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| Deep red, lively roses hover in a clear vase, with accents of black and navy-ocean blue. https://www.artofcierra.com/product/cosmopolitan-acrylic-on-canvas-panel-5x7-framed |
'Cosmopolitan' by Cierra G. Rowe
'Posh' by Cierra G. Rowe
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| Shapely, copper, rose-like flowers with bright green petals and stems mingle with tones of deep pink and red, in a square vase. https://www.artofcierra.com/product/posh-acrylic-on-canvas-panel-5x7-framed |
'Dream Sequence' by Cierra G. Rowe
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| Misty darkness surrounds exotic flowers, with wild leaves, as they crowd together in their vase. https://www.artofcierra.com/product/dream-sequence-acrylic-on-canvas-panel-5x7-framed |
Snow Day
Lots of snow here. Berfore scanning, I decided to go out and take a few photos of the paintings that I completed in the past week. This painting of two roses is one that I finished last night. There are two others that I will also be listing along with this one later today.
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| 'The Orb Weaver's Dream' |
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| 'Cosmopolitan' |
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Columbian White Roses
When they arrived they were closed and sleeping (zzzzzzzz). And over the course of a day they have outstretched their petals and opened like a human yawning in the morning. They are impeccable, lovely white Columbian roses, gifted to me by my husband. And after a fresh trim and change of water (mixing a home remedy recipe for hopeful longevity) these babies are a daydream and ready to stand tall. Absolutely smitten with this bouquet, their lovely, deep, rich moss green leaves against babysoft, cream coloration. What inspiration these have brought!!
I don't really post personal things but wanted to share these lovely white roses that my husband surprised me with. To be given flowers, out of the blue, wasn't just a warm surprise, it was something that really, really cheered me up and lifted my spirits. They also inspired me to paint more white flowers and appreciate their beauty alittle more. Roses are such a beautiful flower but for me, they're really hard to grow. So having some like these, was very exciting. A deeply, deeply heartfelt thank you to my husband for these hearty, amazing flowers and for genuinely inspiring me to pick up the brush (and not be so hard on myself) when sometimes I struggle to pick up my chin after traumatic stress.
SOKY!
With immense gratitude, I am very happy to share that I am featured in SOKY Happenings January 2025 issue, as their Artist Profile. To be acknowledged as an artist, here in southern Kentucky, having been born and raised here, means so much to me. I put so much into my paintings and in general am someone who is very passionate about art but who appreciates even the smallest of acknowledgements concerning what I do. So again, this really does mean a great deal to me. Thank you so much to Twila and to everyone who make this magazine possible. I am so grateful. (Pages 6-7!!)
Capturing My Paintings : To mock or not to mock, that is the question.
I mentioned before that natural light is like a kaleidoscope for paintings but in general, any lighting can be; often bringing hues to the forefront (or the opposite) depending on the angle that they are captured from and type of lighting that they are captured in. It's much easier said than done. Frustrating but also fascinating and often why I, and I'm sure many other artists say that there is nothing like seeing a work of art in the flesh — because there isn't. When interacting with art that you've purchased. you have more control in experimenting with lighting and positioning it at angles that flatter, compliment or show you the full spectrum of hues present within a given piece.
Chasing the perfect lighting can be very time-consuming. Many people make use of art mockups. Art mockups are essentially a preview of what a painting could look like in a home or in a tasteful display scenario. Basically it's a work of art photoshopped into a minimally decorated room or section of a room (like on a tabletop, against a wall or behind a couch.)
They are neat and with the innumerable interior mockup options and apps, they can flatter any work of art but in my personal opinion, they are not ideal. I dislike the idea of editing my painting into a photo or frame - hence why I don't use mockups. I prefer scanning all of my paintings to capture texture, deeper hues and composition. I would argue that few cameras can do what a scanner does, concerning capturing fine detail and brushstrokes. However, I do like to add a photo or two of my paintings in their frame within the listing, just to show that it's actually real and to give a sincere visual of how it pairs with the frame. In a nutshell, mockups aren't my thing. I put a great deal into my art and how I capture it and when it comes to capturing outside of scanning, I'd rather photograph it myself, even if it takes a while to capture accuracy. ''It ain't much but it's honest work'' lol
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| 'Chemistry' |
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| 'Falling In Slow Motion' |
Throwback to The Parthenon
I went there in my very early teens several years ago. I took many photos, including a few near the undeniably astonishing Athena Parthenos statue but I can't seem to find any of the other photos now - there were tons. I took this photo with a disposable camera. This place is incredible. Athena, though not pictured in this image, is so beautiful and absolutely massive in person. Massive. Truly something to be behold. As a girl, I couldn't put into words the impression that it made on me. It really is such a lovely place.
