Tuesday, 29 October 2019

The Fragile Seeds of Art

West Coast Study,
original plein air painting by Tatjana Mirkov-Popovicki


My last post was about the craft of art, by which I mean the "how", the process, or the series of defined steps that result in a finished product. It's a good thing and it's often a happy thing. It's easy to show, it's explainable, teachable, and learnable.

And then, there's the other side of creativity, its problem child, the art of art.

It has to do with the "why" and it's the driving force of creativity. It's what we have to do to move our crafty selves forward and create something new and different from the stuff we feel comfortable doing. It's moody, emotional, subconscious. It's not explainable, teachable, or learnable. It just somehow emerges from a deeply mysterious place.

It reminds me of cultivating a patch of the earth when you scatter the seeds and cover them with a fresh layer of soil. Things may germinate from it or they may not.





Before the plants show up, to anyone else, it's just a bed of dirt to be trampled, nothing to show, dirty, ugly, messy. But for the artist, it's everything.

We may be doing field studies for the first time or trying out a new approach to painting or forming a completely new way of expression which requires a brand new language. It's something challenging and often frustratingly slow in coming. Others will not understand it until you do so it's best to be teased out in solace.



Pachena Beach Study,
original plein air painting by Tatjana Mirkov-Popovicki



Having said all this, creativity is not a garden. The fragile seed of art is just a metaphor. The real thing can't be trampled by others because it's a part of us. It's there to be worked on our own sweet time.

We don't have to show it to anyone, we don't have to explain it or justify it. We just must keep gardening.

As I was finishing up writing this post, a piece of great news arrived in my mailbox. Sometimes that's how it works. While we are pondering a difficult section of our journey, a sign of appreciation arrives and suddenly it's time to celebrate!





My gratitude for this particular news goes to my FCA friends but also, I want to send out a huge thank you to all the art lovers out there for making this art world possible!

Tatjana

Wednesday, 16 October 2019

Brady's Beach Patterns - Step by Step


Yes, I know, this is crazy fast so I included individual steps below. Enjoy!


This is my reference photo. The idea for this painting came from several sketches and many photos I took at the Brady's Beach in Bamfield, BC earlier this year.

 I decided not to start this piece with an initial drawing but to use a drawing-less approach which I've been using a lot lately. I slathered on the alizarin crimson and phthalo green heavy body acrylic paint straight from the tube and wiped it off with a dry rag. The pattern vaguely resembles a beach with a close-up foreground at the bottom, a wide sandy area, the ocean and a slice of land in the background and some space for the sky at the top. 


The dark is a mix of phthalo green and alizarin crimson, strokes made with a large flat brush. They are supposed to loosely mimic the direction of the overall patterns in the rocks, NOT the shape of each individual rock.

Added white and gray directional strokes into the areas of the sky and sea. The gray is made by mixing alizarin crimson, phthalo green and white.

Added yellow ochre into the sand areas. At this point, the overall pattern of the beach is mostly formed but the colours feel crude compared with my vision for this piece so I want to address that next.

Mellowed the colour of sand with a peachy mix of white, yellow ochre, alizarin crimson and phthalo green, and added a more vibrant dark into the rocks (my darkest dark + dioxazine purple + a bit of white).

Dry brushed some grayish-purple all over to unify the piece. Established the horizon and water pattern with white. The grayish-purple is made by mixing the alizarin crimson, phthalo green and white. Dioxazine purple + white into the distant islands.

Added pale phthalo green + white into the sky outlining the sea stacks and ochre yellow into the beach patterns. I also started adding other colors into the foreground details: dioxazine purple, red oxide, bright green, cadmium red, etc. I'll keep doing this in all subsequent steps.

The chalk lines help tighten the composition. This is the closest to drawing I'll get in this process. I am using the theory of Dynamic Symmetry which I described in an earlier blog post. In this step, I went back in with the darkest dark mix of alizarin crimson and phthalo green to add some form to the rock pattern and to lightly shift some of the shapes to lean on the lines of my Dynamic Symmetry grid. 

