New Year 2014 begins….

Notes about how this New Year opened:

My one-person show finished at City Café, with wonderful private commissions and sales of my paintings to Dallas art collectors and animal lovers.  Fourteen paintings from my Animal Series were exhibited through the first week of this year.

Many thanks to Karim Alaoui, owner and gracious proprietor of City Café. Stop and have lunch or dinner at his restaurant on 5757 West Lovers Lane.

“Splash” at Sarasota Ranch | Animal Paintings Series
Artist: Meg Fitzpatrick
Acrylic on canvas
38-1/2” x 34-1/2”

I was honored to be selected by the Dallas Museum of Art to be a guest artist at their annual Junior Associates “Curator’s Choice” event.  My curatorial pick, from the collection currently on display, was a painting by one of my favorite artists, John Singer Sargent.

Artist: John Singer Sargent, American
This portrait was believed to have been painted in Sargent’s London where he used this chair as a prop – see chair arm to the left.

And, the February/ March 2014 issue of Patron Magazine features the home of art collectors, Jose Gomez, MD and Francis Luttmer. They own one of my paintings from my Emergent Series body of work titled, “Emergent Series – Finding Johnny Depp.” They’ve become friends who I always enjoy seeing at art and architecture events, including last year’s TWO x TWO at the Rachofsky’s home.

As 2014 progresses, I wish everyone a year of beauty and engagement in the arts, architecture, culture and kindness.

Best, Meg

Tom Ford is the man

August has ended which means summer is almost behind us here in Dallas – only a few more 100+ degree days. It also means that the September issues of fashion magazines are prominent on newsstands. Vogue September 2103 is 902 pages and Harper’s Bazaar weighs in at exactly 600 pages with SJP (Sarah Jessica Parker) gracing the front page.

In Dallas, the September issue of FD luxe, our primo go-to fashion and lifestyle magazine published by The Dallas Morning News, spotlights film maker and designer Tom Ford (in sunglasses, of course) on its cover.

photo: The Dallas Morning News | FD luxe magazine cover (September issue)

The interview between Mr. Ford and Rob Brinkley, FD luxe’s Editor-in-chief, reveals the influence of the designer’s roots and early boyhood growing up in Austin, Texas. http://fdluxe.dallasnews.com/2013/09/finding-tom-ford.html/

I’m honored because Rob chose one of the paintings from my “Emergent Series” to feature in the September issue of FD luxe. Why? Because it’s a tribute to Tom Ford who I greatly admire for his multi-dimensional creativity. He can do film, architecture and design. The title of my piece is “Emergent Series: Finding Tom Ford” (see image above). What I so appreciate is the way Rob captured the essence of my work through his talents as an editor and writer. Here is the article, titled “Tom Ford, times two: A Dallas artist immortalizes the fashion designer in her latest work, twice,” reprinted with permission of The Dallas Morning News:

Thank you Rob.

To autumn leaves changing color and fashion, Meg

Paintings – An Important Part of Designing an Interior

From earliest memory, I’ve been intrigued with set designs – in movies, TV shows, magazine spreads, the theater. As a kid, I lived for Saturday afternoon reruns of the classics and their stage sets: Ginger Rogers and Fred Astaire tapping across polished marble floors, floating by perfectly placed art deco furniture and wall scones. Katherine Hepburn basking in the elegance of a Main Line home in the Philadelphia Story.

Fast forward to adulthood, I can lose time and sink deeply into the staged atmospheres of Woody Allen’s films (note: I can’t wait until Blue Jasmine opens in Dallas next Friday, August 9^th), Nancy Myers’ directorial eye (I own the DVD Something’s Gotta Give because I want to live in that beach house) and any Merchant Ivory production.

So, it is no surprise that I’ve been intrigued with the idea of being part of a photo shoot. Through a recent body of paintings which explore using drywall plaster, handwritten text, drawn images and black-out color blocks, I recently was given this chance.

The very talented Dallas-based interior designer Joshua Rice, owner of Joshua Rice Design, Inc., called to look at my recent work and selected two paintings for a magazine shoot. It was fun and an honor to be part of his behind-the-scene team. Here is the finished dining room:

Interior: Joshua Rice Design, Inc. | Mid-century modern private residence
Photo: Robert Yu | 2013

The larger, black-and-white paintings in the middle, which are mine, were inspired by a March trip to New Orleans and an artist who lives there. She uses drywall plaster troweled and layered over pages torn from old magazines, poster-sized cartoon figures, her daughter’s grade school drawings or other discarded images. Next with an electric sander, she grinds the dried surface until ghost images appear. My work started with this technique (it’s quite messy), and then I added a narrative story by hand-drawing images and writing text messages. The black-out color blocks may have been inspired by all the NSA stuff in the press these days, but I think this convention was borrowed from works by artist, Mark Bradford, who had a museum retrospective at the DMA in 2011. I love his work. Mark’s artist talk and larger-than-life, joyous personality got me thinking about recycling old paper, building layers of colored stripes, and then partially exposing hints of the under images by using an electric sander.

