Thinking Back to Move Forward

                                                 
                                                             GUARDIAN


I was awake late light night just thinking about painting. It occurs to me that I have spent a lot of time in the past year experimenting. I often didn't have time to paint for more than a few minutes here and there,  so it seemed like the time to try one or two big pieces that I could easily stay focused on for a month or more, treating every individual area as though it was a singular painting itself. I've experimented with adding people, something fairly new for me despite the life drawing classes from so long ago, and in each piece I do with a person in it, I can see improvement. I began to get serious about the backgrounds, and I like the direction I'm going in there. And although I have and use just about every color in the Winsor Newton range and lots in the Daniel Smith line, when I'm working on a painting, I've begun to choose a selection of colors and pretty much stay within that semi limited range for the whole painting.  I've put a lot of thought into what I want to paint, and why, and how I want to present the idea.  And after all that, when I look at a recent painting I've done, I know that I've reached a new level.   Sneaky things, levels - they don't arrive with a shout and a trumpet fanfare, they just sneak up on you and are suddenly there. 
I've also renewed my focus - I paint animals and the country life I live, and I want to share the peaceful and the fun moments and my delight in beautiful things of all sorts. 
Now that I think I know where I'm going next with my paintings, all I have to do is sit down and paint. :-)

GOLD AND BLUE ON PARADE

                                                                   
                                                        GOLD AND BLUE ON PARADE


The morning is bright and sunny, and it's horse show day.  In a few minutes, it will be time to ride into the ring in the Parade Horse class, and these two, with their brightly polished silver, blowing fringe and sequins, are just about ready.   
I love the brilliant color and movement in a Parade Class. It's all so Old Hollywood, and such fun to watch.
I've always enjoyed the 'behind the scene' activities in anything, and so many of  my paintings are about what goes on before or after an event.  You'll find just as much drama and emotion there as you will in the ring, albeit usually a quieter type of emotion.
In this painting, I used several references (as I always do) but in this one, I changed a grey horse to a palomino to enhance the bright atmosphere I was after.  The original barn was natural weather- bleached cedar (silver grey), but I felt it needed to be done in golden brown tones to keep the sunny feeling going,  and I changed the rider's clothes from a T shirt and breeches (she hadn't changed yet!) to the colorful turquoise Western outfit, complete with fringe, sequins, and matching hat. I guess there is still a little 'costume lady' blood in my veins, even after all these years. :-0
I'm pleased with this painting - I feel I have achieved the warmth and bright atmosphere I was after and created an image of a beautiful horse and rider enjoying a happy day.
GOLD AND BLUE ON PARADE is a 14 x 18 watercolor on Arches 300lb Hot Press.   Original, small prints, and note cards available.


www.heatheranderson.animalart.com          anderson.animalart@sympatico.ca

FINDING A VOICE - and using it

For quite some time now, I've wondered if I have "a voice", something that distinguishes my work from others; that elusive 'something' that immediately says that this is a Heather Anderson painting.  It can be hard to know, because I am up close to the painting and the inspiration behind it.
I've come to the conclusion that now I can say Yes, I do have a voice that makes me an individual, not just one of the crowd (where ages ago, we all started out).  My animal paintings are consistently light, bright, and even the ones that are filled with action, have a sense of peace or fun. 
Recently, there appears to have been some ridicule directed towards me because I choose to use a lighter hand with color - light and bright as opposed to vivid, and because I choose to draw my images instead of tracing them.  Vivid is good, it's exciting, and I long ago accepted that many people prefer to trace. If that's what feels right, do it. It doesn't feel right for me.  I need to draw the image in order to feel connected with it and I need to create a light, bright, clean image  where, when it comes to color and detail, less is sometimes more. ( This doesn't mean I don't use many layers of color or that I don't love using detail - it just means I'm selective about which details I use and which colors I put together and how intense I let them become.)  I was always taught to leave a place for the eye to rest, and even when I'm painting action, I make some small peaceful spot to rest.
  I know where I'm going, and I like the path I'm on.  I have every right to be here and talk about my art journey.  In short, I'm comfortable in my own skin and painting with my own voice. And really, isn't that what it's all about?


The painting I've used to illustrate this blog is APPALOOSA SPRING, a 14 x 18 watercolor on Arches 300 Hot Press.

