Page 54 - International Artist2 110

shadows and colors that need to be
rendered.
The View from the Top of kids is the
focus of a series of paintings that I have
been working on for a few years. Finding
an interesting composition from the
photographs that I have been taking of
little kids is the anchor for each piece.
I’m also looking for images that convey
beauty, sensitivity and creativity. Viewing
the children at play from a different
perspective, as an adult, standing and
watching from above, creates another
special memory, a moment in time.
Sometimes I would have to rearrange the
kids in the photos to make a better flow of
figures—sometimes I could use the photo
as is. In creating the composition, the
storyline is also key in my decision-making
process, which is defined by the activity
and energy in which the subjects engage.
The available negative spaces that are
inevitable can be transformed into color
fields to create excitement and draw the
viewer into the painting.
I hesitate to put a label on my artistic
style because it can invariably put one’s
creativity in a box. As we grow, learn, and Building Blocks, oil, 48 x 48" (122 x 122 cm)
explore in our artistry, our style will also The color fields of the floor moved from a deep burgundy red to a beautiful cooler soft pink-gray near the
grow, change and develop. That being window, thus creating dimension and perspective, not to mention the descending perspective of the carpet.
said, I have always felt drawn to paint in a
very painterly way, so I would say that my
style is impressionistic. I tend to begin my absolutely love to play with color, seeing the to develop recognizable body language and
paintings in a very loose and free manner; effects of one color next to another; making facial characteristics authentic to the “model,”
with expressive brushstrokes, searching out complimentary colors of a similar value to which includes his or her emotional and
the forms in almost a sculptural way. I block see how they vibrate; discovering the beauty personal essence. To capture that authenticity
in the shadow areas initially and stand back of combining colors such as Indian yellow from photographs, as opposed to painting
to see if my marks make sense. and quinacridone purple, which becomes a from life, can be very challenging. I really
With the large pieces that are in this series stunningly vibrant orange. Influences by try to get to know my subject and be an
(some are 48 by 60 inches), I’ve used vine such greats as Sargent, Degas, and Sorolla, observer of his or her movements and
charcoal to sketch in the figures to the correct to name a few, and whose paintings I refer expressions, as you can see in my painting
proportions before putting paint to canvas. to for guidance in color and composition of Max. Having that knowledge base with
I start laying in a wash of color fields and are invaluable. As I have been learning your subject will become evident in your
move on to the figures and faces, which will from the aforementioned artists, I have painting. You will have captured his or
eventually become somewhat refined. been passing on to my students the idea her essence. Max’s quote after seeing his
In regard to my passion for color, a more that everyone who is striving in their painting finished: “I think it is an almost
painterly approach is employed in the artistic endeavors has it in them to develop perfect likeness of me, exact in the details
rendering of the scene with color and value their own unique style. of my physicality and as well as the broader
decisions very much intuitive in nature. I As a portrait and figurative artist, I strive strokes of my character.”

Oil Demonstration 53

Kathleen Lack_Demo 4.indd 53 6/17/16 12:14 PM