Ron Reekers Fine Art

It’s been a few months since I wrote a blog about our critiques, so in good old fashion New Year resolution making, I rededicated myself to this effort.  We are going on 4 years of this critique and it has been an exciting fellowship of Artist.  I’m look forward to us continuing on and developing our vision and increasing our body of work.

We start with Ron Howlett’s two watercolor studies.  These are finished works of art but I call them studies because Ron mentioned that these works are more like sketches made to develop a new series of artwork.  If you follow the old blogs you can see that Ron is further developing this motif.  Before there was the chasm between his rock formations under a very dramatic sky, where the ocean acted like a silent conduit between the two.  Now the ocean has become alive and begins to be a major part of the dialog between rocks and sky.  The first watercolor “Sea Night Fall” has five rocks in the foreground within the ocean which is actionable with whitecaps and rolling waves, all contrasted with a bright sky accompanied by a storm brewing on the left.  There was little to constructively critique except with the five rock formation’s intersection between ocean and rock seems lost due to the dark shadowing; they begin to flatten out and lose some volume.

In the other watercolor “Oregon Coast” the ocean is loud with intent and rises up to make itself know to the large rock in the foreground.  It reminded us all of Winslow Homers dramatic ocean scenes which a lot of Watercolorist strive hard to achieve; Ron has done this beautifully.  There is a power that is greater than the whole in the artwork.  The combination of the powerful ocean waves and the bold strong rocks heighten the drama of nature.  The only little critique we had was creating a bit more texture in the shadow areas of the rocks, particularly the far left rock, but that is a minor issue to the greater success of creating the feeling of movement, flow of mist and the time worn battle between the rocks and the pounding ocean.

Thom’s work “Attitundal” revisits work from years past. The figure harkens back to a time when West Coast Artist were not willing to get rid of the figure for the sake of a fully abstracted piece.  They wanted to use the East Coast aesthetic of bold mark-making, but juxtapose that against saturated colors and high value shifts within a known environment or motif, like figure, still lifes or landscapes.  I suppose that is precisely the problem we saw in the piece.  There is very little contrast in the work and in the areas that that happens there are element that mute that impact.  For instance, the yellow around the figure’s head, the bright green against the figures highlighted left thigh and the value in the window which matches the interior.  We suggested exploring the window more abstractly and contrasting the interior with the exterior through value.  This is not unprecedented, there is a long history in art where exterior and interiors are contrasted and become a major part of the motif.  On the other hand, we really like the mark-making that Thom had started and his always unique approach to balancing compositions with line and interesting shapes.  We look forward to see how he resolves the piece.

I ‘finally’ finish my last Shipley Center painting.  Last year I had a few distraction so it took some time to finish this piece (I’m still attempting to relieve myself from these distractions).  In fact, it was the only major piece I did all year!  In any case, it was well received and by showing it each critique it gave the group a chance to see my process (or madness) when it comes to building up layers of paint and abstracting from what I had previously learned by going out and doing a plein air painting of the same scene (in this case 6 times during the year) and then putting into practice what I had learned.  As a side note, I’m starting a new series of plein air paintings at the Shipley Nature Center and I found a new spot there.  Now I need to dedicate myself to getting out there each month.  In any case, I like the finished piece which is called “Sage Mound”.

I hope you enjoyed the blog, and we look forward to reading your comments, and a perhaps joining us in 2015.

May’s critique welcomed two new members and of course they contributed wonderfully with the group.  Much of what we presented and talked about was our community with the world around us, and in particular the ‘natural’ world.

Thom brought a dynamic painting focused on how two worlds can influence on each other.  This paintings graphically describe the dramatic phenomenon of plate tectonics.  The patterns and texture of the surface are beautifully rendered and add an interesting approach to the idea.  The texture was greatly enhance by the cutting of the surface and glued on backing structure, which gave one the direct effect of a fractured surface.  The upper right globe is a bit subdued and bringing up the saturation and mark making would help the object work with the larger more dominate globe.  The white between the two planets was skillfully done and adds to the understanding of space within the work.

