2019 – Hudson River Valley Art Workshops

Five Questions for Pat Pauly

December 19, 2019

With works that carry a graphic, color-saturated palette using her hand printed fabric, Pat Pauly’s fiber art is seen around the world. Her textile work began in the early 1980s and was first accepted in Quilt National ’83, and has continued being shown in major exhibitions. Her fiber art’s distinction is with using a strong abstraction of natural forms and complex color combinations.

Pat joins us next summer for her ‘Glorious Prints’ workshop from July 26th-August 1st in which you’ll discover glorious ways to print on fabric using permanent textile dyes. With Pat’s techniques for applying color from scrapers to rollers to print methods, this class layers techniques on fabric that becomes one-of-a-kind. Starting with simple layers, then add on a variety of printing techniques making fabric that contains bold, graphic elements.

Q: How did you first begin creating art with the medium(s) you’ll be using in your workshop?

PP: I chanced to take a class in printmaking and after screening on paper, tried cloth. Intrigued with the result, I used it to make a quilt, then another using the printed fabric. These were successful, and I continued to make quilts after my initial printed fabric works. I made quite a few and was exhibiting them before I ever took a formal quilting class.

Q: What are your biggest challenges to creating art and how do you deal with them?

PP: Time continues to be the greatest obstacle for making work. Each piece is in itself a time-consuming endeavor, and just having a block of time to work on a piece has difficulties. I try to ignore the administrative side of my job and focus on the morning for studio work.

Q: How has teaching impacted your personal art practice?

PP: Often, students worry that I will take away the ideas they generate in class. Somehow that has not interested me, but I will do some demonstrations that are quick and free flowing. I’ve learned so much from these demo pieces and the style has worked its way back into my studio practice. I hear my admonishing to “work quickly, think less” in my head, almost as if I were guiding myself instead of my students. So, that voice helps me to! My approach to my art is to encourage students to work large, to take in composition. And I bring my finished work as examples. That seems to inspire the class work. And I’ve become more at ease with my work, and more at ease in sharing techniques for how to compose and build the work.

Q: What advice has influenced you?

PP: A colleague suggested that I continue to use fabrics that are commercial as well as artist-made. Though I’ve been using exclusively artist made fabric, I do pay attention to using uncommon pairings. Composing with conflicting patterns are enjoyable.

Q: What’s one tip you have or trick you use for keeping your studio space organized?

PP: Who said it was organized? I do clear the deck after a large project, but that is because I need the space to square the work and add the finishing. But that said, most of my materials are stored in clear containers. If I can’t see the parts, they don’t exist.

Five Questions For David R. Smith

December 17, 2019

Joining us for the first time this year is watercolor painter David R. Smith! David will be teaching his ‘Watercolor Journey’ workshop with us from July 12-18, 2020. He began his artistic journey studying Chinese Brush Painting in the United States and China. A decade later, he was introduced to Western style watercolor painting and was amazed at how enjoyable and forgiving it was compared to working on rice paper. Ever since, he has been hooked on watercolor painting, and has become a popular artist and instructor nationally, as well as a sought-after juror.

With over 20 years of experience as a public school teacher, David is skilled at breaking down complex concepts and skills into easily learned chunks to help students find success. As much as he loves to paint, he has found sharing his watercolor passion through instruction even more gratifying.

Q: How does your personal art practice fit into your life?

DS: Presently, I have a pretty busy teaching schedule, which has it’s unique scheduling challenges, and have little time in my personal studio. Since I’m traveling a lot, I try to work on my drawing and compositional skills while on the road in a sketch book or with different iPad apps. Though I miss my studio time, I love exploring the world, meeting new people, and sharing my passion for watercolor. When I do have a block of time that I can be in the studio, I make a priority list and find time to develop my skills through study and play.

Q: What are some of your favorite tools for creating your work?

