Precision in Painting
Skillfully executing still lifes allows Blair Atherholt to elevate the objects depicted to new levels
Mypainting style has always been very direct. I approach every aspect of a painting with the intention of producing the result in each brushstroke. The challenge of capturing a subject with spirited yet accurate brushstrokes can bring freshness to a painting, which is difficult to find in works produced using other techniques. This style has appealed to me since my first days in art school. The painting process becomes a rhythm of careful observation, on-the-spot paint mixing and confident execution. The flow of this process, if utilized correctly, lends an extremely efficient approach to even the toughest compositions and subjects. I find myself continually intrigued by eye-level compositions. The graphic, though somewhat limited, nature of this perspective really lends itself to the bold style I prefer. Because of this, my work tends to rely heavily on triangular motifs within compositions, the innate strength of which can open the door to some striking designs if employed properly. I believe a skillfully executed still life elevates commonplace objects to a higher sense of importance and beauty. I imagine my paintings as glimpses into another world, where oncesimple objects now display heightened attributes of drama and significance. Having my subject matter physically in front of me presents the opportunity to observe specific attributes of the objects. I then have the freedom to choose to accentuate (or even include or exclude) these attributes in the painting. Working from life in this manner affords me total control over the lighting and composition throughout the entire painting experience. If I feel the need to change any aspect of the setup, I have the immediate ability to do so.
Working directly, wet paint into wet paint, has its own set of drawbacks. At any given time throughout the process, I’m just a series of bad brushstrokes away from a soupy, uninspired mess. Occasionally I find myself secondguessing my observation, and completely overworking one part of the painting. I also have the bad habit of jumping into a piece far too quickly, without any real planning or forethought. It can be a slippery slope, and if I feel myself start to slide, I take a deep breath and a step back. Often in this case, I’ll do thumbnail sketches to work out the composition, or I’ll dedicate a chunk of time to a small painting study of an unfamiliar or particularly difficult subject. Throughout everything, though, I try to constantly remind myself to slow down and simplify what I see in front of me. Simplification is the name of the game, really; I see it as a survival strategy. As artists, we are tasked with distilling a tremendous amount of three-dimensional information, which we then have to translate onto a two-dimensional surface. It can be daunting, especially when faced with complicated subject matter. To alleviate at least one facet of this complex undertaking, I use a fairly simple, limited palette of colors. With this palette, I’m able to mix nearly any color in almost any range of transparency or opacity that I need. I also make sure to lay out my pigments in the same arrangement on my palette every day, so color mixing becomes reflexive. I can reach for the pigment I need almost without looking. I make and prepare all of my own painting surfaces from scratch, and I also ensure that I use only the highest quality paints and brushes. All of this goes a long way toward streamlining my workflow, which makes the creative process that much easier. Painting directly allows me, as an artist, the freedom to create fresh, lively pieces in an efficient manner. Wet paint applied to wet paint presents its own unique set of challenges, but the immediacy and reactivity of each brushstroke keeps me endlessly fascinated and hungry for the next challenge.