For decades I have been creating art in circles surrounded by squared edges. When I first made this type of work it was in the mid-1970’s. The circle was most often represented by an apple inside a square or cube. At that time it represented to me the yin and yang, female and male complements to our lives and our characters. The apple was an Eve figure, soft, female, curious, playful and seductive. The boxes were the rules, the male, the limitations, the protection and the containment of her attributes.
Apples in Boxes – A pointillist drawing in ink on paper. c1970’s
I have recently returned to this theme but using flowers from my garden as the subjects rather than apples. It feels so calming to me when I create these voluptuous rounded floral paintings. This peony was the first in a series of exploring again the circle in a square imagery so I named it “Centering” because that is how I feel towards these works. I find my centering in two places, in my studio and in my garden. They completely complement each other, one provided by nature and one in interpreting that vision.
There is a difference between the imagery of then and now. These flowers, though they are encompassed in a square format canvas, they are not contained. They are bursting through the limitations of frame, of edges, of inhibition. They are positive and empowered by their form and by their explosive color. They are neither shy nor retiring. They declare themselves as having established their own space. They are declaring themselves as individuals.
The flowers I create in my studio with brush and canvas speak to me beyond their intricacy of form, color, ruffles and swirls. LIke everyone else they initially attract me with the way the color changes as the light graces their outer curves and when it delicately enters their inner recesses, their intimacy. The edges of petals dance like ballerina skirts bouncing in the breeze. Their edges are fluted, scalloped, curved and splayed defining their differences and embracing their similarities of purpose.
I love the architecture of flowers, not just how they grow on their stems, their height, their leaves and their unique outward appearance. I concentrate on the inner architecture of their center parts, the configurations of their pistils and stamens, their anthers laden with pollen. Quite frankly, these flowers are built to seduce their pollinators. The birds and the bees but also the billions of bugs who help by rolling in their pollen to feast and to share and to help create the next generation to grace the earth.
Flowers speak to me of our universe. Our purpose. Our endurance. Each flower is an individual with its own color, shape and form. It’s own choices of community, culture and companionship. It’s own needs for climate, food and water for sustenance. But we all share our need to survive, another season, another year, another generation.
Whether I am among the flowers in my garden or the flowers in my studio, I embrace our diversity and our commonalities. All these flowers in soil or on canvas speak beyond themselves, they’re ideas and thoughts beyond just the visual. They speak to the interior of our purpose and our minds. They are us.
Not until I studied botany and viewed flower structures under magnifying glasses and microscopes did I really appreciate their magnificence. As a life-long gardener I looked at and created landscapes, matching groups of plants to be seen from a distance, blending distant views of overall colors and shapes. Matching seasons and cultivation needs, heights and spreads contributing to the designs I created in gardens and on canvas in my landscape paintings.
A rainbow of colors in a friend’s May garden. Photo by Mary Ahern.
But that aha moment of peering dramatically close to the parts of a flower opened a whole new world of vision and contemplation for me.
By painting my flowers overly large and entirely out of scale from the real world, I try to bring that same sense of awe to my viewers. Show them something of what I see. I try to create for them their own aha moment of joy and wonder to take on their journey.
As I mentioned in a previous post, Professor Louis Finkelstein, the Art Department Chairman abruptly walked out on me at my senior thesis show when I mentioned that I was about to be a single mom declaring it to be impossible that I could also be an Artist. He previously had offered to sponsor me to the notable, Robert Pincus-Witten for a Whitney Museum Graduate Fellowship program but suddenly I was anathema. That event took my breath away for quite some time until I began to gather the pieces of me that felt flayed and strewn to the wind.
So what did I do to salvage my heart and soul? Since 4 years of art school didn’t train me for anything remotely connected with making a living, I knew I needed more education. I also found out that if you worked at a college your tuition was free. So I made a list of colleges I wanted to attend & found a job in the career services office at Barnard College. During my lunch hours, I attended computer programming classes at Columbia School of Engineering. Going from such intense right brain to left brain work was so difficult it often physically hurt.
Barnard at the time was a bastion of feminism and my boss, Martha Green guided me and untold numbers of other women into successful and rewarding careers based upon skills which, I for one did not know I had. She recognized in me untapped horizons and restored my confidence.
Mary Ahern demonstrating the Chyron Chameleon electronic paint system 1986 at the Cablevision television studio in Woodbury New York
From the support and direction I received from the women surrounding me at Barnard, I launched my career into sales, because that’s where the money was, and computers, because that’s where the future was. I zig-zagged my career in computers over the years to capitalize on my Fine Arts degree by selling computer graphics equipment to the creative departments in the television broadcast and industries. My art helped me sell those systems.