DS: One of my favorite tools is the spray bottle. I love to spatter water periodically while painting to keep things loose and to help create the unique textures and interminglings of color that are unique to watercolor. Some other unique tools that one might find helpful are; a White Pastel Pencil – great for drawing on your painting, Packing Tape – great for masking large areas of white paper, and Fritch Scrubbers – great for lifting or softening edges.

Q: How has your work evolved over time?

DS: I’ve titled my web page The Watercolor Journey as I’m still very hungry to learn and develop my skills. All my paintings that have earned international awards and recognition have been completed using a process of preserving the whites of the paper with masking and then layering glazes of colors to develop my values. I love the end result, but actually prefer a more spontaneous approach to painting. Therefore, though I still incorporate the masking approach, more of my paintings are being developed with a more direct approach one might use when painting plein air.

Q: Do you work on multiple pieces concurrently or focus on exclusively one at a time?

DS: How many paintings I work on depends on the result I’m after and how complicated the pieces are. When preparing for a workshop, I typically have one or two going at a time. I allow one painting to dry as I begin the next stage of the second. However, if I want to develop a complicated painting that might be incorporated into an international exhibition, I typically put my undivided attention into that one piece.

Q: Tell us a bit about how you plan to conduct your workshop.

DS: When I plan my workshops, I think “What would I want to learn if I were a participant?” I then develop a series of paintings, along with reference photos, drawing guides, and outlines, that I feel will introduce folks to the most valuable painting approaches and techniques, given the time that we are provided.

Five Questions for Desmond O’Hagan

December 5, 2019

From June 27-July 1, 2020 we’ll be welcoming new-to-us artist and instructor Desmond O’Hagan into our studio to teach his 3-day workshop on Advancing Your Pastel and Oil Painting Techniques.

Desmond was born in Wiesbaden, Germany and was raised in the United States. He enjoys working in a variety of media, but his primary focus is pastels and oils. Constantly challenging himself has translated into a fulfilling career in fine art encompassing several one-man shows and participation in group exhibitions in the United States, Japan, China, and France. He is a Master Pastelist with the Pastel Society of America and is listed in Who’s Who in American Art. O’Hagan has won several awards at the Pastel Society of America’s annual shows in New York City. He has also won the George Innes, Jr. Memorial Award from the Salmagundi Club. At the 1999 International Association of Pastel Societies Exhibition held in Albuquerque, New Mexico, O’Hagan was awarded the Prix’d Pastel Award (Best of Show). In May of 2005, he was inducted into the IAPS “Masters Circle”.

If you’d like to learn more about Desmond, we highly recommend watching this great video profile about his work with pastels here. Additionally, we asked Desmond a few questions about his work and teaching – so read on below.

Q: How did you first begin creating art with the medium(s) you’ll be using in your workshop?

DO: As a teenager, I experimented with oils but not very seriously, even though I had been drawing from an early age. When I was in art college, I tried pastels in an illustration class and enjoyed them. After four years as a graphic designer working at an advertising agency, I returned to both media with a more focused interest.

Q: What is your most unexpected source of inspiration?

DO: Subtle and somewhat overlooked effects of light have always intrigued me. With some experimenting in color and technique, these effects have great potential for paintings.

Q: What are your biggest challenges to creating art and how do you deal with them?

DO: One of the greatest challenges is to find unique subjects to paint. It is important to be as creative with your subject matter as you are with your painting technique.

Q: How has teaching impacted your personal art practice? And vice versa, how does your approach to your personal art impact your teaching style?

DO: One advantage of teaching is you are constantly analyzing and verbalizing your painting approach and technique. If something doesn’t work as well as before, you’re immediately aware and able to adjust. I approach my personal art with an open mind to subject matter, color, technique, tools, and a mindfulness of how other artists can positively influence me. I strive for a similar openness and sharing of knowledge when teaching.

Q: What advice has influenced you?

DO: When I first started painting professionally, an older artist mentioned how important it is to be constantly painting. Everything else in the career, although necessary, came in a distant second.