Renewing the Focus

Sometimes it's a good idea to remind myself what it is I am actually doing when I sit down to paint. It helps  to re-affirm my focus so that I stay on track with what I'm painting and why, and hopefully it will help the viewer to understand what my paintings and I are about.  It's no surprise that I love painting dogs, cats, and horses, and I love painting my home valley and the animal events that take place there. I want to portray these creatures and scenes with the love and respect I have for them and hope that I can share it with you, the viewer.

When I start a painting, I keep in mind that one of my main goals is to portray the relationship between an animal and a human, because that is something that is SO important to me. I love that we can relate to another species, often without words, or in a dual sort of language that we have worked out together. I love the non-judgemental acceptance and unswerving devotion.  And it just blows me away that a thousand pound horse quietly, willingly, and gently does what I ask him/her to do. 

I also focus on the relationship between animals - I love to watch them interact.  We can learn so very much from them - patience, pragmatism, and the way they will use just enough clout in the herd/pack to get the necessary thing done, what ever that might be. For the most part, greed, jealousy, and aggression for the sake of it, does not happen.

And as shown in the first image in this blog, I take delight in portraying the animals in harmony with their surroundings.  To me, they always look as though they belong in whatever scene in which I find them, no matter where it is, or what the weather. 

I've talked about this bond, the interaction, the harmony, and my enjoyment of painting the English Riding events and the Western -type lifestyle  that co-exist around here in interviews, in my blogs, and on the social media, but it never hurts to sit down and remind myself why I'm painting what I paint.

RACE YA HOME!

Early one crisp November evening, just around moonrise, we were driving home. I (passenger!) caught a movement out of the corner of my eye,  and looking around, I saw some horses running along in their field, almost as if they were racing the car.  They were headed back to a barn that I could see a ways away, and obviously, were looking forward to their dinner.  It was a magical moment to see these guys thundering past, and we slowed the car to keep pace with them for the few seconds it took before their trail turned away to the barn. This moment has lived in my memory for several years, and I knew that sooner or later, I would paint it.  So here is my memory painting - "RACE YA HOME" , an 8.5 x 10.5 watercolor on Arches 140 Hot Press.
Heather Anderson
http://www.heatheranderson-animalart.com/

GUARDIAN

Shelties have beautiful, lush coats that come in a variety of colors. This painting is of a Sable Sheltie, and sable itself has lots of variations. A sable Shetland Sheepdog can be red-gold, pale blond, a warm sandy brown or a dark, rich mahogany, all with a snowy ruff and the darker ones usually have lighter blond on their faces and legs. We've had several Sable Shelties over the years, and each one has been different in color.
Shelties are herding dogs, and as such, they have an instinct to act as gentle guardians of their "flock", whatever that flock may be comprised of (from sheep to humans). We have found that some of ours have had a more pronounced sense of guardianship than others.  Piper was one of them.  He always felt he knew best, and the really irritating thing was, that he was often right!  I've based this painting, "GUARDIAN" on his sense of confidence and assurance. He was a wonderful, faithful, and reliable dog and we miss him every day. His wonderful memory lives on in our present Shelties.
"GUARDIAN", an 11 x 14 watercolor on Arches 300 hot press.  Original available ~ $625.  Small prints ($38) and note cards ($14 for 6) also available.
Heather Anderson
www.heatheranderson-animalart.com
anderson.animalart@sympatico.ca

WINTER DISTILLED

It's one of those typical winter days that happen more often than the sparkling, bright days that turn winter into magic. The clouds hang heavy and grey, and the world seems to be painted in shades of black and white. I think of it as Winter distilled - the very essence of winter. And it has a beauty all it's own, so I wanted to celebrate it in a painting.  When I saw this group of horses that were so completely in harmony with their surroundings, I knew I had my painting. Actually, there were two groups of two black horses and one group of two black and white horses, but this painting needed to be simple, so I was selective in what I put in.
The whole painting is deceptively simple. It's more about knowing what to leave out as it is about what to put in, and that takes experience and skill. I've been painting long enough to have achieved those things. I love detail, but sometimes, the advice of Thoreau must be followed: 'Simplify, simplify'.
This recently completed painting, "WINTER DISTILLED", is an 11 by 14 watercolor on Arches 140 hot press, and it is available.  $625.  Also available are notecards and small prints.
http://www.heatheranderson-animalart.com/
anderson.animalart@sympatico.ca