Author Archives: Mary Ahern

Changing My Mind About Genre and Purpose in my Art

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Over the last few years, my art has shifted away from painting what I think will be popular. Selling lots of prints, in lots of sizes both online and offline, I knew I could make piles of money in my sleep. What fun!

That thinking is no longer my goal for making my art. Don’t get me wrong, I love selling, it’s in my blood. It was my career for many years. But times have changed for me. Circumstances have changed too. I’ve stepped out of the rat race. Out of the business world strictly speaking.

I stopped painting for cash. Stopped picking the most popular flowers, in the most popular colors, in the sizes that sell the most.

I’ve turned inward. I’ve begun writing about what matters in my life, in my world. I care more now about my work being a form of meditation. An opportunity to ponder our place in the universe.  My flowers are to me a symbol. A microcosm of the universe.

Since my art starts in the garden, I’m now seeking to translate lessons I’m learning there that inspire my work. I’m learning to write the stories, the messages, the ideas that motivate me to dedicate a painting to them. I care about what the painting will symbolize for me and perhaps for others.

Writing is helping me to find the language to express my thoughts. These thoughts are embedded into the artwork I create. Each painting is a manifestation of these ideas. I am now working towards a deeper interpretation of my work beyond just the visual.

In thinking about my art I had always labeled myself a floral or a landscape painter. My work was very realistic, the more realistic the better. I loved creating the details.

However, the work I’ve begun doing over the last few years has changed. My mediums, my style, and my thinking. For the past 30 years I’ve been a digital painter, (yes, before Apple, before Photoshop). Now I’ve returned to my roots and I’m painting again in oils. There’s no $20,000 digital system between my work and my body. I am again, up close and personal.

This change in medium, this physical closeness to my work, this reawakening has given me an opportunity to re-evaluate what it is that I’m trying to do. To say.

As my forms become more simplified, more minimal, more stylized, my thinking has gone deeper. Richer. More meaningful. So this is why I now relate less to floral painters but more to meditative, more minimalistic painters, more abstract painters. It’s not really just about the flower. The colors. The form. It’s about what I’m thinking, what I’m feeling, what I’m learning. The garden is my tutor. These are lessons we can all learn if we pay attention quietly to what’s around us. The lessons carried to us on the wind.

 

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Mary Ahern Artist Biography

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VORACIOUSLY CONSUMING LIFE

Mary Ahern Painting in the StudioThrough the twisting paths and obstacles in life, the two constants for me have been my Art and my Garden. These are my anchors. They keep me balanced, complete, secure. The arrival of spring flings me from my studio where I’ve been creating my Art all winter, into the emerging garden surrounding my studio.  The colors shout optimism to me. The joyous season has begun again. This is where I grow my subjects and gather the imagery for my work.

I’ve been an Artist for eons, exploring as all true Artists do, a myriad of subjects and with enough mediums that fill drawers and cabinets throughout my studio. I’ve been zigging and zagging throughout my journey with all the bumps and joyous bursts I could grab. Some of my work through the years has had autobiographical underpinnings, some of it was icy flat. I’ve worked big and I’ve worked small. But when it comes down to it, I love color.

RIFFING ON CLASSICAL ART

Siberian Iris TrioI love studying Art History. I’ve been doing it steadily now for decades. My personal library still contains the first book in which I saw the work of Georgia O’Keeffe in the 1970s. I wept each time I opened it. I had to limit myself to 10 pages a day since I was exhausted from looking, from feeling, from studying. I remember stroking the large pages hoping to absorb something, something unknowable to me at the time. Her work somehow spoke to my soul. 

Though I’ve absorbed some of Georgia’s iconography, when I’m painting in traditional oils I reach backwards to techniques of the Old Masters. I enjoy the process of grisaille painting with the painstaking layers of glazes but I do it with a modern flair. Speaking of modern, I may reach backwards to compositions inspired by Raphael’s Madonna del Prato but I may do the painting using digital mediums with Siberian irises as subjects.