The painting, “Be Still. Sit. Create.,” seen below tells the story of Steven Sondheim’s creative process as he wrote lyrics to Act I: Gang Initiation Scene in the musical, Westside Story. The resulting song is still one of my favorites, “When You’re a Jet, You’re a Jet All the Way.”

Title: “Be Still. Sit. Create.”
Plaster, acrylic, graphite, ink and newsprint on canvas | 18” x 24”
Artist: Meg Fitzpatrick | 2013

A detail from the second painting “Vision Quest” is below – it’s a line drawing of hands holding the promises of a future. The text used in the painting came from an old ad:

• “When your vision is your reputation, it‘s what gets your phone ringing.”
• “Flawless execution is what keeps your phone ringing.”
• “When your vision is your signature.”

Title: “Vision Quest”
Plaster, acrylic, graphite, ink and newsprint on canvas
Wax finish
18” x 24”
Artist: Meg Fitzpatrick | 2013

On view at the MAC (McKinney Avenue Contemporary on 3120 McKinney Avenue) in the members’ show is another painting (see image below) from this exploration. Look for “Searching for Big Tex” which uses red to build the color blocks. The inspiration for this painting’s story narrative and text was the accidental burning of our beloved Big Tex at last year’s Texas State Fair.

Painting detail from “Emergent Series: Searching for Big Tex”
Plaster, acrylic, graphite, ink on canvas
18” x 24”
Artist: Meg Fitzpatrick | 2013

On the Dallas cultural front, I heard Gabriel Ritter, Assistant Curator of Contemporary Art, give a gallery talk about “DallasSITES: Available Space,” the current show in the DMA’s Barrel Vault and adjacent gallery spaces. This is an historic event and a welcomed one, at that: 1979 – that’s 34 years ago – was the last time the DMA had a major exhibition dedicated to local artists! “DallasSITES” is a fun, interactive and informative representation of the current North Texas art scene and talent.

Until August 18^th, when this show closes, each week you can watch special videos featuring different Texas artists who focus on a different decade in the Dallas art scene. Don’t miss this exhibition – support one of our major art institutions’ efforts to showcase Dallas-Fort Worth talent.

To staying cool throughout August in hot Dallas, and experiencing more art.

Cheers,

Meg

“Communities Connecting” Painting | Mayor Mike Rawlings

Title: “Communities Connecting”
Acrylic on canvas | 49” x 45”
Artist: Meg Fitzpatrick | 2013

The month of April just ended and began with a bold proclamation from our Mayor, Mike Rawlings. He declared the week of April 7 – 14 as “Dallas Arts Week.” Mayor Rawlings moderated a panel discussion with leaders in the visual, film and performing arts about ways in which the city can attract and keep aspiring and established artists + creative thinkers. The dialogue fittingly took place in the City Performance Hall, located in the Dallas Arts District which is the largest contiguous arts district on the country, with a campus of 68 acres.

Also of cultural significance this month was a program called “Architecture 360.” Every day for 30 days, the Dallas Center for Architecture (DCFA) and the American Institute of Architects (AIA) organized or hosted 30 events about the built-environment.  April has been a wonderful celebration of great architecture and design in Dallas. Tonight closed “Architecture 360” and the month with a Grand Finale celebration on our new deck park, Klyde Warren Park, which has become our town green and meeting place.

“Communities Connecting,” a painting I recently finished, reflects the multiple intersections that interesting communities like Dallas foster over time to be culturally vibrant and attractive to creative thinkers and doers.

Detail of textures in painting, “Communities Connecting”

To the month of May and making more neural networks between people, ideas and place….Meg

Another Painting Commission – The Beatles this time

A young Dallas couple had seen a painting in my Emergent Series and wanted to commission a piece for a certain space in their home. We met to discuss the details and overall theme of images they wanted hand-drawn into the abstraction.  I hadn’t expected them to say, “We want The Beatles. We want a retrospective of The Beatles starting from when Pete Best was the original drummer to when the group disbanded” – an amazing 18 Grammys and 43 Rolling Stone covers garnered in their time together.

I was, and still am, a big Beatles fan starting with their performance on the Ed Sullivan show. Doing research for this piece was going to be a blast….I was clapping my hands with joy.