Five Questions for Kim Johnson Nechtman

December 3, 2019

We’re looking forward to welcoming new-to-us watercolor instructor Kim Johnson Nechtman to the studio next year with her Portraits and Animals workshop from June 7-13.

Kim discovered her love for the creative process at a young age. On the advice of family and friends concerned that she have a ‘real career’, Kim completed her degree in psychology before pursuing her real passion – watercolor. Kim’s workshops on human and animal experiences bring the thrill of throwing, dropping, and pushing paints until the subjects emerge from the paper. She believes that every painting is a learning experience and, in the need to be patient through the experience. Her ease as an instructor encourages you to experiment and take on new challenges.

To get to know her a little better in advance of her workshop, we asked Kim a few questions about her personal art practice, approach to workshops, and creativity in general.

Q: How did you first begin creating art with the medium(s) you’ll be using in your workshop?

KJN: This has always been my preferred medium. I’ve painted with watercolor since high school, but it wasn’t until I was in my early 30’s that I became serious about the medium when I started taking classes at Scottsdale Artists’ School as a pastime. But, the more I painted the better I became, the more interested I was in becoming proficient in watercolor.

Q: What is your most unexpected source of inspiration?

KJN: I always thought I was inspired by a particular subject matter, but my unexpected source of inspiration is light and shadow. The way they describe a subject, and how those lights and shadows define lost and found shapes; I can lose myself in them.

Q: What are your biggest challenges to creating art and how do you deal with them?

KJN: My biggest challenges are staying loose and not putting too much information in a painting. I deal with these issues by pretending I’m painting in front of an audience. Funny thing, I seem to paint more loosely and with more freedom when I’m in front of an audience than I do by myself!

Q: What advice has influenced you?

KJN: The best advice I’ve received is to paint what I want, what inspires me, whatever moves me to paint, and to just paint.

Q: What’s one tip you have or trick you use for keeping your studio space organized?

KJN: That’s a good one! Have people to your studio on a regular basis! This always makes me clean up my space!

What’s New with Quilt Artist Paula Nadelstern

November 21, 2019

Bronx-based quilt artist Paula Nadelstern returns to our studio in 2020 with her Kaleidoscopes and Quilts workshop from April 19th-25th. As part of our Instructor Interview series for next year, we asked Paula to let us know what’s new in her world!

Q: Tell us what’s new in your personal art practice!

PN: In 2018, I received a Bronx Recognizes Its Own award and used the funds to purchase a Bernina 750 so I could finally begin the journey toward successfully machine piecing. Wish me luck.

I’ve got three new collections premiering at 2019 Quilt Market: Where in the World, Artful Snowflake and an enlarged group of Marbellas. I’ve been enjoying creating simple quilts with these complex fabrics, inspired by the pattern bumping into pattern lessons learned making KALEIDOSCOPIC XLI: The Prague Spanish Synagogue Ceiling. These collections will be available in the studio.

In December, I’ll start KALEIDOSCOPIC XLIII exploring a new-to-me mirror system in a lovely Japanese kaleidoscope in my collection. Perhaps I’ll be able to share some new design directions by the class.

*Tentatively called KALEIDOSCOPIC XLII: Wheelhouse Rock, it was made over two summers for my professional guild’s exhibition of each member’s signsture style called 40×40@40.*

Q: What will be new or different about your workshop this year?

PN: We’ll begin by focusing on technique, learning to detangle angles. This will lead to unique compositions and lay-outs, If students who have been in class before (or even those who haven’t) want to contact me in advance, we can talk about the direction you’d like to take this year.

What’s New with Art Quilter David Taylor

November 7, 2019

This year we’ve asked some of our returning instructors to let us know what’s new with them! Are they conducting new workshops? Are they working on a brand new collection in their personal creative practice? First up is art quilter David Taylor, who had some very exciting news to share with us!

Q: Tell us what’s new in your personal art practice!