My classical art education in New York City was probably the last gasp of formal training before the onset of conceptual and performance art took hold. My professors were all active and renowned in their fields, Wolf Kahn, Herb Aach, Robert Birmelin, and Louis Finkelstein. The foundation in color and design they taught is still the basis of all my work. I am indeed fortunate to have studied with professors who opened their SOHO studios and used the NYC art scene as an integral part of their classroom. 

The proximity I still have with my studio one hour’s train ride from the array of museums and galleries in NYC is rejuvenating, inspiring, and jump-starting. My education never ends.

HURLING MYSELF THROUGH LIFE

1986 Mary Ahern working on the Chyron ChameleonOnce I recognized that I was an artist, I’ve always maintained a working studio even when at times circumstances prevented great productivity. Then I would sit in there and study my books of the masters, absorbing not only their techniques but also an understanding of the enormous obstacles most of them had to traverse in order to continue forward with their work. They kept me going.

I make lemonade out of lemons. To remain in the world of creativity and support my sons as a single parent, I navigated into the nascent world of computer graphics during the 1980s. Here I sold graphics and electronic paint systems to the Television & Production industry for use in on-air graphics and advertising. My Art training was put to good use as I demonstrated the systems to my target market of creative professionals who were just converting from traditional mediums to digital.

After receiving a concussion on the glass ceiling, I began my own graphic design business. Designing print media for my clients turned into repurposing their material once they recognized the value of the Internet. I built my first website in 1995, the year after the Internet became publically available. Having a low threshold for boredom has helped me shape my ongoing career in the Arts by pushing me to continually try new ideas, concepts, and mediums.

AND THEN FOR A REAL CHANGE OF PACE

Mary Ahern in the studio with Subtle Exuberance - Tree Peony oil painting.Exactly 20 years after I graduated with my Fine Arts degree I graduated with a degree in Ornamental Horticulture with a focus on Landscape Design. I am combining my art and my love for gardening that was instilled in me as a child by my favorite Uncle Teddy. I am absolutely driven by these two passions. In fact, in 2000 I rebuilt my home and added two studios overlooking the gardens I’ve designed over the decades. These gardens that surround me in the quaint town of Northport on Long Island and beyond are the main inspiration for my Art.

I demand excellence in my work and continuously strive to be a subject-matter-expert in my fields of study. My expertise, not only in the mediums I choose but also in the subjects of horticulture and landscape design that I represent in my close-up florals and landscape paintings of gardens is critical to me.

I have a passion for life and learning. It is at the core of my being and who I am as a person and as an Artist.

 

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Painting Process – Painting the Edges

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Today I painted for four hours on a painting that everyone thought was finished but I hadn’t yet signed. Everyone loved it but me. I really liked the composition, a rounded peony in a square frame. What’s not to love?

But the edges weren’t working for me. Not the edges of the outside of the canvas, the edges where paint meets paint. Where does one color transition to another? Is the edge hard or soft? Does it blend? Does it pick up color from the adjacent color? Does it offer a stark contrast in tone to the color next to it?

Is that color warm or cool that it’s bumping up against? Warm colors advance, cool colors recede. Is one petal in front of the other? Where is the light coming from? Is there a shadow? If the petal of the flower is warm, the shadow would be cool.

In order to work on this, I need to paint in an all over manner since each part relies so heavily on the adjacent section. It’s so hard to know when to stop since the next time will be hard to recreate exactly where I left off. But I can’t paint for too many hours in a row.

Subtle Exhuberance - Tree Peony: Detail

Subtle Exhuberance – Tree Peony: Detail. Oil Painting on Canvas. To see the finished painting click here!

 

My arm gets tired. My hand holding the brush also. I become less precise and begin making small errors that have to be corrected. When the corrections start overcoming the progression I know I’ve reached my tipping point and have to call it a day.

Then I take photos of my progress, clean my brushes, scrap my palette and stare at my work. I spend a lot of time staring and studying the progress of the day. Planning on where to being again tomorrow. Strategizing on where I’ll begin again. I write the notes of my day in the book where I keep, what could be called, a diary of the painting. The date, the length of time, what I worked on and what colors & mediums.

I’m a very procedural artist. I go through a particular set of stages and processes to create my art. What I’m not in control of is what the painting will look like when it is finished. The painting itself determines that. I’m just the vehicle to get there.