So here I am, still painting, still an Artist, proud of having supported and raised my sons on my own. Now I work every day in my studio surrounded by the gardens I created that inspire my Art.
I kept my eyes and ears open and when one mentor slammed the door another mentor opened it for me so I could charge through. Success is the sweetest revenge. Thank you Martha!
Pincus-Witten, the art critic, curator, historian, author and individual who in 1971 coined the term, “Postminimalism” has died. It reminded me of a brush with greatness that never happened for me. Let me explain.
During my college years in the 1970’s in the Queens College art department program in New York, I was expressing myself with the same underlying emotional & intellectual content in a variety of mediums. It was a time of the emergence of feminism for me and the search for self. An awakening of the world I lived in, was raised in and thought I understood.
I entered this program as an older student at the age of 27, married with two young children. Needless to say, I didn’t quite fit in with the rest of the much younger student body. Most of my creative work, rather than using the studios on campus, was done at home in my own studio/dining room after I put my sons to bed in the evening. This actually freed me to create more independently than I might otherwise have done.
I followed my own muse. I created sculptures and assemblages using acrylic boxes, clear fishing line, minimalism inspired grids, feminine but painful masses of pink fiberglass insulation. I used distorting mirrors, bindings, weavings of ropes/cords/threads in numerical sequencing. I painted windows where the panes of glass protected or imprisoned using the gridded mullions in defined mathematical ratios. I used graphite, pastel, cut paper & photography to explore my own body landscape and journey of discovery.
All my work at that time explored the balance of male/female, pain/protection, enclosure/exclusion, geometry/biomorphism, math/chaos. One side of me embraced the rigidity, consistency and comfort I found in minimalism but the other part of me was rebelling against those very same norms.
At my senior thesis show, all my work was on display, my sculpture, my drawings, paintings, assemblage, photography and my written papers. Years of independent thought, exploration and interpretation.
Louis Finkelstein was my advisor, a professor I had never met before nor taken a class with but a very prominent and influential person in the NYC art community of which I longed to be a part. He spent a great deal of time viewing my work, reading my papers and asking me questions of motivations & process.
He was impressed by my work. He told me that he said he was going to introduce me to Pincus-Witten and propose me for an independent studio fellowship offered by the Whitney Museum of Art. I was itching all over with the prickles of joy.
And then the ax fell. I mentioned to Prof. Finkelstein that I was in the process of a divorce and just straightening out the details because I had two small children.
Without one further question put to me, without one opportunity for me to elaborate, Finkelstein stood up from his stool (and here is where my memory is a little bit muddy) said either, “A divorced woman can’t be an artist” or “A divorced mother can’t be an artist”. And he walked out of my life taking with him my dreams of ever meeting Robert Pincus-Witten.
Choosing bulb replacements for perfect lighting in my studio.
Since I have fluorescent fixtures already installed in my painting studio and didn’t want to replace them it narrowed down the search for the type of bulbs i would be looking for. Learning about LED or halogen lighting options, which I might consider if I was designing an entirely new studio, was off my research list. The installed fixtures are 4’ and had a mixture of cool and warm T8 bulbs bought at the local big box store.
The existing lighting fixtures in my painting studio hold a series of florescent 48″ T8 bulbs.
As soon as I began researching online for the best bulbs for studio lighting I knew the options were very broad and would need more studying. I would need to know what the important specifications would be in selecting the right ambient lighting for working on my paintings and also for proofing digital prints?
I learned about the ratings of Kelvin, CRI and Lumens:
K or Kelvin. The color temperature index of cool light at 5500K and a bit warmer light at 4100K seemed to be my goal. I didn’t want to go too cool while creating the Art since most of my work is hung in either residential or corporate lighting environments. Residential incandescent bulbs are in the 2,500K to 3000K range
CRI or color rendering index. I sounded professional when I went to my specialty lighting store and pronounced it correctly, Cree rather than C.R.I. CRI is a measurement of how the lighting reveals colors across the full spectrum when measured against natural daylight. The highest measure is 100 and a good CRI for a painting studio is 85 and up.
Lumens are the measurement of how much light is coming from a bulb. The more lumens the the brighter the light. This differs from wattage which is a measurement of how much energy is used to create the light.
Over the years, as bulbs have burned out in my painting studio fixtures I went to the big box store & bought a warm and a cool fluorescent for each fixture fully well knowing that a more appropriate solution should be available. Recognizing that over the years my lighting had become inconsistent, I decided to bite the bullet & finally do it right.
I was spurred on to optimize my own painting studio by the announcement that the Metropolitan Museum of Art in New York, which I visit regularly to study their paintings, is completely renovating their gallery lighting over the next few years. You can follow the Met’s lighting project here.
