DAAG: INTERVIEWS: DIANA BOYD

Interviews

The Directories of American Art Galleries

An Interview with

Diana Boyd

by James Leonard-Amodeo

You've got a studio and a gallery in Jamestown presently. How long have you been there?

I've had my studio in Jamestown for about 8 months now.

Why Jamestown?

Well, I had been painting in a Studio/Gallery in Sonora, California, called the Atelier Soleil. This lasted for nearly two years. It was a great spot, but the rent went sky high! So it was time to move on. I moved back into a studio on my ranch, just outside of Sonora. All went well for a few months, until a fire burned down my entire studio, containing a large collection of my work, equipment, and art materials. In addition, I had been 4 months into working on new paintings for my first big show, which were all lost in the fire. I needed an inexpensive place to start painting again, and in a hurry!! As luck would have it, an artist friend found a space for rent near the center of Jamestown, and called me, and I now share this space with artist, Joy Severin. I soon realized I had missed being in the "hub" of the artist community we have here in Tuolumne County. Jamestown turned out to be a nice, peaceful location, with quite a bit of tourism, as well as artists.

You shared the Atelier Soleil with Leslie Hurst, I think, right?

Yes that is correct.

That fire must have been quite a blow to your career, especially that you lost almost everything! Have you succeeded in re-establishing yourself since the fire?

Yes. I'd say I am back to full speed and career growth since my fire. I was lucky enough to already have a big show in place, which I was painting for, so I was very focused during the next 4 months, recapturing lost time. The show was held at the Sonora Arts Center last August, with craft furniture maker, John Hongola. I think I offered them a total of 50 new pieces! And since the show I have been picked up by new galleries.

Are you originally from Jamestown?

No, I am originally from the Bay Area. But I also lived for 20 years in San Diego, CA, before moving to Tuolumne County.

Were you painting in San Diego?

Yes, a few years before I moved to Tuolumne County I began taking part-time watercolor classes at Mesa College. I did my painting "homework" on the kitchen table, while the kids were at school. As I gained confidence, I entered two of my pieces in San Diego's Del Mar Fair. One won Best of Show, and the other sold to a Bank in Encinitas. I then became a member of the San Diego Watercolor Society, and showed my work in their juried gallery. My painting time was rather sporadic, but I was enjoying it thoroughly.

Why the move to Tuolumne County?

As a child, my family owned a vacation cabin in Sugar Pine, and we did a lot of skiing at Dodge Ridge. In the early 80's when I had moved to San Diego, my folks bought a large ranch in Tuolumne County, which I later spent many wonderful years visiting with my young children. I just fell in love with the area. My heart has always seemed at home on this ranch, and in the surrounding community of Sonora. San Diego was getting to be more and more crowded, as well as violent, where we lived. Both my husband and I decided if he could telecommute to keep his job in La Jolla, we would opt for less income, as he would have to work less than full time, but enjoy a better quality of life. So we made the move about five years ago, and have NEVER regretted it.

How long have you been painting?

I have been painting since childhood. My mother saw an artistic flair in me, and signed me up for watercolor classes at the local recreation center. I was 8 years old then, and in the company of mostly senior citizens in this class. With a lot of help from the instructor, I was rather successful, and carried this confidence in my art ability throughout my school years. But after college, disheartened by lack of income, I became a hairdresser for many years, and then a stay at home mom, for my three children. Painting was put on the back burner for many years. When my youngest son was 2 years old, I began taking painting classes at night. It didn't take long to fall in love all over again with painting.

Where did you study painting?

Answer: Even though I studied art at Humboldt State, in the mid 1970's, I was mostly involved in ceramic sculpture and hand building, as opposed to throwing on the wheel. Painting was something I did on my own. It wasn't until I was an adult, taking classes at Mira Mar College, and Mesa College, in San Diego, that the spark for painting really ignited.

Is there any particular reason why you chose a career in the fine arts?

I have always felt a calling to the arts. It has always been my passion, and as I have grown older, pursuing my true passion seems a rather logical path to happiness and confidence. With instruction, feed back, and friendships with other artists, my choice could not have been more perfect for me.

In what medium do you paint?

Like many artists, I enjoy all different kinds of mediums. I am exclusively an oil painter at present, but have worked many years in watercolor and acrylic.

Do you paint full-time?

