flight of the imagination
MAR 9 TO 312012
gala opening reception Mar 9 5 - 9
all works are available prior to opening
Please enjoy this four part exclusive interview with artist Andrea T Kemp written for Saks Galleries Cherry Creek by noted author Rosemary Carstens. Andrea will discuss, where ideas come from, style and color, process and other thoughts.
ANDREA KEMP ON PROCESS
Q: In terms of your process, I’ve heard you referred to as a classical realist. Would you agree?
A: I like to think of my work as naturalistic and ever evolving. Naturalistic is the appropriate term for describing my work. It means the subject matter—whatever it is—is rendered so that it mimics the appearance of the three-dimensional objects you are painting. It looks lifelike. I try to focus on the elements—principles of design gain strength in my visual approach. My narrative remains ambiguous, leaving its impression on viewers longer lasting and more open to interpretation.
A: Those of us who aren’t professional artists always wonder about how artists prepare for new paintings and how they actually work, from start to finish. What’s that like for you?
A: These days I take more time with my studies prior to beginning a new painting. I’m more deliberate. Sometimes I do a small study on board—I paint mostly on board although I sometimes use canvases for larger works. I make up a lot of prepared boards all at once. I coat huge sheets of Masonite with gesso, using a big house-painting roller. I apply three coats of the gesso, first rolling on vertically, sanding the surface down with a power sander, and then rolling on the next coat horizontally, followed by another sanding, and so on. I cut the sheets into various sizes for paintings.
When I’m ready to begin a new painting, I usually tone the board. The color I choose relates to the temperature of the light I have planned. I transfer my initial sketch or study to the board by eye using vine charcoal, which I brush off, and then I follow the faint outline with diluted paint. I build many layers of paint in some pieces and on others I am able to capture what I’m after with only one or two layers. It just depends on the painting. I do use glazes, but more as strengtheners, to give more punch to certain areas.
I always keep my painting evolving as a whole, so that I could walk away from it at any point without areas seeming unfinished. I work all over the canvas and focus on the abstract visual aspects, developing the image from there into a recognizable scene.
image: "Reclining Nude" 8 x 15 oil on board
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Rosemary Carstens writes for several national arts magazines and publishes an award-winning online magazine, FEAST, about books, art, food, film, and travel. She is the author of two books with a third presently being researched. For more information: http://www.CarstensCommunications.com and http://www.FEASTofBooks.com.