Thanks to guest writer David Freas for today’s post.
On Friday, surounded by a group of her inquiring students, Suzy Kitman painted a bright costal landscape and in the process demonstrated some of her innovative impasto oil techniques. In between painting sessions, she took breaks to explain how her work reflects a variety of eclectic influences, from archeology and her time as a patina artist at the Metropolitan Museum of Art, to her experiences with photography and portraiture. This day’s image, captured on the Oregon coast between Otter Rock and Shortsands, depicts craggy rocks towering over surfers swept up in a choppy tide. Though the content of her piece may sound familiar and pleasing, there’s something exciting, even surprising about Suzy’s painting. On one hand, her style is highly realistic. Working from her own photographs, she deftly plays with brightness, tone and color to render images that draw viewers in and successfully transport them to her chosen location. On the other hand, Suzy’s paintings are an adventurous exploration of extreme textures and weights. In this seascape, you can feel the massive weight of the rocks and sense their jagged surface. The ocean waves are heavy and energetic, and the sky, in contrast to everything else, is flat and smooth. By playing with these textural contrasts, Suzy presents the viewer with another, unexpected level of engagement that accentuates and electrifies the content of her tranquil image.
The effect Suzy achieves through her impasto technique makes for a surprising viewing experience. Working with M. Graham oils she first fills out her composition with flat fields of color. Once the scene is set, Suzy lets her palette dry out and scrapes it down. She notes that a glass palette is best for this as it can be scraped totally clean. She then collects those scrapings, filling a small container at her station with little curls of dried paint. Next, working with Liquin Impasto and heavier applications of paint, she fixes the scraped paint onto her surface and uses a palette knife to sculpt directly on her canvas. Once she achieves her desired texture, Suzy plays more with the color of her piece, taking every opportunity to capture a fresh view of the work. She turns the painting upside down, steps away from it and periodically looks at it over her shoulder through a mirror. The result is a painting that offers a dynamic viewing experience. From across the room, the image is vivid and inviting, but, as you get closer, the surface reveals its intricate texture and the image that appeared flat from a far begins to leap out and take literal shape.
The last picture below shows Suzy’s painting at the end of the day Friday. We’ll post an update with a picture of her finished work. UPDATE: The last picture shows Suzy’s finished painting.
Click on thumbnails to see larger pictures.