 

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Living and Painting in Layers

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Last week we had temperatures in the 30’s every day. The clocks changed and now it’s dark by 4:30 where I live. That may sound pretty grim but for me, it signals the opportunity to go into my studio to paint without the tugging and nagging feeling that I should be out in the garden, planting, weeding, pruning, and planning. Now, guilt-free I’m in my studio creating the paintings of the flowers from summer.

And guess what? Yesterday, today and for the next few days, the temperatures have returned to the 70’s. So the sunshine has seduced me back into the garden. Finally today I finished planting the 100 plus bulbs I bought on some wild spending spree a few weeks ago. The daffodils, the oriental, martagon lilies are in. The bearded iris have been planted in the little nooks and crannies where there is some sunshine. And all the five different kinds of alliums are finally in the ground.

Alliums, you may or may not know are onions, these are ornamental onions. Not the kind I cooked dinner with tonight. I made a new recipe with spanish onions, turkey sausages, grapes, cumin, vinegar, roasted potatoes, and some of the meager crop of tomatoes I grew from seed this year.

As I cut up the onions I thought about all their layer upon layers. Which led me to think about my paintings. I paint in layers. Layer upon layer of thin transparent paint. As the painting comes into existence it reminds me of my darkroom days and watching the photograph begin to arrive in the chemical baths. I tend to work all over the surface so the entire painting emerges pretty much at the same time.

My paintings are very much like me. Like you. Like everyone. We’re all layers upon layers of information, experience, emotion, and intellect. Interest and drive are hidden in there too. Hopes and dreams also come to mind. Many people don’t like to look below the first layer of who they are. I, on the other hand, dug deep into the bone marrow to find the core of what makes me tick. Then I covered it up so the rest of the world wouldn’t find it easily. Keeping that core wrapped in swaddling clothes held closely, is one of the mysteries I keep safe and protected from the seasons of change.

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My Art Starts In The Garden

My Art Starts In The Garden: Musings on my Life as an Artist

My Art is inspired by the gardens surrounding my studio. There is a complexity to my work in both the spiritual and technical parts of my mind. Enjoy this meandering journey with me. The highs, the lows, inspiration, ideas, techniques and general musings about the complicated creative life of an Artist. 

My Seasonal Studio

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Throughout the year I spend time immersed in my garden in the warm summer sunshine and the deep winter snow. The myriad of colored petals, the exquisite architecture of a flower’s anatomy, the subtle shifts of green inspire me throughout the seasons.

Mary Ahern in the Camellia Garden

Here’s me in my spring garden with the camellias in bloom that inspired the original painting that is behind me in an aluminum print. The aluminum hangs outdoors all year long whether the camellias are in bloom or not. You can buy them on my website here.

There are seasons I’m with my flowers in the garden and seasons where they enter my studio as inspirations for my paintings and drawings. Each art form is dependent on the other to continue my seasonal shifts of creation.

All winter I paint flowers. The bright happy flowers of my summer garden follow me into my studio and surround me with their joy and inspiration during the short dark days of winter. In my studio, they help me to wind down the hectic whirlwind of gardening in the bright sunshine.

But each year the same joy of being in my studio creating my Art begins to take a turn into claustrophobia when the daffodils spring forth with their joyous yellow heads as they entice me outdoors. It’s the beginning of the push and pull for me to be in my studio or to be in my garden. Both are my creative forces. Both get my creative juices flowing. Without either the other would be that much the poorer.

The balancing of time subsides somewhat in the mid-summer when the heat and humidity drive me back to the cooler breezes in my air-conditioned studio. Another burst of art flows from inside the walls during those hot weeks of August. When the humidity subsides the gardening resumes.

Inevitably when the nights begin to provide good sleeping weather, the transition from new expectations of growth in the garden turns instead to senescence and the decisions of what to preserve commences. Choices of what to overwinter, what must be sacrificed take precedence. Mulching, raking, clearing debris marks the bedding down of my outside work.

Then comes the time in the fall when the garden is put to sleep that the joyful season of painting and drawing begins again within the walls of my studio as I create my winter garden of work surrounded by my summer flowers.

