Saturday, October 3, 2015

AUTUMN MARSH :: original pastel, 6x6"

by Kim Morin Weineck
original pastel, 6x6"

$125 + $8 shipping

This weekend my family scooted up to New Hampshire to visit my bestie. Having known her since we were five, it's easy to say that we are really more like sister-friends. What's a true gift for the two of us is that our families mesh well together: her kids are friends with our kids and my husband is friends with her husband.

It's so nice to feel refreshed and excited simultaneously. Being at her home was great, and we had both busy and down time. During my own quiet time, I took out my pastels and painted this scene from our walk earlier in the day.

The weather wasn't super for our visit, but it wasn't awful either. We had overcast for two days. Fall may be the only time when overcast doesn't bum me out, for it's in gray days that autumn colors can sing. This is the focus of my painting today: fall's colors as a vibrant contrast in the landscape.

Foliage isn't at its peak yet, so I certainly will have time to refine my painting skills as the leaves continue to change. We'll see how it goes!

Thanks for reading! -kmw

Friday, October 2, 2015

WIND SOCK :: original pastel, 6x6"

by Kim Morin Weineck
original pastel, 6x6"
$125 + $8 shipping

The field in my neighborhood which I find so inspiring used to be an airport. Lucky for us, planes don't take off and land there any longer. We still see vestiges of the property's former use, like this pole for the wind sock, even though the fabric part has been long gone.

Again there is snow in this painting -- only a little, though. My previous post was at the start of a major named snowstorm. This one was a mere dusting early in the season. The time of day was dusk, which seems to be a favorite of mine lately. The light is blue. I think this piece holds a very specific light story.

I took liberties enhancing the colors in this piece. Blue is my favorite color, and it's pervasive here. The color relationships are the classic complementaries: blue and orange.

The sky is more dynamic in the original, with confident streaks coming down into the next subtle gradient. At the treeline is a subtle suggestion of a greeny-golden light. It really works with the turquoises in the piece.

The pile of references and notes and drawings in my sketchbook is massive, and I'm loving the discipline of daily painting. We'll see how long I can follow through. I'm bringing my pastels to visit my bestie in New Hampshire. I wonder that I'll take them out for tomorrow's painting....

Thanks for reading! -kmw

Thursday, October 1, 2015

SNOWFALL :: original pastel, 6x6"

by Kim Morin Weineck
original pastel, 6x6"

It's October 1st and I'm still painting. Before September I painted often, too, but the discipline of making art daily has been a good exercise and is adding a little balance to my life.

This painting is from a stack of photos in my studio which I've been collecting for years. It's been such a joy to tackle these references and see them through to fruition. Excuse the subject of snow, it is only newly fall and the first of October, but this image was on the top of my pile and the colors were so appealing to me. I think it made a good painting.

Snow is tricky to paint. Cold paintings don't look warm and inviting. How can you make snow look warm and inviting? You have to play with the temperature. Cooler in the foreground and warmer as it goes back in space. This atmospheric perspective for white is the opposite of how we usually paint.

And again this is from the field near our home. It's such an inspirational place for me.

Thanks for reading! I'm off to teach my Thursday night class -- kmw

Q & A About my Artistic Development

Recently I was invited by the company Patience Brewster to participate in their Artist Q&A Spotlight. Patience makes fine ornaments and home decor. Their website has a Q&A section about Patience and I thought it was a good idea to share about my artistic development as well. It's a good thing to periodically reflect on where you have been and where you're going! After the #30in30 I thought I'd spend some time getting my online presence in order. Here is a Q & A about my artistic development. When artists have these on their sites, I know I always enjoy reading them, so I thought I'd add one to mine. Enjoy! -kmw

1. As a child, do you recall a significant moment when you felt truly affected or inspired by any particular artwork or artist? 

Here I am!
Painting ghosts on the windows for Halloween
Maybe I was 2 and a half :) 

This question is interesting to me because, while I was always interested in art it wasn't a major part of my life until late in high school and college. Art as a discipline wasn't really in Catholic school. Sr Pauline did have us making posters for Catholic Schools week, but I know that didn't inspire me to want to be an artist.

We do have this one great photo of me painting ghosts on our living room windows with my aunt. I was maybe two or three and the smile on my face speaks to the fun I was having.

The first lightning bolt art-related moment came when I was in 9th grade, and was a newly-elected officer of the Humanities Club in school. As an officer I could attend the Renoir exhibit at Boston's Museum of Fine Arts (somewhere I don't think I had ever been before this field trip.) The MFA was packed with people looking at these fine Impressionist paintings, and I was in awe. Something changed for me after that exhibit. I became a private scholar of art history.

Eventually I ended up getting a degree in Fine Arts with a Painting concentration from Massachusetts College of Art in Boston. It was a winding road that took me through a halted history degree at another college, but eventually I found my path. 

The polaroid is authentic! Painting en plein air in Gloucester, MA
and there I am -- Happy to graduate from MassArt!  

2. As an artist, what do you hope to convey with your work? 

My work is about comfort. It's also about my perspective. While recently working on a daily painting challenge to make 30 paintings for each day of September 2015, I solidified that focus of my work. Over the course of 30 days I could paint anything I wanted, and I learned my subjects make me happy and content -- even when they are difficult to make into good paintings. 
by Kim Morin Weineck
original pastel, 6x6:

What's important to me is that the paintings have an important "light story" to them. If someone sees my painting, they should be able to tell what time of day the painting was meant to capture. This doesn't mean that it's always sunny with hard shadows. Sometimes the light story is that there was no light. What matters is that it's all through my filter and that it's conveyed to the viewer. 

by Kim Morin Weineck
original pastel, 6x6"

3. What memorable responses have you had to your work?

When I paint, it's a way for me to connect with my talents and sort of meditate or pray. In the Artist's Way, Julia Cameron talks about the Creator (whoever that may be for each of us) giving us these talents. It's our responsibility to pay homage to the creator by using them. 

