The D.V. Hurst Library and the
Northwest University
Arts/Decor Committee
presents the art exhibit
“Journeys in Art”
with
TERESA GILLESPIE
Exhibit on display through October
From the Artist
I love to look at art. There is so much to learn from
a studious and intensive gaze at a
painting. I’ve been fortunate to be able to
travel and have visited most of the major
museums in Europe and the western United
States. I always bring a small sketchbook
and pencil with me so that I can copy a
painting that I am intrigued with. In this
way, I’ve learned how famous artists – Van
Gogh, Picasso, Matisse—and the not as
famous – Stuart Davis, El Grecco, or Richard
Diebenkorn,-- organize space and use color
and line. Sometimes, when I am feeling stuck
in my art, I’ll pull out a book of reproduced art
and see what I can learn from another artist.
During one of my early travels in Europe, in
1982, I saw a painting by Peter Prendergast in
Cardiff, Wales. I absolutely fell in love with
his vibrant colors and bold, black lines. I’ve
kept the flyer from that show up on my wall all
these years. Recently, I purchased a book of
his paintings and felt newly inspired by how
his expressionist landscapes have developed
over the past 25 years.
I also keep a written art journal for notes
about my art – what I’m learning and what
I’m trying to accomplish. Again, during times
when I am stuck, I will re-read notes to myself
from a particular Instructor or series for fresh
inspiration.
Why I paint what I paint. I initially fell in love with landscape painting,
because I love being outside. I love trying
to capture the moment of a particular place
and time. However, in plein air paintings
are difficult to execute year round in Seattle.
While I still draw and paint regularly in my
sketchbook on site, most of my large paintings
are done in my home studio, where I can
control the lighting and temperature.
I try to paint in a series, a group of paintings
with a similar subject and medium. As I
encounter a similar artistic challenge in each
painting, my confidence and ability to render
that challenge will grow.
For example, here is
the story of the Calla Lily series: Years ago, we planted a Calla Lilly that
produced several gorgeous blooms that lasted
all the month of June. When we added an
extension to our deck later that summer, we
moved the plant to another location. Although
the plant grew, it didn’t produce any blooms.
Again we moved it, but still no blooms. After
several more years, I pulled up the bedraggled
plant and was ready to toss it out, but decided
instead to stick it in a spare pot in a forgotten
corner of the deck.
The next spring, in early June, I noticed that
the foliage had come back and there was an
unusual rounded shape appearing at the end
of one of the leaves. I watched it for several
days. Could this be a bud? When the strange
appendage started to unfurl, I pulled out my
watercolors and pastels. I decided to produce
a daily record of the unfolding Lilly. For me,
these paintings document the resurrection of
the Calla Lilly, a plant not unlike our own
bedraggled bodies.
For more information email daniel.rice@northwestu.edu.
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