Congratulations to Ellen Lyon for placing as a finalist in the 6th Edition!

 WHO ARE YOU?

I am a painter living and working in a small Midwest (USA) university town with my husband, two children (18 and 20), and pets. I earned a BFA in Painting and BA in Art History from Indiana University in 1997. I have pursued museum work as a day job but have never stopped painting. Once my children were older, I recommitted to my painting career, adopting a daily studio practice. 

My family became my muses once I transitioned from still life back to the figurative work of my college days because of an epiphany I experienced a few years ago. I had been working full-time, raising children, and focusing on still-life painting. Working from still objects and smaller sizes allowed me to paint around a much more demanding schedule.  As they aged into high school, I had more bandwidth to reconsider what I was painting. I went back to figure drawing sessions on campus with a friend. I had painted the figure when I earned my BFA years ago but hadn’t done it in almost two decades! Once I started again it was a watershed moment. I was on fire to create in a way I have never been. I was hungry for it and for the past 5-6 years have worked intently to increase my skills in painting the figure. 

I don’t remember a time when I wasn’t drawing, colouring, or making. I got the label “artist” very early in school. Not much could compare to the allure of a new sheet of paper and pencil. I remember taking very good care of my crayons and being so envious of the kid with the 64 pack!

WHAT INSPIRED YOU TO UTILISE PAINTING AS A MEDIUM?

I remember using watercolour to add colour to my drawings and in high school, I started using acrylic paint. It wasn’t until college that I began using oil paint; it seemed so intimidating until then. Once introduced, I fell in love. The luminosity and depth of colour were intoxicating. We were encouraged to take a wide range of classes. I loved learning ceramics, printmaking, and metalsmithing along with anatomy and painting. I love to draw and take photographs but never has anything held for me the pure magic that painting has. It is so simple and so complex at the same time. The tactility of the tools and creating form with a brush on a flat surface is amazing. I feel like colour (specifically the layering of oil paint) allows me to solve problems and define light and space in a way no other medium can.

HOW WOULD YOU DESCRIBE YOUR ARTWORK?

In my bio, I describe myself as a figurative painter focusing on modern portraiture that revolves around feminism, motherhood, and coming of age. That my painting style incorporates a colourful palette and multiple thin, luminous layers with a nod to realism but also the search for something more. That’s a start. I think the three most impotent aspects of my current work are: examining vulnerability through portraits of my teens, exploring my ever-changing roles of woman/wife/mother through self-portraiture, and the choice to light my subjects with natural light.

Morning Light, Sleepy Face is a portrait of my daughter. My children have been my muses for the last few years for three reasons. The first, and I suppose the most obvious, is that I never tire of looking at their faces. They change so quickly that if you blink, you’ll miss it. Alongside the physical changes are the emotional ones. As an artist and mother, I feel driven to process the heightened vulnerability that teens exist in; something as adults we unconsciously (and consciously) learn to temper. The final reason is practical and one of opportunity. They are the faces in my environment that catch the impromptu, amazing, fleeting effects of bright natural light falling over a surface. 

I have always been intrigued by artists’ self-portraits. It is a long-standing tradition to use oneself as a model- the original selfie. I have always painted self-portraits for ease, practicality, but also freedom. Freedom to use my visage as I see fit. No one will be asking for curlier hair, less wrinkles, or a smaller nose. Also, I know well my own expressions and what feelings illicit them. That insider knowledge is so helpful. Once at a solo show of mine, someone came up to me visibly upset/irritated. She demanded to know why the likenesses of my self-portraits varied- intimating that I had done it “wrong”. I explained to her that they are each showing a slightly different aspect of me, but that they are all me. 

An undercurrent to my model choice and subject matter is my choice to light my subjects with natural light. It is such a different experience from artificial lighting. I love to show unexpected, lovely moments that simply cannot be reproduced- they exist in that moment, in that ray of light falling over the model. It can be bright or soft and create the most beautiful colours on skin. I prefer to be surprised rather than attempt to manufacture something interesting and I hope that the surprise and delight show in my work. It is the equivalent of the universe stopping time for a moment and saying, “Would you look at that!”

CAN YOU DISCUSS THE INSPIRATION AND THOUGHT PROCESS BEHIND “RUBY STEMMED VISION”?

