Distinctly Montana Magazine

w w w . d i s t i n c t l y m o n t a n a . c o m 41 Heritage My Graduate teacher, Joyce Aiken, imparted the necessity of mutual artistic support for creative development. It is with this realization that I continually strive to discuss art concepts with other artists. I am particularly grateful to be involved in the newly organized Red Lodge Roosevelt Art Center where we artists with a common ground can discuss the creative process and support each other. CAN YOU WALK US THROUGH YOUR CREATIVE PROCESS, FROM INSPIRATION TO APPROACHING THE BLANK CANVAS TO COMPLETION? The creative process is one of my most satisfying elements. During this Covid-19 experience, I have concentrated on "Within 50 Miles" of my hometown. There's an unending amount of subject matter everywhere I look! Placing the horizon line either extremely high or extremely low creates additional drama within the artwork. Perspective lines lead the viewer deep into the imagery. An extremely close foreground continues to add to the drama of being "within" the painting itself. I prefer the viewer to feel as though they are not just "looking" at an image, but viewing the image from the inside, thereby becoming an active participant of the painting. Composition, movement, color, line, and texture all come together in the design elements. Admittedly, I'm a "messy painter," usually getting as much paint onto me as onto the canvas! Beginning with large hand movements to block in the energy and the dark areas, I move next to a more refined stage, eventually pulling out finer details using my hands and various scrapers. The painting itself reflects upon the specific moments or features of each chosen location. YOU HAVE A UNIQUE PAINTING PROCESS WHEN WORKING WITH LARGE 48" BIRCH PANELS. CAN YOU TELL US ABOUT THAT PROCESS? Large painting surfaces of cradled Baltic birch allow more open movement within the art piece. The cradled boards are painted front and back with KILZ oil-based primer, then sanded before beginning. I seldom use a brush. I prefer painting with my hands, pallet knives, paper towels, and large kitchen scrapers. The hard surface of Baltic Birch panels stands up to my pound- ing and scraping upon them. Since I frequently work on-site from my Travel Trailer, I prefer the sturdiness of the boards to withstand the vigors of bumpy roads and windy days as well. My painting style involves mixing the oil paints directly on the board surface more often than on my palette board, thus allowing more spontaneity while working. Attention to perspective, com- position, and movement are critical to my personal method of Sage Painting at East Rosebud Lake

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