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Harmony in the Sun
Traditional medium, thick hues and texure - framed in black. HD videos are more ideal, given that natural light can be such a kaleidoscope for paintings - often bringing hues not shown in artificial light, to the forefront depending on the angle that they are captured from. It is very interesting to see how angle impacts the potential capture of color.
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| 'Harmony' |
Lighting is a funny thing. Position your camera too far away or at the wrong angle, or under the wrong kind of lighting; your painting looks washed out and dull or the color is off or the frame looks curved etc.
Reposition your painting, tilt it alittle to the right or the left or at a different angle and voila after 789 years, you captured how it actually appears. Cameras are tricky and possibly evil but scanners, (good scanners) are simple. Any image that I share of my paintings are scanned images. When I scan my art, I am usually very relieved that the actual colors that I use are shown on screen and that the texture comes through and all of the tones that most cameras cannot pick up, are brought to the forefront and shown on screen. Mind you, ''screens'' are a whole other topic and depending on any given person's device settings, colors can be altered. There are so many different devices these days that folks use to browse the web and with every device comes a plethora of different settings and a spectrum of optional screen brightness or colorization intensities (which can impact viewing art).
I was taking new photos of my florals earlier and saw the beautiful sunlight kissing the surface of this painting. It actually isn't a good practice to display paintings in direct sunlight but fortunately, I had this painting laying there on the table only briefly. I couldn't help but share this photo because it's shows how textured 'Harmony' actually is.
New Interview with CFGA
A very special thank you to David Skott, curator at Center for Global Art, for putting together these questions, which are refreshing and invite thoughtful, truthful answers. I will attach a link to the page where this and other bits and bobs can be viewed, after everything has been uploaded on their end.
CFGA: In relation to your art, tell us about your education and/or background, items of interest related to you becoming an artist.
Cierra G. Rowe: I grew up in a very small, sleepy, southern town in Kentucky. As an adolescent, I was naturally artistic and over time became fond of painting. Art school never entered my mind because I had no desire to socialize, hear lectures or have expression dictated to me. Opinions are the invisible hands that usually shape people. Art school, to me, seemed like the kind of a place where paintings lose their colors and true artists are told that they are not real artists, while insipid frauds bask in applause and accolades. Yes, admittedly I was an outcast — worse than that, I was a tortured girl with no self esteem but I was stubborn and that stubbornness ensured that my art remained authentic, not some byproduct of someone else's direction or tastes. I carved my own path as an artist, independently, without external conditions.
CFGA: What is your artistic style?
Cierra G. Rowe: As an outsider artist, I would call my style ''expressionist'', given the emotional nature behind my paintings and my unbound way of using color. Painting, for me, is intrinsic, I prefer to focus less on realism and exactness and more on emotional interpretation.
CFGA: Where or who does your inspiration come from?
Cierra G. Rowe: Emotion and nature are constants but I have a multitude of things that are behind each of my paintings. The inspiration, for me, lies in turning pain into beauty, which I translate through color. Being in tune with what I feel allows me to paint things of personal significance, in a raw way. There is something very inviting about art. As a sensitive person, my art is driven by a need to express. One feeds the other; allure feeds desire and from desire comes intention, which then gives way to expression. Expression is art.
CFGA: Describe your artistic approach and creative process?
Cierra G. Rowe: My approach to painting is simplicity. My artistic process is minimal but undoubtedly bohemian. Quality is important. longevity is important. Stability is important and with regard to asking price; sensibility is important but outside of that, I am pretty bohemian. I remember years ago, ages before I bought an easel, completing my earlier paintings on my lap or a very old coffee table that had been passed around within my family - filled with scratches, scrapes and all of the usual telltale markings of wear and tear that often befall wood. I'd cover it with a scarf and then put my canvas down, alongside paint and brushes and sit there for ages painting, writing, drawing...drinking black coffee. It wasn't perfect or polished but it was natural and laid the groundwork for my mentality involving creating; use what I have and enjoy the process. My method behind painting is all about remaining instinctive and harmonious. The last thing that art should be is a chore.
