My Plot to Take Over the World (With Art)

I haven't written in a while, but with good cause-- I've been in the studio working and not at a computer more than necessary. (My studio is internet free, which is kind of nice to be dis-connected and the old-fashioned type of "wireless" for most of the day.)

My open studio went very well and I made some cash. I then purchased a large quantity of art supplies for my upcoming paintings-- enough for 12 large scale paintings. I have been building and prepping canvases-- which I do in bulk all at once because I HATE IT. Really. Messy, time consuming, and at the end of the day I usually am sore as hell from pulling and yanking canvas tight or kneeling on the floor spreading oil ground. I prepare my canvases very meticulously because it is the base of everything and I cannot change it later so I must get it right from the start.

I don't like pre-prepared canvases. Why?

1. Gesso is crappy
2. They are not stretched well and usually have ripples
3. They are not archival
4. They are supremely expensive

I will use them occasionally for sketches, but only small canvases.

When I make my own canvases I:

1. Have control of the materials (deep stretchers, heavy canvas, sizing, oil ground)
2. Save money (I spent $300 for 12 canvases prepped to my needs whereas 12 pre-made canvases of the same size pre-prepped with non-archival gesso would cost over a grand.)
3. Don't have canvases that look machine made.

The only downside to making my own canvases is that it takes weeks and weeks (allowing for labor, drying time between stages.) I am a very fast and prolific artist generally-- and the canvas prepping is what slows me down. I would probably do double or triple the large scale paintings if I didn't have to spend a month here and there wrapped up in canvas prep.

I have been thinking lately how I could work around this. I didn't have as much issue with it before with a day job. But when I prep canvases I put in 4-8 hr days in the studio, so theoretically I could work on other paintings simultaneously. Obstacles to that are:

1. With all my prepped canvases in my studio space leaning against walls and furniture, there is no room left to just paint.
2. I would need canvases that are already ready to work on-- and I run short on these quickly.
3. Sometimes I have to bribe myself to use smelly oil ground which means I put in 4-6 hours on a coat and then go to the movies as a reward.

But I have accepted that I am just prepping paintings at this point and I am rolling with it. Currently I am waiting for my last coat the dry on my canvases. I was only able to prep 5 to start with, due to space limitations. I am switching to another studio space in the same building that will help mildly with this issue, and I am glad I have 2 easels now so I can keep multiple projects going to keep up with my energy.

I won't be able to paint on these canvases until a week from tomorrow, allowing for the recommended drying time of the ground. So in the meantime I am planning my giant paintings. I took a day off from the studio on Monday and went to the Titian/Tintoretto/Veronese Venice exhibit at the MFA and I was BLOWN AWAY. I will definitely going back a couple times to fully absorb it. But I took many ideas from that show and I am busily incorporating it into my next series. I sketch all my paintings in photoshop to start with-- using photos and the brush tool (with my new Wacom Tablet.) Lately my photoshop sketches have gotten more complex-- probably compositing 10-30 images per piece. I have been taking most of my own photos and since I have more free time-- I have been traveling around the Boston area to take pictures of elements I need.

Also in the meantime, I have started some small portraits. They are experimental and I don't know how they will turn out. I am playing with multiple angles and making a double-exposure or look of movement.



Also I am trying to work on my portrait painting skills. I am good at painting figures-- but when it comes to portraits I think I have actually regressed and now I am not as good at capturing the essence of a face. It will look like a face-- just not the one I am working from. Since it is the face that initially compelled me to draw-- I am returning to that. I am also better at drawing than painting (when it comes to portraiture) so I want to work on my technique and get more comfortable. I am thinking I should do some quick sketches (on canvas board or something cheap and quick) to help me loosen up and not be so precious and stiff.



These are images of portraits taht are in progress. This is just the initial pass with the basic composition and outline of the image. After this I will start filling in the form and the color and hope it comes together. I've already wiped out both of these 4 times and started over.