Work in Progress in the Winter Studio

Visit my website to see what appeared in my winter garden!

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And Then I Stuck My Hand Into The Wood Chipper

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I‘m that kind of gardener. The one who opens the windows to inhale the smell of the soil in the morning mist. A day isn’t complete unless I’ve walked the woodland paths, seen the changes however small, what has begun, what has passed its peak of perfection. Which plants are inviting their cohort of pollinators, the array of the birds and the bees? This is the half-acre of land I’ve designed, planted and tended for over 30 years. The soil is rich in abundance, helped by the leaves I shred each year.

The garden constantly evolves with each season and each year as do I. Fall is when I gather the leaves and branches to shred and place back into the garden to keep the beds warm and covered from the winter winds. There is a rhythm to the garden as there is a rhythm to life.

For years I’ve had this chipper, its large, heavy and gunmetal gray. When the machine roars into life in its loud and vicious voice you know it means business. I use this to make my own mulch. Gather my garden debris to enrich the soil and feed it into the maw of this machine. Chip my own branches for the pathways I walk and contemplate.

Once you put the cord to start the engine it drowns out the sounds of life around you. There is an urgency to feed the beast. I have my piles of leaves at hand to be shredded to shorten the duration of this violent machine and return again to the quiet contemplative space I crave. This is the stage to move fast to silence the din.

And then the blades jammed. The engine pushed and growled. The whole machine quivered trying to dislodge the offending object. The squeal of the engine roaring deafened me demanding a quick solution. I felt my heartbeat quicken. A frustration and impatience entered my being. A demand for a quick remedy.

So I removed the chute which served as the feeder to the blades. There I could see the chunk of wood jamming the metal and in my mindless haste I reached in with my hand to unblock the shredder.

The searing pain was beyond description. More than I’d ever experienced in my entire life. Beyond childbirth, beyond car accidents. Beyond anything my mind could process. And I was alone. No one to call out for. No one could hear me. I just let my arm hang limply by my side. And I refused to look down. Not prepared yet to see what I was left with from what I knew was a defining event of my life.

Woodland Trees and SkyI leaned forward against the railing of my deck, my mind emptied of rational thought. No plan of action arrived. My logical brain inactive, devoid of anything other than the pain. It gripped me. Wrapped me wholly. I was enveloped with pain. Just the thumping, throbbing, pounding of pain.

Then I looked up. The trees were swaying gently with the wind in their long and pensive manner. The leaves, dressed in their fall colors. were wiggling and waving at me beckoning my attention. Beyond was a brilliant blue sky, the most beautiful blue I’d seen in my entire life and I’d seen many. The breeze caressed me. It was a moment of indelible beauty. My world came to a halt. My garden surrounded me with healing calmness. Caressed me with its fragrance, its life. I was bodyless.

Now I understand more of why I garden. It’s not for me to show my friends my great expertise. To flaunt the rare specimens I collect. To boast in my selection of flowers for color balance and seasonal flair that I am able to coax into being. My garden is not an ego trip.

This garden is threaded through with paths, to walk through, to discover, to immerse yourself. The journey around my garden is for enlightenment. The senses heightened by the wisp of nuance seen from the side of one’s eye. It’s in a subtle awareness of the healing that we gather from the earth. The wonder of how interwoven we are with the natural world surrounding us. The fact that we are just another component of an incomprehensible network of living beings. It is humbling.

And if we listen, the garden also teaches us to ponder, to meditate, to slow our heartbeat down to absorb life. It teaches us to travel inside our soul to seek our essence. Gardens are about optimism too. The grand possibilities of our future. What profound truths will reveal themselves? What miracle will the world visit upon us graciously?

Oh, by the way, I forgot to mention, my fingers were not shredded that day.

Graphite Drawing of Gourds in my Studio

Graphite Drawing of three gourds is one of the many artworks I have been very lucky to be able to continue creating.
You can see more drawings on my website, click here.

 

 

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Why I Paint. Why I Write. The Garden Tells Me To.

