DPW Spotlight Interview with Kim Stenberg and a Painting Giveaway

The following is my interview with the Daily Paintworks Spotlight Interview.  I am very excited about it!  By the way, I am giving away "Morning after Snowfall."  If you have bought a painting on DPW in last 30 days, you are eligible for the giveaway.

DPW Spotlight Interview: Kim Stenberg

Each week we will spotlight a different DPW artist who will give away one of their best paintings. 

To enter to win Kim Stenberg's painting, "Morning After Snowfall," go to Daily Paintworksand click on the link at the top of the page announcing her interview.

From Kim's DPW Gallery page:

I received a PhD degree in British history at the University of Minnesota in 1993. Taking art classes turned out to be a life-changing decision and I have been using both sides of my brain ever since. I retired from teaching recently and now paint full time.

Tell us a bit about how you first started painting.

I had always admired people who could draw and paint. When I finally had leisure time after receiving my PhD, I checked out Betty Edwards's "Drawing on the Right Side of the Brain," tried all the exercises, and realized I could draw! I got hooked. I started taking art classes at The Art League School in Alexandria, VA in 1994. The rest is history.

Morning After Snowfall
(click here to see original image)

Enter to win by clicking on the link at the top of the home page announcing Kim's interview.

Did you have any stops and starts in your painting career?

The only time when I didn't paint was when I had my daughter. For a year in 1999, I didn't paint. Obviously, it was tough for me to live without art! After years of hesitation and self doubt, I finally found courage to quit my job as a college professor in 2011. I now paint full time, living my dream.

Glory of Iris
(click here to see original image)

What mediums and genres have you experimented with? Which ones have "stuck" and which ones have fallen away? Which ones are you looking forward to exploring?

I first started out with colored pencil, as it seemed the easiest. It was, however, too time-consuming.  So I switched to watercolor, which many beginners choose somehow, thinking that it is easier than oil but isn't in reality. Anyhow I was successful as a watercolorist, received many awards, and was published in a book and magazines. Eventually, I fell like I hit the wall and decided to try acrylic, first on paper, then on canvas. My then art teacher told me that oil was easier than acrylic for the reason that the latter dries so fast that it makes blending difficult. So at a whim, I tried water-mixable oils about four years ago. That is when I found my true path! I am done exploring, although you never say never again. I have a brand new box of Holbein oil pastels lying around in my studio!  One of these days....

Many of your paintings have this wonderful, sun-washed glow to them. How are you capturing such a beautiful, but elusive quality?

Oh, thanks. As so many artists say, we are in the business of painting light. I can't say honestly how I do it. I guess I go for a subject with a strong sense of light and try to capture it as best as I can. I learned that, in order to paint light, I have to paint rich, luminous darks and mid-tones. Does that make sense?

Bishop's Garden at National Cathedral(click here to see original image)

What does procrastination look like for you? What techniques work to ensure that you make time for your art?:

How do I dawdle? Suddenly I feel like cleaning my studio! If I paint everyday, or almost everyday, painting becomes a routine. Then I don't dawdle. Besides, it's now my job. I have to show up.

How do you generally arrive at ideas for your paintings?:

I usually work from photographs, although I go outside to paint when the weather is too good to stay inside. I have a stack of pictures--mostly landscapes and florals. I go though them from time to time and set aside a pile of let say 10 pictures. When I come to my studio, which is at home, I pick one from the pile.  My decision depends partly on what kind of mood I am in and partly on how much time I have that day because some subjects require more time for drawing.  I don't spend hours trying to figure out what to paint. This also answers the above question of how to avoid procrastination. When you know what to paint and are excited about it, you are less likely to procrastinate.

Happiness of Donuts(click here to see original image)

How do you keep art "fresh?" What techniques have helped you avoid burnout and keep your work vibrant and engaging?:

They say that you have to find your brand, your niche. That is a good advice, but I would also argue that one has to have several interests so that you don't get bored or burned out. I paint landscapes, architecture, florals, still lifes, animals, and occasionally figures. I paint en plein air, I paint from life, I paint from photographic references. I paint snow, I paint water; I paint tulips in the garden, I paint peonies in a vase; I paint birds, I paint dogs. I go back and forth. This way, I avoid boredom. Boredom would be the death of a daily painter!