Anyway, the whole point of all this work on canvases and portraits is that I have decided I will make this my most productive art year. I want to have a solid body of new work by December-- I'm already excited about how new surroundings and situation is giving me tons of inspiration.

Open Studio!

I'm having a modest open studio on May 2-3, 12-6pm each day. This coincides with the Somerville Open Studios (that's in Massachusetts) that are taking place. I will have some small pieces on view and for purchase. While I am not officially part of the Somerville Open Studios, if you're in the area stop on by. Email me for the specific address: info@bekkateerlink.com (you know, to keep the stalkers to a minimum.)

Clouds...

...at sunset. In Los Angeles, usually the orange in the sky was photochemical smog. And natural non-pollution clouds are rare. Here there is an endless parade of beautiful cloud formations. Just one hour of cloud watching got me these:

















They almost look like lava. The color was not photoshopped, these are all straight from my camera.

Sketching, gessoing, painting, productivity!

Having no full time job I am being too productive with art. I haven't had this luxury since 1999 when I participated in the Yale Summer Program at Norfolk. (Although I am getting up later in the day because unlike Norfolk-- I don't have a person making me pancakes for breakfast at 7am. So there is no food encouragement to wake up on time.) I've started 4 new paintings which are well underway-- but I'm waiting for them to dry a little before I continue. If I had a full time job I wouldn't notice this "waiting" between passes on paintings-- it just would happen naturally. But now, in order to keep moving forward, I find that I must always have canvas and panels ready to start on. Which means my appetite for new canvases is much larger than normal. I am starting to rethink the number or ambition of my paintings. Sometimes I get impatient and rush through prepping a painting (this makes more sense when I have limited time to work.) But I have endless hours now-- so why not find models, go to drawing workshops, take photos, drive around looking for locations? Why not make giant complex canvases full of 20 figures on horseback suspended in battle? I have the time.

Another "Shortcut"

Here is the next installment in my tiny abstract painting series. I've been playing with this idea for only a month and already I am getting restless to go back to painting people. I know when I finish this series I will do exactly that-- my goal however is to approach it differently both in the painting process and in the idea.

There are several things that I am thinking about in the overall scope of my paintings. I am not sure if I want to keep painting "surreal"-- however I don't want to paint straightforward scenes. I don't know exactly what I'm chasing after but I know that I want to move away from anything remotely pop surrealist and hope that people will also stop asking me if I like Dali. (I hate Dali. Hate hate hate.) These aren't the reasons for changing things up-- but after working in Advertising Illustration for years and now being unemployed (due to the recent crash of the ad industry) I am getting perspective and realizing that advertising & illustration had a pretty large influence on my work. But I want to deconstruct that somehow.

Secondly, I want to challenge myself with the paint itself. With color choices, application, tools & marks. I want to play with peripheral vision, shifting light, movement, unity of time and place. Some of these things are ideas I've touched on before or have been inspired by art I have seen.

One of the most inspiring pieces of art I saw recently was the Scenes from the Tale of Genji Screen (1677) at the Gardner Museum in the Journeys East exhibition (until May 31.) There is no good image of the screen online and photography was not allowed in the museum so I don't have one to share. (You can google it and get similar Tale of Genji images.) But the screen had a series of buildings with gold clouds separating them. And you could see what was happening inside the buildings from almost an omniscient point of view. What I was drawn to was the lack of unity of time & place-- and the ellipsis of space.

Another inspiration is from a (Early Christian?) painting that illustrated a bible story and had the main figure repeated along a path to show a journey. (This is another image I've never been able to find because I saw it so long ago and forgot the details.) But this is another idea I've had in the back of my head for a while and have wanted to play with.

