Tag Archives: Creativity

Slide Slam-Patchogue Arts Council Presentation by Mary Ahern

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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

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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 art works 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!

Don’t forget to contact me with your questions! I’d love to hear from you!

 

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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.
For information about this original oil painting please Contact me directly.

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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Studio Glimpses – The Making of the Pink Peony Painting

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All of my paintings start with the garden, mine or other gardens. On a trip one spring day in May as I wandered around the peony displays at the New York Botanical Garden, with my phone I took snapshots of many of the unbelievable peonies in their collection in full bloom.

Later that year on a cold winter day in December, sifting through my stash of photos, a particular pink peony image jumped out at me and demanded my attention. I knew we could develop a relationship together. It often takes months to complete a painting so I really have to love my subjects in order to spend that much time with them. We need to love each other.

Once deciding on the size of the canvas I want to use I sketch, using vine charcoal, to give the general outline of the final layout onto canvas prepped with multiple layers of gesso. Then I block in the areas of color, working on my lights and darks. Then I paint using many layers of thin glazing in order to get the vibrancy of color I crave.

Oil paints need a few days of drying times between layers and some of my paintings have 15 to 30 layers of glazing. In order to continue painting every day, I usually work on multiple paintings at a time. Each one a different day. A different palette of colors. A different stage of completion. I like the continuous challenge of picking up where I left off. I keep extensive notes at the end of each day for each painting. A sort of diary of each work.

I paint quite slowly and quite neatly. I don’t like to feel sticky so I’m cleaning brushes and washing my hands constantly. Gloves don’t work for me since I don’t like the barrier they put between my brush and my hand. Rolls of paper towels help with the tidiness of my style of workflow. In fact & have two different brands for two different uses.

I listen to music while I paint. During the duration of this particular painting, I was listening to many CDs of van Morrison music. I don’t know why. I just was. Sometimes I’m in a classic rock groove for weeks on end and other times might be jazz, classical or even new wave relaxation. I don’t plan it. It just happens.

I usually paint with just brushes, fan brushes in fact, but the center of this painting demanded a palette knife. It’s not something I usually turn to but since the painting had a mind of its own I complied. Glad I did since the center of this painting is rich with texture while the petals are completely without texture but rich in nuance.

I named this painting Centering – Pink Peony. The reason is that it represents two different views for me. I can see with my eyes that it’s an interpretation of a pink peony but in my soul I found it centered me. Made me contemplate the meaning of this painting, this flower, this world it had lived in and now lives in again but in a different way. One ephemeral, one eternal.

 

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Apples in Boxes – Flowers in Squares – New Paintings on an Old Theme by Mary Ahern

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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.

Apple in Boxes Pointilist drawing by Mary Ahern the Artist

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.

Centering - Pink Peony Squared. Original oil painting by Mary Ahern the artist.

“Centering – Pink Peony” 36×36″ GW. Oil on Canvas. Original painting by Mary Ahern. To purchase or for additional information please contact the artist here.

 

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Not Just Another Flower Painting

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My Painting Studio. Mary Ahern Artist.

Paintings in progress in my studio. Visit my Art Shop.

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.

My Garden with rhododendrons and hyacinths

A spring view in my garden makes my heart sing. Visit my Art Shop.

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Why Bigger Flowers Are Better

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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.

Tulips in a May Garden. Mary Ahern the Aritst

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.

Yellow Tulip Squared

Yellow Tulip Squared. Various size prints available on canvas, fine art paper, metal and acrylic in my online shop.

 

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My Garden. My Muse.

My muse, is my garden. Other gardens as well, but my garden in particular. I move in it, feel it, and hear the breezes whisper through it. I watch the lighting during the day as it slides over and around the textured surfaces.

Fire Flame Peony Fine Art Painting by the Artist, Mary Ahern

These Fire Flame Peonies bloom in my garden each year in May at the same time as the color matching azalea.

Lighting so different on days with sun and with clouds. Lighting in the spring with the bright yellow greens of optimistic new growth and lighting by the fall with ambers & tans of a lived life. Morning light offers tender ambiance while afternoon colors not only light the scene from a different direction, the colors are deeper and warmer.

My garden brings consciousness and meaning to me. It keeps me grounded. The ephemeral beauty of an unfertilized blossom studied up close with magnifiers and macro lenses is a representation of a miracle. The world of possibility. The beginning of a story I represent in my Art. I walk through my garden gathering ideas. Stories I want to tell. Suggested ideas I want to convey.

