ARTisSpectrum Vol. 31, May 2014 - page 32

ARTisSpectrum | Volume 31 |
teven R. Hill
’s dreamy pastel on card landscapes
offer a sensitive appreciation of gorgeous yet
overlooked places. Hill is a master of finding private,
intimate corners even on a mundane city sidewalk.
He frames his spaces tightly, with as little empty
sky or ground as possible. Hill is attracted to urban
and pastoral settings alike, and manages to find the
same sort of peaceful grace in both.
Hill works
en plein air
to better “capture the more
elusive moment-in-time, mood, feel, or essence.”
His pastel work is gentle but amazingly detailed,
with a variety of textures that is difficult to achieve
in the medium. His palette is expertly built out of
many layers of hue to deepen and fully realize the
multiplicity of natural light. Realism and just a hint of
Romanticism combine for Hill’s uniquely nuanced atmospheres.
Steven R. Hill was born in Boise, Idaho and currently lives in Washington State’s San Juan Islands. He spent many years as
an abstract painter, and has exhibited widely on both coasts of the United States. His
plein air
work has won over eighteen
major awards in national and international level juried fine art competitions over the past seven years.
Morning light (Santiam River) Pastel on Card 12” x 19”
Steven R. Hill
merican painter
Susan Marx
calls herself an Abstract
Impressionist. Her paintings are expressive riots of color,
capturing a fleeting moment in time. “Nature is my starting point,
but not my end result,” Marx says. Instead, like her artist inspirations
Vincent Van Gogh, Joan Mitchell and Claude Monet, she seeks to
portray the more abstract facets of nature: the hues, the wind and
light, and the feelings nature inspires.
Marx paints
en plein air
, barefoot, “feeling the grass; I smell the air
and the flowers in front of me.” She prefers to work with acrylics
because this allows her to paint quickly and instinctively. She
describes her artistic process as one of observation and furious
activity, a struggle to capture a moment of inspiration. “I don’t
speak to the canvas; instead the canvas speaks to me.” Marx
describes her brushstrokes as her signature and her paintbrush
as the baton of a symphony conductor. The result is a triumph of
color and composition that Marx hopes will “capture the essence
in my painting, the color and the emotion, and leave the rest to the
viewer’s imagination, to bring him into the painting.”
Florious with Reds Acrylic on Canvas 30” x 24”
Susan Marx
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