Local Artist Residency - Helen Greenberg

Thank you so much for sharing your work with us here at Local! It seems like your work has immediately struck a chord with our community as we're noticing customers are getting really up-close to the work and asking lots of questions.

Some of the questions revolve around the texture of the work. How did you discover and select this particular type of paper and paint?

I have been a traditional watercolor painter for many years.  This particular work was inspired by the Asian papers that my daughter Linda brought home from one of her trips. This began my journey into abstract work. All of my family travel and bring me interesting papers and I purchase them in art stores.  

You mentioned that you created this work during the darker days of COVID this past year. Did you set out on a path to communicate a particular theme OR did you just see where the day took you?

I have no end in mind when I begin a painting.  I am interested in color, shapes and texture. 

This isn't your first rodeo :) as you've been painting for some time. How and where did you get started and what was the turning point for your particular lens in this discipline?

I usually start with a loose watercolor under painting and from there I tear and apply the papers in layers until I am happy with the result.  For me, this is very meditative.  I love watching what evolves. 

We have so many aspiring water colorists that visit the shop. What advice would you share that will help them find their own particular style?

I can suggest they keep experimenting…keep open minded and try to be free.  You never know what can happen and that’s the fun of it. Hope this answers your questions and thanks again.  I am pleased that people are interested in the work.

See more about Helen here: Helen Greenberg Video Short

Local Artist Residency - Ling Chen

Let's get right to it! Please tell us about the dark, seedy, underbelly of the world of watercolors!

Can’t tell ya because I kinda live under a rock (yes, in the world of watercolors as well). I am rather ignorant of the bubbly local art scenes and am really bad at remembering names. Thanks to the Internet, I got to admire the wonderful works of the watercolorists from around the world  and to drool over their work virtually. For me, the best watercolor is fluid, spontaneous, and captures the mood and atmosphere without spelling out every detail. Water and pigments interacting with the help of gravity can do wonders.

So you're saying that WYSIWYG? I have to believe that there's more in that image than a beautiful representation of a person, place or thing?

Luckily what you get is more than what you see sometimes, although I cannot claim credit for that. When people look at the sketches of Local Coffee, they’re reminded of the cappuccino and the amazing owner who-shall-not-be-named. And people reacted warmly to my sketch of American Royal Hardware because they just love that place. I captured the moments and places as I see it, and viewers enrich it with their own fond memories. 

OK, I tease you because you have this wonderful sense of humor and your work is obviously beautiful and moving AND everyone loves it. How did you get started?

Whew! I’d be devastated if you had neglected to notice or praise my wonderful sense of humor. 

I learned how to draw in middle school. In an after-school drawing club I became really good at cross hatching while drawing still life with graphic pencils. Fast forward 30 years, I started to draw again since my life was overwhelmed with work and kids. I did Saturday classes for a few months and attended a few weeklong watercolor workshops. It was a surprise that I improved quickly. I took on sketching because that’s something I can squeeze during the little free time I had - waiting at the airport during work trips, or hanging out at the playground with kids. The type of city sketches you see here actually started in May 2018.  A  friend of mine and I attended our first Jersey City Artist and Makers Fair where I had a total of 3 sketches of Jersey City downtown. A couple of prints were sold and people asked for more. And that started my journey documenting my neighborhood. The more I sketched, the more to sketch to capture the changing face of the places.  

Perhaps a silly question but how did you get SO good? I mean, c'mon - this work is masterful.

I wish I could agree with you, but I appreciate you believing so. Drawing from direct observations on location helps, I believe. It forces you to capture what you see and how you feel instead of every little detail that a photograph captures. Showing how people interact with a place brings a piece to life. 

I had the pleasure of meeting your 84 year old mom who is adorable and has quite a bit of spunk. How influential was mom in your life and while developing your craft?

My daughter recently commented on how strong grandma was rolling the dough when she demonstrated how to make scallion pancakes, unimpressed with the wimpy attempts by the youngsters. She used to run an editorial department in a rolling stock (trains, that is) research institute publishing periodicals and books. And she dedicated her entire self taking care of the family. She hand-made dumplings, noodles, sewed clothes, knitted sweaters, and made hats and shoes - not as a hobby but often as a necessity. After she retired, she took on Chinese painting and shocked all of us with her art talents. But then she readily gave that up and came to take care of her grandkids - my babies could win the cleanest bottoms contest and the fervor in feeding her grandchildren is unmatched. I have half of her talents and a quarter of her drive. I taunt my kids that my mother is better than their mother.

