster working process.

Plums and Starfruit
(click to see original image)

Enter to win by clicking on the link at the top of the home page announcing Dietrich's interview.

In the 1980s, I was concerned with printmaking, especially etching, another laborious technique that gave me great fun. Twenty years later, I learned a new printing technique from the internet, called "intagliotype". A fascinating kind of printmaking without any poisonous or hazardous ingredients.

In the beginning of the 90s, I returned to painting. At that time, I discovered photorealism was for me. I had used photographs in many earlier works, but not really in a photorealistic way. Now I was, first using acrylic colors, later on I moved to oil colors, which are more tractable for this kind of work.

After 2000, I started a new style I call "Color Zone Painting". These were large paintings up to 2.40 meters in length and 2.00 meters in height. I didn't paint the colors in smooth transitions, but in subtle gradations from the lightest to the darkest tones. I guess you can imagine that such large paintings are hard to sell, so I tried a something new.

Dark Eyes
(click to see original image)

For two years, I made graphite drawings in a photorealistic style. After that, I discovered colored pencils (on the internet, where else). Last year, I stumbled upon daily painting and decided to give it a try. Now, I am here looking forward for the things to come.

Printmaking I have given up due to lack of room and time, but I carry on with the other techniques. Recently, I started with soft pastels, a great material which I would like to explore more intensively. What comes next? Well, I don't know, but there will always be something around the next corner which will attract my curiosity.

Who or what inspires you most?

I have more than two hundred Facebook friends, most of them wonderful talented artists from all over the world. Many of them inspire me in many ways, they encourage me to make efforts to get better and better (though I'll never reach their level). My other inspirational, unexhaustible source is nature. I can always find motivation and stimulation there.

Onion with Droplets
(click to see original image)

What does procrastination look like for you?

Procrastination is a state I know very well. From time to time, there are phases when I can't bring myself to go to work, especially when I have to start a new painting or drawing. The best thing to do in this situation is just to start something: setting up still lifes, sketching or doodling. In most cases, motivation comes around and overtakes me.

What techniques work to ensure that you make time for your art?

As in my oil paintings, I work in layers. I cannot finish a painting in one session. So, that does not work for daily painting, unless I paint on several pictures at the same time. I still have to work for my living (I'm a teacher by the way, but just for one more year, yippee!), so I would rather use faster techniques like acrylics and colored pencils.

No Breakfast Egg Today
(click to see original image)

How do you generally arrive at ideas for your paintings?

Most of my ideas come from photographs, some of them made by photographers who kindly give me permission to use their pictures, or take my own shots, although I'm not the best photographer. The best themes I find in my surrounding nature.

How do you keep art "fresh?" What techniques have helped you avoid burnout and keep your work vibrant and engaging?

I hope my art is still fresh, but when I have the feeling of burnout or boredom, I change my technique or try something new. Lately, I started to draw with colored pencils on unprimed plywood. The unaccustomed surface gave me a thrill and a lot of new ideas.

Red Grapes
(click to see original image)

What do you feel you are learning about right now as an artist?

My whole life I have always learned something new, and I'm still learning every single day. Thanks to the internet, I find so many interesting and thrilling things that make my curiosity stay alive. I want to learn everything that gives me a kick to improve my art, so I'll never get bored and hang around with nothing to do.

What makes you happiest about your art?

Can art make someone happy? Well, maybe some viewers or collectors. I don't know if other artists are happy in making art. During the working process, I'm not happy at all. The painting or drawing does not always come out as I have it in my mind, but when one picture comes as close to my imagination as possible, there is a certain moment of happiness. It doesn't last long, because my thoughts are already busy with the next task. It is a kind of addiction, but at least without physical consequences. The greatest gratification I get is when my works are hanging in an exhibition and some people have a look at them at least more than two seconds.

Thanks, Dietrich!

© 2014 Sophie Catalina Marine Cruse