I’m a little late announcing this, but in July I started renting a shared studio space! It’s been amazing to be no longer working from home and having the extra space to spread out all my materials and scraps of paper while I’m working on a project. I’ve been busy and productive since then which feels SO good. AND I have lots of new exciting collage paintings to show for it!
I’ve been doing more newspaper collage cityscapes as well as branching out and experimenting with more abstract pieces. For a (mostly) complete list of my new pieces, check out my portfolio here.
This weekend, November 23rd and 24th, I’ll be showing off my new paintings at Brickbottom Open Studios. The Brickbottom Artists’ Association is a very cool live/work space for artists in Somerville. I’m an affiliate member, meaning while I don’t have a studio there, I get to show my paintings there when they have events.
The event is from 12pm to 6pm both Saturday and Sunday at 1 Fitchburg St, Somerville. There will be dozens of artists showing their work all around the building, as well as musicians and dance performances happening in the lobby. I’ll be set up in the hallway on the second floor behind the elevators! I really hope you can stop by–it sounds like a very fun event and I’m excited to have an opportunity to show off work that I’m really proud of.
As a teaser, here’s a triptych of Somerville Ave that I just finished:
Somerville Ave Sunset, part one. Mixed media. 11 by 14
Somerville Ave Sunset, Part 2. Mixed media, 11 by 14 inches.
Somerville Ave Sunset, Part 3. Mixed media. 11 by 14 inches
Somerville Ave Sunset, mixed media on canvas. (11 by 14) x 3
For the past couple of months I’ve been trying something really fun and different: Instead of working on large scale paintings I’ve mostly been doing a whole bunch of small, 10 inch by 10 inch, square paintings. Some are newspaper collage, some are just regular paper collage, some are abstract, and some are just whimsical. It’s been an extraordinarily fun way to try new techniques and test out new ideas in a low stakes way. I don’t have to worry if it’s a masterpiece or not, it’s just an experiment! It’s like throwing things at the wall to see what sticks. And if it’s a failure…it’s not that big a deal! Literally, because they are tiny. Ha.
I’ve tried some things that I would normally consider silly, like my fire and ice painting with tissue paper–totally off topic for me, but I had an absurd amount of fun turning tissue paper and paint into flames and ice:
Any the skyscrapers floating on the clouds–that’s just a visual pun and Star Wars reference that I wanted to do, so I did it. No larger point about anything intended.
And I would never have tried to do a Boston skyline–too overdone! But the colors and reflections caught my eye in a photo I saw and I just decided to give it a try.
I’ve had a couple of super ugly failures that I finally gave up on and turned into something else and they’re still not there yet–but I think they’ll get there!
I’ve learned a lot and tackled some things I definitely wouldn’t have if they’d been full size paintings. One of my main goals for my art this year is to push myself in new directions. And these little paintings allowed me to challenge myself by not taking myself too seriously, which has been amazing–and hopefully something I can bring to my regular-sized paintings!
For a long time I’ve had this image in my head, of a city–Mass Ave in North Cambridge, to be exact–where all the buildings were made up of words in different languages: Somali, Bengali, Haitian, Spanish, Portuguese, Amharic, Chinese. And I wanted to create that image. To somehow, imperfectly and clumsily, show my love for the diverse and messy and exciting community where I used to work in North Cambridge. And more generally to show my support for immigrant communities in cities everywhere who work so hard to literally and figuratively build cities and communities. I had this sense of longing, a need to make it happen. But I left it alone because I just couldn’t figure out how to make something that felt right, that felt like it had any integrity, that wasn’t forcing something to happen.
I started collaging, with paper and acrylic paint, and I could feel myself getting closer to satisfying the quiet buzzing in the back of my head. Finally, one day, I went out and collected newspapers from immigrant grocery stores all around Somerville and Cambridge. I didn’t get all the languages I wanted, but I found Bengali, Portuguese, Korean, and Japanese. And I went to the public library to get Chinese and Spanish. And I started to collage with them and it feels so right and so exciting.
My first attempt felt hard and messy and all awkward and rough edges and painful and I kind of hated it but also…it came out better than I had imagined or planned it!
My next one was a long time in coming since some life stuff happened (new baby!) but I love it too, in such a different way:
Now I have two more newspaper collage works in progress and I can’t wait to see where this goes!