The inspiration behind this work is inspiration. Frida Kahlo was to me, and to so many others, an early source of inspiration. I remember seeing images of her surreal paintings as a teenager in my small Midwestern town, far from museums and even farther from the country where she lived and worked. Those paintings were otherworldly, beautiful, and full of colourful narratives. What struck me most was that the colourful narrative was a deeply personal one. Painting after painting documents her life, her struggles, and her joy. Beyond that, this was a famous painter who was a woman. Things are changing but growing up before the internet, this was a miraculous introduction. Those that know me and my love of Frida will often buy me branded objects. The mug I am holding is one such find. I used this mug in my self-portrait as a homage to one of my earliest artistic role models and my own houseplants as a stand-in for the lush Mexican greenery she often included.

CAN YOU WALK US THROUGH THE TECHNICAL STEPS OF CREATING “RUBY STEMMED VISION?”

This painting began as many do, with observation. I am an opportunist when it comes to lighting conditions. When there is a bright sunny day when I am not at work, I gather materials, and people (in this case myself) and I travel through the bright patches of light with my camera. On this particular morning, I was drinking my coffee from my Frida Kahlo mug. It created an instant narrative for me; a connection that I wanted to pursue. I took many reference shots with the mug and in different lighting situations near my kitchen window. When I think of Kahlo, I always imagine the lush greenery and feel a kinship with the tropical plants I grow, even though worlds apart. I replaced the upper corner of the reference shot with photos of my tropical plants- the upper placement seemed to take on a dream-like quality. Was it really there or was I imagining myself in a Kahlo painting, dreaming of the warmth and beauty of Mexico from my chilly suburban street? 

I often use a simple 9-square grid to place my figures on the panel. I will draw my image in pencil and then add a thin wash of Venetian Red paint over the surface. This adds warmth, creates a mid-tone, and softens the drawing to more easily allow for changes. I will then introduce lights and darks, working my way to the mid-tones. I tend to cover the entire surface before adding multiple layers that further define the figure and/or add depth to the colour, especially the skin. The finished surface will have multiple layers- I am reproducing light and want my paintings to feel luminous. 

 WHAT DO YOU HOPE TO COMMUNICATE TO AN AUDIENCE WITH YOUR WORK?

I continue to be fascinated by natural light effects. The variety of shapes and colours is enormous and cannot be anticipated or recreated after that moment has passed. The extreme of bright light to shadow is stunning and a thrill to paint. It brings my main reason for painting front and center; that reason being, to show others the joy of really seeing. If I can highlight a gorgeous moment, no matter how quotidian the subject, and encourage the viewer to see those types of beautiful moments all around, I have succeeded.  

My recent painting Morning Light, Sleepy Face exemplifies this. On an average Saturday morning, I was struck by the intense morning light as it fell on my daughter’s face. I no longer heard her morning murmurings but grabbed my camera. Not only were there dramatic shapes created but also the glow of her rosy lips and the deep, dark purples in the shadows of her face. The personal narrative continues for me as the paintings hanging on the wall behind her are my paintings. It was a surreal experience to paint images of my own work that were changed by distance and shadow. Additional story is present that only I can know but the drama of the lighting tells its own story, an interpretation by each viewer.

The background here, unknown to the viewer, is that this is a portrait of my youngest child. My son has already moved on and my daughter will attend college in the Fall. This portrait represents a goodbye and a transition for us both. I think the posture, expression and strong sunlight and shadow speak to all sorts of transitions we all experience.

 CAN YOU TALK ABOUT YOUR BIGGEST LEARNING EXPERIENCE DURING THE PROCESS OF CREATING YOUR WORK?

This is such an important question and an important part of my work. I feel like I learn something new with every painting. So much so, that I am eager to take what I’ve learned and start something new. A tough aspect of making art is that they all won’t be great, that so many of your starts will fail. Not only will many fail, but you also won’t know it until you’ve spent hours working on something to then realize, it just doesn’t have that spark. The trick is to chalk it up to time spent practicing your craft and to start recognizing when it is time to move on. That is part of the reason why I feel oil is the perfect medium for me, one can always paint over anything. In fact, if someone were to X-ray or to use infrared reflectography on my work, they would find many with other paintings underneath! 

