Bragging Rights!

"There is an ancient enmity between daily life and the great artwork"

Rainer Maria Rilke

So after a rather lengthy on/off hiatus due to housebuying, and then adding a new roof in the nick of time before the first snow hit Tahoe, I'm back on track (I think). I 'interviewed' one of my new models this morning, paid what must be my 100th visit to Meeks this month for studio essentials, and then (with a little glee) came across this issue of Tahoe Quarterly in which I appear alongside some pretty heavyweight 'Tahoe Masters'. It's their 10th Anniversary Issue, and they published a list of artists who'd been featured in TQ over the years, as artists, "who have mastered their craft."

Excellent ego boost for me at a time when I was starting to wonder if I'd ever feel like an artist again. Thank you Elizabeth Korb and Tahoe Quarterly!

In the spirit of reviving my dormant artist-self, I've also posted an invitation on my Tahoe Artists Network Facebook Group to a critique group on November 5th. If any locals are interested, drop me an email - I'm looking for professionally minded creative people to share and discuss your creative practice. I've also posted a discussion starter on the board - Influence & Originality, so if you're not able to make the meeting, feel free to throw in your ideas on the subject.

Charcoal Study

Danielle (i)
Charcoal on Tinted Paper
22x15"

Underpainting #1

I'm ridiculously excited about this painting - I've been learning a lot about edges and values from reading an amazing book: Alla Prima: Everything I know about painting, by Richard Schmid. I've been reading it and making notes for the past few weeks - and although there's an intimidatingly large amount of information, I think some of it is finally going in. My friend, and new boss Kim Wyatt (of Bona Fide Books*, a brand new small press in Tahoe) referred to what I'm doing as 'composting' - that is, reading some, and then allowing it to settle in my brain before going on to the next chunk.

I'm enjoying my new mode of working; Without the pressure of chasing shows and sales, I'm finally on the path I wanted to take when I left the UK - which is painting for the love of painting - not trying to second guess what other people might like in order to make a living. My new job is giving me the money to contribute to our income, and buy paints - and is a nice enough job that it doesn't suck all the creativity out of me like a bar job would. When I'm satisfied that I've got a decent enough body of work to show - then I'll start sending out artists packets to galleries.

The other important reason why I'm able to do this right now, is that I was awarded the Jackpot Grant from the Nevada Arts Council for the second year running. This time, the budget is for models - so I can produce a body of figure paintings from life over the summer. This means a huge amount to me, and I'm very grateful to receive a grant in these hard economic times. Thankyou, Nevada Arts Council!



*Website coming soon!

Scarlett

Scarlett
Oil on Panel
22x30"

I was really pleased with this one - but I think I'll be a lot more cautious with the colour of the background cloth in future. The highly saturated red was really difficult to reconcile with the model's flesh tones. The porcelain-skin effect is definitely aesthetically appealing, but treading the fine line between 'china' and 'undead' is challenging. Oh well, art's supposed to be a challenge isn't it?

New Website

www.shelleyhocknell.com

This is why I've been wondering around with a glazed look for the past couple of weeks. I'm happy with the result though, all shiney and new with a proper guestbook, thumbnail portfolios and everything! It's made with an online program called FolioLink, which I really like. Any feedback would be much appreciated.

Figure Painting Class

Kirsten (i)
Oil on Panel
30x20"

Here's one of my recent paintings from Phyllis Shafer's Figure Painting class. I didn't get to finish it unfortunately, but I was pleased with most of it - especially the face. Isn't it always the way....the section which took the least amount of time and effort was the bit which worked best.

In my opinion anyway.

It's easy to overwork something, or overuse a trick I've picked up that works. I feel like I'm still very much finding my way with these figure paintings, but the common theme of my practice seems to be: Stay loose, stay back, take breaks. The minute I start 'noodling' or trying to use a small brush when a bigger one could be used to make one clean, precise mark, is when I need to have the discipline to stand back for a few, take a breath or two, and look properly at the entire painting. Then I look at the painting upside down (head rush!), and also refer back to my subject by flicking my eyes back and forth between the painting and the model. This often reveals the mistakes I need to correct (i.e "oh my god the head is tiny!! how did I not see that?!!")

Then back to work.

More Drawings...