Adjusted the colour of sand by making a more greenish mixture of ochre yellow, phthalo green, alizarin crimson, and white. The next step includes a lot of fiddling with details, strengthening the pattern of light/dark, adjusting the colour and texture of sand, etc. 

Brady's Beach Patterns, 24x30, original painting by Tatjana Mirkov-Popovicki

I was surprised how much of bright green I had to add, especially into the foliage in the distant forest and sea stacks.  I decided to shift the sky colour toward yellow and green so there is more contrast between the sea and sky. This also added light and depth to the scene.


I hope you enjoyed this step by step demo.  This drawing-less method of painting is fun and fascinating to me.  The image seems to emerge from canvas almost magically without much pre-planning.


Feel free to email me if you have any questions about my painting process or you'd like to discuss something about your art.

I love sharing!

Tatjana

Wednesday, 2 October 2019

Innovare Art




My two paintings Arbutus Beach and Purcell Patterns will be in this exciting group show. Se you there!

Tatjana

Purcell Patterns, 30x20
original painting by Tatjana Mirkov-Popovicki

Monday, 30 September 2019

Good Land Wrap Up

Brady's Beach Sea Stacks, 16x16
original painting by Tatjana Mirkov-Popovicki
started at Bamfield Retreat and finished in the studio


For the third year in the row, I am grateful to the wonderful art community that congregates in the quaint city of Nakusp, BC, especially my collectors, the extraordinaire Studio Connexion Gallery, and all the art lovers who came to see the exhibit. 





Several paintings found loving homes and six pieces are still available in the Studio Connexion Gallery while the others are available directly from me.  I am also happy to report that some interesting commissions and friendships also resulted from this event. All pieces are now published on my website HERE.

Please feel free to contact me if you have any questions.

A very special thank you goes to the awesome participants in my acrylic painting workshop. Their enthusiasm and talent were truly inspiring!




"What a delightful weekend!" one of these delightful ladies wrote to me. "You have inspired me to enjoy the process of painting. This would not have been possible without your amazing approach to teaching and talent!"


With gratitude to all my old and new art friends,

Tatjana

Sunday, 15 September 2019

Art Retreat

View from Helby Island near Bamfield, BC. Painters' paradise!


Last week, I spent five days at an annual art retreat with the Federation of Canadian Artists. This year, the chosen location was the stunning Marine Sciences Centre in Bamfield on the western coast of Vancouver Island. This is a gorgeous, pristine area facing the Pacific ocean.

Nestled between the dense rainforest and stunning beaches, we decompressed, marveled, and created. Each person did according to her needs and priorities but the overall feeling was of artistic comradery and sisterhood. Critiques were non-existent and encouragement flourished.


Kristine and Tatjana enjoying a happy moment
between painting and beachcombing
on Brady's Beach


But here's a problem. Going in, I had a burning desire to immerse myself in the landscape and train my plein air painting skills. My target was to create three small pieces per day. This was probably a mistake because goals and numbers don't do places like Bamfield justice. While painting, I felt rushed and conscious of the passing time. But, I learned a valuable lesson from this experience.

Less is more.

Somehow, my eye tends to catch overly complex patterns and compositions that require a long and thoughtful process of the studio work. Next time I set up my easel on the beach, I pledge to paint a single pebble or a piece of driftwood!

One thing I did do right was letting myself experiment and play with paint and mark making. I swished my brush every which way, I scumbled, scratched, and let sand stick to the paint. This was truly a lesson in joy!


Red House, Bamfield Boardwalk
original painting by Tatjana Mirkov-Popovicki

Big and Small, Brady's Beach, Bamfield
original painting by Tatjana Mirkov-Popovicki


Back in the studio, I am keeping up this playful momentum and allowing my sketches to inspiring new ideas. I feel something new emerging in my art-making and that's thrilling even more than nocking out a landmark piece. Somehow, a promise of future growth feels better than achieving one small victory.