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Long ago in the way back machine, I grew some sunflowers for my young sons. You know which ones, they’re the 8-foot tall ones that excite every kid. So on the day the flower was pitch-perfect, I pulled out my pastels and tried to capture its roundness, its color. And then it was time to light the barbecue and make dinner for the boys so I put away my pastels and paper while planning to finish the work the next day.

We enjoyed our burgers outside in the garden under the towering sunflowers that evening sitting at the picnic table with the soft summer breezes and called it a day. The next morning when I gathered my chalks and half worked drawing to complete the art don’t I discover that a squirrel had beaten me to the day’s work. The center seeds were chomped and mangled. This was my clarion call to the ephemeral.

I learned that day the garden doesn’t wait. The passing of time can be in a split minute. A flower has another calling and it’s not willing to wait for me until I’m ready. It, like me, has a busy life with other goals.

First Sunflower Pastel Art by the artist, Mary Ahern

These are some of my earliest paintings hanging on the wall in my studio. The Sunflower pastel is a reminder of the ephemeral garden.

So I committed myself to capture the transient moments in my garden. The inspirations in form and color. The visions and details that escape us as we hurry through and around in our busy lives. The moments that don’t wait for us.

And then I realized that my garden not only shows me its secrets, it also tells me its mysteries. It whispers ideas into my head. But those ideas are also fleeting. They come to me but fly away on the breezes too quickly for me to grab. So I’ve begun writing. Each time the garden sends a story I write a note of it down. I capture it on my keyboard or quickly with a pencil. At times I even have to catch it so quickly when I’m immersed in the midst of my garden that I can’t run indoors quickly enough before I lose it so I speak it softly into my phone. I’m building a library of stories the garden is generously sharing with me. This is one of them.

 

Sunflowers With Purple Asters-Artwork by the artist, Mary Ahern

Sunflowers With Purple Asters. Prints of this artwork are available in various sizes on canvas, fine art paper, acrylic and metal in my online Art Shop.

 

 

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I Collect Round Things

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Since the 1970’s I’ve been a collector, an observer and a thinker about round things. Currently, my garden is enhanced by round thing presences. Spheres of all colors and sizes. Sculpture with round themes. Round trellises. Round gateways.

Woodland Entrance

This moon gate entry to my woodland walkways is just one of the pieces throughout my garden which inspires my art.
These themes of roundness have threaded throughout my work for decades.

On my deck are round finials on the tops of the banisters. And large round concrete containers spewing forth their colorful floral additions all summer.

I have reflective spheres so as you walk around the circular pathways in my garden you see yourself in a distorted and accentuated way. It’s good to see yourself when you least expect it. Then your mind views you more clearly. It sees how others may see you.

Why round things you ask? They are the feminine. The woman. The beginning. The Eve.

They are the mystery. No beginning and no end. The continuum.

Eve’s apple is the first sphere. It represents to me the essence of woman, the feeding, the nurturing, the sexuality, the sensuousness, the rounded birth belly.

With the apple Eve burst forth from the confinement of the “Garden of Eden”. The place made for her. To protect her but also to isolate her from life. The experiences. The experimentation. The adventure.

She broke free by pushing the boundaries. By saying that the world created for her was not enough. She found her way to burst forth and experience life. The sadness, the pain, the anguish, the tears, the disappointments, dashed dreams, hopes denied, the loss of loved ones, the curse of immortality.

Without which true happiness, peace and contentment could not be embraced.

My art is embedded with these meditations on life.

Omni Gallery Show with Visitor with the paintings of the artist, Mary Ahern

The OMNI Gallery show featured my round flower inspired oil paintings. This work is embedded with meditations.

 

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My Drawing Style is Just Icing on the Cake

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Some parts of creating my art are more meditative than others. My drawing process is one of them.

I work with lead pencils filled with different weights. Usually, I start with a 3H which is a harder lead and lighter. Then on the second go-round, I switch to a 2H which is a little less hard and a slight bit darker. Eventually, I do my darker shadow areas with an HB lead which is what we all used in elementary school with our yellow pencils and pink erasers.

The motion I use is a type of squiggly form which can only really be seen when your nose is up close to the drawing. I obliterate the light lines I initially create when drawing the form of the flower so the edges are quite soft.