CFGA: How did you start on your artistic journey?
Cierra G. Rowe: As a young girl I had always been very passionate about art but it was during my adolescence that my fondness for painting blossomed. This is the abridged version and I am glossing over things for good reason. You could say that art is a fire. Fires are only ever needed when it is cold or dark. Perhaps art was what I needed to stay warm and see.
CFGA: Are you trying to communicate with your art? If so, what is that message?
Cierra G. Rowe: Painting is therapeutic for me, so I can't say that I have any sort of message for viewers of my art. On the other hand, one could argue that every work of art, regardless of the artist's intention, carries a kind of message depending on who is viewing it, which is fascinating.
CFGA: Should art have a 'point' or 'purpose?' If so, what should that be?
Cierra G. Rowe: Art is dependent upon the intention of the artist. Some art holds great history and statement, while other pieces are more spontaneous and carefree. I think that art should be what it has always been; a vessel that holds expression.
CFGA: What are you currently working on? WIP pieces would be of interest.
Cierra G. Rowe: I am currently focusing on completing a new floral and am midway in the process of mixing and layering color for stems and petals. I enjoy mixing my paint to create interesting new colors or combinations that accentuate the overall composition.
CFGA: What is your one favorite piece?
Cierra G. Rowe: That is a hard question. I have hundreds of works of art, so I really can't say.
CFGA: Do you have other interests outside of your art that directly influence your creativity?
Cierra G. Rowe: I do have other interests outside of art but none that influence my painting or artistry.
CFGA: What advice would you give to beginning artists?
Cierra G. Rowe: I'm not in anyone else's shoes or situation, so I'm hesitant to give advice but if anyone were to want my advice, I would say that the best thing that any given artist can do for themselves, regardless of chosen medium, is stay true to who they are.
CFGA: What is your dream, aspiration, or goal for your art career?
Cierra G. Rowe: I have always had a relationship with art and a compulsion to create, even when no one understood and even when I felt invisible. This has not wavered. Typically, from what I've seen, artists have a desire to ''get out there'' in some way — to be noticed by the right eyes. But in this modern, digital age of optics, opportunity seems finely tuned to cater to a certain audience. This is accompanied by a list of terms and conditions, which really translate to fitting someone else's mould. It seems that conformity is now significantly more important than individuality and there is little or no space for the organic. It isn't enough to have passion or aptitude. It isn't enough to be real; you have to fit a metaphorical or literal aesthetic. So much seems to depend on who does or does not approve of your art or you and how known or unknown you are, as an artist. I'm not sure that the art world has any room for aspirations, dreams or self. It appears that everything concerning art is reduced to numbers and these days, that's all that people seem to care about. So, I don't know that I have a real answer for this. It is a privilege to have my paintings admired and my efforts, as an artist, understood by people who get it. I never expect it when that happens. Even though I put a tremendous amount of heart into what I do, I'm still a country girl from a ghost town and have always assumed from the get-go that no one really cares. Beyond my reasons behind painting and my artistic process, I'm presently not completely sure that I have an exact ambition.
CFGA: NFTs are now part of the art world. What are your thoughts on NFTs, and if you sell through the blockchain, what brought you in that direction?
Cierra G. Rowe: I have no interest in NFTs, in any way, whatsoever.
Prog
Painting a rosa; one of nature's kisses (of which there are many). Flowers hold a pure kind of beauty; true beauty. They're oblivious to their loveliness, swaying in the wind or growing tall under the sun, in an elegant show of fragility. That is one reason why I enjoy painting them and capturing them in my own way, because they are so meaningful to me. This painting was inspired by white columbian roses gifted to me by my husband. I wanted to focus on their fullness but also change the cream white to a deep red and play up with texture here and there.
The Adirondack Review Interview
The following excerpts are from my Adirondack Review Interview, from a few years ago. A very special thank you to Caroline Junker and The Adirondack Review; one of North America's longest-running online literary magazines.
Adirondack: Do you ever pair painting and poetry?
Cierra G. Rowe: I do, though sometimes I prefer to focus on one or the other. My poems ‘Fall of Man’, ‘The Great Sea’, and ‘Deep in the Forest’ were written during or after my paintings, ‘The Adamantly Evil Tree’, ‘Sea Serpent of Ivorelle’, and ‘Anxiously Awaiting’.