Sea Stack on Helby Island
original painting by Tatjana Mirkov-Popovicki

Sea Stack on Brady's Beach
original painting by Tatjana Mirkov-Popovicki


On a separate note, my exhibit Good Land in Nakusp is beautifully displayed at the Studio Connexion Gallery for another week. It will end with a bang, a reception on Friday, Sep 21, 2019, followed by a two-day workshop. As I am writing this post, there is still one or two more spaces available if you know someone who'd like to attend.



On this rainy September day, let's be grateful that we still have a week of summer left. May this Fall will be kind to plein air painters!


Pachena Beach, Bamfield





Friday, 30 August 2019

Good Land



I am excited to announce my third annual solo exhibit and sale of new landscape paintings in the Studio Connexion Gallery in beautiful Nakusp, BC.
The exhibit titled “Good Land” will include studio and plein air paintings and experimental pieces inspired by my love for our beautiful homeland.
On the last weekend of the exhibit, there will be a workshop where I will share my unique acrylic painting method with a group of students. There are still a few spaces available. More information about the workshop can be found HERE.
Please stay in touch if you are interested in attending these events and check out the fun images from the last year’s show Naturally Magical and my Nakusp Pinterest board to view this gorgeous location.
Sailing to Nakusp, 11x14
original painting by Tatjana Mirkov-Popovicki

I would love to welcome you to this very special place and share my love of art with you!
 
Please feel free to contact me if you have any questions.
 
 
 
With gratitude,
 
Tatjana

Thursday, 15 August 2019

Art Agenda

Cypress, 8x8
original plein air painting by Tatjana Mirkov-Popovicki


I have two things on my art agenda these days. Preparing my upcoming exhibit at the fabulous Studio Connexion Gallery in Nakusp, BC, and enjoying the plein air painting while the weather cooperates.

Let's start with the plein air stuff. I'll share my essential kit with you. This is what I use for nearby trips to the parks or anywhere where the weight of the pack isn't a major issue.




Here's what I pack up:

- Strada paintbox is made of metal so it's heavy but I like it because it takes various sizes of panels and it's sturdy in the wind.  You can screw in an adapter for the photo easel to its bottom.

- Most often, I use 11x14 or 8x10 canvas panels which I make by gluing gessoed canvas to custom-cut good plywood which I buy in a hardware store. I use other kinds and sizes of supports as well, but this one is my favorite.

- I like having a heavy-duty photo tripod because it's super stable and easily adjustable to different heights.

- The collapsible aluminum stool is practically weightless and good to have either for painting in the sitting position or to place your water bottle on it if you stand while you paint.

- My tubes of acrylic paint, vinyl gloves, and a tiny spray bottle fit in a square metal box.

- Since I paint with acrylics, I need a big water bottle and a container for washing my brushes.

- My brushes and paper towels fit together in a long cardboard box.

- A plastic bag is for garbage and dirty paper towels.

- I use a paper-palette which means that I only squeeze out the amount of paint I need and I throw away the leftover paint. I am looking into improving this because I hate discarding good paint. In the studio, I use a Masters palette box which keeps my paint fresh, but it's bulky and it would have to be carried horizontally so it's not suitable for plein air trips.

- Bug spray is a must for me. You may also want to add sun lotion, hat, sunglasses, jacket, umbrella. Whatever you need to feel reasonably comfortable.




For me, it's essential that the setup is quick and everything fits in a compact bag on my back with the tripod in one hand. This pack is quite heavy but I can walk with it comfortably for a short time.




Again, this kit is meant for easy trips ending at a cafe, not for strenuous hikes into the wilderness. I have a different setup for something like that, which I will write about some other time.


My setup in action on the Cypress Mountain,
 thanks to Jane Appleby for taking this pic!


And now, about the other, exciting thing on the agenda.

The GOOD LAND exhibit starts on September 4 and runs until September 21, 2019. I will also teach a 2-day workshop in Nakusp. You can read more about all that HERE. Please come by to visit us if you are in the area!

I have a few more pieces to finish and then take photos, update archive, varnish the pieces, frame some of them, pack, ship, advertise, find something to wear. Yikes! I better get on with it!


The pieces for my GOOD LAND exhibit are starting to gather in the staging area!


I wish you all the best with your own art agenda!

Tatjana