I studied the elements of lighting & then went the specialty lighting store that most of the contractors in my area frequent. Initially the gentleman at the counter said that all I needed was an ordinary fluorescent bulb which I could buy at any box store. Once I began to speak about the technical aspects of the bulbs I was considering, he became interested & spoke with me at length about the options for my studio. We discussed the temperature of the current lighting and the problems I would have if I went to a higher K or color temperature.
So what did I choose?
I chose a bulb with a Kelvin of 4100K rather than 5500K which is often called a daylight bulb. As mentioned earlier, I was considering the rooms in which my paintings are usually displayed after they are purchased. I should also mention that I have a large 10’ north facing window in my painting studio which offers a good deal of natural light.
I also selected a higher than usual CRI number of 85 to give me a more robust range of colors which displays the full complexity of my subtle pigments. Lower CRI’s don’t always show the full spectrum of yellows.
For the lumens my choice was to select 3250 which was brighter than many of the bulbs they were replacing although the wattage remained the same at 32W.
One consideration that I was nervous about was the thickness of the actual bulb. The existing T8 bulbs were thicker than the ones I took home from the lighting store. My consultant assured me that they would be fine in my fixtures and he was right. Less glass didn’t mean less light.
The price for each bulb was a modest $2.40. Well worth the investement!
The lighting is perfect! Great color balance, brightness, range. It was worth the time I took to do the research. As an Artist, I research my subjects, paints, pigments, mediums, brushes, canvas, etc., etc., etc… So now I can add studio lighting to the list of professional choices I’ve made towards producing excellent Art.
This is the choice of replacement T8 florescent lighting bulbs for the correct balanced lighting in my studio. I didn’t pick by brand name but by specifications.
First of all, I have too many girlfriends who have been afflicted by this disease. Neither age nor healthy lifestyle choices seem to have deterred this onslaught.
I am angry and disgusted!
Why these two flowers?
As I traveled to various states doing Fine Arts Festivals over the years, I realized that an unusual number of women were buying these pretty pink flower prints for themselves, their sisters, mothers or girlfriends. During conversations, I began to be aware of how many of my Pink Botanical Prints were being given as gifts to women struggling with Breast Cancer.
I decided to do something about it.
I will donate 20% of the profits from the Sale of either of these two Floral Prints to the Komen foundation to go towards research to help find a cure for this dreaded disease.
When I returned to the Mystic Outdoor Art Festival a year after my previous visit, a customer stopped by my booth to tell me that she had bought a large framed Kansas Peony piece from me the previous year and that she had hung it opposite her bed so it would be the first thing she saw each morning during her challenging year.
I was so moved by this. I was proud to support her in her struggle.
Order either of these prints in whatever size you choose from me directly and I promise to make the appropriate donation to the Susan G. Komen for the Cure foundation.
Wikipedia Information About The Susan G. Komen Foundation.
The Susan G. Komen Foundation gives so much help and supportive information to women at their most vulnerable time!
Susan G. Komen for the Cure is an organization supporting breast cancer research. Since its inception in 1982, Komen has raised over $1 billion for research, education and health services, making it the largest breast cancer charity in the US. Komen has more than 75,000 volunteers nationwide — 122 affiliates in the United States (47 of 50 states) and 3 in other countries.
Susan Goodman Komen was a woman from Peoria, Illinois who was diagnosed with breast cancer at the age of 33 and died three years later, in 1980. Komen’s younger sister, Nancy Goodman Brinker, feeling that Susan’s outcome might have been better if patients knew more about cancer and its treatment, and remembering a promise to her sister that she would find a way to speed up breast cancer research, founded The Susan G. Komen Breast Cancer Foundation in Komen’s memory in 1982. In 2007, the 25th anniversary of the organization, it changed its name to Susan G. Komen for the Cure, created a new logo, and adopted the explicit mission “to end breast cancer forever”.
Today was the second and last day of the 37th Annual Greater Westhampton Chamber of Commerce Mary O. Fritchie Outdoor Juried Art Show
The overcast weather encouraged many customers to come out and enjoy purchasing Art
The overcast weather encouraged many customers not to go to the beach but to come out and enjoy purchasing ArtThe weather took quite a change from yesterday’s very sunny and overly hot and humid conditions. The humidity stayed but the sun and extreme heat disappeared.
The show opened officially at 10am and was very busy for quite a few hours. People were in a buoyant and buying mood, which was very nice to see. The current economic environment is still oppressive but many folks seemed to be carrying home their treasured purchases, large and small.
Behind the scenes is my husband Dave prepping additional Designer Prints for sale
I enjoyed so much seeing customer/friends who stopped by to catch up on life. Some of these collectors began buying work from me when I was showing my traditional Botanical mixed media paintings at Art Shows and Festivals. That was quite some years ago. I love hearing that they’re still enjoying seeing my Art hanging in their homes!