Adirondack: Were you trained or self-taught (or a combo)?
Cierra G. Rowe: I am wholly self-taught. Art is something that has always come naturally to me. Art school never appealed to me, due to my rigid belief that art should not be directed(or interrupted). When I first picked up the paintbrush, it was spontaneous and that spontaneity fed my enthusiasm. I never desired anyone to tell me that I was an artist. I always felt like one. As an outcast, it was nice to feel like something other than unwanted.
Adirondack: How did where you grew up influence your painting style and subjects; do you think it would be different if you had grown up in a vastly different setting, like a city?
Cierra G. Rowe: I think that it gave me a real sense of self. The countryside will do that — help you to understand who you are. As an artist, that is invaluable. My paintings are thoughtful and that is partly because of my rural surroundings. As a young girl, I travelled a lot with my parents. That travelling had a special way of nurturing my imagination and in time, it nudged me to paint outside of my region. What I see everyday and what I enjoy seeing inevitably penetrate my canvas. This area is teeming with inspiration and because it is quiet here, I can focus on what I want to paint. My style of painting reflects my comforts. Overlapping color and creating quirky or snazzy scenes is an extension of my personality and the exuberance that often accompanied my early adolescence. I have noticed that the countryside grows on you and when you’ve been somewhere for so long, it is often a challenge to wonder how you would fare someplace else. Rural life is different — It’s not for everyone. Had I grown up in a city or elsewhere, I think that everything would have been different.
Adirondack: How does nature influence your art?
Cierra G. Rowe: I know where I stand with nature but with most other things, I never can. Nature doesn’t change for anyone, it just simply is. Nature doesn’t shun you, it’s always there, always inviting you. Nature’s influence is not being an influence at all. I can’t think of a more serene backdrop for painting.
Adirondack: What motivates and inspires your art? Is there something in particular that you try to capture in your paintings?
Cierra G. Rowe: Because things change from one day to the next, I have no solid answer for this. It is hard to explain but to keep things simple, I will say that every painting is a release for me and sometimes when I observe my own art, I enjoy not considering the specifics of why or how it came to be. As a kid, I scribbled awful sketches onto paper, lectured my stuffed animals and dressed up in tacky, colorful clothing. To my knowledge, no one ever questioned why I did those things, It was only ‘’Cierra being Cierra’’. As I grew older, that changed. Throughout adolescence and into adulthood, I have been expected to justify nearly everything about myself. My unwillingness to change for others or ‘’conform’’ to their ideals have given me an abundance of confidence to paint unrestricted, create things outside of the box and give myself a break. People, I have found, often pervert the things that they don’t understand. My paintings are, chiefly, only Cierra being Cierra.
Adirondack: How does your “distaste of imitation” (from your bio on your website) dictate how you interact with the work of other artists? Have you ever tried to replicate a certain style or feeling?
Cierra G. Rowe: I rarely ever have the chance to interact with artwork outside of my own but I appreciate meaningful art. I loathe superficiality, both in art and artists. Imitation is trite and art without meaning is sterile. That being said, my beliefs regarding imitation are personal and typically, I keep those beliefs to myself. Aside from commissions, I have never tried replicating any kind of style or feeling.
Adirondack: Do you ever think about your audience when you paint — do you ever paint specifically to try to show them something, or just a scene that you find meaningful? Is art more of a personal relationship with yourself?
Cierra G. Rowe: My relationship with art has always been personal and the scenes that I brush into focus certainly carry meaning. I can’t say that I ever consider my audience, being that I paint for myself, though I am appreciative of people who take the time to view my art. Painting is generally private for me but I do value my husband’s opinion. I like hearing how he interprets my paintings. His sincere perspective has a heartfelt way of making me laugh while polishing my ego.
Adirondack: How does your background in poetry inform your visual art?
Cierra G. Rowe: I began writing poetry around the same time that I began painting, so they’ve always been sort of neck in neck. I think that my hunger for writing influenced my fondness for color. With writing I can only say so much. With painting I can say it all.
Adirondack: What is your favorite genre of art to paint?
Cierra G. Rowe: Lately I have found landscapes and flowers to be quite exciting and they are proving to be my favorite subjects thus far to paint.
Adirondack: Do you have any advice for new artists?
Cierra G. Rowe: Do not wait for permission to have confidence in yourself or your abilities. Being yourself is enough, even on the days where it feels inadequate.