The term "full-time" really doesn't apply to artists, in my opinion. But to be fair to your question, I paint almost every day between 4 and 10 hours at a stretch. In some terms, this might be considered, "over time!" I also take care of my large ranch property with its over abundance of flora and fauna. My husband and I are also building our own "strawbale" house and, of course, I am a full-time mother and wife. It's a wonderful life!

Painting 4 and 10 hours a day is certainly full-time. Are you painting so much because there is a demand?

Sometimes there is great demand! Galleries like to have fresh paintings fairly often. And there are also many "theme" based shows I am invited to attend that have deadlines. But even with all that, I think I would paint this much anyway. Whether or not pieces sell or are appreciated, I have an inner sense of purpose and curiosity. Some people climb Mount Everest, or run marathons. I paint and paint, exploring the potential of a chosen medium, as well as my own personal growth and expression.

Was anyone in your family an artist?

No one in my family is a painter, but we do have artists. My great grandmother was a concert pianist, and my father was an engineer who plays drums in a jazz band.

Oh! So there is a considerable amount of talent in your family. Are any of your children in the arts?

Answer: My children are all musically inclined and trained in piano, guitar, bass guitar and drums. They have had their own bands. My daughter exhibits the most interest in visual arts. She is a wonderful ceramic artist, and quite talented in drawing.

Can you tell us a bit about your approach to colors?

I would have to say I have sort of a "reactive" approach to color, as I do not usually have a special palette that I use on every painting. I call it "reactive" because I like to react to my subject matter, pulling out color I see within the subject, and then work out the balance as I go. Most times, my greatest joy, as well as my worst pain, is playing with this balance. There is probably a more logical way to approach painting, but I enjoy experimenting so much more than using a formula. That being said, thank god for the knowledge of said "formulas!"

Sometimes, in a "pinch", where I have worn out my ideas, but hate to give up on a decent painting, a formula solution can be just the ticket! The basic knowledge of light against dark, warm against cool, is cornerstone. And I love to use a warm under-painting to hold things together.

Can you give us some ideas of the formulas you use?

I'm not sure I have enough experience to say I have true "formulas" in oil painting. I am still exploring all kinds of mixes since I am still experimenting with a wide variety of different colors. I do think a strong dark is necessary to know how to make, and I mix that with Ultramarine Blue, Transparent Orange, a cool green, like Viridian, and Alizarin Crimson. It is strong, clear, and not cold or dull.

Do you have a particular way of laying out colors on a palette?

It seems I have taken to a pattern of dark and cool colors, at top left, down thru warm reds to yellows, middle and bottom left. I group same color families together, with my white all by her self, and plenty of palette space on the right, to mix in.

Is there any particular reason for this layout?

I suppose the main point is to keep my cool and warm, dark and light colors separated, so they don't pollute one another. This is even more important regarding any "opaque" colors. Since I am a fast painter, I tend to slosh the paint around and can run into "muddy" color unintentionally, which can bring down the "life" in a painting. The bigger the palette space, for mixing, the better, so I don't have as many problems, given my style of painting. Also, once the palette is getting crowded with color mixes, I try to remember to clean the whole space up and then continue with my painting. This means getting out the straight edge razor and scraping up all my puddles of mixed paint, scraping around my original piles of color, or removing them if they are too tainted, and then quickly wiping down the mixing area with a rag dipped in turpinoid. Then I reapply any missing colors, and refresh my turp pots. There is a small one on my palette that is just for clean mixing and one very large one on my easel that my dirty brushes sit in, hoping for another turn. It can be difficult to stop midstream to scrape down and refill, but my experience has led me to understand the importance of clean color and clean mediums. I also use many brushes to keep colors fresh.

What are your favorite paint brands?

Gamblin and Holbein Oil paint are my favorites but Utrecht White is my exclusive white. I like its texture, and resistance, as well as its strong, clean white color. Gamblin has good pigment content and is not runny, plus it comes in large tubes!! Holbein has some wonderful blends that are so fresh and fun, just directly out of the tube. They can be a time saver of sorts at times. I am working on trying just about every color these companies make, slowly but surely. I had a "mean" rush of experimenting with different reds; now I am working through some new blues, always in search of the perfect color for different skies. As far as Acrylic paint, I am a "Golden" brand fan, especially their mediums, and for water color, I use Windsor-Newton.

Some painters almost meditate before approaching their easel. Others do it whenever they're "in the mood" to paint. Do you have any particular mental attitude before approaching your easel? Is there a sort of preparatory phase you go through?