 CAN YOU DISCUSS YOUR BIGGEST SUCCESS SINCE STARTING YOUR ARTISTIC JOURNEY?

Success can be tough to define and changes over time. At this point in my career, I am focused on reaching a larger audience. I have done this through social media and entering juried exhibitions. It feels like a big win to be included in several international competitions and shows like this one. Last year I was chosen to be in the Delphian Open Call and was long-listed for the Ruth Borchard Self Portrait Prize- both UK based. At this very moment, I have two paintings in the show Pandemic at Sol Art Gallery in Dublin, Ireland. This is my first physical, international event! I allot time to doing research into the many juried shows and competitions available. It takes time and experience to determine which are a good fit, affordable, and do not overlap with other opportunities. I found out about Pandemic through a figurative art group I am a member of- PoetsArtists. They partnered with the curator, Conor Walton to handle submissions. I encourage all artists to find the support of other artists, make authentic connections, and to do your homework.

 WHAT PROJECTS ARE YOU WORKING ON CURRENTLY? CAN YOU DISCUSS THEM?

I want to include more textiles, plants, and animals in my figure work. I have one on the easel that has some of these elements. I am happy to send a work-in-progress image. I also have two series that I plan to expand on my Red Glove Series and my Gemini Series. My Red Glove paintings are portraits of my daughter wearing red, rubber work gloves. The colour is so arresting and combined with the nature of the gloves, is a statement on women’s rights and how the next generation is beginning to take over the work that still needs to be done. In the United States, we’ve seen women’s rights eroded, especially with the overturning of the 50-year-old legal right to abortion. It is an egregious abuse of power by political rights and dangerous for women. Those red gloves speak to me of hard work, fighting back, and saving lives. 

One lens, which I have always used to interpret my own inner motivations, is that of my astrological sign: Gemini. The idea of my inner twins has just felt right to explain the duality of thought and emotion I experience. My Gemini paintings use a very literal, kaleidoscope-type mirroring to depict the duality, but each will also hint at my inner state. I am intrigued by painting double self-portraits and by the riot of colour and design created by the mirroring. For me, this simple technique allows for a step away from reality and towards an interior vision; it leaves space for questions. This series began with four 24” X 24” double head and shoulder portraits, I would like to add at least one full figure double self-portrait.

WHAT IS YOUR DREAM PROJECT OR PIECE YOU HOPE TO ACCOMPLISH IN THE FUTURE?

I have been dreaming of large-scale, multiple-figure paintings. These as yet planned works would include models, flora and fauna. I have just begun to incorporate my love of still-life objects with the figure, these large works would expand on that in perhaps a more surreal way. It still feels a bit out of reach which tells me that the next paintings I will make are the steppingstones.

LASTLY, I LIKE TO ASK EVERYONE WHAT ADVICE THEY WOULD GIVE TO THEIR FELLOW ARTISTS/ PHOTOGRAPHERS, WHAT IS YOUR ADVICE?

My advice is to experiment and devise a structure for your practice. Once I implemented a (near) daily studio practice, I was able to produce more work and see consistent improvement. In my experience, it is quality not quantity each day. I have (as most artists do) other responsibilities such as children and a day job. In the past, I tended to wait for longer periods of time to open, but they just never came. I changed my perception of what studio time looked like and it works very well for me. For me, it meant a combination of two things: working everyday if only an hour or two after work and having a studio set-up that was ready to go at a moment’s notice. Those weekly hours in combination with longer weekend studio days, really add up. I now feel like I can easily jump back into a painting. My palette has a lid that keeps my paint ready and I either wash my brushes after each session or dip them in linseed oil to prevent dried paint on the bristles. Also, for this system to work for me, it necessitates a home studio. I did not have the time to travel to another location and it helped to be accessible to family while still at the easel. I keep an empty chair next to my set-up so that my kids, husband, and cats can sit and talk or just watch. I found I had less interruptions being out in the open then when I painted in a back room. Be honest about what working conditions are best for you, many artists need a quiet space with a door (or miles away) no need for apologies, find a solution. There will never be enough time for all that we want to make, and your best structure could look very different than mine, but it is worth it to take the time to reevaluate how your practice fits into your life.

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