Adirondack: Why did you choose The Adirondack Review to publish your art?
Cierra G. Rowe: I like reading literary magazines and stumbled upon The Adirondack Review by chance. When I had the opportunity to revisit past issues, I enjoyed the assortment of unique material that was included within each. That is what reeled me in.
'As The Fog Clears' by Cierra G. Rowe
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| 'As The Fog Clears' Fog encircles the stem of a wild white rose with lush, bold leaves. The title of this piece was inspired by a very foggy morning that limited visibility to nothing. After watching the fog for a while, with coffee, I set to work painting this wild rose with a bouquet of my own sitting in front of me as reference. I added fog in the vase as a nod to the morning. After a few hours, I looked up at the window and the fog was gone. I thought that 'As The Fog Clears' was the perfect name for this painting. https://www.artofcierra.com/product/expressionist-flower-painting-on-canvas-panel-8x10-framed-as-the-fog-clears |
'Falling Asleep Inside Of A Rose' by Cierra G. Rowe
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| A bumblebee drifts off to sleep, in the center of a white rose, surrounded by the soft warmth of its petals. https://www.artofcierra.com/product/expressionist-flower-painting-on-canvas-panel-8x10-framed-falling-asleep-inside-of-a-rose |
Mooky Chick Interview Highlights
The following brief excepts were taken from my Mooky Chick ART HAGS feature from a few years ago. A very special Thank you to Magda Knight.
Mooky Chick: What do you aim to capture/reveal/explore in your art? Has this shifted over time?
CGR: From day to day my focus shifts. I attempt to catch my racing thoughts like a fisherman catching sea beasts. I fixate on things in order to conquer them and move on. Despite having clear ideas of what I want to paint and sometimes confining myself to a piece, nothing changes my desire to express myself. My constant aim in art is to be truthful and explicit in what I choose to express, and to continue to explore all that creeps into my mind.
Mooky Chick: Is there a time when you transformed creative ‘failure’ or “I can’t do this” into success?
CGR: I have struggled with perfectionism in the past. I understand that ”perfection” is more of a myth than anything else but the idea of messing up was deeply troubling to me; it’s something that began in my childhood which eventually seeped into my art. For a while, I was so caught up in the ”what ifs” that it began to affect how I viewed myself as an artist… which then led to me doubting myself and my abilities. I remember years and years ago, when I received my first order of canvas panels. I was so ecstatic. I had so many ideas and couldn’t wait to spring out the paint and begin. Then, suddenly, I was overcome with doubt. It honestly just came over me in a wave. I was nearly in tears. I began painting and for some reason I just did not feel happy about it. Every brush stroke seemed wrong, and I remember feeling like I couldn’t do it. Eventually I did finish the painting and afterwards I understood that taking my time – both in thought and in painting – was a better way of going about things.
Mooky Chick: What are your thoughts on art’s place in society?
CGR: Art has been around for a very, very long time. It holds evolution, it holds fairy tales and it holds time itself, along with many other curiosities. I feel that the presence of art is paramount in society. In a world where everyone is yelling and everyone is using their voice to interrupt one another, in this seemingly never-ending argument, art sits above that. Art is a final statement.
Mooky Chick: Some say that creating art can be solitary. What do you say?
CGR: Every artist is different. In my experience, some artists are misunderstood, which leads to them isolating themselves. Some just don’t want to be bothered by others because their craft commands focus. As a young girl in school I was pretty much expected to drop everything and ”fit in”. People were of the mind that I was lonely but in fact I was protecting myself as best as I knew how and I simply did not have interest in cliques. My art was more important to me. I have been called a ‘hermit’ and a ‘home body’ before, but I do not feel alone. Regardless of if anyone can empathize or take the time to understand, it has no effect on my devotion to what I do. I have never been the social type, so there is no loss there. For the most part I think that every artist, on some level, knows what they need and if they’re comfortable with it, that’s all that should matter.
Holidays
What are the holidays without Christmas trees, Black Friday and tasteful decor?
Well... the answer is: the holidays are a time to cherish, with those whom you hold dearest. It doesn't matter how big or bright your Christmas tree is, how many gifts you give or get or how much food occupies your tables. The holidays are a time of the year to be grateful and to show that immense gratitude through love, kindness and warmth; things that you cannot buy.
