Mark blends traditional and contemporary approaches to painting in his landscapes – fruit of twenty years of evolution as a professional artist, that represent his unconventional background and adventurous life story.
At this point in time, I cannot imagine life without oil painting. It’s something I do every day, and have since I can recall picking up a brush. My work is founded on 19th century and early 20th century traditions in American landscape painting, grounded in drawing.
I do not work from photos, as a rule, and prefer to work on location, always in search of new vistas and expeditions. I paint with, and prefer with traditional materials that are sourced from nature: pigments and paint derived rom minerals, plant and animal material: linseed oil and linen, derived from flax; marble dust, turpentine, natural brushes. The craft of painting, taking advantages of oil paints luminosity and rich color, is a rich heritage with a long lineage.
Painting is ultimately about immersion in the landscape, about creating context for my experience. In painting our environment, I am interested in arresting my engagement and perception and I have tried to build a vocabulary to render it in oils. Intense focused attention and observation to render what I see is important in building an a memorable image. I prefer to work on location, refining the image in the studio.
Painting is to some degree a celebration of those places that survive in the wild state, at the edge; but it is also elegiac and frustrating, as we are losing so much to poor development and environmental exploitation every day.
Ultimately, I see myself as an American artist with roots that go deep in many directions. My family heritage is grounded in the southeast. I have a Bachelor of Fine Arts graduate degree from Ringling College of Art & Design in Sarasota, Florida and have had a freelance/private studio since 1984. My work is in private and corporate collections in the southeast, nationally and internationally.
“Painting en plein air (taking my easel outdoors to paint in the open air) allows me to leave the interior space for the living world outside. The outdoors literally becomes my studio—a place for visual meditations while I paint the effects of natural light in oil. I aim to fill each painting with life, inspiration and uplifting beauty. I employ a painterly translation that suggests rather than defines a subject—it is not necessary to paint each blade of grass, leaf or branch. This suggestion naturally triggers the viewer’s imagination and memory to ‘fill in the blanks’ without overstating what they are seeing. I enjoy conveying light, atmosphere, and mood rather than a defined literal copy.”
Originally from upstate NY, Webster was awarded a scholarship to attend college at School of Visual Arts in NYC and graduated with a BFA in painting. By 1996, Webster relocated to Asheville, North Carolina. In the years following she transitioned from pure studio painting to painting en plein air (directly from life outdoors). In her own words, “Once I took my easel outdoors I was hooked. The mountains and natural beauty outdoors inspires me to get out there and be intimate with nature. My paintings are a reflection of that experience.”
Currently, Webster combines being a hair stylist at Mechanika Coiffure and a painter as the perfect balance to her creative work. “I get to create something beautiful and uplifting in my paintings and again directly with people’s hair. Being an artist combines well with being a stylist and each are tremendously rewarding”.
In 2003, Webster was awarded a Regional Artist Project Grant from Asheville Area Arts Council. Webster is a signature member of the Western North Carolina Plein Air Painters (WNCPAP). Webster’s work can be found in many private collections including Memorial line portfolio or email her at Colleen@colleenwebster.com
Jim was the managing partner in the law firm of Chambless, Higdon and Carson, in Macon, Ga., where he practiced law for 31 years.
Although always interested in drawing, even at an early age, Jim’s interest in art was dormant while law school, marriage, raising a family, and building a law practice took precedent.
About 26 years ago, Jim’s wife gave him a painting course for Christmas, and Jim has never looked back. This journey culminated in July, 2003, when Jim retired from law practice, moved to Saluda, N.C., and now paints full time.
Jim is a member of the American Impressionist Society and is an associate member of Oil Painters of America. He has had paintings accepted in shows in both, including the 2014 Oil Painters of America National Juried Exhibition in Bennington, Vermont, and the 2014 American Impressionist Society National Exhibition in Denver, Colorado.
Jim gives workshops throughout the U.S., and is known for his harmonious color balance and bold brushwork.
Some Cryptic Notes:
Everett Raymond Kinstler
Knowledge of craft
Feeling of place
Uses red filter for value
Color contrast composition
Value temperature design
Yellow drops out first red drops out second
Paint what you know till you can see what you know
Warm or cool painting not mixed
Get your darks in then connect them
Raw umber Under painting
Uses paint scrapers to draw
Cad lemon vermillion ultra blue
Viva paper towel
Focal point darkest dark lightest light rogue or alien color
He doesn’t believe in focal point
Dark on edges and in front to get in
Yellow ochre cad orange Prussian blue ultra marine cad lemon warm gray sky blue vermillion beige titanium white alizarin with crimson for grays permanent green turquoise
Rosemary short flat brushes
Uses photo to keep track of light
If you paint shapes this becomes fun if you paint things it’s harder
Starts w grayed out color
Make eye go slow through painting break up straight lines