I noted how fast you are when creating each of these works. Was that a need based skill OR was there another reason you are so expeditious?

Yes and yes. It certainly started as need-based. I was sketching while watching my kids at the playground, and as any parents have well practiced, I was prepared to jump into action at any time. I also really like to capture the moments, such as music performance on stage, and those moments are fleeting. Some of the work I personally like most are those created within 5 minutes.

Aside from your Local storefront watercolor being your favorite (obv), what comes in as a close second for your favorite work (Montclair or otherwise)?

You forgot I have two sketches of Local, that make my two favorite works. Of Local.

I like Dem Two Hands. I like the color and felt I captured the spirit of that beautiful place. 

I also like a few sketches of murals - Jersey City has plenty of them. It’s like picture-in-picture.  

This question is for my sister, an aspiring watercolor enthusiast - what tips can you offer someone seeking to up their approach to this discipline?

First, learn from the best, I mean, the very best, even from the beginning. My first watercolor workshop was with David Taylor, a watercolor master from Australia. I was such a newbie that I was identifying basic colors such as Ultramarine Blue and Raw Ciena in the evening after day 1 of the workshop. By the end of the week, I produced some of the best work among the workshop attendees, partially because I didn’t need to unlearn anything. Joseph Zbukvic, another Australian artist, is an absolute master in watercolor. He has an amazing process that makes painting landscapes seem effortless. I also learnt from Eudes Correia, a Brazillian artist in Portugal. I love how he paints people. 

Second, do what feels natural to you. I learned how to paint watercolor from those masters mentioned above, but I sketch in my own style. I use a calligraphy pen filled with permanent ink to sketch first, and use watercolor on top of it. Scribbling the lines feels natural to me.

Learn more about Ling Chen here

Local Talk Series: Q+A with Maryanna Coleman

Your work ranges from real life to fantasy which is unique to other artists we have had at the shop. What inspiration drives your subject matter?

I love children’s books and their whimsical illustrations, as well as “realistic” paintings – of architecture, animals, nature, and more.  I try to weave a little of both styles into my paintings. 

What artists were influential when you were honing your craft?

Ludwig Bemelmans (illustrator of the Madeline books), Caitlin McGauley, and Beatrix Potter’s whimsical styles and animals are some of my favorites!  Other influences (whether or not they show in my work) are Michael Sowa, Kathryn Freeman, Matisse, Maira Kalman, Janet Hill, Erin Armstrong, Wayne Thiebaud, Edward Gorey, Tracey Sylvester Harris, William Joyce, Erika Lee Sears, Dorothy Shain, Ashley Longshore, Cj Hendry, Donald Robertson, Pauline de Roussy de Sales, Charlie Mackesy, and many more.

How did you actually start your life as an artist? When did you know you had something special to share?

I’ve been making art since I was a kid, and continued to take art classes through high school.  I majored in Studio Art at Gettysburg College, and sketched/painted on the side for fun after graduation while working in “corporate” jobs.  I started an Instagram account of my art and sold a few pieces here and there – it gradually took off after that!  It’s fun to think back to locally hand-delivering some pieces, then eventually shipping internationally.  What initially started out as dog/pet portraits has evolved into wedding art (wedding scenes as gifts, invitations, etc), scenery and house/architectural portraits, and book illustrations (most recently Louise Penny’s past three books!).

Watercolors are such a specific art and clearly you are masterful with your approach. How did you address this particular discipline when developing your technique?

I taught myself!  I actually hadn’t “played” with watercolors since I was in grade school (or maybe early high school?).  I always worked in acrylics/oil/charcoal/drawing, but when I was in my small NYC apartment, there was next to no space for oil painting.  I started playing with watercolor when I realized it was the quickest/easiest set up/clean up, and could spend hours on something as small as 5x7” as opposed to a 5 ft canvas.  I definitely owe larger/general painting skills to my art professor from an oil painting class in Florence.

I see lots of animals in your show. Do you work on commissioned pieces as well?

I do!  I started with many dogs because I really wanted (and still want) one and am just drawn to them.  That developed into many commissions of pets – whether for a birthday, anniversary, wedding gift.  They always make for fun and meaningful presents.

My favorite is the dog in a military jacket. There's something about his posture and facial expression that is intriguing. Tell us about this piece.