As for painting inspiration-- I have been making a list of some contemporary painters who's work I love (and am very jealous of.) The list so far:

Frank Ryan (you can view some of his work here and here) The pieces I loved most cannot be found online (why don't great artists these days have websites?!) but were shown at the Walter Maciel Gallery. What I liked most was the application of paint and how one could see how the painting evolved as he worked it. There would be figures that were added or taken out-- and it was imperfectly done so it had feeling of transience. The lack of preciseness was brilliant-- and it made me realize that I have a tendency to get too exact when I paint. Often the early stages of a painting are the best and I'm trying to learn when to stop touching things that already work. More importantly-- I'm trying to get the right mix of precision and looseness (such as a face being precise and the body/background being loose so it lends a sort of "focus" to the piece instead of an all-over equal focus that I do with my recent paintings.

Kent Williams (view his work here and more deliciousness here)is a master of directing focus in his portraits. I love the messy loose sections mixed with the glowing flesh of figures and commanding faces. I love the feeling of the paint in his work too and how it seems to be in motion. I would like to show more of my own hand in my paintings-- right now they feel somewhat static. But once again my work is often loose and gestural in the beginning but it gets hidden as I continue working.

Matt Bollinger (another artist with no official website but his work can be seen mainly on his blog here, you'll have to browse to find paintings) is my most recent discovery and I haven't seen his work in person-- but I know it can only be even better off the internet. What I love about his work is the color, the paint application & textures, and the compositions. I have a tendency to be too literal when it comes to painting figures and so when I see work like his I am immediately drawn to it because it has much more atmosphere than painting the same old sky is blue/trees are green/skin is pink way. Seeing work like his makes me confident that messing around with abstract pieces for a little while will be good for me and will get me out of my old color routine. Not that my color was bad before-- but for me it was becoming like a recipe I know by heart.

Also Frank Ryan and Matt Bollinger both paint from video which has been intriguing me as well (being a filmmaker myself.) This is something I will definitely play with since I love the element of time that a still photo does not have.

New painting "The Shortcut"

Here is another tiny painting sketch (3x3) that I think came out kind of nice. It is very quick and I didn't overdo it, which is good. It is another abstract map from memory-- a map on how to get to Spaceland from my old apartment by walking through the hills. I'm working on some large pieces like this now but I am having trouble keeping my artistic decisions clean and concise and so the paintings are getting muddy and globby. I didn't go to the studio yesterday because I didn't even want to look at them again. Today I'll have to go and face them and decide what to do-- I need to bring them back to life somehow. Blurg.

you exhale somewhere in a field

"you exhale somewhere in a field," by land and cinders

I saw the photo of this and had to share, it tickles my imagination...

Birds of Paradise (two)

I like to make my tiny paintings in pairs. Because when (if) I sell them people like to buy in pairs. So here is the second Bird of Paradise looking abstract sketch. Again 3x3 inches. I've been cranking these out this week, there very fun. And something about painting on cheapo canvas board is great-- I get less precious and don't worry if my painting doesn't turn out because I didn't invest as much prep time. However when they come out good I feel a bit sad that I didn't make it on a canvas. I like canvas better-- however I'm picky and I hate pre-stretched canvas becuase it's always stretched so poorly. Canvas board doesn't have the ripples so it is a better short-cut surface. At some point soon I'm going to have to go buy some stretcher bars (by the box of course) and spend a whole week prepping 30 tiny canvases to my own high standards so I can be both prolific and more archival.

Birds of Paradise

Oh, the birds of paradise
Came to me yesterday
Laughed when they told me my fate
We'd be cold, we'd be tired, but we could breathe
And one day I'm gonna leave this place

~Basia Bulat, Birds of Paradise

I originally intended to use different colors but they came out different, maybe better. This started as a painting of a map of Sunset Junction (Silver Lake, LA) and evolved into what looks like an abstract fractured Bird of Paradise flower. It's probably the color that has me making that connection. This is a very quick painting, and very small. 3x3 inches, under an hour. I think it's my favorite right now, I think I'll keep doing things like this for a little while.

In the studio with new paintings...