In my garden I spend time designing the landscape or I spend time closely and intimately with a singular specimen at a particular stage of growth. In my studio I may paint a vignette or a full landscape view of a part of the garden I’ve designed, or I may choose to paint a small portion of one flower that has moved me. The minute miracle. This is my work. Outdoors and indoors. These are the stories I tell. This is my Art.

Fire Flame Peony

These Fire Flame Peonies bloom in my garden each year in May at the same time as the color matching azalea.This and other pieces of my Art can be purchased in various sizes on canvas, fine art paper, metal and acrylic in my online Art Shop.

 

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The Composition of the Matisse Painting of The Dance Influenced my Blue Iris Painting

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Studying Art History seeps into your memory. Countless visits to the many museums and galleries that New York City has to offer has crept into my subconscious. This lifelong study has taken me through so many happy surprises as well as quite a number of dead ends.

Often Artists are asked who their influences have been for their Art style. Trust me,  never would I have answered Matisse. I’ve never appreciated his sketchy use of paint, his lack of detail and apparent lack of a “finished” quality to his work.

And then, when I least expected it, I reimagined Matisse’s iconic painting, “The Dance”.  Using flowers from my own garden, I picked up the exuberant rhythm that makes his work such a delight. This work is so light, buoyant and a wonderful interpretation of what spring means to me.

As I was creating the composition of Irises I remember somewhere, behind my eyes, trying to make the circular floating connections of the frilly irises that was suspended somewhere in my memory. I have stood so often in front of the Matisse painting at the Museum of Modern Art, loving the composition while not liking the paint quality. I’ve returned so often to view that painting in the original hoping to find what I missed.

I absorbed his painting just by being there and looking. And looking again. And again…Mary Ahern Artist and Henri Matisse Painting Composition

“…man is a bundle of relations, a knot of roots,
whose flower and fruitage is the world…”
Ralph Waldo Emerson

Mary Ahern Artist - Mixed Media Painting - Light Blue Iris in the Garden

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A Creative Process Across Multiple Mediums

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One of the methods I use to visualize my Art is to take snapshots of my models and modify them on my computer. Since I’m not a photographer I only have a small point and shoot camera that I use to take photos in my garden or in my studio.

I took this snapshot of these orange tulips using natural light in my studio
I took this snapshot of these orange tulips using natural light in my studio

I import these snapshots onto my computer and using Photoshop I delete the backgrounds, modify the colors and otherwise play around with the image. I print the images from my Epson printers onto matte cardstock papers.

Using Photoshop on my Mac, I play around with colors and composition
Using Photoshop on my Mac, I play around with colors and composition

In this particular Art work, after making a completed tonal drawing which I discussed in my previous post, I traced the outline of the tulip onto 300lb hot press paper using a lightbox and a 2H pencil.

Then, using Winsor Newton watercolors, I put down my first layer of paint. Once dry I used my set of Prismacolor colored pencils to draw over the watercolor.

In this Mixed Media Art work I used colored pencil over watercolor
In this Mixed Media Art work I used colored pencil over watercolor

For some reason I find this process to be very relaxing and meditative for me. If I need some calmness in my life, I can go to my studio at any time and pick up right where I left off. No fuss, no muss, no bother.

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Creative Process

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There are so many ways to create paintings. As an Artist who has been creating for over 35 years I have developed a variety of methods to arrive at my finished work. Sometimes it is interesting to get a peek behind the process, so here is one style I enjoy.

Snapshot of some Orange Tulips I used as the basis of this series of Art works
Snapshot of some Orange Tulips I used as the basis of this series of Art works

Since I’m not a photographer, I take snapshot of flowers I either buy or grow. I usually select them for color or just for form. I find myself attracted to large bold shapes rather than the more frilly inflorescences. I then decide what mediums I will work in and whether there will be one finished Art work in one or more mediums or whether the work will be part of a series.

I love creating tonal drawings so I often do a finished piece in graphite before I start a painting just because I like the feel of drawing. It also is a great way to work out values of highlights and shading.

Tonal drawing of a tulip. I use a pair of magnifying lenses which I hook onto my bifocals to help me see the details
Tonal drawing of a tulip. I use a pair of magnifying lenses which I hook onto my bifocals to help me see the details

If the work is part of a series, I need to imagine the size of each piece and the total overall impression I’m looking for. This ups the level of complexity considerably and actually makes for quite a nice challenge to my visual imagination and my technical consistency.

For a series of work I need to choose the size of each work and the size of the overall series.

I also need to create a composition that stands alone as well as works for the series.