This slow rhythmic looping movement with the pencil was so familiar to me when I first started doing these tonal drawings.  I felt in my hand and wrist that I’d made them before but couldn’t identify where but knew it was my handwriting.

And then one day I remembered the tactile feel. As a very young child, I baked my Betty Crocker cakes topped with chocolate icing. I made the icing by melting blocks of unsweetened chocolate & swirling into it some powdered sugar. With a spatula, I spread that soft chocolate creaminess onto the top and the sides of the cake using this same slow rhythmic swirling motion. I would spend as long as I was allowed to swirl and swirl and swirl by those sitting at the edge of the counter watching and waiting to dive into the eating stage.

That movement is so soothing for me that I have to remind myself to stop and declare the drawing done. Art is never really complete. You can caress it for eternity. It’s not like a cake that has a defined purpose, one that demands completion so it can be eaten. Drawing is endless. But eventually, I just have to “Ship It”.

Drawing is Just Icing on the Cake - Mary Ahern Artist

Drawing is Really Just Icing on the Cake for Me.

 

 

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Studio Glimpses Video-The Process of Creating the Painting: “Here I Am – Candy Wind Hibiscus”

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In my continuing series of Studio Glimpses, I love to respond to questions by my collectors. The process of how I created this painting is generally one of those most frequently asked.

You Tube Video link: (https://youtu.be/pgVtTmQX944)

In this video, I begin by showing you the photo of a flowering hibiscus from my own garden which was the inspiration for this artwork.
Here I write my thought process behind the stages visualized in the video. 

In my initial stage I work out the composition of the final art work and deciding whether it will be a square or a rectangle.

To work out the details of lights and darks that will be in the final painting I like to start with a tonal drawing. Using an HB weight graphite pencil I use my customary swirling strokes to give form to the drawing. Not being partial to outlines I don’t emphasize them but soften the edges by merging them slightly with strokes. 

In order to transfer the drawing to the canvas I used a mapped grid system. In this case, I put a transparent sheet of paper over the tonal drawing on which I’ve drawn a grid. After measuring the same grid on the canvas I was able to upsize the drawing onto the canvas. Using pastels I created an underdrawing of a neutral ochre color using the tonal drawing as my model, followed by a layer of neutral ochre oil paint which seals the surface of the gessoed canvas.

In the next stage, I applied thin coats of oil paints in layers recreating the original composition in the base colors allowing the underpainting to peak through. Many, many layers of thin glazes are applied to give dimension and form to the final painting.

Details are added during the later stages, I think of it as putting jewelry on after you get dressed to go to a party. You save the best for last.

Each day after if finish working on a painting in my studio I photograph it for reference and view the images on my computer to see the progress and decide if I want to make any changes along the way.

I prefer to work on thick gallery wrapped canvas and finish the work off with neutral floating frames. I aim for simplicity in form with exuberance and abundance in surface color. This painting has no visible brushstrokes which is also my preferred style of painting.

Mary Ahern-Original Fine Art and Prints

“Here I Am – Candy Wind Hibiscus” 20×20″ GW oil painting on canvas. $1,950.00.
Check here to see if this painting is still available for purchase

I’m glad you came here so I can share my art with you.

Each person brings their own history, interpretation and emotion to a work of art.

My art isn’t complete without you. Thank you for being here. I love being an Artist!

__________________________________________________________________________

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ChromaLuxe Spotlight Artist, Mary Ahern

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ChromaLuxe Spotlight Customer Mary Ahern

Click here to download the brochure.

ChromaLuxe is the leader in aluminum for a variety of industries. The thick gauge of aluminum and the brilliance of their color matching makes for a perfect vehicle for my flower and garden prints.

I tested many brands from various vendors and ChromaLuxe proved to offer the superior product for my work. Prints of my original paintings have been hanging in my garden for over 5 years now. They have withstood winter snow and summer heat. I wouldn’t sell something I didn’t trust.

As an appreciation for my testing and our collaboration ChromaLuxe created and distributed a full-color brochure of my Artwork on their exterior grade aluminum.

To purchase the aluminum prints of my original paintings please visit the Metal Prints section of my Art Shop.

