fbpx

Category: Kay Sullivan

Posted on

Let me invite you to my friend Sue’s party

Home from my last trip, I find the scene suddenly shifted to holiday joy
By Julie Haskell. Courtesy of the Kelpie Gallery.
Sue Baines of the Kelpie Gallery is having a party on Saturday afternoon, 3-6. She makes the best hors d’ouevres in the world, and she’s a dab hand with coffee. I, obviously, plan to be there. If you’re in mid-coast Maine, you should go too.
I occasionally feel a frisson of guilt when I invite my pals to Sue’s events, because they really are more party than opening. I should probably offer to help. But she’s so darn talented in the kitchen, anything I did would stick out like a sore thumb. Still, she encourages me to invite you, and I’d like to see you.
By Gwen Sylvester, courtesy of the Kelpie Gallery.
Don’t expect a hard sell. Sue isn’t like that. She doesn’t have to be. Her gallery is filled with absolutely wonderful work, beautifully curated in a light, airy space. I’m not saying that just because she represents me.
By John Bowdren, courtesy of the Kelpie Gallery.
I know she sets up this event so all price points are represented. But that doesn’t mean the less-expensive pieces are any less beautiful. You can come away with a Christmas gift that’s handmade, local, and meaningful at a price that won’t break the bank. Or, if you’d rather break the bank, she can point you to some fantastic paintings.
By Kay Sullivan, courtesy of the Kelpie Gallery.
Speaking of seasonal shifts, the great wooden boat fleet is shrink-wrapped at Camden and Rockport. You can finally find parking spaces at the harbor. Sadly, it also means Camden Falls Gallery will soon be closing for their winter hiatus. They’ve had a stellar collection of marine paintings this season, and you’d be remiss in not stopping by one more time before Howard and Margaret Gallagher set sail for the south. If you see Sandy Quang there, say hi. She’s my goddaughter.

DĂ©jĂ  vu, by Jill Valliere. Courtesy of the Kelpie Gallery 

Last, but certainly not least, my next session of plein air classes starts in Rockport next Tuesday. No, I’m not insane; the weather has been fine and the scenes achingly beautiful this autumn. This class runs every Tuesday through December 18, from 10 to 1, and the fee is $200. It’s where the cognoscenti of mid-coast Maine meet, so be there or be square.

Posted on

Group norming

Feeling out of place, like a failure? Perhaps the problem isn’t you, but your tribe.

Five Chairs, by Pamela Hetherly, courtesy of Kelpie Gallery. This painting stopped me yesterday. The color is beautifully integrated, something that’s lost in the photo.

I spent a few hours yesterday at the Kelpie Gallery in S. Thomaston. I’d meant to drop paintings off and leave, but it is a very restful place with a clean, open atmosphere. I always spend more time there than I expect to. Susan Lewis Baines, the owner, is so interesting and interested that before you know it, the day is half over.

