Sunday, November 28, 2010

Deborah Paris: interview, part three

Morning on the Flats by Deborah Paris
Deborah- When I was trying to learn to work with glazes in the landscape I turned to Lynne Windsor. (See my interview of Lynne here.) She worked that way and we both lived in New Mexico at that time.  I had been painting plein air in an alla prima style and I had been investigating ways to create the idea I had. I asked Lynne, "Did she use an underpainting and glazing?" I still have the email she sent me. She had written a detailed email full of information. I was delighted! It had been so hard to find information. I knew that I needed to go back and read about all the old techniques. I needed to understand the hows and whys. I worked and worked, gradually I started to figure it out. At this point I was working in pastel and oil making the transition to oil only. For another year I worked on the problem and I figured out that I would get more luminosity if I used a transparent underpainting. I really started paying attention to transparent paint and the optics involved. I now finally understood why it created different looks-optically. Other aspects of painting started to come together: composition and color harmony being the two most important.

L- Which artists past and present do you admire?

Deborah- Of course George Inness tops the list. John Constable, Corot, Sanford Gifford (big turning point when I saw that show!) Hard to say which contemporary artists I would like to add. There are so many fine artists working today, I wouldn't know who to pick.

L-How do you keep motivated when it gets tough in the studio?

Deborah- I just keep working, usually on another painting. I find that if I shift to something else I can get out of the stuck space. In addition I have learned so much because I work on more than one painting at a time. If I have a problem, oftentimes I find a solution in another painting.
Sometimes a bad day means- take a walk.

L- What is your daily routine?

Deborah- I have very regular studio time. I begin work at 9:30 and finish at about 5:00, seven days a week. I will often answer my emails and respond to my online class questions and discussion before I begin. In the evening I work on my class, research for posts, read or write. During the day I will leave the studio to go for a walk.

Check out Deborah's site. Sign up for one of her marvelous online courses!!


Katherine van Schoonhoven said...

Thanks for sharing the interview with Deborah Paris! Her work and work ethic are inspiring. I'm especially interested in her move from pastels to oil!

Lynne E. Windsor said...

Thanks Loriann and Deborah for the credit. Of course Deborah is a complete natural in her ability to move from pastels to those glorious luminous paintings.

Caroline said...

Thank you for the link to Lynne's work, such skill and the paintings are very luminous. Regarding Deborah and her work I would say she is very disciplined to be able to work to such a strict time table yet you can see that is how she reaches those high standards of truely beautiful paintings. I have wondered about her working routine. A very dedicated painter.

loriann said...

Hi Kvan, I am glad you are enjoying the interview. Yes, she did as we are doing...that sideways move- pastels-oils. Amazing, eh?

Hi Lynne, I was amazed that Deborah said she kept the email you sent her. you can tell that it meant alot to her. Deborah is a natural, of course. I am sure your influence was very important as well.

Hi Caroline, Yes, Deborah's work ethic is admirable. What a woman!