New River Gorge Painting acquired by NCMA

I’m happy to announce that the North Carolina Museum of Art, Winston-Salem (formerly known as SECCA) acquired my painting New River Gorge for their Portable Gallery outreach program.

Through the portable gallery program, individual artworks are mounted in road cases (the same ones musicians use to carry gear) and brought to classrooms across the region as part of a teaching library. Students have access to real artwork made by living artists.

I’m honored my work was chosen for this program, and love the idea that one of my paintings gets to travel and be experienced by kids who may not often go to museums.

I’d also like to take this opportunity to say that art education matters!

New River Gorge, acrylic on wood, 18 x 24 inches

Art in Embassies Bishkek Catalog

Last summer in June 2023, one of my paintings, Field and Forest with Pink, was carefully packed up by an art shipper and left my studio to travel to Bishkek, Kyrgyzstan, for the US Department of State’s Art in Embassies program. At the time, I wrote about it here.

Recently I received a surprise package from the Department of State containing some catalogs featuring my work along with the other paintings in the Bishkek exhibit. Happily, they also sent me a link to share so that you can view it online. You can peruse the exhibition catalog here.

I love that this Art in Embassies program exists, and I can’t believe that my artwork is being used as a kind of soft power for diplomacy.

Field And Forest With Pink, acrylic on wood, 18 x 24 inches

Glass Blowing at Penland

I’m back from a mind blowing 2 weeks at Penland School of Craft learning to work glass with Jessica Jane Julius and Erica Rosenfeld. Our workshop culminated in an edible installation and performance in the hot shop. I had never worked with glass before, and have a whole new appreciation for how complex the medium is. The experience also opened up my eyes to what performance and installation could be. I came home full of ideas and stoked to make new work!

I’m not sure how this will play out in my work yet. I realized while I was there that I was particularly interested in the optical qualities of glass, like making lenses and prisms for example. I’ve played with distortion and blurring of images both in my painting and video work, and I’m curious about how using a glass element could alter something seen through it.

I also wanted to make simple well balanced vessels while I was there, and learned how challenging it is to make elegant shapes with glass. You have to work quickly while it’s hot, with the correct amount of force, and a surprisingly light subtle touch. And it’s the most humbling of materials. It can be impossible to save pieces when things go wrong, and failure is catastrophic. Pieces often deformed beyond repair and/or shattered.

I enjoyed cold working glass – the work you do using shop tools to work the glass after it’s been annealed. The tools felt familiar – they are similar to wood shop tools. The tools use diamond grit to cut and grind, and aren’t as sharp or abrasive as wood tools. Water is used throughout the cold working process to keep the glass cool and to rinse off the silica as it is ground or cut off. It was satisfying to properly finish my pieces or in some cases to alter them completely using these tools.

I loved working in the hot shop. With four furnaces and all sorts of torches constantly running, it was the hottest environment I’ve ever worked in – over 100F during the day – and the work is very physical. The pipes and rods used to gather and heat the glass are long and heavy, and you have to keep rotating them as you work. Working in teams was another highlight – we all depended on each other to make work.

My team working together to make a dome during the performance
the Penland hot shop!
Day 1 – pressing shapes into the hot glass fresh out of the furnace
the class installation with food
some of my work
the Lily Pond I accidentally found when I got off trail on a walk
the view from the Pines food hall

My Plein Air Painting Kit

These are the supplies I bring when I paint outdoors (in plein air).

Note: When I listed my paint colors, I forgot to mention: Titanium White, Transparent Red Oxide, and Cadmium Red Light.

If you don’t feel like watching the video here’s a list of the supplies:

  • Cigar Box Paint Kit (includes palette, paint, brushes and palette knife)
  • Prepped panels
  • Panel box
  • Stool
  • Sun hat
  • Newspaper
  • Rag
  • Odorless mineral spirits
  • Pliers
  • Sandpaper
  • Sketchbook
  • Pencil

The Dairy Farm Painting – What Makes a Landscape Painting-worthy?

plein air painting farm
A couple weeks ago on a bike ride, we rode by this farm and I knew I had to come back to paint it. It is conveniently located across the road from a water treatment plant, so I planned to park there to get a good view of the farm land.
This morning a friend and I met there to paint, and we had a chance to chat with the guys who run the water treatment plant. This is one of my favorite parts about working in plein air; I often get to meet people who know stories about the land I’m observing, and this morning was no exception. After finishing our paintings, we got a tour of the plant! Fascinating stuff… and I love the OSHA sign that lives in their lab.
funny OSHA sign
When a couple stopped while driving by, they shared with us what they think is another beautiful landscape nearby. And they’re right! It’s a spot I’ve noted many times, and forgot to return with my painting kit. So I know where I’m headed next…

Painting a portrait of my son

This month I’ve been painting a group of portraits of my family. I started with myself, then my husband, and finally our son. It’s been an interesting practice to notice how the experience of painting each one of us changes. For my portrait and my husband’s I worked from life: looking into a mirror for mine and asking my partner to pose for his. One of the challenges of working from life is needing to translate a three-dimensional thing into the two dimensions of a painting.

