Tag Archives: Musings

My Brush With Wolf Kahn

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Over the years I had a thin but important relationship with the famous artist, Wolf Kahn who passed away in March of 2020, just when the Covid lockdowns began. His wife, the artist Emily Mason whom he was married to for over sixty years, had died three months earlier leaving me with romantic undertones of love and commitment.

When I was studying art at Queens College in the late 1970s, my painting professor Robert Birmelin, invited Wolf Kahn to our painting class as a visiting artist. With an explosive personality quite opposite from each other, Wolf let us up to the roof of the building and gave us a very short blast of time to capture the sunset, perhaps fifteen minutes or so. We then returned to the studio for the intense critiques that followed. Apparently, my sunset painting with quick bold brushstrokes and vivid color moved Kahn enough to use my painting as the model for all the other paintings that he eviscerated. I felt rather proud of myself, to say the least.

Mary Ahern - Queens Village 1

Queens Village 1 – 1976 -Oil on Canvas.

Instructed to return on Monday with two more paintings, I worked diligently over the weekend to paint my own environment. These paintings were diametrically opposed to the style of the rooftop painting, they were smooth, measured and detailed in my own personal vision. At the Monday critique, Wolf, not knowing or caring who any of us were personally, savaged my two paintings to the same degree that he’d lavished praise on my work just three days earlier.

I must have looked horrified. I know I was in anguish. I felt that my guts were bleeding and hanging outside my body for all to see. Just then Robert Birmelin, invited me into the hallway, outside the studio to speak with me about my work. He told me that I had my own style and it was valid. That I needed to continue to explore it myself and not take what Wolf was saying about my work to heart. It was only his opinion. I know he said more but that’s the gist of it. That conversation changed my life. I knew I had something to say, and my own way of saying it and Mr. Birmelin knew it too.

Mary Ahern - Chester-Massachusetts

Chester Massachusetts 1993. Oil on Canvas

Fast forward about 25 years. I apply for an art show at the Heckscher Museum in Huntington NY and who are the judges going to be, Wolf Kahn and Emily Mason. Well, imagine how vindicated I was to have my work accepted into the show by them. Actually, I don’t think you can imagine. This validation for my art didn’t come from Wolf but from Robert Birmelin who saw in my work something that resonated. He was someone who transformed my life. Someone who helped me gain the confidence I needed to pursue my own vision. It wouldn’t have happened in the same way if I hadn’t brushed up against Wolf Kahn and I thank him for being that trigger.

What made me think of this brush with Wolf Kahn this weekend was reading this article about the two foundations set up to support artists by Wolf and his wife, Emily Mason.

You can read about them in this Artforum article.

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How Long Did It Take You To Paint That?

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Mary Ahern Painting in her studio.

Mary Ahern painting the red dahlia in her studio.

The most frequently asked question when I’m discussing my art is: How Long Did It Take You to Paint That? Well, it seems like an easy one to answer doesn’t it? But the problem is, I don’t know what they’re really asking since no matter what I answer they say, “Oh” in response. Here’s why it’s a confusing question.

I don’t know what that person really wants to know. Do they mean how many hours did it take me to paint it? Or how many days? Or weeks? Or months? I’ve tried asking them what their real question is but people don’t really know why they’re asking it. Is it a form of legitimacy? A value judgment on the quality of the work? Perhaps it is a question about fair pricing for the quantity of time allotted to the work.

I wonder if they’re asking me how many hours a day (a week, a month) do I work? Or is it how many hours a day (a week, a month) do I paint, which is different than how much I work at being an artist? I think the life of an artist is a mystery to most people. I think they’re trying to get a handle on what it takes to actually make a work of art.

If, when I answer, I mention that it takes time for me to search in my garden for inspiration, it doesn’t seem to register that this is part of the time I’m working. Let’s not even mention growing my plants which are the models for most of my work. And does the time count that I take to make the preliminary drawings and sketching on paper or screen that I do to create the composition? How about the time it takes to transfer that sketch to the surface I’ll be painting upon, which lately is the canvas. Not until then does the actual painting begin. Does all that prep time count into “How long did it take you to paint that?”.

So, it seems by people’s reactions that all the preliminary work doesn’t count. What seems to only count is the time I’ve spent putting brush to canvas.

