My Story—How I Became a Watercolorist

Though artistic ability runs in my family, it took me a while to discover the excitement and satisfaction of painting.  Both my sister and my aunt were professional artists, and I think that I chose to be creative in other ways for fear that I would never be as talented as they were.  For years I tried to find my creative voice in many other ways such as cake decorating, catering, floral arranging, and various crafts at home; or designing new educational or marketing programs, writing copy, and developing advertising campaigns at work.  But there was always something missing-- some were tedious, some boring, and some just wouldn’t pay the rent!  

 Then, in 199l, when our four kids were in college or married, my husband Jeff was transferred to Princeton NJ.   I decided to take “six months” off to adjust to our new empty-nest lifestyle, get to know the community, and explore the Northeast.  That was in 1991 and I have yet to go back into an office other than my own art studio.  I discovered the joys of volunteerism, and was quite content until a friend coerced me into taking a  “Watercolor Anarchy” class led by watercolorist Gail Bracegirdle at the ArtWorks school in Trenton NJ. 

 From my first brush stroke, I knew that this was something I had to pursue.  And that I did, taking classes and workshops in Princeton and up and down the New Jersey shore from many well known watercolorists such as Skip Lawrence and Frank Webb and many others not as well known but just as talented.   The instructor who inspired me the most, though, was Jane Lux, a watercolorist in Little Silver NJ.   Her philosophy was “it has to be fun before it gets serious.”   She taught me to celebrate the unpredictability of the watercolor medium rather than try to control it.   She encouraged exploration of new methods, unusual watercolor papers, and new design theory.    

For the next six years I took weekly classes with her in her wonderful Victorian home.  Several of us became close friends and often painted together back in Princeton in between classes.  It was an opportunity that I will always cherish.  I had found a “home” in watercolor.  I could go into my studio and “lose” 6 or 7 hours at a time and still come out refreshed.

 Then, in 2002 Jeff and I decided to come “back home” to Newburgh IN, to “give back” to our parents and some other elder relatives who now needed us.  Our lifestyle changed dramatically as we assumed the role as caretakers.  In the last three years we have lost three of our four parents, my two aunts, gone through several major surgeries with one of Jeff’s aunts, and in November 2004, our 8-year-old granddaughter was diagnosed with leukemia.  Retirement hasn’t been quite what we expected!

 During the dark times, watercolor has been a great friend—it transports me into a world of light, peace, and calm and gives me a feeling of control that is lost on the medical battlefield.   It can be my spiritual guide--the stresses of the day seem less overwhelming.

It is also a love that I can share with my grandchildren and one that passes time during long days in the hospital.  It provides me a satisfaction that I find in nothing else other than my husband, my family, my friends, and my faith.  I feel blessed that I have found this passion.

 For years my family has urged me to sell my work, but it took our granddaughter’s illness to get me started.   I began with five paintings, entitled “Mallory’s Faith,” “Mallory’s Happiness,” “Mallory’s Love,”  “Mallory’s Strength,” and “Mallory’s Hope,” which we had made into note cards and are selling to help out with all the medical expenses that come with the 2 ½ treatment of her type, “A.L.L.” leukemia.  Now, with Jeff’s patience, love, encouragement and lots of enthusiasm, we have decided to work together to market my work. 

 So that’s my story.  I hope you enjoy my work.  I hope you like it enough to buy it!  But if not, it has been my privilege that you took the time to look.   

A Little Explanation of My Work

 You will notice that some of my work is unlike what you may expect from watercolor.  That’s because I often pain on paper other than the standard 140 lb. Watercolor paper.  I often paint on illustration board, yupo or masa:

 Illustration board is 100% cotton, acid free, high rag content paper mounted on both sides.  It has a smooth finish that is not as porous as watercolor paper, and watercolors maintain their color integrity providing lots of luminosity.   

 Yupo is a synthetic, or plastic paper.   It is fun to paint on because none of the usual techniques will work—it is the master and you just follow the lead!  The final result is wonderful texture and brilliant color.  And if you don’t like what you see, just wipe it away and begin again! 

 Masa is an oriental paper, and used the way I use it has an almost mosaic look.  After drawing on it, I wet it, wad it up in a ball for a few seconds, spread it out and paint and splatter one or more watercolors on it either randomly or with a generous purpose in mind.  Then I wad it up again and attach it to watercolor paper with special glue.  Those “wrinkles” provide lots of wonderful design opportunities!

Art Memberships

National Watercolor Society

Evansville Art Guild

Southwestern Indiana Art Society