January 14, 2011: Dreams of Florida

How to prevent creative burn out? One way that works for me is my sandbox, where I try new techniques. No judging is allowed, only a carefree and open attitude will do. Out of this playtime, I've begun to make collages. I snip and paste text and imagery to my heart's content, and then in a mad scramble try to unify it all. I love combining drawing and painting with text images from my historic and family history treasure chest.   In these cold dark days of January, I am thinking of our 1960 trip to Florida to visit relatives. We travelled south - this was before interstates - in our new sleekly finned turquoise Plymouth station wagon. One of our stops was St. Petersburg, where my grandparents rented the back apartment of a little cottage. I created these collages about our trip to what I fondly now call "Old Florida," which still exists today in such places at Mt. Dora. Clayton Galleries in Tampa featured these collages in their holiday show.

November 22, 2010: "Seeking Place"

This is an image of an older man we happened to meet along the Oswego River who showed us how to use a sextant. When we first stopped by the little public dock, he was busy cleaning the rest rooms. We found out he was a retired electrician, a widower, and was living with his daughter's family. He volunteered his services to keep the park facilities clean and neat. While he held the instrument to his eye, seeking the horizon, I realized that he had discovered the secret of a happy life. He continued to seek his place in the world by giving. In November, this drawing received the Parsons Brinckerhoff Award at Cincinnati Art Club's Viewpoint 2010 National Exhibition.                                                                      HAPPY THANKSGIVING TO ALL

Gallery of CNY artist uses historical resources for new work

Gallery of CNY artist uses historical resources for new work

October 26, 2010: "Autumn Allegory"

I was discussing the change of season with my good friend Lauren, and we wondered why fall seems a little bittersweet in all its glorious colors.   I think that autumn waits. This scene in Galena, Ohio, intrigued me with its complete calm. No breeze ruffled the tree tops, and the water's surface was motionless. Drivers roared and rattled in their vehicles behind me, bent on making good time for their next destination. But autumn was winning the race, moving silently forward in the stillness. Splashing russets against sky, this annual show astonishes me yearly as I drive along roads I thought were familiar.   I'm reminded of our son Jeremy, then only a toddler, who asked of autumn's falling leaves: "Does this happen every year at this time?" As an artist, I try to remember that childlike wonder about the nature of time.   "Autumn Allegory", 27 x 39, oil on canvas, is currently part of a group show, "Trees," at Marcia Evans Gallery, 8 East Lincoln St, Short North Arts District, Columbus. 614-298-8847.

August 28, 2010: Journey Back in Time

Last week my husband Paul and I visited lovely Central New York, where we grew up and started our family together. The weather is usually warm and sunny in late August, and we weren't disappointed this year. We drove around the beautiful hilly farmlands of Madison and Onondaga County, and visited a working hops farm. I was able to take some reference photos of several old hops buildings for a painting for an upcoming show of historic farms at The Gallery of CNY in late September.   We dined in the courtyard of iconic Lincklaen House (see my colored pencil drawing "Travelling Light") in the quaint lakeside village of Cazenovia, the home of The Gallery of CNY. The first course was warm popovers hot from the oven. The onion rings were golden brown and lightly crisped. And  of course Paul and I enjoyed our haddock sandwich and cole slaw, which is a Central New York tradition.   Distant sailboats danced on shimmering Cazenovia Lake as we headed back to Syracuse. See "Vantage Point", oil on canvas.

Old House by the Road: August 16, 2010

I recently finished this oil on canvas, "Summer House." As I painted the roof in broad swift strokes, applied thick pigment to the corners, and added some warm dabs of color to the windows, I remembered my love - even as a teen-aged artist - for the simple lines of these New England style farmhouses.   I found them everywhere along the rural roads of Central New York. One autumn weekend, when  I needed a subject to draw in my sketchbook for high school art class, my mother and I took an aimless Sunday drive along narrow roads lined with asters and goldenrod. "Stop here!" I yelled. My mother did as directed, but with a shrug and a look that said, "What do you see in that fallen down old house?" But for the next hour, she patiently read the paper while I sketched and wondered: who planted that rose bush, and why did the front door have no step?   On the way home, we cooled off with the car windows opened all the way. My mother suddenly said, "I always did like our old farmhouse better than the new ranchhouse..."

June 29, 2010: Earthly Connections

On Thursday I gave a gallery talk for "Coffee and Conversations" at the Columbus Cultural Arts Center.  http://culturalartscenteronline.org/linda_wesner  A lively group had gathered, as they do every month, to eat their bag lunches and ask questions of visiting artists. It was my turn to chat and listen to their observations about my current colored pencil solo show "Ohio Landscapes" in the main gallery.   The group asked practical questions, such as  "Do you pull over to the side of the road when taking reference shots? Do landowners ever chase you away?" I responded that the easiest method is akin to a "drive by photo shooting" from the passenger seat while someone else is driving the car. Over the years I have become pretty expert at this. (It helps to be on a smooth road!) The trick is to have your camera at the ready on trips - both short and long - so you don't miss that one unforgettable image.   The group also made thoughtful observations as we moved from one work to the next. I mentioned that my work is calm, but group members added, "Yet there is so much movement in the grasses and sky." I said my work was realistic, but many pointed to abstract qualities. As you can gather, I was on a learning curve, and a positive one, because these observations are the ones I aim to achieve in my work.   We ended up by "Field Trinity," which hangs by the front door to the Cultural Arts Center. I told them the panoramic fields of Ohio inspire me with their unique atmosphere.  I was reminded that my yoga instructor, Kit Spahr, once said in class that the breath is the door between body and mind, and I felt that the three burly trees are the bridge between field and sky.   The hour was up, and so we parted. I hope they felt inspired to create more art. I know I did.