If you are working from home, why not purchase art in your home office design?

According to the researchers at Stanford University (so you know they must be right) the work from home economy is here to stay. Given these statistics, why not include the purchase of art in your home office design (ok, dining room table, spare bedroom, former man cave)?
I’ve included several samples of available art to imagine just how jazzed your space can look. I have more on my original works gallery, and print gallery.


There is a two week free trial period to test out a piece in your space-sort of like what those fancy rug companies do-so there is no up front cost to consider. Payment plans are available for larger pieces. Send me an email if you’d like to try out one of the works featured, and as always, take care and be well.


Thank you for your support.
Meg

https://megblack.com/galleries/rocks-and-water-as-portrait-of-lifes-journey/
Hever Castle Courtyard, Sussex, England. Framed. 48 x 39 inches.
June Morning Light, in-situ
Distant Travels, Cape Cod National Seashore

Join me, Thursday, August 20, IG Live, 4:00 PM, EST. How to add “water” to a pulp painting.

https://www.instagram.com/megblackstudios/

I will demonstrate my pulp painting technique for adding water imagery to the painting. I’ll discuss the materials and process I use to make the water shimmer and flow. These are some of my most coveted trade secrets so you won’t want to miss it! Post your questions in the question box and I’ll happily answer them. See you at 4:00 EST. Videos are available on IG TV after each session.

Join me for IG Live, Thursday, July 30: mounting the background armature.

https://www.instagram.com/megblackstudios/

Join me for IG Live, 4:00 EST

https://www.instagram.com/megblackstudios/

Follow me as I paint the sea: an explanation of the medium I use.

The painting as of August, 7, 2020.

At first glance, my paintings appear to be oil on canvas or similar. It is upon closer inspection that viewers observe the textured surface of the work. In fact, the most common comment I receive is “I love the texture of your work-it is so engaging. It’s like I’m actually there. Just what is the medium?” The medium I use is abaca, an extremely strong fiber from the inner bark of the banana tree and is used for marine cordage and sails for sailing vessels.

In the 16th century, Venetian artists-Venice at the time was a powerful seafaring nation state-began using the canvases of sailing vessels as surfaces to apply their paints. These canvases were made from durable fibers such as linen, flax and abaca.  It is for this reason that these now famous works have survived to us through the ages. 

Using these same fibers, I have embellished on this idea and created an actual painting method that is just as durable and permanent, and pigmented with light-fast colors to match the rich hues of nature.

My process provides a textured, almost three-dimensional quality to the painting’s surface, thus mimicking nature in all its splendor . . . from its rocky crevices along the ocean shoreline, subtle shadows in a garden path, the fullness and detail of a treed landscape, and the smooth surface of a still lake.  

Natural fibers, beaten into thick coats of pigmented pulp, provides the perfect media with which to create these modern interpretations of representational art.  

painting detail showing texture.

If you can’t make it to the sea this summer, follow me as I paint it.

The Cape Ann Seacoast, the inspiration for the painting.

Like many of us, I am drawn to the primodial pull of the sea. For me, it is not just any seashore, but the north Atlantic, with its harsh terrain, ice cold water, and thunderous crashing waves. Here, rocks are thrown to the shore by an unrelenting tide.  The rocks are stronger than the water, but the water can be fiercer and can move the rocks at will. This is for me the metaphor for our own lives: we long for smoothness of the water, but we are shaped by the steeliness of the rocks.  
Using an array of textures and colors to illustrate this metaphor, I will depict in my painting this emotional pull of the sea and tell my story much like a poet would use words. 
As you move with me through this creative process, feel free to chime in and ask questions. I have been sharing my process on Instagram live. For updates on live sessions, follow me at https://www.instagram.com/megblackstudios/
And as always, thank you for your support.
Meg


The Genesis of the painting: preparing the background drawing.

The yet to be titled painting at the end of the first week of work.
A black and white print of the image is laid out on the surface of the poured sheet. A sheet of carbon paper is sandwiched underneath. I use a bone folder to trace the image onto the poured sheet as a guide.
The painting in its early stages of completion.