My studio, interior
Originally uploaded by Bekka Teerlink

Here's a view of my studio. I'm just getting started on some new pieces so it's a little bland. I'm working on some small painting sketches on canvas board. They're studies for larger pieces I might make. They're abstract pieces because I had the urge to do something completely different. I've never painted abstract before so it's very scary territory for me. But I wanted a challenge myself and take a risk. I don't really know how to go about starting an abstract piece. It seems so difficult to decide where to put the colors when I'm not painting a precise picture of a thing. Even if I am abstracting from some thing-- I don't know how to approach it. But somehow this weekend I decided that abstract art needed as much (or more) thought and preparation than observational art. So I started sketches followed by painting studies followed by more sketchings and thinking and staring. Eventually I suppose I'll get to painting the real paintings. And when I start I feel less nervous and will know where to put the paint. Maybe the paintings will turn out good, and if not, learning from a challenge and getting outside repetition and comfort will be a welcome freedom.

Silver Lake

Silver Lake
Originally uploaded by Bekka Teerlink

However I feel like I'm out on a limb by not drawing something observational-- like drawing things like this are somewhat silly. Though that feeling sometimes means I am doing something right. I'm thinking of doing some in oil just to see what happens. (This one is colored pencil and acrylic paint out of my sketchbook.) But I don't know if I could do abstract paintingse exclusively because it only satisfies part of what drives me to create art. Sometimes I feel like I'm two different artist in one body-- an old fashioned observational artist and a (budding) abstract artist. I wish I could combine them somehow but I can't seem reconcile the extremes.

View past map drawings:

the streets run like the lines on my palm
Eight Years in LA, A Portrait

Spring!

It was very warm Sunday which meant I could go outside to paint wearing just a T-shirt while there was still some snow on the ground. So here is an 8x10 quick sketch (3 hrs) of an area near my house. It does not look the way I wanted it to. I wanted it to be less detailed and more gestural with better lines and composition. But I got hung up painting the trees instead of the forest. But it's a start. Last time I went through a lanscape phase it took 6 months to work through getting hung up on detail to get to the point where I could just throw a mark down and not question or correct it. Perhaps when I do my next one I'll give myself a time limit (1 hr?) and see what happens. Often my paintings are fresher in the beginning and sometimes I just over work them and they loose the spontaneity. The good part of this painting is that I was much more generous with paint than usual. Usually I use very thin washes. Though I'm not used to painting all in one go so I don't know how to think several steps ahead as I work. Here's a photo of the spot:

Dark eyes, Sunny Days

Dark eyes
Originally uploaded by Bekka Teerlink

This girl had one of those faces that is just dramatic. I tried hard to capture it and I think it came out a bit labored and not as fresh feeling as I had hoped. But I got her basic essence-- dramatic eyes and eyebrows, dark hair, and a headband that offsets it in an almost playful way.

This weekend I am hoping to get a new series of paintings started-- but I may just start planning them and getting reference together for them. I need to also do some sketching. Sunday's weather will be good so maybe I'll bike somewhere and do some outdoor sketching/painting. I never considered myself good at landscapes, but since I have moved I feel like I need to paint landsdcapes outdoors to feel more connected here. There's a cranberry bog and a farm nearby I could paint. I'm glad the weather is getting better so I have more options than staying cooped up inside.

Slightly nerdy...

Slightly nerdy...
Originally uploaded by Bekka Teerlink

...in a good way with the high-impact glasses. He would look like a totally different person with a different pair.

Woman with curly hair

Woman with curly hair
Originally uploaded by Bekka Teerlink

I suppose this is not a terribly flattering portrait of this woman-- however sometimes outside influences creep into a drawing. The light was kind of sickly yellow here, and even though she was nice looking-- the light made her look old and weathered. I also was overly fascinated by the shape of her hair and how it created a wild dark halo and blended into her shoulders. I was more intrigued by those details than drawing an accurate portrait. So this turned more into caricature.