What do you feel you are learning about right now as an artist?:

Last year I took a still life class for a year, which taught me a lot about composition and color mixing. Through my own experimentation last year, I learned to use more paint in my work. I continue to learn to mix better grays, mid-tones, and clean bright colors. As long as I live, I will be aspiring to become a better painter.

Sunset Over Marshland
(click here to see original image)

What makes you happiest about your art?:

Selling my paintings give me a momentary pleasure. But ultimately, the act of painting makes me happy. I recently came down with shingles over the holidays, which put me out of commission for a couple of weeks. When I started painting again, I still had lingering pain. But while I was painting, I didn't feel any pain. How about that!

Thanks, Kim!

"Central Park in Snow" (oil on linen; 9" x 12") sold

sold

The Central Park in New York City has got to be the most romantic park in the world. Think of all the movies filmed there!  I have painted the famous stone bridge at the pond several times.  This painting captures it on a wintry day.  The snow on the ground glows in the late afternoon sun.  Lights have come on, adding more warmth to the otherwise cold painting.

"Walk in Winter Woods" (oil on linen; 9" x 12") sold

"Walk in Winter Woods"
sold

"Winter Morning" (oil, 9" x 12")
click here to buy

"Winter Afternoon" (oil, 12" x 9")
sold

"Fresh Snow" (oil, 9" x 12")
sold

"Snowfall" (oil, 8" x 10")
sold

"Central Park Snowed In" (oil, 10" x 12")
sold

I painted lots of snow scenes this winter, which required hard work.  It  was not because snowscapes were particularly difficult to paint.  It had everything to do with the snowless winter in northern Virginia!  I don't ski or snowboard, or didn't travel to snowy places to visit relatives this year. Alas, my plein-air painting friends and I waited for snowfalls in vain, with our new snow boots still in their boxes.  It is practically spring here.  I've spotted crocuses, snowdrops, lenten roses, daffodils, dwarf irises, cherry blossoms, and forsythia, so far.  Somebody told me that her tulips are blooming too!  We may still get a blizzard in March, but I doubt it.

Yesterday I reached the very bottom of my pile and completely exhausted the reference material for my favorite subject by painting "Walk in Winter Woods."  All the things I've learned by painting in a series went into it.  It is the grand finale, so to speak, and I am proud of it.

I've included in today's entry some of my favorite snowscapes for your enjoyment.  Until next winter, good bye, snow paintings.

"Fresh Snow" (oil on linen; 9" x 12") sold

"Fresh Snow"
sold

"Winter Morning" (oil, 9" x 12")
sold

As you know, I have painted quite a few snowscapes since last fall.  I am pretty much out of the snow reference material in this exceptionally mild, snowless winter.  Out of desperation, I dug out a photo I had used for "Winter Morning," and came up with a new painting, titled "Fresh Snow."  Cheeky!

I remember how pleased I was with the first version.  Now I look at it, I am not impressed at all.  Look at the reflections of the trees.  Don't you think they look anemic?  And what about the treatment of the distant woods?  Half-hearted, I say.  I admit that there is that ineffable softness in the old painting.  Nonetheless, I vote for the new one.  What do you think?

"Central Park Snowed In" (oil on linen; 10" x 12") sold

"Central Park Snowed In"
sold

"Snow Trees" (oil, 8" x 12")
sold

"Snow Creek" (oil, 9" x 12")
sold

As you can see, I have a mini series going on here--snowscape with trees and creek/pond.  If I paint the same scene over and over again, I will die of boredom and atrophy.  But as I continue to explore the same theme with variations, I gain a deeper understanding of the theme.  In "Snow Creek," I learned how the smaller area of the sun-lit snow seems to glow next to the much larger one of the snow in shadow. 