Next week, the painting will be adhered to the frame. The final size will be 40 x 40 x 4 inches.

Applying over-beaten abaca to the surface of the painting.

In this short video, I demonstrate how I apply abaca, that has been beaten for 20+ hours, to the surface of the rock and water painting, to give the illusion of pebbled rocks.

Sale of River Road Prints meets 1000.00 goal for Tri-Town Council.

Writing a check for 1000.00 to the Tri-Town Council. Photo: Jonah Rehak
A group effort to make this moment happen. Photo: Jonah Rehak
Pulling the five winners of the paper making workshop out of a hat. If your name wasn’t called, it was returned back to the bag for next year. Photo: Jonah Rehak

It was a pleasure to present a check on January 6, 2020, to members of the Tri-Town Council for 1000.00 from sales of River Road prints.

The prints are reproductions of the painting in the Topsfield Town Hall that was commissioned in 2018 by the Panella family in memory of their mother, Joan Panella. Per request of the family, proceeds from print sales benefit the work the council does on behalf of the Tri-town community. A video I created of the commission tells this story in detail.

I want to take a moment to thank everyone who purchased a print from me and supported the council. I also want to thank council members who included information about the print sale on their web site and in social media posts in a herculean effort to promote the sale. Without this team effort, it would not have been as successful.

Best of all, five people who had purchased a print this year were entered to win a paper making workshop at my studio on Saturday, February 8, 2020. I’ll be sure to post photos of the workshop in future posts so we can celebrate the creative efforts of our community members. If you would like to purchase a print, support the council, and be entered to win a slot in a paper making workshop for 2021, please click on this link. Free shipping or in-person delivery to Boxford, Middleton, and Topsfield.

Thank you to all for supporting Meg Black Studios. What a great community we live in and call home.

Dear Claude Monet, you won’t believe what your painting just sold for!

Claude Monet, Meules, 1890.

Claude Monet is famous for painting many subjects, water lilies, cathedral facades, footbridges, and of course, hay stacks. It is his hay stack painting, Meules,  that captured a huge sum of money at auction recently 110 million dollars to be exact.   What makes these paintings so captivating?  Two ideas: they are all painted in multiples, and the the subject is light as metaphor.  Monet captures the light as it plays off of natural objects.  In fact, he is more interested in light than the subject itself.  Think about it: Monet is at his most prolific during the height of the industrial revolution when change is constant-much like our world today. Light changes at great speed, thus his focus on light as a metaphor for constant change.  By painting in multiples, he revisits the same subject but in a different light.  Years later, Hollywood directs such as Martin Scorsese will create similar effects using film and stage lighting.

I have been thinking of Monet as I have been painting this series of River Road, Topsfield.  To be sure, it is a beautiful place-tree lined winding road, open fields, wild flowers, gorgeous architecture. But, much like the great Impressionist artist himself, I have been focusing on the natural sunlight as it moves through the day, through the seasons, and through all sorts of weather conditions-something New England is famous for!  And, in keeping with his idea of multiples, I am painting in a series, five paintings to be exact, two of which are featured here.

 

 

Meg Black, Morning light, River Road, Topsfield. 2019. In progress.

Two River Road paintings in progress, showing different light effects.

 

Chiaroscuro, River Road, and Caravaggio: a painterly connection.

This is a photo I took of River Road, Topsfield in the early morning. The light coming in from the left creates a strong shadow on the road.

I was lucky to see the original painting by Caravaggio in Rome this past spring. It is still in its original location in the Contarelli Chapel in San Luigi dei Francesi in Rome.

Early morning, River Road, Topsfield. The light in this photo has a dramatic quality that reminds me of one of my favorite artists, Caravaggio. Caravaggio placed light colors against dark to create a dramatic effect in his work, known as chiaroscuro in Latin. The early morning light plays against the dark shadows giving off a similar quality. Caravaggio does this in his painting of The Calling of Mathew.