DT: I am thrilled to be working on my next major exhibit in Colorado for 2020 – a retrospective of my 20 years of quilt making. As I sell all of my works, there is a massive coordination effort to bring the quilts together. All of my time off the road teaching is concentrated on the exhibit. I am working with two venues – the Rocky Mountain Quilt Museum in Golden and the Steamboat Art Museum in my ‘hometown’ of Steamboat Springs. The first exhibit space will open in January at RMQM and run concurrent with the museum’s biannual mens exhibit. My portion with then be packed up and transferred up to Steamboat in May and hang through Labor Day.

I am also back in the studio working on some new pieces that are confidential and will make their public debuts in 2020. “Sorry, no peeking.”

Q: What will be new or different about your workshop this year?

DT: There’s an old adage: do one thing and do it well. My workshop has not changed during my decade of teaching. I must be doing something right, as roughly half of my students during each session are repeats. As each class participant is working on their own unique image, every class presents a new challenge and a new opportunity to explore fabric.

David will be teaching his Artistry Through Applique workshop with us from May 10-16, 2020 and yes, we still have spots available! You can learn more here.

Five Questions for Kimberly Kelly Santini

October 30, 2019

We’re pleased to be kicking off our 2020 Instructor Interview series with new-to-us artist Kimberly Kelly Santini. Kimberly is an acrylic painter internationally renowned for her color sensibilities, decades of commitment to daily painting, and expressive brushwork. She has over 1000 pet portraits in private collections around the world, created imagery for the American Kennel Club, and was the official artist of the 2015 Kentucky Derby, among other honors.

Kimberly’s Fresh Color & Brushwork workshop will run from March 15-21, 2020 and we still have spots available! Learn more about Kimberly’s workshop here.

Q: How does your personal art practice fit into your life?

KKS: I’ve been a daily painter since 2006, and try to actively create at least 5 days a week. I am also doing marketing/social media/computer tasks every single day, so I guess it’s safe to say that my life evolves and unfolds around creating. Thankfully, technology makes it easier to take tasks on the road, so I’m not restricted to having to work from the studio exclusively, but I am working pretty much every day.

Q: What are some of your favorite tools for creating your work?

KKS: I absolutely love my acrylic paints, and have gotten a bit obsessed with pushing their properties with a variety of mediums and tools. I also love to experiment and try new things out – I’m not afraid to mix them with my paint processes and see what happens. Right now I’m thoroughly enjoying the addition of water soluble graphite to my paintings – it allows me to build up lines in a totally unique way.

Q: How has your work evolved over time?

KKS: I’ve evolved from a photo realist (as a teenager), to color field and graphic centric imagery (college), tried my hand at installations (post-graduate), and returned to representational painting. In 2000 I began painting pet portraits with expressive color; these paintings grew looser and embraced gestural mark making as the years progressed. Within the past few years, I explored still life, florals, figurative and symbolic work, as I found my way to a current series of abstractions that are about dreams and that point where lucidity ends and our imagination begins to gel.

Q: What’s the biggest “risk” you’ve taken in your journey as an artist?

KKS: Most likely my biggest risk was committing to a daily painting practice in 2006. At that time I had three children at home (5, 8 and 11) and my husband worked long hours 6 days a week. Learning to juggle family needs while also preserving my own creation time was a big challenge. Ultimately, it served me in so many ways. I learned that on those days when I simply couldn’t make it to the easel, it was ok to fail (and my kids saw that happen, and learned from it too); what mattered was my desire to succeed and the honest effort put into the practice. The daily hours spent at my easel added up over the years, and I’ve gotten my 10,000 miles in so to speak – I’ve greatly improved my drawing skills, learned my paints’ properties inside and out, created well over 2300 paintings (not all of them good, mind you, but I showed up!), and built a community around my business. Additionally, from a business standpoint, the daily painting practice gave me a platform from which to blog regularly and build a social media presence which serves me well to this day. And with respect to life, I demonstrated by example to my kids/their friends the value of embracing a creative lifestyle and what that returns to one’s self and one’s community.

Q: Tell us a bit about how you plan to conduct your workshop.