I use my altered snapshots to help me come up with my composition in this series
I used my altered snapshots to help me come up with my composition in this series

My work must not only be accomplished to my own standards for each piece but it must be consistent across all the work. This can be tricky if you don’t create all the work during the same or close to the same period of time.

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Digital Printing Has Killed the Limited Edition Print.

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The historic use of limiting editions of prints was during a time when prints were made from art carved or drawn onto stone, wood or other surfaces that degraded with use. As more impressions were made the surface wore out and the image became less crisp. Limiting the quantity of the printing run helped to control the quality of the print and of course the value.

Digital printing does not suffer from this problem since there is no degradation in resolution, or crispness, from one print to the next. In fact, what can happen as technology evolves and equipment gets better and faster, later prints may be of higher quality then original prints made years earlier in the cycle.

New Technology Offers New Forms of Creativity

So how do I offer my customers a solution to their desire for a unique piece of my Art rather then the Open Edition pieces I generally offer?

red-rose-custom

Custom Art Work Created Just For You

Custom Editions brings my customers into a collaborative effort in the artistic process of helping me to create a unique Art Work specific for their home or office design ideas.

Here’s how:

You select a piece of Art from my array of Standard Digital or Traditional Paintings.

  1. I can print your selection on different surfaces like Fine Arts Paper or Canvas.
  2. I can put different finishes on each canvas print, i.e. Matte, Semi-Gloss or Gloss.
  3. My standard work is designed in a 3×4 aspect ratio, i.e. the height to width relationship. I can customize the composition to fulfill specific sizing.
  4. I can print at any size that would work for the space you have in mind. Super-size up to 64 inches and mini-sizes for grouping.
  5. I can customize the colors, most particularly, the backgrounds, to suit your design ideas.
  6. I can combine traditional paint with your digital print to make a truly one-of-a-kind Art Work.
  7. I can customize framing or do away with framing altogether using the Gallery Wrapped canvas style.

If you can think of it I can probably do it.

Let’s get started on your Custom Editions collaboration. Visit my website for additional information.

Call me, Mary Ahern at 631-757-9459

Or email me at mary@MaryAhernArtist.com

Let’s make Art together!

______________________________

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Anemone coronaria in the Garden and in Art

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Anemone coronaria in the gardenMy Garden and my Art work side by side. Both require me to make aesthetic judgements about composition, scale, color, texture and style. When I’m deciding where to plant the flowers I’ve hauled home on my endless trips to the nurseries it doesn’t seem that much different to me then when I’m deciding how to compose them on a two dimensional surface.

I think about what style I’m looking for, what colors will work together, whether the scale of the placement works for me. I think about the type of flower and texture of the leaves. I make decisions about the 3D composition of the garden much like the 2D composition decisions on a painting.

Anemone coronaria in a Watercolor PaintingThe garden adds so many additional layers of complexity since the artwork is moving in time with nature, the seasons, the elements, and time. The painting remains caught in a moment.

Capturing that ephemeral moment is so gratifying to me in my Fine Art. I control it, unlike my Garden which is usually out of control.

You can visit this Watercolor painting on my website in The Work or you can buy a print of it in The Store.

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Looking closely

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Muscari armeniacumGrape muscari, otherwise known as Grape Hyacinths live close to the ground. For years I never took much notice of them except for the little spots of brilliant purple that bounced so nicely against the bright yellow daffodils they bloomed along with in April.

Then I got down. Hands and knees down.

What a surprise! How intricate the little flowers are. Little bells dance around a central stem forming a small pyramid. This inflorescence changes shape as it ages and can be more and less tightly knit.

The individual purple doesn’t seem to change on each bell but the overall purple varies when viewed at a distance based upon the tightness of the overall flower.

Muscari azureumI enjoyed these 4″ bulbs so much in my garden that I bought a bag of them from Costco one year and low and behold the next spring the flowers that bloomed were very different from my originals. They were more blue then purple and had a more rounded then pyramidal over shape.

So I googled Grape Muscari and found a world of cultivars I didn’t previously know existed. That’s one of the things that is so much fun about gardening. You are constantly in a learning mode. You are in for surprises every year and every season. The knowledge and information you acquire just keeps on growing, along with your garden.

So now I know that so far in my garden I have Muscari armeniacum and M. azureaum. Next year I’m sure to have more.

Digital Mixed Media Painting - Grape MuscariWhen I made my Digital Mixed Media Painting of my Grape Muscari I was careful to recreate the basal growth of the leaves. It would not have been accurate if I’d placed the leaves higher on the stem. The painting would have looked like a plant Frankenstein. As a Garden Artist, that is not what I’m trying to create.

You can view this Grape Muscari piece in my Store.

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