For my son’s portrait, rather than asking him to pose for hours, I opted to work from a photo instead. While it’s easier – in a way – to work from a photo because the camera does the work of flattening life’s three dimensions into two, it’s also easy to become obsessive about EVERY SINGLE DETAIL. This isn’t necessarily a good thing when painting. Part of painting is learning to discern which details to include and how much to leave out. The longer we stare at our subject, the more we discover. And if we include every little thing, the result will surprisingly look less realistic because of how our eyes and brains perceive what we see in real life. For example, if I paint an area in shadow with the same degree of detail and contrast as a part in the light, something will seem off when we look at the painting. For the spatial effect to work, we actually have to lessen the contrast and level of detail in the shadows.

Another part of what makes painting so interesting and complicated is the making of decisions of how to portray something or someone in a way that reveals an aspect of them and/or of the artist. It is an interesting challenge to make a realistic image that still looks like a painting rather than trying to make it look like a photo, which is more of an exercise in copying.

Portrait close up
detail of my son’s portrait – The large brush mark that appears across the face is from another painting. I made all 3 portraits on top of older work.

There’s also something magical about seeing an image in a painting, and then as you step closer to the work, gradually realizing that the image is just a collection of brush marks. (Have I mentioned that I often get into trouble in museums when I get a little too close to paintings?)

Here’s a collection of images showing the process of making the portrait of my son, from start to finish:

Finished Portrait of Son
Portrait of my son, oil on wood, 12×12 inches

Portrait Work in ProgressPortrait Work in ProgressPortrait Work in ProgressPortrait Work in ProgressPortrait Work in ProgressPortrait Work in ProgressPortrait Work in ProgressPortrait Work in Progress

Painting a Portrait of Tim

This week I made a portrait of my husband Tim. Since I made a self-portrait a couple weeks ago, I decided to make a trio of portraits that include our son too. Below are images of the process of day 1 and day 2. I’m really enjoying painting these at this scale. It was also fun to recreate one of my paintings in the background of this one.

Also this week I came across this photo of Frida Kahlo and Diego Rivera watching a solar eclipse with friends in 1932.

And I learned about about “Andrea Y. Motley Crabtree—the first woman to pass the rigorous U.S. Army test for deep sea diving, a highly specialized aspect of military service,” when I saw this portrait of her at the Met museum.

Changing the plan and chasing beavers

My family had planned to go backpacking last weekend, and I spent the week trying to figure out just the right spot for us: the right distance, difficulty, and weather conditions. A mellow option on Commissary Ridge and up to Mount Mitchell? A strenuous hike over six of the tallest mountains on the East Coast? Or The Seven Sisters, a tough hike near Montreat? By dinner time Friday night, with the predicted weekend weather in the mountains much colder than we’d expected, we decided to cancel our plans and go backpacking at another (warmer) time. Our son is only 11 years old, and while he enjoys backpacking, we want to keep it fun for him. Being out in the elements and cold all weekend didn’t sound like fun.

After all that anticipation though, I was mentally prepared to do something epic. A cycling friend proposed an 80-miler with a big climb on Saturday – perfect! So with some sun and temps in the 50’s and 60’s, a group of us headed out toward Stone Mountain and climbed Oklahoma, a nasty 3-mile long climb with an average grade of 6% and some super steep pitches toward the top. What’s special about this though is that I haven’t had the desire to put in big miles on the bike in a few years. It felt good to want to do that, and although I haven’t put in the on-bike training I would have preferred before a ride like this, I have been doing some long hikes this year. It turns out that the long miles on foot coupled with some short hard rides were enough to be able to complete the 80 miles and feel recovered enough to ride a relaxed 45 miles the next day.

I think what helped a lot was that after over two decades of riding my bike, I have finally learned how to properly fuel up for sustained energy. Marathon training and lots of hiking helped me by learning to rely on more real food rather than “performance” food (bars, gels, and the like).

Sunday was Mother’s Day, and we celebrated with a picnic in one of our favorite spots. We went for a walk afterward and spotted beavers! We stayed for a while spying on them and watching as they silently swam down the creek and made their way over and under fallen logs. They are surprisingly big! On the way out of the woods,  I noticed some interesting shapes, textures, and colors around us, and planned to come back with my sketchbook. There seemed to be lots of possibilities for abstraction.

That evening while our son was playing with his Nerf gun, he shot a dart at one of my 6-foot tall paintings in the living room. I’m happy to say the painting survived.

The next day, sketchbook and watercolors in tow, I set up a little camp chair to make some drawings. I made a few thumbnail sketches and color studies, then watched ducks darting around and geese as they strolled with their little ones.

Relaunching Coaching and Mentoring for Artists

I’m relaunching coaching and mentoring for artists, and I’ve opened up time slots for one-on-one sessions. During these sessions, we’ll work on whatever you feel needs attention: whether that’s feedback on a project, helping you figure out what’s next, getting unstuck and taking steps to establish an art practice you can maintain, how to get your work out in the world, or whatever other art-related things have come up for you.

For those of you who don’t know me, I’m a working artist and I teach art in higher ed. I finished my MFA back in 2004, and after a circuitous route during which I taught art, worked as a guide in adventure travel and taught yoga, I have found ways to raise a family, work a day job, be an outdoor athlete, and keep up my artistic practice. If you want to know more about what I’ve been up to art-wise in the last 20+ years, you can look at my resumé.

If you’re interested in coaching/mentoring, you can book a session here https://jessicasingerman.com/coaching-and-mentoring/

And here is a tiny art installation for Legos because many tiny steps can amount to big things. And also because I love Legos.

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