KKS: My workshops revolve around a presentation of an idea, perhaps a quick demo, followed by an exercise. Exercises are grouped around a particular concept – like loosening your brushwork – so that the learning happens in modules. While students are creating, I circulate, continue to talk, provide feedback and answer questions. We have many show and tells, where students share their exercise paintings or what they were surprised to learn. I also like to do one longer demonstration painting so that participants have a visual of the entire process, start to finish. The final day or a large chunk of the final day is focused on students’ pursuing their own piece while utilizing the methods and approaches learned. My goal is to allow them active time to practice what they have learned on their own subject/style while they still have easy access to me in the classroom.

Workshop Report: Painterly Landscapes & Portraits with Alain Picard

April 17, 2019

Pastel and oil painter Alain Picard joined us for the first time in April 2019 for a wonderful workshop on landscapes and portraits. Here’s what his student’s had to say;

“Such a pleasant person to learn from and be around. Very giving of his time, energy, and talent. Lots of individual attention for all levels. He worked very hard all week and was such fun to be with all that time. I am so glad that I attended and it helped all aspects of my art.”

“I thought Alain was a fantastic instructor who was able to both instruct the whole group as well as offer individualized and personalize instruction.”

“Alain is a wonderful teacher. He gave clear & interesting examples & instructions & answered all our questions. His Demos were great! He was pleasant & very helpful always. I hope he returns to give more workshops in future. Especially plein air & portraits.”

“Pastels were new to me, and I feel that I have a very good foundation for continuing my exploration of this medium. The workshop also highlighted areas that I need to work on for all art mediums (watercolor, oil, and pastel), and I received much individual attention in these areas. I never felt ‘left behind’. Alain expanded all of us wonderfully.”

Workshop Report: True Colors with Kellee Wynne Conrad

April 11, 2019

Our first workshop of 2019 couldn’t have been more fun! Maryland-based artist Kellee Wynne Conrad joined us for the first time for an acrylics and mixed media workshop. Here’s what her students had to say;

“The workshop exceeded my expectations. Kellee was like a breath of fresh air, filled with ideas, creativity, encouragement and personalized teaching for each person as well as twice daily group instruction. She is a really fine teacher.”

“This workshop was everything I hoped for and more. I felt so well taken care of and all my favorite things were available in one place – studio time, amazing food, cookies, and coffee!!

“Kellee was a great teacher. I learned new techniques that a will be use in my futures works.“

“The workshop was a good mix of excellent instruction and and freedom to create in a moat nurturing atmosphere.”

Three Questions for Susan Brubaker Knapp

January 23, 2019

Returning in 2019 is fiber artist, author, and teacher Susan Brubaker Knapp. In 2014, she became the host of “Quilting Arts TV,” which is shown on more than 400 public television stations across the U.S. She loves traditional hand quilting and needle-turn appliqué, but embraces innovative machine techniques in her art quilts. This year, Susan will be teaching how to recreate your original photos as pieces of fiber art in her 5-day workshop from November 10-16, 2019.

Q: How does your personal art practice fit into your life? Do you work on it every day? Block off certain time periods for it?

SBK: I juggle a lot of things, so I work when I can. Sometimes that is 15 minutes a day, and sometimes it is all day. I have periods where I am very productive, and periods where I am not. When my children were very little, I learned to grab time where I could. It’s a mistake to think that you need big blocks of time to accomplish things. Those 15-minute blocks add up. My studio is a small-ish room in our house that used to be a guest bedroom, so I don’t waste any time getting to my workspace, and I can (and do!) work in the middle of the night, in my pajamas.

Q: How do you approach critiques in your workshops?

SBK: I don’t do formal critiques during my workshops, unless students request them. I do provide constant feedback during class, though. Between demonstrations, I circulate through the classroom and talk with every student, making observations, offering constructive criticism, and helping guide the student to realizations about her or his work. I don’t believe it is my role to teach my students how to make work that looks like mine. I want their voice to shine through. So I try to help students figure out what they like or don’t like about their work, and either build on that or change it.