About a year ago, during the post-holiday season, I was out briefly, buying a few necessities. I noticed a family standing in line behind me. There were two little girls (pretty sure they were sisters around age 11 and 8 maybe) and I'm assuming that their mom and dad were the man and woman standing with them. One of the little girls wanted a balloon. She really wanted that balloon lol but her mom and dad, I'm assuming, were unable to get it for her. I had extra money. I stood there, contemplating whether or not buying a balloon for them would be alright, because I didn't know them and I did not want to intrude in any way. After standing there overthinking it, as I was about to check out, I went ahead and bought the little girl the balloon that she'd been pointing at. There was no way that I was going to leave her little sister out, so I asked her if her sister wanted one as well, if it was ok. I wasn't completely sure how to communicate with them, due to a language barrier (they did not speak much English) so I had to gesture with my hands mostly. I bought her sister a balloon of her choosing as well. They were smiling so much - so happy. Thinking about it now is emotional because they were only balloons and yet, it made them so, so happy in that moment - which led to their mother and father smiling. It was such a warm smile.
Another time, in the thick of the Christmas season, about 4 years ago, I was in different area, a big store in the canned goods aisle. I was looking for something but the aisle was packed with people and I couldn't move. It was like everyone decided to come out at the same time and it was madness. Anyways, I saw this blond woman who looked visibly distraught. She seemed distracted but was looking for something or maybe just looking at things in the aisle. I don't know. I didn't know what was wrong. I don't remember what I said to her at the beginning but we noticed each other. I don't know if I asked her if she was ok or what but somehow she ended up saying something before telling me that she had just lost her father. When she spoke, I could clearly see that she was becoming emotional but trying to hold it together. My eyes are literally watering typing this. I consoled her and I told her that it was going to be ok. I told her that twice. I was looking at her face. Her eyes were red around the rim and like a kind of ocean-like blue. It registered on her face what I said and we stared at each other for a long time, it felt. This interaction couldn't have been more than a few seconds, before she gestured a nod, walked away and disappeared in the large crowd of people with their winter coats, hats and faces. I stood in the aisle, with the chaotic crowd of people, blinking away the hint of tears and trying to find the person I had entered the store with, through the busy shuffle.
It is ok to see someone who has nothing in common with your appearance or nothing in common with your language, as a fellow human being. It's how things should be. The divisiveness that is often witnessed online and sometimes in person is enough to give anyone a headache. I mean, it's so depressing. I shared this because the holiday season is approaching and those things came to mind and also because....there is so so much negativity out there right now.
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| not sure what Homer is up to in this episode but this made me laugh. |
SHE The Magazine, Interview Highlights
The following excerpts were taken from my in depth interview with SHE The Magazine, from a few years ago. A very special thank you to Michelle Granara.
STM: What has your journey to becoming an artist been like?
Cierra G. Rowe: As much as I'd love to gloss over things and only highlight the positives, I have to be frank; It has been very difficult, especially these years leading up to revisiting oils. When you keep breaking a skeleton's bones, it's going to be hard for it to find its footing after a while and soon, all that it can do is sit there and be a pile of bones. Certainly there for a while I felt like this and once I finally picked myself back up, I understood that to grow you must break.
STM: What does it feel like for you when people interact with your artwork?
Cierra G. Rowe: It feels exciting. Sometimes it makes me feel vulnerable, depending on the piece and other times, I don't feel anything at all. I paint for me, so when someone else views or interacts with my artwork, it does intrigue me but in a subdued way.
STM: Is painting your calling? If so, why?
Cierra G. Rowe: I should think so. When something is a part of you, you don't know what to call it because it is simply there. You only know the words and terms accepted by a majority to refer to something as. Painting is no different. That is how you know that something is truly yours; when you don't need a word to define it. I often wonder why it is called ''painting''. Maybe pain begets creation. The world does not stop for your pain, so in dark times you must gather things to make your own light. You learn to survive and pick up the pieces. Art was my glue and now it's my wood.
STM: What other painters inspire you?
Cierra G. Rowe: As a female painter I sometimes feel that it is expected of me to have other painters whom I look up to. This has never aligned with me or my art, being that my painting style flourished from retreating into myself, embracing my personality and evolving from experience. I have no painters or artists who inspire me aside from my husband. Though his impatience would not allow him to continue painting, he continues to be my modern muse due to his insight, candor and supportive nature.
STM: Why does art matter to you?
