Jacqueline Kamin paints with a
sculptural sensibility that isn’t at all foreign to her practice.
Earlier in her career she spent time as a bronze bust sculptor.
“Working with sculpture is a lot of fun,” Kamin says. “It is very
tactile and organic, but it takes a toll physically, and you aren’t
responsible for the whole process unless you have your own foundry.”
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.
Artists are the sharpest of observers, attuned to a person's passing
gesture or the play of light and shadow on a building façade—but not
everything that catches our eye is a painting waiting to happen. For
Utah watercolorist Joseph Alleman, the stories that hold his interest are reflections of his passions and his environment.
With summer in full swing, I've been spending as much time as
possible outdoors, going to concerts and plays, walking from place to
place when I do my errands, and just finding every excuse for an
outdoor excursion. Landscape painting is another perk of the season.
There's something invigorating about stepping outside and sharing space
with your subject matter--breathing the same air, seeing the same light,
and having an in-the-moment experience with the landscape.
Brooklyn-based artist Allison Maletz doesn't want to use
watercolor in a traditional way. Although her work is representational
and often figure-based, exploring themes of human connection and the
quirky, often dysfunctional, "average American family," she refuses be
bound by any rules about how to handle the paint.