My friends actually had me paint their dog in a British militia style coat for no other reason than they love history and think the dog looks British – and I love it!  He feels simultaneously refined and unsure of himself to me.

What does living in Montclair contribute to how you see the world through your work?

Living outside New York City gives me more space and quiet.  I am able to have both the greenery of suburbia as well as access to the buzz of NYC and Montclair.

What is your favorite coffee or tea beverage?

Iced coffee (or very specifically cold brew at Local!) with either almond milk or regular milk.

Thank you!

Learn more about Maryanna here:

Local Talk - Q+A with Local West Coast Artist Dolores Lusitana

We're so thrilled to have you post at the shop and thank you for being so accommodating in shipping the images!  West Coast images in an East Coast space brings me happiness as we're all California dreamin' to some degree. How do you think about one coast vs. the other from an artistic perspective? 

I was first drawn to photography while living in New York City from 1981-1997. I’ve always thought of the city as a people laboratory - everyone combating the pressures of city life, the weather, the fierce professional competition, yet somehow all interdependent in those struggles. There’s an underlying humanity that I don’t experience in the same way on the west coast. California offers a more idealized lifestyle; grand, expansive landscapes, lots of sunshine with a cultural slant towards leisure. They’re completely different ways of life. Despite being a native Californian and grateful for the relative ease here (sans the earthquakes and fires..) I’ve always felt more at home on the east coast, more alive and inspired. Perhaps ironically, I think now of New York as a periodic B12 shot, my place for ideas and inspiration, and California the place where I can hunker down without distraction and get the work done.

Your prints, 'A deeper look at the Venice Beach Canals' provides us with a glimpse into a special place in southern California. Why did you select this area as your focus? 

I’d stopped shooting for a time and started my business, Situation Book. I was spending a lot of time behind the computer, and starting to feel a little hollow for abandoning my own creativity. The Venice Beach Canals were within walking distance from my home and I decided to take my camera for an outing - shooting for the first time in a couple of years. I had no objectives, no real intention of making images, I just let myself walk and shoot anything and everything that caught my eye. I found the reflections in the canal waters really beautiful and started making photographs - mostly figurative images, watery reversals of the many white bridges that intersect the walkways, the towering palm trees, the people walking by. They appeared like impressionistic watercolors and it made me happy to be outside in that quiet little enclave of peace and nature hidden inside Silicon Beach. I liked those images enough to continue going back.  

It wasn’t until I starting noticing the full-frame abstractions on my computer screen that the WATERCOLORS project began. I saw things that I hadn’t in my viewfinder, and discovered that by shooting more instinctually I was creating work I found more interesting. That’s when I began to see my photographs more like abstract paintings - and I focused on that approach going forward.

Do you often work with reflections or was this approach inspired by the environment?

I’ve always been more fascinated with people in social situations, how they each inhabit a given space together, than abstract or landscape driven photography. This work came out of my need to reconnect with the natural world and not think too much. What I saw in the water was just an unexpected gift.

The reflections on the Canals are created by wind and tides and ambient light, so you never really know what you’re going to encounter, and that reinforced my inability to control the situation. The source of all the reflections are inherently the same since they’re from the homes, buildings, gardens that line the walkways. But, they’re constantly morphing in shape and color given environmental factors. The lesson for me was to stay open. There was one day when the wind was so high that I thought nothing was achievable. But that day ended up yielding a number of interesting frames, including the image I call WINGS which is at LOCAL now.

How have these images provided you with a deeper understanding and appreciation of this landscape? 

I think good landscape photography is incredibly difficult. Taking a photo of a sunset is relatively easy, but in most cases I believe the viewer is reacting to the splendor of nature rather than the artistry of the photographer. To capture how a landscape makes the artist feel, to imbue the absolute beauty of nature with an individual human emotion, that’s not easy. At least not for me. The appreciation and understanding I’ve gleaned from this work is more about the origins of perception - how and why we all see things differently. I perceive very distinct scenes or images within these photos - rather than strictly water reflections. Other people often see very different things - which makes me happy.  I try and leave them open to interpretation - and encourage people to reposition them vertically and horizontally to their liking.

As a self-taught artist, what can you tell other individuals who would like to pursue an artistic endeavor OR career?

I do believe that everyone should have some kind of creative pursuit - no matter what it is - something that can never be mastered but always improved upon and made more and more your own. You learn a tremendous amount about yourself in the process, and it will always provide you with something to work at, hopefully share with others, and get joy from. I hope I’m still working at something creative when I’m old and blind.

