hannahreimartistca: Ramblings from a SketchbookAfter posting blog ent...

hannahreimartistca: Ramblings from a Sketchbook
After posting blog ent...: Ramblings from a Sketchbook After posting blog entries with the "finished" product, I thought it was a good opportunity to...

Ramblings from a Sketchbook

Ramblings from a Sketchbook

After posting blog entries with the "finished" product, I thought it was a good opportunity to go back in time. I am not a fan of process as I have mentioned on many occasions. Rarely, do I lose myself in the actual task at hand. Yes, that's right. My art is a task, and I am a reluctant taskmaster. In other words... fearful of the final outcome of my hand and heart.

When I thought about the actual pleasure derived from decades of producing art, I reverted to looking through my many sketchbooks. A tribute to the real freedom and outpouring of the artistic construct -without hesitation. Without thought of opinion, judgement and critique of  anyone other than myself (and sometimes my art teacher).

Shockingly good, I thought after turning pages. The earlier the sketch, the more I liked the piece. Does that mean that the less trepidation I was feeling about laying down an image, the better the work? All the knowledge I have gained has coloured (excuse me) my ability to really paint or pot with reckless abandon. Is that a good thing? Who knows. Early work is rarely superior to a mature eye and hand. But tell me. Are not these sketches powerful, emotive and meaningful?

But it's too late. You can't go home. Or back to your initial instinct in art. My head is filled with unabashed fodder- educated and cemented in years of lectures and published how to's. The drive to be free is still there but tempered somewhat. Art education is critical- I always say that deconstruction can only be achieved when the parameters of formality of technique are firmly in place.

Happily, my sketchbooks make me feel successful, talented and confident- momentarily,but I can always go there with these overstuffed, private and dog-eared journals of my travels in art.

Paint What You Know

Watercoloured Water- Watercolour on Paper - Unframed. 22.5"x 15"


When I first began my writing career, the cliche of "write what you know" was my mantra.
So if the subject was foreign to me, I did as much reading and research as the subject dictated. I worked for a financial newspaper initially so the subject was complicated and diverse and not fascinating. But I understood that I could only convey to the reader the information which was integrated in my body of general knowledge.

Needless to say,I became conversant about RRSPs and Stocks- neither of which I had at that time.

Clearly, that has translated into my subject matter when I take out my paper and watercolour paints. I only paint what I understand, what I have touched, smelled, tasted and viewed. Unless I am deconstructing an image, the core of my subject has to feel familiar and comfortable. Not adventurous. I have never painted an airplane, a boat, or a location which I have not seen in person. Is this common to painters? Of course, landscape painters who create en plein air know this precept all too well. The eyes have it. Right?

This painting is the result of a photo I snapped on the crater-filled,un-beach-like shore of Barbados. And yes, it is water and rocks; two aspects of nature which I have inhaled through all my years. I know this scene, visually and in my gut. And now you know it too.

hannahreimartistca: Woodnymph- Sculpture in ClayJust for your edifica...

hannahreimartistca: Woodnymph- Sculpture in Clay
Just for your edifica...: Woodnymph- Sculpture in Clay Just for your edification- This is my mythical creation, part tree, part woman. Grounded in roots that w...

Woodnymph- Sculpture in Clay

Just for your edification- This is my mythical creation, part tree, part woman. Grounded in roots that will be buried. You can't see what is not exposed to the naked eye. Forgive the pun. For most woman, the body is the centre of attention, unfortunately. What is unseen is the structure which holds the person in place. Unwavering, able to withstand harsh winds,pecking birds and a public hachet blow.

For those who just see the body, look at little closer. The strength eminates from the core - often called the soul.

This handbuilt, coiled piece is available for purchase.

$250. Canadian. 14"

When "Untitled" is Appropriate

Untitled- Mixed Media on Gallery Canvas 3'x4'

When I first set out to paint a sizable expressionist abstract piece, I had planned to work instinctively. Most artists know that there should be a modicum of a vision. Otherwise a primate could paint (yes, I know they do). As I choose my palette, I did make some hard decisions. It should have some depth. It should have some lights, some very lights. And then, it should be textured because that's who I am. Textured. Yes, rough parts, soft parts, the dark side, and the exquisite bright. My life in paint mirrors reality. 

Off I go, brushes in hand, fabric, water, paint, an apple beside me, because I think I will eat something at some point. But I never do. Hours go by, I am so covered in medium to make the papers and the fabric adhere to the canvas. My back is hurting as usual. But I never stop to breathe.  And once done, I stand back and glow with pride because I covered a large canvas and it is awesome. For me, anyway. When I show it to my daughter's boyfriend, he asks, "what inspired you?". And the question makes me laugh. (Artists will get this).

So the only question left is the name of the piece. I realize that only the viewer can make that decision. I have made too many decisions creating it. Now it is your call. I call it "Untitled".