VIVA’s May Featured Member Artist is oil painter Deborah Conlon
Meet the Artist
My current subjects, due to the reality of the pandemic, have been “Closer to Home.” Plein Air painters, like myself, are notorious for spending time driving around, looking for the “perfect motif.” The current pandemic has made me realize that many of the elements of a good painting can often be found almost anywhere. I’ve stopped driving so much and am painting more. Good for my budget and the planet!
Can you articulate what draws you to a particular composition?
I am usually stopped “dead in my tracks” by the striking light contrast I see in a scene or by dramatic temperature shifts in color. I then try to apply some standard rules of composition to the scene in order to lead the viewer’s eye to the main focal point and then around the painting.
What is influencing your work at the moment?
I have been strongly influenced by many of the painters I’ve painted with. There is nothing as important as having an encouraging community of people with whom to paint occasionally. I’ve taken workshops with local painters Kathie Wheeler and Ken DeWaard and owe much to them. I try to take one plein air workshop per year, as my budget allows. I also have been acquiring a number of instructional videos that I find valuable. The work of many current plein air painters is very inspiring, and I keep up with their work through Plein Air Magazine, email updates, Instagram, etc.
If you could have one work of art in your home from a museum or private collection, what would it be?
“The Magpie” by Claude Monet. Winter whites at their finest!
Why did you decide to work in your chosen medium?
As a young college student I lived a long walk/short train ride from the Art Institute of Chicago. I spent many Tuesdays (which were free entrance days) walking through the galleries; paint and color were what captivated me. I would “get lost” in the galleries.
What’s the most indispensable item in your studio?
I prefer painting outdoors. I have recently been spending more time in the studio, using small plein air studies as inspiration for larger work. When I don’t have natural sounds as background, music is an essential part of my studio experience.
How do you know when a piece of work is finished?
Ha! When painting outdoors, the light changes quickly. I must get a block in quickly, then I can relax a bit. I must not chase the light and rely on my memory of the original scene. I don’t ever work for more than 4 hours on a piece outside. I often bring a painting in and adjust it for indoor lighting, sometimes lightening the lights. Those finishing touches can be slow and time consuming. A piece is finished for me when I varnish it, which sometimes doesn’t happen for a long while.
From where do you draw your inspiration?
Color, light, atmosphere, and identifying major shapes in nature are my “muses.” Painting is good for the soul.
What does your studio look like?
My current studio is a 12’ by 10’ room in our house. I really enjoy having my current setup in my home, now that it is just me and my husband. I can now “visit” my work often.