It’s an airy, light space with grey walls, a grey tiled floor and lots of white trim. What little furniture there is, is elegant and subservient to the art. I look at Sue’s handmade desk (no, it’s not for sale) and wonder if I need one like it. Then I remember that I live in an old farmhouse and it wouldn’t match at all. As a decorator, Sue is light years ahead of me. That’s a great quality in a gallerist.
Sometimes I See, by Kay Sullivan, courtesy of the artist. Kay’s works are small, active, and yet somehow peaceful.
She represents a small stable of painters. These include vibrant small pastels by Kay Sullivan, the austere abstractions of Ann Sklar, mystical landscapes of Julie Haskell and Beth London, moody interiors by Pamela Hetherly, and the idiosyncratic landscapes of the late Erik Lundin. On first glance, the work is widely disparate. but the visitor notices that they all hang together well. They are united by a common color sensibility and composition. That makes it possible for high realism to hang side-by-side with abstraction and have the combination complement both paintings.
As different as the paintings are, there’s definitely a group norm at work, and it’s bound to provoke a response from the visitor.
A crow painting by Beth London, available through the Kelpie Gallery.
I tell people I left New York because I can’t paint like a Hudson River Schoolpainter. It is a continuous tradition in New York, dating back two hundred years. In any other place, painting with that golden light and attention to detail would be an annoying affectation. But in New York, it has some wonderful modern practitioners, including Tarryl Gabeland Patrick McPhee.
Mary Byrom is at the Smithsonian American Art Museum this week. Yesterday, she commented about Abbott Handerson Thayer’s Roses, “Such a wonderful quiet stillness, from before these modern times. It makes a difference.” Tarryl and Patrick can still tap into that stillness, and they have many fans because of it.
Untitled, by Erik Lundin. Courtesy of the Kelpie Gallery. His disinterest in selling made him the most unaffected of painters.
I don’t feel things in that way. I’m thoroughly the product of my time, which means less value modeling and more color and brushwork. As long as I stayed in New York, I was subtly pushed toward painting a different way. Galleries liked it, jurors liked it. And I found it personally disheartening. I needed to seek out my own tribe. I did that by going on the road, and later by moving to Maine.*
This is where a good knowledge of art history proves useful. It allows you to see over the lip of the basket you live in, to see where you fit in the greater scheme of things. I like the basket I have moved to, but if I felt confined in it, I’d be exploring other places and other representation.
————————
*An exception to this is Adirondack Plein Air, which is not style-driven. In fact, I find this true of plein air events in general. They usually attract a much wider variety of painters than from the local catchment area.
Posted on

Better living through chemistry

Yes, the ‘fat over lean’ rule still pertains in oil painting.

Estuary Light, by Gwen Sylvester.
Gwen Sylvester’s Estuary Light, above, won this year’s Juror’s Choice Award at Wet Paint on the ‘Weskeag. It is a perfect application of acrylic paint: luminous, fluid, but not washed out into faux watercolor. The nominal subject—egrets—are just suggested in the midfield. 
Kay Sullivan and Gwen and I sat together to watch the auction. We are the last three years’ winners of the Juror’s Choice Award. The art world is one of the last strongholds of gender bias, intentional or not. To have three women winners in a row is an anomaly, and speaks well of this event.
A student at my workshop last week asked me whether the ‘fat over lean’ rule still applies now that we’re using odorless mineral spirits (OMS) instead of turpentine. It’s a great, complicated question. Turpentine is pine-tree essential oil. OMS are petroleum distillates. But before you rush back to using turpentine because it sounds “natural,” it is linked to a host of respiratory and other illnesses.
A lobster pound at Tenant’s Harbor, was my entry into Wet Paint on the ‘Weskeag.
I saw conservator Lauren Lewis at the auction. She told me the answer to Maureen’s question was still yes. That was all we had time for, so the rest of this explanation comes from the internet.
Solvents like OMS or turpentine dry through simple evaporation. The binder oils in paints are more complex; they cure by something called crosslink polymerization.
A polymer is a long chain formed by many little molecules that stick together. A crosslinked polymer network is a mesh of these chains that are woven together. Just as with fabric, woven threads are stronger than individual fibers. Crosslinked polymers can be very strong.
These crosslinked polymers also resist solvents better than simple chains. To dissolve a polymer, each of the long molecules must be surrounded by the solvent and dispersed. As the polymer gets larger and larger, it becomes more difficult to dissolve the polymer molecules.
Sometimes there are enough links to connect all of the polymer molecules into a single mesh.  When this happens, you can no longer dissolve the polymer molecules—they either float away as a single lump of paint or they don’t go at all.
You can’t reopen half-dry oil paints like you can half-dry acrylics. That’s because of crosslinked polymer chains.
Think about the last time you let your paint dry up on your palette. You can’t ‘open’ half-set oil paint like you can with partly-set acrylics. All the pigment is drawn into the lumps. That same tendency is what makes them so tough on the canvas, and why you want that oily layer on the surface.
Humidity often damages a paint film. This happens when water molecules surround the paint components and push them around. Crosslinks limit how much water can get into the film.
Speaking of humidity, I leave in a few minutes for Saranac Lake, NY, for the Adirondack Plein Air Festival. From there I go to Plein Air Plus in Long Beach Island, NJ. As I’m writing this, cool, damp air is rushing in my window. My house sits above Rockport harbor. The ocean is my air-conditioner. Why do I ever leave in the summer?