When I’m landscape painting I’m always drawn to the curious, in-between
places where the outdoors and indoors meet. This could be an
ivy-smothered barn that almost looks like it is disappearing into the
landscape, or an ocean view from an open window. The places where
architecture and the natural world collide make a composition
eye-catching and compelling because they integrate elements that we
usually think of as distinct and separate. Bringing them together
creates a tension that some of the landscape paintings I like best have
I judge a successful cityscape painting by whether or not the
architecture, the weather, and the figures—everything in the
painting—combine to transport me somewhere different. If that happens
and the barrier between my reality and the painted alternative gets a
little blurry, letting me see different sites and locales as though I
were actually there, the painting is a winner.
Over and over again I hear artists cooing about the thick richness
of oil paints and its appealing spreadability, and yes, all of that is totally true.
But artist Bev Jozwiak is giving oil a run for its money in terms of buttery appearance
and saturated colors, and she’s doing it with watercolor.