Cierra G. Rowe: Art matters to me because it documents the everchanging and absolute passing of time. It shows how something, somewhere, even if only in the mind of the artist, looked at a certain moment in time. Through art, you observe the layers of living through someone else's eyes — you sample their life. It is more intimate than a photograph and more elusive than sound because there are only hints within color and line that narrate thought patterns, emotion and memories that led up to the artwork's completion. Viewing a work of art is touching someone from the past. That is connection — art connects everyone and ''everyone'' means that no one is alone.
STM: What is your mission or message for the world?
Cierra G. Rowe: The noise of this world is profuse and intense. The world stage cannot hold everyone. I have not thought of a message or mission and it would be selfish of me to pretend to have either.
STM: Why should art matter to others?
Cierra G. Rowe: My notions are mine and I cannot force my view of things onto anyone else, however, a world without art is a candle without a flame and a candle without a flame makes it hard to see in the dark.
'Sea' by Cierra G. Rowe
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| 'Sea' Thick white roses, enfolded by intense leaves pose silently in a vase. The hues of orange shown in the background almost appear as a smoky sunset or a foggy city in the distance. https://www.artofcierra.com/product/expressionist-flower-painting-on-canvas-panel-8x10-framed-sea |
Visual Art Journal Interview
The following excerpt is taken from my Visual Art Journal late Summer interview.
Visual Art Journal: Your artwork captures a deep sense of emotion and vulnerability. How do you channel these feelings into your work?
Cierra G. Rowe: I was a very sensitive child who grew into a very sensitive woman. As a painter, I lean into this. The coldness and warmth of the past have, in part, shaped me. As an artist, all that you have are the things that you are composed of, to channel and capture into any given work of art. My paintings hold that sense of emotion and vulnerability because as a person, that’s a very big piece of who I am. I translate the intimate and erratic combination of pain and beauty through paint, often favoring positive aspects over dark. I encode myself within my paintings through my selective palette and style by focusing on what is important to me and blurring everything else. There is an intense hunger in painting. I am addicted and once I’ve completed a new piece I feel satiated.
Visual Art Journal: In your artist statement, you mention that your painting style was born out of trauma. Could you share how these experiences have influenced your creative process?
Cierra G. Rowe: Trauma makes you see things differently, sometimes it reduces you to a shell of yourself. When you break, you break and there’s no manual for how to unshatter yourself. Eventually it makes that which is truly important stand out and that which is not, fade. I remember caring about dumb things — silly things that, in hindsight, should not have mattered. Then things happened and in the aftermath I realized that I did not care about those things and felt shameful that I ever allowed them to distract me. Trauma has influenced my creative process by allowing me to wholly understand that I do not have to prove anything to anyone and that I do not have to keep up with the chaotic speed of modernity or the digital world and how it shrinks people. As an artist, I represent myself through my paintings. I’m allowed to change. I’m allowed to evolve and become better or fall down and get up again. I can transcribe soul and significance through my paintings, while holding tight to my artistic traditions, knowing that there is great liberation in being true to oneself.
Visual Art Journal: You mentioned that you often wonder why it’s called ‘painting,’ implying a deeper connection between pain and creation. Could you elaborate on this connection and how it manifests in your art?
Cierra G. Rowe: I feel that there is always a reason behind the creation of any given work of art – unseen things that compel an artist to create their masterpiece or go further by throwing themselves into their craft. Often, that reason is revealed to be pain. The most tortured people often create the most beautiful works of art. Their sadness, strife and anguish seem to turn them inward, over and over until they have formed a bond with their tools, leading to works of art that inexplicably connect with others on a much deeper level than surface. Personally, I began isolating myself at a very young age and because I was reclusive – I only communicated through my art. Overtime, that led to me grasping a deeper understanding of art as a whole and what color and emotion is capable of.
A very special thank you to VAJ, especially Anna Gvozdeva for taking the time to interview me. My full Visual Art Journal interview can be read in full here or read in print by purchasing a copy of Issue eight here
Holiday Coffees
Every artist has something that they enjoy indulging in — I am a rigid lover of coffee. Outside of fueling the artist, coffee is also especially important for the holidays. Coffee and the holidays go together like New Years Eve and Times Square, like Motown and Marvin, like Siegfried and Roy (before the tiger attack), Or Jules and George from 'My Best Friend's Wedding' — They just fit. The following is a kind of ''coffee wishlist'' for the holiday season.