You can even take your mobile device outside into your garden to use the Live Preview/Augmented Reality feature to see what my artwork will like in your garden. Have fun!

ChromaLuxe_Mary-Ahern-Customer-Spotlight-pg1

ChromaLuxe Customer Spotlight, Mary Ahern Artist. Page 1.

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ChromaLuxe Customer Spotlight, Mary Ahern Artist. Page 2.

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ChromaLuxe Customer Spotlight, Mary Ahern Artist. Page 3.

 

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How the Art World Has Changed For Me

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As a person involved in creating art for the past many years, the opportunities and revelations keep coming.

Mary Ahern - Floral Park Art League 1975. The Art world has changed.

Mary Ahern – Outdoor Art Show with the Floral Park Art League 1975

The art world has changed but so have I. I’m more self-assured about my work than I was at the beginning. Through a lifetime of hard work, bumps, skids, rashes, pain, zigs and zags I’ve developed the thick skin needed to have confidence in my skills as an artist and as a person running a small business selling and showing my art.

We all know the tremendous changes that the internet and social media have introduced into the careers of artists. We are now independent enough to take our careers into our own hands rather than rely on galleries as the only outlet to selling or placing our work. I’m sure that for some artists, galleries are the central force in placing their work in prestigious collections and museums. For most of us though, galleries are not the only answer any longer.

Gallery representation isn’t for everyone

One of the obstacles for me is that I have 3 distinct bodies of work in which I like to create & promote. One is digital, one is in traditional mediums and the third is a combination of both. Even though they all focus on the same subject matter, flower and gardens, they all have very distinctive looks. I love the freedom that being independent affords me so I can create in whichever medium I choose.

As a lifetime entrepreneur the thought of having a gallery owner tell me what they want and when they want it is abhorrent to me. There is a benefit to being a working artist for many, many decades. I have the emotional and financial security to remain an independent artist. Having spent my former career in sales and marketing and also having had my own graphic design business for decades, I have the skills that many artists don’t possess. 

I’m committed to creating my own art styles, exploring new mediums, enjoying the process of experimentation. But I’m just as committed to running my art business. Because of the tools now available through technology, the internet and social media I can do that myself at an affordable price. It’s a game-changer.

Recently I was asked what advice would I would give to my 21-year-old self on how to get started and keep motivated?

I can’t speak to my 21-year-old self since I was married and the mother of a baby boy by then. I didn’t put myself through college until my youngest went to nursery school. By the time I graduated from art school I was a 32-year-old single parent. A career was foremost on my mind in order to support my sons but I knew that I needed to focus on the arts in some way to follow my calling. By creative thinking & sheer guts, I got myself into the nascent computer graphics industry in the early 1980’s as a salesperson who had to use and demonstrate graphic devices and electronic paint systems. This gave me a toe-hold into the conversation of creative arts. 

Critical as well was that I always maintained a working studio in my home, even sitting in it & studying art history books when I was too stressed to pick up a brush. Because I kept my focus on the artist part of me more than the technologist part of me I was able to transition into creating my own art more often as my sons grew up and life became easier. Maintaining this tangential association with the creative arts was the reason I’ve been able to now focus 100% of my effort into my artwork.

Keeping motivated isn’t difficult when you’ve burned with the desire to create your whole life. What does help however is having artist friends and mentors who understand the struggles to carve out the time to express yourself in an ever-busy world. Accountability partners help me to keep the balance needed to make room for the creation of art and the running of an art business. Either one of those activities is all-consuming but without one you don’t need the other.

Mary Ahern-Artist Talk. The Art world has changed.

Mary Ahern giving an Artist Talk at The Firefly Artists Gallery in December 2019.

 

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Slide Slam-Patchogue Arts Council Presentation by Mary Ahern

My Art Starts In The Garden Posted on by  

Recently I had the honor to present my art and the meaning behind my thought process at Slide Slam. This event was sponsored by the Patchogue Arts Council and hosted by the Haven Gallery in Northport NY.