Jim just started with the group and brought a few well-conceived pleinair paintings.  The color composition of the painting shown in the blog works very well with the type of back lighting affect one sees in the piece.   The value structure of the work could be settled by darkening up the shadow edges and bringing more of the background light into the foreground objects.   But all together, there are some very hard fought colors in the rock shadow and background sky that make the painting an enjoyable experience to view and ponder over.

Jared is back from his residency in the Netherlands and brought some thought provoking photos.  These are photo from a museum out to the street, which brings up the idea of art discovery (and too me ‘irony’).  The irony being that he is in a museum to see the unbelievable artwork from the Dutch Masters and instead takes pictures of a rough surface glass of the outside.  Beside the irony though, these are interest works of art on their own merit.  There is a Diebenkorn feel to these photos and on a pure color/composition they work wonderfully.  The problem will be context though, and how these photos are sized and shown on the wall will require a lot of thought and care.

Pat is another new member and she brought a very personal painting.  It is sometime difficult to do a critique on artwork of a very personal nature, but done properly can be very cathartic and insightful for the Artist.  We all just loved the little girl, there is something very intimate in the pose and the eating of the apple that gives the viewer a feeling of comfort and joy.  The trees in the background is also very well done, though the tree on the left stop the viewer and over powers the left-side composition; removal would be potentially good.  The paint does lack richness but only because of a lack of paint on the surface.  In order to help saturate the surface and allow the painted surface to be richer with mark making and texture we suggested adding more paint, but to be careful not to change the color or value.

Having two new members was a great joy for everyone.  The more the merrier I say.  In any case, we look forward to share our time with them and anyone else that would like to join our critique.

Au revoir

This month we had a very eclectic group of art which often provoke the greatest amount of discussion, especial focused on art making and processes.  All participates seem to draw from nature, but in much different ways of expression and feeling.

Donna presented a group of ‘ghost prints’ of waterfalls, or an idea of a waterfall.  These are built works developed from ink jet transfers, mono-printing in ink and drawn over repeatedly as she is working the idea.  We found these ‘prints’ to be very original and speak most about the self and how one feels within the elements of water, plant life and earth.  Yet on the other hand, they seem very solitary, or without human presence which highlights the idea of an untouched ebb and flow of nature. These are very delicate work and bode very well as a series, the difficulty will be in the way she chooses to present them; framed, floated, cut edge or broken and viewing level.

The manner in which Donna approached the work harkened back to a series of monoprints I did of Yellowstone. I had been working on a series of views from a car and the original photo inspired me to explore the image further. It is of an elderly women walking toward the hot springs in Yellowstone where steams and the mountain environment are active in the background.  Most of the group was interested in process and how one can create a plethora of feelings just by the act of making the image; there are a total of eight of them (you can see all eight at http://reekersart.com/012YosRevisit.html) each inspired and pushed the other; this is the beauty of the mono-print technique.

Jared will be going to Holland and so in preparation did a series of images of streets named after cities in the Netherlands and kitschy images of windmills from miniature golf courses.  These are highly conceptual ideas and sparked a discussion of pre-actual-post effect of the residency he is to experience.  If one has never been out of the United States, one tends to have a preconceived, and most often narrow view, of the world outside, but once experienced in world travel those ideas fade away and are replace (as in my case) with a more thorough and enlightened idea of the world outside our familiar existence. We are sure this experience will play well into his future work.

Thom brought a cubist painting focused on Global Warming (GW) and its direct killing effect on trees. The work is executed with a cubist style and the color was of a mostly bright warm palette.  The wonderful colors used seemed to contrast against the pessimistic view of our effect on the world’s climate and the subject trees. To bring the harsh impact from GW back into focus we suggest applying more aggressive mark making around the subject thereby imposing violently on the trees as opposed to the current more playful marks that frame them.   On the other hand, Thom’s whimsical style (note the smiles and lollipop trees in the composition) may better be served to turn the pessimism of GW to the optimism of recover (may be asking a lot) and thus perhaps giving an ironic tone to the work.

These critiques continue to provoke ideas and bring into focus the environment in which we all live in, and most importantly for us, how this is translated into art-making