'Rosebush, Midwinter' by Cierra G. Rowe

 

A plump, resilient rosebush sits idly in the woods,
surrounded by foliage, soft shedded petals.
and a hushed midwinter sky.
https://www.artofcierra.com/product/rosebush-midwinter-acrylic-on-canvas-panel-8x10-framed


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'Dance of the Bearded Irises' by Cierra G. Rowe

 

Bearded Irises sway to and fro,
dancing without care in the distance of a bright setting sun
https://www.artofcierra.com/product/dance-of-the-bearded-irises-acrylic-on-canvas-panel-8x10-framed


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'Fragrant' by Cierra G. Rowe

 

A deep, pink flower blushes in the darkness.
https://www.artofcierra.com/product/fragrant-acrylic-on-canvas-panel-5x7-framed

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'Exuberance' by Cierra G. Rowe

 

A daylily, tiger lily and closed lily bud bask in a cube vase,
while hues of purple awaken their senses.
https://www.artofcierra.com/product/exuberance-acrylic-on-canvas-panel-8x10-framed

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'Night of Orange Moon' by Cierra G. Rowe

 

An elegant flower sits in a clear vase.
Her petals form an eye; unblinking and unbothered.
https://www.artofcierra.com/product/night-of-orange-moon-acrylic-on-canvas-panel-5x7-framed

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Rosebush

The area where I grew up had a tremendous amount of plantlife. It was very lush but also It was also dreary area, which can be a common attribute of many small towns here and there, beneath their picturesque charm. Growing up I remember the impression that the flora made on me as a little girl. Rosebushes have always been something that stood out. Where I grew up, there were a few of them near the house and further to the right, there was a wall of honeysuckle flowers that I tasted as a child, hidden beneath the shade of tall trees near rows of tulips and foliage. My mother always tended to the various flowers surrounding the house and we were both in awe of the blooms of the rosebush.  This rosebush that I am painting now is inspired by those that I grew up around and my adoration of roses.



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Taping up reference sketches

Taping more of the references that I drew onto the wall. Often I use what I sketch out as references for my paintings, along with my photography. On my easel is a painting that I have decided to call ''Exuberance''. Featued in this painting are lillies (spider lillies and day lillies) that I have positioned in a cube-like vase.



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'Poppies Crowded in a Window' by Cierra G. Rowe

 

Red poppies crowd a window, quizzically trying to see
what is out thereand who is looking in.
https://www.artofcierra.com/product/poppies-crowded-in-a-window-acrylic-on-canvas-panel-8x10-framed

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Earlier, Poppies

Poppies are a very visually dramatic flower. I used tones of both scarlet and orange to accentuate each petal, along with a shadowy black. The mixture of red, scarlet and orange proved beautiful but scanners and cameras are sometimes unable to distinguish between the three hues, which are all very similar. Sometimes it feels as though the camera/device chooses the hue that is most powerful or dominant. In this case, red is the deepest hue and more dominant than orange and scarlet — so red is the color that appears most visible in some images. Some, not all. 





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'Rose Sonnet' by Cierra G. Rowe

 

A tangled bush of Roses lounge near a tree at nightfall.
https://www.artofcierra.com/product/rose-sonnet-acrylic-on-canvas-panel-8x10-framed

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'I Feel Your Love' by Cierra G. Rowe

 

A trio of daffodils sit near the front of a tree,
hidden from the glance of a clear blue sky.
https://www.artofcierra.com/product/i-feel-your-love-acrylic-on-canvas-panel-8x10-framed

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Prog. Daffodils

Out of the vase and into the garden. This photo shows me in the middle of painting a trio of Daffodils. Daffodils hold so much beauty and spirit and like all flowers, they have stories that surround them. Personally for me they hold huge significance. 



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'The Perseverance of Love' & 'Angelic'


I had been meaning to post but haven't really been online much lately. I've just cleaned my brushes, made a cup of coffee and thought that I'd sit down for a moment and share two new paintings that I completed​. These two paintings are titled 'The Perseverance of Love' and 'Angelic'. These are each a bundle of abstract roses poised inside minimal white vases​. I painted these flowers in a softer light, to capture gentleness with soft brushstrokes and form. 'Angelic' is alittle more bold, in terms of contrast, with dark and light hues of blue while 'The perseverance of Love' is warmer. The titles that I came up with ​are a combination of wanting to paint something that captures healing and comfort - something to lift one's spirits, while also being stylish​. I really wanted to focus ​more on softness and simplicity in these pieces. 'The Perseverance of Love' is about healing and understanding that even in the face of hardship, love persists and can move mountains. 'Angelic' is similar in meaning but with more of a focus on tranquility and relaxed elegance. Nature holds healing - and so​,​ as an artist, painting nature is very healing. Both paintings have sold. 




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Detail





 Adding detail to this flower. Soft orange and touches of beige against black. www.artofcierra.com


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Flower Blossom







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'The Orb Weaver's Dream' by Cierra G. Rowe

 

The eye of this flower takes the shape of an orb weaver and gazes out
from the comfort of its erratic petals. Varied shades of orange take shape among
tiny accents of black and red, while tones of calm green and bright seafoam
linger within stem and leaves.
https://www.artofcierra.com/product/the-orb-weaver-s-dream-acrylic-on-canvas-panel-5x7-framed


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'The Bliss In Escaping A Nightmare' by Cierra G. Rowe

 

The enchanting face of a rose awakens from the darkness of a bad dream.
Relieved, it begins to sway and dance — as darkness goes away — because that is what bliss is.
https://www.artofcierra.com/product/the-bliss-in-escaping-a-nightmare-acrylic-on-canvas-panel-5x7-framed

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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.

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'Cosmopolitan' by Cierra G. Rowe

 

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

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'Posh' by Cierra G. Rowe

 

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

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'Dream Sequence' by Cierra G. Rowe

 

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

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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. 

'The Orb Weaver's Dream'


'Cosmopolitan'


'Posh'


 





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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.



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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!!)



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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 

'Chemistry'

'Falling In Slow Motion' 


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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.

'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. 


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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. 



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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.


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'As The Fog Clears' by Cierra G. Rowe

 

'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

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