In "Snow Trees," I grouped the sun-lit and shadowed areas and assigned them the two separate sections in the picture plane.  I played around by intensifying the blues of the creek, to contrast them with the warm colors of the trees.  But my main concern and fun was to figure out how to paint wet snow clinging to trees.

In the first painting of the new year, painted on the New Year's Day--"Central Park Snowed In--" I am back to the meandering stream and snow-coated trees.  I am also contrasting a small sun-lit area with the rest of the snow-covered pond at Central Park, which is in shadow.  I have become more ambitious, introducing the background, which is very different from the rest of the painting and works as the foil for it: the blurred skyline of Manhattan.  I was also trying to vary the tones in the foreground to indicate different states of moisture from snow to ice (darker) to water (darkest).

Painting these small "daily" paintings has been a great tool for self-education and growth for an amateur-turned professional artist, which is who I am.  Last year I retired from teaching history at a college, something I had been doing over twenty years, and began with much trepidation the adventure of a self-employed , starving artist.  One doesn't get younger.  It was now or never to do something I truly wanted.  Wish me luck!

"Winter Bird" (oil on linen; 8" x 12") sold

sold

Red berries are heavily laden with snow.  One can feel that it is a cold gray day.  No matter.  The small black bird is intently and happily feeding.  I don't know why this painting induces a happy feeling in me.

HAPPY NEW YEAR!

"Snow on Holly" (oil on linen; 8" x 10") sold

sold

How hectic it has been for the past few weeks!  Now it's time to relax and wait for Santa.

MERRY CHRISTMAS!

"Winter Creek" (oil on linen; 8" x 10") sold

"Winter Creek"
sold

"Winter Morning" (oil, 9" x 12")
sold

Both paintings above are based on the pictures I took many winters ago down the street along Holmes Run in Alexandria, VA.  We don't usually get much snow in northern Virginia.  So whenever there is a bit of snowfall, it is a snow day and everybody is happy.  I am from a country (South Korea) that gets lots of snow every year.  I've got to see snow in winter; otherwise, I feel deprived.

And I love to paint snowscapes.  Although it gives local residents much pleasure, Holmes Run is a small creek, not a particularly scenic one at that.  But look at my paintings!  It's the snow that transformed an ordinary creek into a winter wonderland.  No omnipresent, oppressive greens as leaves had fallen.  White snow, which has hints of the sun's warmth, makes big bold shapes or sparkling, lacy tendrils.  The creek with wonderfully fuzzy reflections of bare trees on the opposite bank is a bonus, which provides a nice dark shape in the middle ground.  I hope we get some nice snow this winter, not just dustings.

"First Snow, Lake District in England" (watercolor on paper, 21" x 29") sold

sold

The snow from the last week is still on the ground, so snow is on my mind as well.  "First Snow" is a large painting on a full sheet of watercolor paper.  The scene is the Lake District in the northern England, and I imagined it must be the first snowfall of the season.  Children are going home from school.  The white in the middle ground slope is the untouched paper.  With watercolors, you've got to save the whites with determination; once it's lost, you might as well start all over.  I don't generally use making fluid, but there is no harm in using it if you prefer.

The painting received an award in the Mid-Atlantic Regional Show by the Baltimore Watercolor Society in 2005.  It was also juried into the Art League International Landscape Show in Alexandria, VA in the same year.

"Winter's Arrival" (acrylic on paper, 10" x 14") sold

sold

It was very foggy the night before, which reminded me of this painting.  It is one of the first pieces that I painted in an opaque medium--in this case, acrylic.  I remember being amazed by the covering power of this fun medium.

In case you are wondering why I have been uploading entries about old paintings lately, here is why.  I am busily setting up my online gallery and can't find much time to paint these days.  You know the feeling of wishing there are more than 24 hours a day.  Teaching, parenting, and trying to launch an online art business all at the same time sometimes get too much, and it is painting that ends up shortchanged sadly.  Today I am determined to work on a new painting that I started yesterday.  Wish me luck.