I have redesigned and reorganized my Etsy shop! It’s now called “CaraPaintsShop” and instead of selling original paintings I’m now stocking it with notecards and prints of my paintings. There are prints of my most popular paintings in a range of sizes, although I can always place custom orders for prints of other paintings or in other sizes not currently in stock. The notecards are 5 by 7 inch size and they are available either individually or in packs of 7. I’m really excited about it, especially since both prints and cards make great gifts!
This month, August 2018, my paintings are on display at the YWCA Cambridge, where I’m Artist of the Month. I’m calling this collection “We Built This City”. I had an opening reception for the show on Sunday, August 5th, and it was so much fun!
I’ve been trying something totally new lately–I’ve been collaging with paper and acrylics to create some mixed media pieces that I’m really excited about. I started working on this painting in the beginning of February and I had a specific goal in mind…but the painting had other plans, and I’ve learned if I want to create anything successful, I have to let it do what it wants, not what I want.
It turns out changing directions multiple times, and teaching myself a whole new technique, is very time consuming so this one took me a lot longer than usual to decide this one was done. I had so much fun with it though, and I felt like I was learning so much that now I’m starting another mixed media piece to see where it goes!
I registered for Somerville Open Studios for the first time this year, and I can’t wait! It takes place the first weekend in May (May 5th and 6th), and I have a lot of paintings to finish before then. I am always most productive when I have a deadline though, so I’m looking forward to seeing what I can accomplish.
So far this winter I’ve finished two new construction vehicle paintings and started a third. Now I’m trying to decide whether to keep on going with my construction vehicle series or take a break and try something else!
Orange Digger, 2018. Oil on canvas. 11 inches by 14 inches. For sale, prints available.
Snort!, 2018. Oil on canvas. 18 by 14 inches. For sale, prints also available.
Brown House, 2017. Oil on canvas. 24 by 36 inches. SOLD. Prints available.
Hydrant 2.0, 2017. Oil on canvas. 16 by 20 inches. SOLD.
I finally finished my two main commission pieces for this fall, the painting of the Brown House for the UEP Department at Tufts and a portrait of a fire hydrant for a friend. Feels good to finally be done with two projects that I worked on (and, let’s be honest, obsessed over) for so long. Prints of the Brown House painting will be up on my Etsy page very shortly.
I’m actually especially proud of the fire hydrant–this was my second attempt at painting the same fire hydrant. I completed the first whole painting and finally admitted to myself that I hated it and started over from scratch with a completely different style and approach and now I really love it, and the process of creating felt really good. So glad I didn’t settle for the first one!
I forgot how much I love painting outdoors! For most of the year, I paint indoors and work from photographs for my landscape paintings. And I always enjoy that just fine. But during the summer, when I have time and the weather cooperates, I work on paintings from life, outside, on site. I’ve only been able to do a couple like that this year, but it’s always a great experience.
Last month I did a small palette knife landscape of the beach at Arlington Reservoir, which is a popular summer destination for kids and families. I had so much fun talking with the kids who came up to me to ask me about my painting, comment on the colors I was using, and tell me how they thought I could do it better. Then while I was in the process of packing up, some sand got kicked onto the still wet paint, which actually ended up adding a really cool texture and color and the perfect amount of messiness to the finished piece.
Currently, I am working on a commissioned piece on campus at Tufts University. One of the days I was onsite working recently was freshmen move-in day, which was a lot of fun–so many enthusiastic new students and their parents to talk to! This is a larger piece which will take several sessions to complete, so it feels like a chance to be an ongoing part of the community.
What I love about painting on site in a public place is that it’s a unique opportunity to interact with strangers in a very positive and warm way. I’m sure there are people who don’t like my paintings, but usually the people who stop to talk to me are the ones who do like them. So it’s always encouraging to have positive feedback from strangers. But it also makes a connection–the fact that I’m painting bridges the gap of silence that is usually present between strangers (at least in Boston). People ask me for directions, talk about what they like about the place where I’m painting, or talk about their own artistic experiences. For me, all those conversations and interactions get embedded in the painting itself in some way. The finished result feels like a collaborative work, rather than something I created out of my head, in isolation. When I look at the painting, I see something layered with experiences that much more fully sum up the sense of place in the landscape than a mere two-dimensional image. I also imagine and hope that for the passersby I get to talk to, seeing me painting in a location helps to deepen their experience and appreciation of it as well.
For me, on site landscape paintings of urban spaces are special because they both celebrate specific settings and communities, while also helping to create a sense of place and community.