My last painting took me 8 months to complete. This timeframe did not count growing the plant, the photography, sketching the composition and the transfer to canvas. I’m a procedural painter so I actually have a timeline in my notes I keep of each painting. I list the day, the number of hours I worked and a line or so of what I worked on during that session. The notes ended on the day I signed the completed artwork.

But did it really take me 8 months to paint that particular Red Dahlia? I began the work in the dead of winter but was interrupted when spring arrived, and the garden demanded my attention. Generally, I can’t paint after I’ve worked in the garden since the small motor skills required for me to paint are too exhausted by the effort. I would not be able to control my brushstrokes to my satisfaction if I tried to cram too much physical work in a day.

So 8 months is not really an accurate answer is it?

In my notes I can see that I worked on this particular painting in 41 sessions, meaning 41 different days during those 8 months. And not to be outdone with carefully tracking my work, I painted for a total of 151 hours by the time I painted the signature in the lower right corner.

I’m pretty sure that any of those answers, the number of months or the number of painting sessions or hours would receive the same “Oh” reply from the person asking me the question. An artist’s life and work are a great source of mystery to many people. And I respect that. Actually, I kind of like that. Being and working as an artist is often a mystery to me as well. There are many times I look at a painting from my past and think to myself, Gee, I wonder how long it took me to paint that? Sometimes I wish I knew. That’s one of the reasons I now keep notes.

Allotted time doesn’t define the quality of an artwork. Time does not ensure me of a successful outcome. My art takes as long as it takes to satisfy me. That’s really how long it takes for me to make a painting. I have to be satisfied with the artwork to put my signature on the work.

Passion - Red Dahlia

Passion – Red Dahlia. Oil on gallery-wrapped canvas. 30×30″. $3,500. Available on my website here.

 

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Joseph Raffael 1933 – 2021 – An Appreciation

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Joseph Raffael February 22, 1933 -July 12, 2021

Joseph Raffael
February 22, 1933 -July 12, 2021

One of my heroes died this week. Joseph Raffael was an artist who spoke and will always speak to my soul. We lived in different places. Lived different lives. Worked in different mediums. He was famous but left the NY art scene to live quietly in the south of France. I never made it big enough in NYC to have to leave it. But I live in the quiet town of Northport on the north shore of Long Island. We have each experienced different successes in our lives. A man, a woman, so different but so the same.

His own garden was his inspiration as mine to me. The whole garden and the individual flowers he grew there were his references. My garden too supplies me with the imagery and stories I create from. He worked in watercolors, me, not so much. Give me digital, give me a computer and stylus, give me my oil paints and I’ll paint you some flowers.

He studied with the greats. He went to Cooper Union and Yale School of Art. I went to the State University Queens College for art and the New York Botanical Garden for botanical illustration. He won a Fulbright fellowship & studied two years in Florence and Rome. I was a single parent painting when the kids went to sleep.

Every other year or so Joseph would have a solo show at the Nancy Hoffman Gallery in Chelsea that I would make a pilgrimage into Manhattan to see. I would find myself immersed into his world. Not just his garden, his flowers, but more importantly, his spirit, his thoughts, his beliefs. It was a spiritual journey I engaged with on those visits. His spirit resonated within me. I took my camera to the shows and from that I made videos to pay homage to him and his work. Perhaps you will understand if you watch them.

Joseph wrote books too. I have them and read them from time to time when I want a renewal. They are a touchstone to the thinking that he and I share. His words speak the thoughts residing in my mind. We both experienced deep and life-changing loss which turned us to search inward for answers to our questions.

Joseph and I never met in person but every single morning I wake up to his “Pink Peony” hanging on the wall opposite my pillow. He signed it to me with my name and with his. He appreciated what I had created for him. He wrote to me from France to thank me and the package arrived at my doorstep.

Joseph Raffael lives on in his paintings, his writings, his spirit, his very being. I do not mourn his passing, I celebrate that he lived!

Joseph Raffael Artwork in my home

“April” A pink peony by Joseph Raffael in my home.

You can see my videos of his shows here,

and here too.

His books are available from Amazon. (No affiliate compensation)

 

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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 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

My Art Starts In The Garden Posted on by  

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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How the Art World Has Changed For Me

My Art Starts In The Garden Posted on by  

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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Studio Glimpses – The Making of the Pink Peony Painting

My Art Starts In The Garden Posted on by  

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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