The presentation by the 20 selected Long Island artists was to display a slideshow of 15 images and speak for exactly 5 minutes each about the work. Such a daunting task proved to be an interesting challenge. How do you get to the essence of your work succinctly in such a short span of time?

With plenty of planning!

After the event, I created a video of my Slide Slam talk which you can see here.

Important for me was to convey how critical the garden is to my work. It is in fact the beginning of my creative workflow. In the garden I feel the power of the interconnectedness of all that surrounds me; the necessary ecological balance of the earth, climate, water and nutrients, that sustain the cycle of life.

The communities of birds, bees, insects and yes, humans to pollinate flowers with the assistance of the wind of course. This cooperation is the main critical component of maintaining not just my garden but our entire life here on earth as we know it. Without fertilization the cycle of life would die for all living things, not just for the loss of our beautiful garden flowers but for all our food sources as well.

To me, the garden is just a microcosm of the universe.

The vast beauty of color, fragrance and the architecture of each plant is created to seduce assistance in procreation. Each flower has evolved its own method for attracting exactly the pollinator they desire. Long tubes for hummingbirds, open centers for nice fat bumble bees. Certain colors are more visible to different insects than others. Fragrance signals an invitation to specific species that the time is right for fertilization. The Brugmansia is most fragrant in the late afternoon since it would rather have an energetic pollinator just arriving on their evening shift than a tired one at the end of it’s working day.

Working in and studying my own garden for the last 30 years has given me the unique opportunity to watch dynamic change occur. When my oak trees fell in Hurricane Sandy suddenly the types of plants that enjoyed their shade began to suffer from too much sun. I dug them up and moved them and their scorched leaves to where they would be more comfortable and replaced them with flowers that thrive in the drenching sun. Over time this would have happened naturally but I was able to speed up the process.

Each day in my garden I’m inspired by the energy of life. I carry this with me right into my studio where I allow that energy to inform my art.

 

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Enjoy Metal Weather Resistant Aluminum Art Outdoors Year Round

My Art Starts In The Garden Posted on by  

Tired of the browns and grays and whites of winter? So am I!

I’m looking to get a jump on some brilliant color outside. I want to see color outside my windows, outside in my garden and outside on my deck. I’ll bet you are too.

Bright splashes of color greet me when the trees are bare and the shrubs covered with white snow. It is so cheery to see in the dead of winter. Seeing color reduces my stress. It probably does for you too. That’s why gardens are so relaxing.

ChromaLuxe exterior grade aluminum metal prints hanging in the garden all winter in the snow. Mary Ahern Artist

ChromaLuxe exterior aluminum prints hang outside in my garden all year long popping color when I most need it.

During the spring and summer, I coordinate the color of my plantings with the colors in my art. It gives me a very creative palette of colors to work with. It adds to the fun of gardening.

I hang my aluminum art on the garage so I can see flowers all year from the windows in my home, I hang the art on my deck where we entertain and select art that color coordinates with my outdoor furniture. As a garden designer, I’ve designed woodland walks around my home and studio and even hang art on the trees for when people wander around on my garden tours.

I tried a lot of products outdoors in my own garden on Long Island in New York where we get snow and ice in the winter and lots of heat in the summer. I found that not all aluminum is created equal since much of it warped in the extreme temperatures. Then I tried the ChromaLuxe brand of exterior grade aluminum. I’ve tested these prints throughout all the seasons and they have flourished in my garden for years.

In my video, you can see some of the ways I’ve displayed my art in the garden and also the gardens of some of my happy customers. Take a look and be inspired.

Click here for the video.

Then have some fun. On my website I’ve introduced a separate category for the indoor/outdoor metal aluminum art with an augmented reality feature. Now you walk around your space with your mobile device and see how my art will look in your own setting. You can also try different sizes to see what will fit perfectly for you.

Seeing this live takes the stress out of deciding what artworks for you. It is the ultimate in customizing your own living spaces both indoor or out. Try it now. No commitment to purchase is needed to see for yourself. Go to my online shop, click on the metal print category, select an image that intrigues you, change the size, try a different print, try a different space. Enjoy yourself now!

Go to the Metal Print Shop section in my Art Shop and try the Augmented Reality for yourself in your own home or garden!

 

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