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' 

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.

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. 

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.