As I continue to build on my recent series, The Big Picture, I am continuing to look at the concept from different angles. Throughout these paintings, I have been using new techniques involving oil sticks which incorporate my love for the gestural line. As I developed these paintings, I used those lines and the consequential shapes to layer over previously laid areas of the painting. I am pushing this over-lapping method even further which is giving me a new challenge for aesthetic's sake, and allowed me to reflect more on the comparisons to our lives. As we age and gather layers of experience, our character continually builds and becomes more dynamic and distinguished with each encounter and challenge, as does the painting.

Gatherer 48x48

Make Way 48x36

Mounding 48x48

Cumulate 48x48

Make a Beautiful Mess

As I was working on these two paintings, I began thinking about the way so many circumstances require us to make a big mess before something beautiful happens. I work on a painting in one direction for a while, and as soon as I get to where I was going with it, I realize it's missing dimension. At that point, sometimes against my own will, I develop almost a whole new painting on top.

That practice is something we do throughout our lives. I do it when it's time to organize a messy closet by creating a chaotic disaster so it can be put back together the right way. (My studio is the only place I can handle said unorganized messes.)

But, a more significant comparison is to the events in our lives. Without our will, sometimes things get shaken up for us. That in-between moment is scary and unfamiliar, and you are suddenly a victim in a messy spot. At that ugly point, it becomes clear what was withholding us all along and so we add, change and eliminate parts in order to pull back together again.... with more substance and strength than before.

In my paintings, that built-up second layer allows me to unearth areas to show parts of the previous painting. The layers and experiences give the final result dimension and visual strength.

Disarranged 60x48

Shake-Up 60x48

I will be in ATLANTA Friday night March 28th for a group exhibit at Anne Irwin Fine Art! Please help me spread the word. I'd love to see some familiar faces!

check out the list of other exhibiting artists!  http://anneirwinfineart.com/event-calendar/
 
#sarahottspaintings #atlanta #anneirwinfineart #miamicircle #atlantaart

In the Studio, Sarah Otts, March 2014

Upcoming exhibits!

I have three exhibits coming up:

March 28th, Anne Irwin Fine Art, Atlanta

April 1st, Eastern Shore Art Center, Fairhope, AL

April 3rd, Blue Print Store, Dallas, TX

NEW SERIES! "The Big Picture"

It's a new year and I decided I was ready to explore new concepts with my paintings. The shock of being a first time parent is no longer my biggest influence. I guess I got the hang of it, after all! (not...)

I am really excited about my new series of paintings. I feel like I will be able to work long and hard with these concepts. I am always pushing myself and my work to grow and change. Taking a good hard look at what is on my heart and my mind helps me to make work that is genuine. I like to be able to explain what I am painting. The majority of the population is naive to abstract painting. I will always have an answer to that (annoying) question....
 "So what is it, anyway?" 
 And I'll say: "Oh, I'm glad you asked....but you will wish you hadn't!"  :)


Here are the first of many paintings from "The Big Picture" and my artist's statement for this series.

Unfolding A 48x48

Unfolding B 48x48

The Big Picture A 48x48

The Big Picture B 48x48

Comprehending 48x48

Grand Scheme A 48x48

Grand Scheme B 48x48

Inclusive A 40x40

Inclusive B 40x40

By and Large 48x48

Unabridged 30x24 on paper

The Big Picture, artist's statement 

   I have taught myself to view each life event as an essential chapter that leads to the next. The paintings in “The Big Picture” series illustrate the highs and lows in the story of life.  Hardships are inevitable, and the stress of an ordinary day can make it hard to remain enthusiastic. However, if we examine our past, it is easy to see that the grim moments make the greatest joys seem brighter. It even seems that we could not fully experience one without the other.
    In this series, I want to achieve a finished painting that does not look perfected or overworked. Instead, I want the painting to seem raw. There are areas that expose the process and stages that the painting has gone through. Various shapes, textures and colors are carefully layered and selectively washed or wiped away. The uncovered gestural lines provoke visual energy and vivacity. I am recognizing ways to paint with less apprehension, while honesty and confidence remain important objectives for creating fresh, distinctive work.
    When looking at a painting that represents a lifetime, there are occasional areas of dark tones, neutral colors in passive spaces, and pleasing hues in areas that draw the eye.  The result displays how the dark, dull and vibrant moments will collaborate to create a big picture worth admiring.