“SPRING PASSAGE” Selected for Saint Mary’s Hospital

In January, 2010, St Mary’s Hospital & Medical Center opened the Century Tower, a 12 Story, 434,000 square foot addition to the hospital at its 7th and Patterson location.  Atop the roof of the Century Tower is the Care Flight Heliport. Century Project planning ensured that expansion would be possible.  St Mary’s is taking the final step, finishing Floors 9 and 10 – Floor 9 for Neuro-Trauma Services and Floor 10 for Acute Medical Care. Each floor comprises approximately 29,000 square feet of space with 32 patient rooms on each floor. Construction of the project is underway and is scheduled for completion in July, 2016.

Artwork has always played an important part in St Mary’s healing environments. Calming, uplifting, and healing images, providing color, value, and light to physical space contribute to the healing process and to an environment in which comfort and care can best occur. St Mary’s collection of artwork is proudly displayed in the original hospital and its many additions.  In keeping with that healing art tradition, St Mary’s Century Tower, when complete, will display over 1,200 pieces of 2D and 3D art from more than 600 Colorado artists.

An open competition of Colorado artists was held through a partnership with the Western Colorado Center for the Arts and St Mary’s Hospital.  Paintings selected for inclusion in the St Mary’s healing environment were announced today.  My painting, “Spring Passage,” was one of the painting selected.  This painting was originally introduced on June 27, 2015 in the blog post, Update to Demo: MVAG and WCCC.

FullSizeRender 2To read more, visit the link below:   https://cheriisgreenfineart.wordpress.com/2015/06/27/demo-tomorrow-montrose-visual-arts-guild-hillcrest-church-12-pm-2/

 

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A Veritable Smorgasbord: Opening Friday, 2/5/16

Art Center Members Exhibition
Feb. 5-27, 2016
Sponsored by Chuck & Kendra McDaniel and Ron Beckman

member-show-photoFebruary First Friday
6:30 p.m.: First Friday intros
7 – 9 p.m.: Opening Reception
Cash wine bar. Beer generously provided by Odell Brewing.
Free hors d’oeuvres provided by The Art Center Guild.
Music by Rosewood & Ivory.
Free and open to the public.

press release from the WCCA:

February means the Art Center’s annual Members Exhibition. With over 300 works it has the claim to fame of being our largest exhibition, but it also reflects the geographic and technical diversity of our membership. Medium ranges from collage to clay, and exhibiting members come from all over the Western Slope and beyond.

Four years ago the Art Center incorporated People’s Choice Awards into the Members Exhibition. Votes are collected and cash prizes are awarded to first, second, and third place winners. This democratic process raises the stakes for both attendees and featured artists by prompting our viewers to evaluate their aesthetic preferences. Most of us know exactly what we like and dislike but do not know or think about why. Our predilections, especially when it comes to art—that most subjective of subjects—can teach us a great deal about our personality.

The People’s Choice Awards also encourage viewers take a closer look at artworks than they normally would. Anyone who has taken the time knows that the longer you look at a work of art, the more it will communicate. The conversation between a viewer and a work of art is never over, but usually we don’t allow enough time for it to even begin. For the artists (and WCCA members) themselves, seeing their work in an exhibition setting tends to give them a whole new take on their artistic approach. Observing how viewers interact with a piece is one way artists gauge how effectively their work conveys their intention and, subsequently, if that is something that even matters to them.

You’d be hard-pressed to find another exhibition that showcases beginners alongside experts, painters alongside photographers. Our members are distinct in their method of artistic expression but united under their support for the Western Colorado Center for the Arts.

Awards Announcement: Saturday, Feb. 20 at noon
Award Sponsors:
Best of Show $350 – Frame Depot
First Place $250 – Colorado Canyons Gallery, Framing & Gifts
Second Place $150 – George and Gayle Gerson
Third Place $100 gift certificate – Blue Pig Gallery

I will show two works of art.  “Wine Pearing,” a graphic-designed watercolor composition depicting the agricultural life on the western slope of Colorado, and “Autumn Glow.”   “Autumn Glow” is executed in the poured watercolor style that I recently demonstrated at the arts center for the Brush and Palette Club.  It celebrated the beauty of Colorado mountains.

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“Wine Pearing” watercolor, 11″x15″ $350; copyright Cheri Isgreen

 

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“Autumn Glow” 15″ x11″ watercolor; copyright C Isgreen 2015

 

Poured Watercolor Demo

%22Riding for Rain*%22
“Riding for Rain” poured watercolor, sold/private collection; copyright Cheri Isgreen

Why Pour?

Painting wet-into-wet is so much quicker and uses far less paint.  Why would I bother to mask and pour?