I’m not a “it’s my way or the highway” kind of teacher. I’ve taken classes from a few of those kinds of teachers, and I didn’t like it. I want my students to try new things, and to learn, but I also want them to have fun and feel a sense of joy as they work.

Q: How has your work evolved over time?

SBK: I’ve refined my processes and techniques since I started making art quilts, about 2006. I focus now mostly on wholecloth painting and fusible applique. I do sometimes dabble in other techniques, usually on smaller pieces, because I think it is good to experiment and wander off the path sometimes. My work is nearly realistic, and I think it will stay that way.

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Learn more about Susan’s workshop on our website.

Three Questions for Michael Solovyev

January 16, 2019

Another new-to-us instructor for 2019 is Montreal-based Michael Solovyev. Joy and reverence are evident in everything he produces, perhaps especially in the deep play of light and shadow. He experiments continuously, challenging himself with a wide range of styles, techniques and media. Michael’s 5-day workshop will run from June 30-July 6, 2019 and still has spots available!

Q: How did you first begin creating art with the medium(s) you’ll be using in your workshop?

MS: I started paint by watercolor when I was five years old. What is interesting, my first watercolor is safe!!

Q: Tell us about your process from idea to finished piece.

MS: I focus on the light. For me, the main thing is to catch the light, not the objects. Building the right balance is the main task. Therefore, in watercolor, I always move from light areas, gradually picking up the tone. And, of course, in no case can you lose transparency!

Q: Tell us a bit about how you plan to conduct your workshop. Will it be more structured with specific tasks for students or will be it be more free form with students exploring their own work with your guidance?

MS: I am very flexible in teaching. Depending on the level of students, I will select exactly those exercises that will help them. I do my best to make my workshops as close as possible to private lessons. Each student receives a large amount of personal attention and help.

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Learn more about Michael’s workshop on our website.

Three Questions for Maria Shell

January 9, 2019

Joining us for the first time this year is Alaska-based fiber artist Maria Shell. Maria’s work is grounded in the tradition and craft of American quilt making. She strives to take the classical components of a traditional bed quilt and manipulate them with the hope of creating surprising combinations of pattern, repetition, and color for the viewer. In her October 20-26, 2019 workshop you’ll use solid colored quilters cottons and learn how to stitch an assortment of pieced prints including stripes, chevrons, polka dots, herringbones, circles and curves.

Q: How did you first begin creating art with the medium(s) you’ll be using in your workshop?

MS: I started sewing when I was four, but never thought of it as a career path. When we moved to Valdez, Alaska in 2000. I took my first quilt class, and it really was this sort of explosive experience for me–I could not stop making quilts. Almost 20 years later and I am still piecing quilts. I wake up every day thankful I have found my passion and that I actually get to work as a professional quilt maker, teacher, and writer.

Q: Tell us about your process from idea to finished piece.

MS: I like to work on several pieces at once. I think of myself as bit maker. I create dozens of “bits”–which are really small pieced units that I then put on my design wall and move around. I often sketch out my ideas with black ink on paper. I know that if I can get a good graphic image on paper that I can often translate that design to a colorful pieced composition. I have spent a lot time exploring traditional American patchwork blocks as the foundation/structure for my compositions. Once the composition is completed, I quilt it on my long arm quilting machine.

MS: I like to do a formal lecture at the beginning of each day which usually includes technical information and an assignment as well as ideas about being an artist and cultivating your voice. From there, I move around the room visiting with each student one on one. My hope is to meet each student where they are in their path and empower them to move forward. At the end of the week, we will do a sharing as well as individual private student lead meetings where the student is free to ask for help with whatever matters to them most–a critique, a discussion about showing work, how to create a schedule to get in the studio everyday are all common topics–whatever they would like to talk about is what we discuss. My hope is always to meet the student where they are and move forward together on a positive creative journey.

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Learn more about Maria’s workshop on our website.