Kopi Luwak Coffee, Wild Gathered, 100% Pure, Whole Bean
Campfire Starry Night Single Origin FTO
Orangutan Sumatran Ground Coffee Dark Forest
Raven's Brew : Dark Roast Bruin Blend Coffee
Wonky Coffee Double Dark Roast Ground
Lavazza + Rifle Paper Co. Holiday Blend Ground Coffee Medium Roast
Exceedingly Rare Los Rodriguez Family Bolivia SL-28 x Caturra
Kahawa 1893 Serengeti Blend
Intelligentsia Coffee, Light Roast Ground Coffee
Bones Coffee: Pumpkin Spice Jacked O Lantern (they also have fire mugs!!)
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Soldier Coffee House Medium Roast
Starbucks Italian Roast
Thanksgiving Coffee Ethiopia Yirgacheffe Light Roast
Boca Java Maple Bacon Morning Coffee
Ross St Roasting Bohemian Gothic
Korn Koffee Dark Roast
San Francisco Bay Coffee Fog Chaser Medium Dark
SAD GIRL REVIEW
The following excerpt was taken from Sad Girl Review Issue Six: Muse, Heroine & Fangirl. Written by Amber Morrison Fox (Founder of SGR) published in Spring '21.
''Cierra Rowe's approach to painting is vivid and visceral: she often makes use of rich, buttery impasto strokes with intense swirls of colour. She paints landscapes, animals, flowers and people that may or may not be imagined. Ther is often no outline to separate her figures from their settings. The lack of distinct edges creates the sensation that all of the elements in the composition are blending into one another, yet through colour and gesture the definat forms hold their ground. Cierra maintains an active but low-key presence on social media. She enigmatically poses with flowers and her artworks, carefully choosing what to reveal and what to coneal about her life and work. (...)''
Amber is amazing. The complete issue is absolutely gorgeous and I am still really stoked that Amber invited me to contribue.
Link to view complete digital issue: https://www.sadgirlreview.com/sgr-issue6.pdf
Expressionism
I've often shunned labels because I feel that they almost always seem to reduce a person to a word or a handful of connotations that then become inescapable. From and artist's point of view, there is nothing more important than growth. Being self-taught, my technique has always been trial and error (although it's debatable that there could ever be true error in art). Nonetheless, I have worked exhaustively to be truthful with my expressions and have remained staunch in remaining true to who I am through my art — all the while shunning labels. I have been asked ''what is your style'' and often did not know how to respond. But upon reading a simple definition and taking a deepdive into my paintings, I have shifted my opinion of labels and embraced one relating to me as an artst.
According to Wiki: ''Expressionism is a modernist movement (...) Its typical trait is to present the world solely from a subjective perspective, distorting it radically for emotional effect in order to evoke moods or ideas. Expressionist artists have sought to express the meaning of emotional experience rather than physical reality.''
According to Britannica: ''Expressionism is an artistic style in which the artist seeks to depict not objective reality but rather the subjective emotions and responses that objects and events arouse within a person. The artist accomplishes this aim through distortion, exaggeration, primitivism, and fantasy and through the vivid, jarring, violent, or dynamic application of formal elements. In a broader sense Expressionism is one of the main currents of art in the late 19th and early 20th centuries, and its qualities of highly subjective, personal, spontaneous self-expression are typical of a wide range of modern artists and art movements.''
Simple paragraphs that ring true several times over about me as a painter and my art. One theme that hasn't wavered within my paintings is emotion and my attempts to accurately capture it. As an emotional artist, I can't help but let that ooze out into my paintings — It's as natural as a bee pollinating a flower.
So, considering all things that go into my art, personal perception and surface aesthetic of my modern works, Expressionism is the appropriate label to use regarding what category the style of my paintings fall into.
Creative Arts Chat
This excerpt was taken from an interview with British photographer Joe Redski around '19.
''Cierra Rowe’s artwork is captivating. Totally unique and powerful, her acrylic paintings have a soulful intensity and ethereal beauty. There is a dark edge to many of them. Yet there is a playfulness and wondrous creativity in all of her ideas, that are exploded onto canvas in her detailed and energetic brushstrokes and vivid colours. (...) But it doesn’t stop there, gorgeous landscapes, awesome abstracts and incredibly detailed and utterly compelling illustrations that obviously come from an artist of unique talent. I am reminded of Salvador Dali and David Lynch.''
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