“Why is it that looking at old photos, the older they are, the younger you look?” laughs Janis Sanders when talking about creating new work. The relationship between painting and photography is tight—the more unique the artwork, the older the artist, and the more experience and skill we see come through in paint. “The common… Read more »
“In my new process, the doors opened to experimentation with new colors, new color mixes, new color combinations, and bold, unusual perspectives,” shares artist Janis Sanders. “Daring. I was daring myself, daring the paint.”
“I begin each painting with the sky; to me, the most important element,” says Sanders. “The sky is light. We are immersed in it. It’s the key to determining the entire atmosphere of the painting. Visually and practically, it provides the backdrop for the other objects in view,” says Sanders. “I paint those blue skies, each new and fresh from the gut.”
“As I continue exploring what I can do with acrylics and collage, I’ve expanded my materials to include found papers, posters, maps, flyers, brochures, adverts, birthday cards, fortune cookies, and other found, saved, and collected papers,” shares artist Ryan Kohler. “You name it.”
“The process and results are a bit like palette knife marks, except I have much more control, and if I don’t like the piece I’ve just added to the painting, I simply remove it,” shares Kohler. “I have a window of time before the glue permanently adheres the paper to the canvas, and even if I am beyond that window, I still have the option to continue gluing more paper to cover up any mistakes I’ve made. “
Each component added is like a revelation, revealing something that wasn’t as defined as before—the hull of a boat, a bird’s wing, the shadow’s edge. Sometimes I walk back and forth from my easel after each piece, carefully observing how the painting changes from a distance.
The result of this work is similar to palette knife oil paintings. Parallel with distinct planes of color and various shapes layered over each other. For Kohler, the paper’s advantage is the workability, clarity of color, and the ability to work in small areas without the risk of the muddiness that can sometimes come with an oil painting.
“These enormous and heavy snail shells, called moon snails, collect in specific places on the beach. I love their sun-bleached exteriors juxtaposed with their deep, darkly colored interiors,” shares Granter. “However, be careful picking them up. Hermit crabs also love to make their homes inside.”
Over the years, Granter’s need for change continues throughout her career as an artist. She explores from the love of her bird to turning an ordinary buoy into a work of art. She shares her childhood hatred of being on the water but the love being near it with each piece she creates, no matter the subject.
“A walk on the beach is different from a walk anywhere else. The sky is big at the beach. I love to see what is coming, approaching fog banks, contrails of planes arriving from the Atlantic, or mad flocks of gannets diving for fish,” says Granter. “As a painter, I am torn between looking down at the random compositions of the snarled seaweed, driftwood, and shells in the wrack line and looking up at the surf and skies for birds and clouds.”