A page from my Pont-Aven School of Contemporary Art scrapbook
On the left is my work on the gallery wall with the red dot on the label just
below the painting.  A print out of the painting is on the right.
My old old old digital camera took these and they are terribly pixelated.  

In Brittany, France, where I spent an AMAZING summer painting in 2000, I recall one day specifically when I was painting on location. It was a lovely little composition of a stone wall, some day lilies, and a gate. The stones and flowers were giving me such problems! After much struggle, I remember putting down my brush for a moment and deliberately thinking I wasn't going to think any more. Instead I would just do. The piece seemed to flow out of me. It was like a meditation. Yes, I loved the painting that was created then. And the local bakery bought it for their collection. That was certainly a memorable response to my work! 

4. What is your dream project?

When I finished art school, I was 30 and vividly remember wanting to travel and teach, much like the professors did for the summer in Brittany. While I would still like to do that, I think it will be a little later in my life, since I have young children and we're settling into our lovely community in Massachusetts where we moved a year and a half ago. My days now are spent painting and designing, some nights are spent teaching, and our family and friends take up much of the balance of time. 

Something fun and exciting is percolating inside me right now, though. Having just finished the intense painting regimen I was on for September, I can now develop a series of works inspired by our new home in the woods. It'll be nice, too, to focus on some other art skills I have and not be narrowed to fine art alone. 

Does that answer the dream project question? Not quite. We live a creative life in my family. I would love to be able to share that aesthetic with others on a grander scale. How? I'm figuring that out. 

5. What artists, of any medium, do you admire? (Famous or not!)
Apples in the Sun
by Duane Keiser

Julianna's Easel
by Duane Keiser

Two contemporary artists pop to mind for this question. Both were early to the Daily Painting routine. Duane Keiser and Julian Merrow-Smith. Both are realists but both take that realism to a painterly-style that I adore. Both also have a consistent voice. I follow both on Facebook and read their blogs, etc. Each time I see their works I get inspired! 

Demonstrations from Julian Merrow-Smith's workshops
What beautiful, lively paintings!! 

Some day I will jump in with both feet and either take Julian's Provence workshops or bring my own class to his French rental property for a workshop of my own! 

#30in30 in one place

Poster available shortly
$15 paper size 11x17"

Suitable for framing 
signed by the artist
(with an inscription, if requested)

More info to come

September is over. The #30in30 was a wonderful experience and I'm delighted for all of you who followed along. Looking at this poster of the paintings, I'm glad to have taken on this challenge.

In the end, the important thing is the doing, and this challenge really helped me to continue on my creative path and do! 

Thanks for reading!-kmw

Wednesday, September 30, 2015

Day 30 :: SELFIE :: #30in30 Painting a Day Challenge

by Kim Morin Weineck
original pastel, 6x6"

Last night there was a comment on my Facebook post mentioning a grand finale to this Septmeber daily painting challenge. I had a hard time sleeping after reading that. While I had always thought the last day of #30in30 would be simply another painting, I realized it was a chance to really try something different.

When I'd wonder aloud what I should paint for subjects, I would often hear self portrait as an option. It's not my first, but I hadn't done one in quite a long time.

At times I look at this painting and see me. Other times I look at it and see someone with a big chin. Whether or not it looks the way I wanted, I'm quite happy with it. The marks, the texture, the lighting, and the temperature all feel good to me. It's only with practice that I'll feel more confident about my figure painting.

"Selfie" speaks to the purpose of this whole challenge, and that was to be vulnerable. It's in that strong place of vulnerability that growth happens. Now that September is through, and I've painted every single day of it, I know that I've grown as an artist.

What comes next? Do I keep going? I keep going but with a new focus? Ack!

Thanks for reading and for staying with me during these past 30 days. It's been great! -kmw

Tuesday, September 29, 2015

Day 29 :: ACORNS :: #30in30 Painting a Day Challenge

by Kim Morin Weineck
original pastel, 6x6"

$125 + $8 shipping

Since the girls went back to school I spend a fair amount of time outside walking in my neighborhood. It's a great spot to walk: hills, fields, rivers, ponds, forests, and so much to look at. Lately when I've been walking I've been stopping to notice small things at my feet: feathers, seed pods, interesting rocks, and of course -- acorns.

Acorns are everywhere right now. While waiting for the bus they seemed to be raining down on us. During my walks I am always picking up interesting acorns and bringing them home, my pockets stuffed. How many kinds of oak trees do we have in my neck of the woods? I had always lumped them together simply as oaks. Now I have been observing more closely--northern oaks, pin oaks, black oaks, red oaks, among others. Such interesting fun.

Last night I sat to write my blog post about Blue Coat and took an inventory of paintings for the month. Landscapes dominate, obviously, I am a landscape painter. I decided I needed another still life before month's end. Today in my studio I decided to paint acorns.

In art school, I was always working on a still life. My view from MassArt's Kennedy building was not my scene, so I'd set up my leather bag, or some other art supplies, and paint. It was then I learned that when painting a still life, the thing you're painting is important, but so, too, is the background -- even if it's a mass of a solid color. This is HARD to do! Professors often said (and now I repeat this to my students) that you should spend as much time on your background as you do the subject.

Today in the studio I really understood about the importance of the background in making a still life painting interesting. In person, it's almost as great to see the pinks, grays, blues, and yellows in the light neutral background as it is the collection of acorns.

Thanks for reading! -kmw