About 3:30 while standing talking to visitors, I could feel the weather abruptly change. Apparently so did many others since there was a slow but steady departure of customers over the course of the next half hour. After checking by phone with various friends living around Long Island, we knew a storm was coming through.
The weather changed and you could feel rain coming even before the drizzle started
I made the decision to break down an hour earlier than the official end of the show. Good thing we did. My husband Dave and I have the set-up and take down very well coordinated and we packaged the Art, the furniture and the tent very quickly. We completed the dissembling and loading of the trailer in an hour and a half. By the time all was loaded into the trailer and I was sitting in the truck starting the engine, the rain came down in full force.
We knew the storm was coming and the customers weren’t so we packed our things and left.
We were both soaked but the Art wasn’t. We drove towards home through torrential rain and pulled safely into our flooded driveway. The storm was traveling from west to east so as we got closer to home the rain had begun to subside. By the time we showered and changed, the sun was out again. We went to eat at a restaurant with an outdoor terrace and celebrated another great Art Show.
Northport Art in the Park. My first art festival in July 2008. Notice there are no walls to hang Art!
In June 2004 when I did my first outdoor Art Festival after a 30 year gap since my debut at the Floral Park Art League shows, I bought a tent and some shoji screens to hang my work. What was I thinking?
I wanted the booth to look classy so I didn’t want to use metal frames that I’d seen at other shows so I figured that I’d hang my paintings on the screens and it would give an upscale look. Wrong!
The first gust of breeze at the show in Northport harbor blew everything down. I resorted to folding the screen around one of the legs of the booth with bungee cords and hanging a few pieces on them. The wind was unrelenting but I sold $150 that day and I was hooked again.
Westhampton Beach Art Festival, August 2004. New booth with Flourish mesh panels.
I quickly rallied for my next show two months later, which was the Westhampton Beach Art Festival in August of 2004. By this time we had gone to other shows to scout out booth strategies and decided on the mesh panels made by Flourish. Since we had severe transportation space restrictions at the time, we needed to conserve space in our SUV and these panels did that and more.
I really like the white walls. It is a nice sleek modern look. The panels are easy to put up and take down. The booth is cooler in the summer since the breeze can go through the mesh. I can endlessly fidget with my arrangements since the hooks I use are simple to reposition. The panels roll up and fit in a bag which makes for very easy transporting. They are amazingly strong and I’ve been known to hang a lot of very heavy paintings with glass on them.
CT Flower & Garden Show in February 2007. Indoor booth frame with mesh panels by Flourish.
We’ve used the same panels on our outdoor EZ-Up booth and also on our indoor booth frame which we got from Flourish. The choice of booth sidewalls was one of our better equipment decisions.
Westhampton Beach Art Festival in 2004. Notice the webbed beach chair.
As with all the other aspects of your booth design finding the perfect chair is extremely important. Much as you may not think so you need to have a very comfortable chair available for you to rest during the inevitable slow times in the booth at an Art Festival.
My first chair in 2004 was the same one I had used at the beach and at softball games prior to exploring the world of Art Festivals which now keep me hopping on the summer weekends. It was a standard webbed chair that is really too unprofessional for a sales situation. Fine for behind the booth but not in it.
My next chair was a high folding Director’s chair which I got at Pier One. It was very comfortable and the style of wood and fabric I picked looked good in my booth. It kept me up high when I was sitting so that if a customer came into the booth I could speak to them eye to eye without getting off the chair. Sometimes potential customers feel intimidated when you get off the chair to speak to them so the higher design of the Director’s Chair worked very well.
One problem though, the wind kept knocking it over since it wasn’t heavy enough. We kept repairing the split arms until they were too ugly and then we’d buy another one. This worked until 2007 or so when the chairs were discontinued at the chain.
Tall bamboo chair for art festivals makes a big difference for the artist and the customers
So I cruised the internet and found the chair of my dreams with Hollywood Chairs which is sold by Totally Bamboo. http://www.totallybamboo.com
I got the Tall Deluxe Hollywood Chair and I didn’t forget to get the cup holder for my Starbucks. It is soooooo very comfortable, good on my back, good for my feet. Even if I don’t sit on it I lean my bottom on the seat and it relieves back pain. It is a bit large for the trailer but we put it in first and take it out last and store it in a carton to keep it looking brand new. The wood is really bamboo and smooth and soft to the touch. It makes you feel rich just sitting in the chair. The seat is padded. It has never blown over in the wind and it is easy to wipe off any food that get on it. This Hollywood Chair was a great investment!