Ah yes, and this is very personal. I believe we all have a strong connection to what came before and what will pass, and so I do put out words of knowledge of these spirits' presence, thanking them and inviting their input and company. I know this sounds weird. But many times I am sure, in my self, that there are certain "past artists" that have spent time with me, influencing my work or even playing games with my brush! I am not dependent on them, but merely incorporate what they have shared. I stretch, light incense and play very up beat techno, or hard rock to get me up and going. My favorite situation is a big headset and a favorite c.d. in my belted c.d. player that I can crank way up and block out all other input besides my impulses to my painting.

That's a very unique approach. When you speak of "spirits" playing with your brush, you mean like, Van Gogh and Monet, Rembrandt, Leonardo?

Yes, but there are some that I am not familiar with. This may be just a game I play in my head, feeling the immense power and history of painters and art, as I approach my easel. But connecting with a pool of higher consciousness rounds out my experience and existence as an artist, and I am also very careful to thank one and all for my growth and my blessings.

Have you ever had a painter's "block"?

Any time I have a painters "block" which, for me, is more like I paint QUITE A FEW "duds" in a row, I keep painting through it. This is usually a hint that I want and need to explore and experiment. I also fuss and bemoan it, but I don't give up. Also, I refresh my eyes and soul with other artist's work and vision. I remember that I share this problem with some of the very best artists, and it is only a phase, that can be treated, for me, by taking action, not waiting it out. Paint, Paint, Paint!

Do you have a disciplined work habit or do you paint whenever time allows?

My husband observes I paint in "jags." Long and intense periods of focused work, which can go on for weeks of 10-hour days, followed by downtime, where I catch up on my family, house-work and garden. I have been known to spend the first half of the day, working on building our house, and then going to the studio to paint long into the night. I have an intense connection to my ranch and my animals. I feel as unbalanced not participating in life with my family, here at the ranch, as I do not painting. It is a glorious conundrum. I try to follow the needs of my heart.

How many hours do you spend on one painting?

An 8"x10" is hopefully no more than an hour. Over working a piece is my bane, so I even have a timer on my easel when I feel I'm getting too "left brain" about my work. My work has a signature style of being, on its best days, loose and quick; simple rough strokes that convey form as well as essence. Like all artists, I admit to days of having two paintings on one canvas or worse, and needing time--and mostly "guts"--to decide what to keep or remove. These things take more time. A good day on a 16"x 20 " is less than 3 hours, but the truth is, this time function is not relevant.

So, what you're saying is that a painting will take the time that it takes.

Yes. I don't feel a lot of time spent on a painting makes it better, or more valuable. Usually, when a painting takes a lot of time, for me, it means I may have started on the wrong foot, and am fighting it, or have put it aside for too long, and am having trouble rekindling the interest in the piece that I once had. Insecurity can affect judgment and lead to overworking a painting, leading to more time correcting it, which at times has proved worthwhile. But lately I am prone to casting away paintings that aren't working, sooner than later, and starting fresh once again. I'm impatient!

How many paintings per week do you produce?

Oh, that's a very good question, and hard to judge. I LOVE to start paintings so I can have several around the studio, all started well, but if I am not able to finish a painting in one time frame--"alla prima", which is my preference--these paintings can spend a lot of time on the floor, while I decide if I shall continue them or commit them to oblivion with a coat of gesso. I usually paint on at least two different pieces within a four-hour period, but I have also been known to do ten - 8"x 10" paintings in one day, possibly due in part to the feeling that I am on a roll, and also, to engrain what I am learning as I paint.

What galleries are you in currently?

The 11th St. Gallery

corner of 11th and J St. Modesto, CA.

Sharon's Custom Framing and Fine Art

9 Bradford St. Suite D, above the Vault, Sonora, CA

Pinecrest Art Gallery

Pinecrest Lake Resort, CA

Artist Camp Gallery

260 A, S. Main St., Angels Camp, CA

Jamestown Olive Oil Company

Main St., Jamestown, CA

Gazebo Gallery and Art Studio

18212 Main St. Suite "F", Jamestown, CA

("Gazebo" is my own studio and gallery; Works in progress.)

Any plans for the future?

Yes, I plan to get my art out to larger cities, start teaching painting classes, and convince my website designer to finish my website!

Diana's website: www.dianaboyd.com

"Local buddies": Diana Boyd with Kristine Amodeo.

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