In other news, I'm off to my new studio today. But I'm not doing anything terribly creative-- mainly moving in and organizing my little area. I probably won't touch a brush until this weekend. I must buy some supplies since I gave away any painting supplies that would have broken and created havoc if the movers chose to toss my boxes around. So I have no turpentine or mediums. But that is easily remedied and I'll be happily painting very soon.

Seated Girl

Seated Girl
Originally uploaded by Bekka Teerlink

Here's another cafe sketch. This is another case where I wish I had paint on hand instead of pencil. The light was falling nicely on her and she had pale white skin, dark hair, and icy blue eyes. It would have made a nice little painting sketch. But I just had 5 minutes to sketch her and then she left the cafe.

the most beautiful picture in the world (to me)

the most beautiful picture in the world (to me)
Originally uploaded by Bekka Teerlink

This is my new studio space! As of today! It isn't much to look at but out of this gray shack will come many new paintings.

It's probably irresponsible to rent studio space with my unemployment check. But it absolutely had to be done.

(My sister says Van Gogh would've done the same. She would know, I gave her Van Gogh's letters for Christmas and she's read it and, because she has the amazing ability to remember every word she reads, quotes it back to me regularly. But I told her to be careful about encouraging me to follow Van Gogh's particular career path because then I would expect her to support me financially while I paint. Luckily I'm more self-sufficient than Van Gogh, and my lack of steady employment will work itself out eventually.)

But I'm very excited about having some small bit of studio space since I've been trapped in my family's house for 5 months far away from everything and everybody. The studio is in Somerville in a perfect location. I'll be able to meet people, get of the house, look for a day job, and paint all at the same time. It put me in such a good mood I was able to land some freelance work for the week.

This is very old, from High School actually

This is very old, from High School actually
Originally uploaded by Bekka Teerlink

Being back in MA means I get to see artwork I did ages ago. Back when my parents were still trying to frame everything I made (they gave up by college.) I did this piece when I was 17ish when I was a senior in high school. I never really painted before this so this really where I began. It's still one of my favorite paintings. Old pieces like this remind me why I wanted to paint in the first place. Lately I've been questioning the direction my painting has been going-- and looking at this piece makes me want to go back to the beginning and start over. Early on I just wanted to paint people-- interesting people in unique moments. I was always drawn to different non-traditional poses, angles, faces. I want to go back to painting people, just people. I just need some people to paint. Anybody game?

757 Massachusetts Avenue

757 Massachusetts Avenue
Originally uploaded by Bekka Teerlink

I love cafes. Probably because I spend too much time indoors painting alone. Drawing in cafes gives me a reason to go outside and also provides people to watch and draw. However there are no good cafes immediately near me. I don't even think there is a Starbucks. So I've been trying cafes in to Somerville and Cambridge. (That's where I plan to move, as soon as I am able.) But it's 30 miles away so cafes are more of a rare treat these days than a habit. This one had good tea (very important) but a bad floor layout. It was shaped like a railroad car and there weren't many good places to sit and draw from a good angle. But so far it is my favorite cafe. Because the tea was good and the people interesting. I just wish I could sit where I could see them.

In other news, you may have noticed my website has been down for a few days. It was a DNS server issue that I don't completely understand, but it is fixed now. So visit. Also if you're on facebook, I created Bekka Teerlink page. So become a fan!

Man in a Straw Hat

Man in a Straw Hat
Originally uploaded by Bekka Teerlink

I was going to post a painting today. However I wrecked it in a fit of anger. I am trying to paint in acrylics, except I hate acrylics it turns out. And when they don't behave I try to beat them into submission. Which results in destruction. Acrylics just can't take a beating like oils do. And I can't paint with oils in my parents house due to ventilation & risk of explosions. So I must learn to control my anger when a painting isn't working. For today I'll just post a sketch of a man I saw in a cafe. He looked like Daniel Day Lewis from the front but I didn't get to draw that view. He had a very striking presence even though he was just reading a paper. How one would imagine Daniel Day Lewis off screen.