If I can offer any advice (and I’m not sure that I or any other artist is really qualified) it’s that we all experience the world differently, uniquely - and that’s what you want your art to reflect. And I believe that can only be achieved by process, time, and personal honesty, not strictly technical savvy. Craft - as applied to digital photography - can be crucial to expanding your visual vocabulary, but if you don’t dig into your own creative process it can override your vision. I try not to seek validation from others, which is hard. I look for something that speaks to me, perhaps even for me, and keep at it. If I’m really onto something, and keep at it, it will evolve. And hopefully it will eventually start to disappoint me. That discomfort is the challenge you need to move forward. I like to think of this period as “growing pains” - both in the creative process and in life in general.

What other artists within or outside your primary discipline do you look to for inspiration?

In my earliest days my photographic muses were people like Helen Levitt, Louis Faurer, Robert Frank, Bruce Davidson, Bresson…the usual street art suspects. Later, I discovered the magic of color documentary when I found a book by William Albert Allard in a bookshop in NYC near Houston. Blew my mind. I then sought out the work of the great National Geographic shooters:, Sam Abell, James Nachtwey, Gerd Ludwig, Eugene Richards, Alex Webb. Now I’m more drawn to the artists, mostly painters, of an earlier time. The European Impressionists and Beat Contemporaries. Odilon Redon always take my breath away.  As does Erik Satie.  And kids. Watch for how little children see the world - and look for that perspective.

What's next? What other projects are you currently working on?

Right now I’m focused mostly on getting this work out into the world a bit more. I’ve really just started showing it.

I’ve also started playing around with some light abstractions taken from the windows of my mother’s bedroom. She’s 92 now, and sleeps a great deal; her room is often dark but for the light creeping through the windows. It’s a tricky subject, but it feels like there’s something there.  Maybe not.  We’ll see.

Any other thoughts to share?

There is beauty all around us in every day things. Spend some quiet time in nature; it can nourish you in ways that nothing else can.  And, thank you for this opportunity. I hope your customers find some pleasure in the work.

Thank you!

See more of Dolores’ work at https://www.doloreslusitana.com/about/

Local Talk: Interview with featured artist Dawn Garrison

We're excited to have your work at Local! We discovered each other as you have painted for some time but rarely publicly displayed your work. Why us, why now?

I am going to call this ‘where serendipity and opportunity crossed paths’. John Lennon is better known for his version but in 1957 Allen Saunders wrote ‘life is what happens to us while we are making other plans’. For me it is an apt description of the last 25 years. Long story short, after much prodding by several friends I began opening myself to opportunity and soon after met you. This sampling of my work at Local is one small step.

Which past or existing painters have had specific meaning for you, which have really stimulated your passion for this art?

I appreciate various artists and painters of many styles and most stimulate me on some level. I love impressionism but my natural tendency is realism. I am captivated by the works of Angus Wilson, R. Mike Nichols and Brienne M. Brown.

Tell us about your subject matter. How do you choose where to focus your creative energy?

I could get lost in this question but if I allow myself I would write a novella so I’ll answer this in more recent context.

For quite a long time all I painted were landscapes and gardens, until one day I was done. Currently I paint animals. I have a great love for creatures so it makes sense they have been my focus. This last year and a half I have mostly been busy painting commissions; primarily dogs and that’s alright by me.

Do you paint during a particular time of day? in a particular space?

I am so fortunate to have a dedicated space on the southeast side of our home. I am surrounded by natural light and an awesome view (when I look up – lol). Painting during the day works best for me.

There's a local Montclair element in one of your paintings. How did you come to live in the area and why is Montclair important to you?

I was born in Montclair and raised in the area and met my husband in high school. We have always felt family was important and wanted to stay close; plus this area has so much to offer no matter what your interests are.

Of all of your work, is there a particular piece that has the most meaning for you?

I painted a self-portrait during a difficult time in my life. The style totally deviated from anything I had done before or since. I think a psychologist might have fun interpreting it today.

Tell us something about painting that very few or no one knows.

I can only speak for myself, but on occasion you have to remember to breathe.

What is your favorite coffee or tea beverage?

I do love a cup of herbal tea but when I first sat at your counter sipping a cup of drip coffee it transported me to cafes in Europe. Exceptional.