  • Because the amount of paint applied to the surface of the paper is so saturated, (even when making early light value layers), spontaneous color mixtures combine in unique ways that can’t be achieved any other way.
  • Layers can be built undisturbed by any brushwork, resulting in luminous, clean colors with neutral mixtures occurring without muddy passages.
  • Though it appears that masking would restrict the element of spontaneity, pouring allows the artist to exploit the unexpected by controlling how the pour will run.  This is particularly effective in areas with large passages of color where there is potential for  a great variety of subtle variation in color, value, and texture.
  • Pouring allows the artist to emphasize shapes and negative space, as well as to imply meaning through the use of lost and found edges.
%22Out of the Shadows%22
“Out of the Shadows” poured watercolor, sold/private collection; copyright Cheri Isgreen

 Critical concerns to Ensure a Successful Painting

  • The artist needs to make studies before painting.   For each mask layer to be successful, a careful drawing must be executed with accurate shapes and values .  Additionally, the artist needs to consider all the elements, (line, color, texture, form,  and space, as well as shape and value), to insure a balanced composition.  Though pouring is primarily a studio technique and not suitable for pleine aire painting, poured watercolor develops technical skills, habits of mind, and the awareness of compositional elements that are critical in the field when an artist must work quickly to capture the light.
  • When developing compositional studies, develop your ideas into connected shapes with three or more values.
  • Edges matter- draw and mask shapes very carefully, so the painting will read when the mask is removed.  Buy the best brushes you can afford for masking, (you will need a variety), and take good care of them, so the mask doesn’t destroy them.  Mask brushes and water containers must be dedicated for masking only.
  • Exploit lost & found edges, negative space, and counter-change when developing compositional studies.
  • Avoid details until the end, when the mask is off.
  • When the mask is off, find areas where the edges must be softened.
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“Pause in the Day’s Occupation” 21″x28″ sold/private collection; sold/private collection

To schedule a workshop for your organization or find out where the next workshop will be held, comment below.

Tomorrow: steps for completing the demo painting begun at the Brush and Palette Club demo

 

Watercolor Demo at the Western Colorado Center for the Arts

An interested audience of close to 40 artists attended a watercolor demo by Cheri Isgreen at the Western Colorado Center for the Arts Thursday afternoon. The demo focused on the technique of poured watercolor, which exploits watercolor’s natural tendency to produce unexpected, yet rich luminous color mixtures. Cheri explained that this technique emphasizes lost and found edges, negative space, counterchange, and a strong value design. With its many layers of mask and washes, poured watercolor is primarily a studio technique. A good underdrawing, balanced composition, and carefully applied media ensure successful paintings. Though not suitable for pleine aire painting, poured watercolor develops technical skills and the awareness of compositional elements that are critical in the field when an artist must work quickly to capture the light. The demo, sponsored by the Brush and Palette Club drew one of the largest audiences the club has experienced for a demo. Elise Lind, president of the club remarked the club gained 5 new members after this demo. The club is working with Cheri to provide a Poured Watercolor Workshop in the coming year. If you are interested in attending, comment below.

To learn more about the technique and see how this demo painting is developing, follow the blog- https://cheriisgreenfineart.wordpress.com         The series will begin tomorrow, taking the demo painting from initial studies to finished painting.

A large audience of artists await the beginning of the demo by Cheri Isgreen:cheri5

Poured Watercolor Workshop at Western Colorado Center for the Arts

For a successful pour, it is essential for the artist to have a strong design with connected interesting shapes and at least 4 delineated values.  In the photo below, Trudy transfers her value map, (large thumbnail) to her stretched watercolor paper.

transfer value map to watercolor paper
transfer value map to watercolor paper

Each value is masked in succession, with a separate pour for each mask.  The pouring process allows for spontaneous color mixtures.  Tilting the board after the pour allows the artist to “control” the direction of the color blending.

part 1- pouring the masked painting with a variety of paint pigments mixed to a predetermined value based on the artist's value map.
part 1- pouring the masked painting with a variety of paint pigments mixed to a predetermined value based on the artist’s value map.
Marilyn tilts her board to encourage the paint to move in a specific direction.

When the final pour is dry, the mask is removed, and the painting receives final touches to resolve the composition.  Sometimes an over-pour is required in different areas than the initial pours.  In that case, all mask is removed, and new mask is applied to areas where the initial pours are to be preserved.  Removing the final mask is like unwrapping a Christmas present.  By the final pour, the painting is quite obscured, and it’s always a surprise to see what lies underneath.

Helen removes her mask, revealing her poured, blended canyon landscape.
Helen removes her mask, revealing her poured, blended canyon landscape.

Because there is quite a lot of dry time between the masking and pouring process, each artist worked on at least two separate paintings simultaneously.  The photo shows workshop participants pleased with their results learning the poured process:

Each participant finished two paintings and had a third painting in progress to explore and finish at home.
Each participant finished two paintings and had a third painting in progress to explore and finish at home.  Helen plans to add more pours to her goats.  In the photo, the painting is still masked.  Because she has a strong design, the intent of the painting comes through, as does some of the color mixtures.