Emergent Series: “Being The Beatles”
Acrylic on canvas | 60” x 84”
Artist: Meg Fitzpatrick | 2013
(photo: Meg Fitzpatrick)

I remember back to a Sunday night in February 1964. My family gathered with dinner trays and grilled cheese, tomato and bacon sandwiches in front of our TV – this was our weekly routine to wind down and get everybody (six of us) ready for school and work on Monday. Ed Sullivan came on and said, “Ladies and Gentlemen – Theeeeee Beatles.” Seventy-five million people viewed the charismatic mop-haired imports from Liverpool. Beatlemania officially hit the nation.

Playing the Emergent Series game, a viewer (if they stare long enough) finds hand-drawn images throughout. There’s even text on the side of the canvas which was suggested by my client and a new touch for me. Fresh ideas come from good collaborations, conversations and clients. Below is the painting in my studio with “Let It Be:”

In my studio, side detail from Emergent Series: “Being The Beatles”
(photo: Meg Fitzpatrick)

Below is a detail with George Harrison. I found, as I sketched all of them, that John’s and George’s faces and features morphed and changed the most over time.

And, here’s Sir Paul:

The Beatles released 205 songs through Capitol and Apple.
Factoid: John wrote 70 songs, Paul 52 and George 22. John and Paul co-wrote 52 songs.

Here’s the lovely North Dallas couple with their commission soon after it was hung. They were very happy which makes me very happy.

The Emergent Series continues next with a “shout-out” to great American architects. I’ve been polling my friends about their favorite American architects. Here’s the list so far:Frank Lloyd Wright, Louis Kahn, Louis Sullivan, Frank Gehry, Philip Johnson, H.H. Richardson, I.M. Pei.

I’m curious, who are the American architects you most admire? Let me know and they might be drawn into my next painting.

Until next month….

Meg

“Searching for Oscar” Painting

It’s been a while since I last wrote on my blog site and sent my holiday greetings to everyone. This year I’ll post more spontaneously, most likely once a month – still about art and the creative spirit.

Today’s post is timely since I watched the Academy Awards last weekend. Each year I try to see every movie eligible for an award, and look forward to watching the Oscars on TV with good friends (who cast a ballot predicting the winners) and eating a delicious meal together. Just call us film and food fanatics.

As a tribute to the many films that entertained me in 2012 and Sunday’s 85th Academy Awards, I recently completed a painting called, “Searching for Oscar.” It is part of a body of work I named the Emergent Series. In one of my blogs, I described this creative process:

• From many layers of under painting (up to 25) and canvas-length drips, spaces gradually start to emerge – at least to my eye. They’re like gaps in a colorful abstract universe that are asking to be filled. In these spaces, I draw faces and bodies. In this particular case, it’s all about images of the actors and directors from the nominated films.

Here’s the painting:

Emergent Series: “Searching for Oscar”
Acrylic on canvas | 48” x 48”
Artist: Meg Fitzpatrick | 2012
(photo: Meg Fitzpatrick)

In “Searching for Oscar,” anyone can play the Emergent Series game. Try to locate:

• Anne Hathaway, Les Miserables
• Hugh Jackman, Les Miserables
• Isabelle Allen who plays Cosette as a young girl, Les Miserables
• Daniel Day-Lewis, Lincoln
• Bradley Cooper, Silver Linings Playbook
• Jennifer Lawrence, Silver Linings Playbook (my fave JenLa won for best actress)
• Christopher Waltz, Django Unchained
• Ben Affleck, Argo (so glad he won for Best Picture – a travesty Affleck wasn’t nominated for Best Director)
• Steven Spielberg, Lincoln
• Denzel Washington, Flight
• Jessica Chastain, Zero Dark Thirty
• Adele, Skyfall
• ….and finally, Golden Boy Oscar (of course)

Here’s the drawing of Steve Spielberg close-up:

detail from Emergent Series: “Searching for Oscar” (photo: Meg Fitzpatrick)

…and, another detail. This one of Jessica Chastain from Zero Dark Thirty:

detail from Emergent Series: “Searching for Oscar”
(photo: Meg Fitzpatrick)

Many thanks to the lovely North Dallas family who purchased this painting for their living room – perfect timing to watch the Oscars and enjoy “Searching for Oscar” which now hangs over their fireplace mantel.

Until next time…. Meg

Collage begets Painting

Taking the “Experimenting with Collage” class at MoMA reminds me of another “drawing with scissors” experience. This one happened at the Ringling School of Art and Design in Sarasota, Florida. The collage (currently hidden in a stack of stored art or long gone) was a study of my impression of the Gulf of Mexico. Only ten minutes from my home, I went most days at sunset and walked the white quartz sand beaches on one of the Keys. The waves had slow, gentle roll, unlike the Atlantic Ocean waves which had been my childhood point of reference. The waters were an exquisite aqua blue – so Caribbean. At the time, I was also immersed in the Miami-Cuban culture of the gallery owner who repped my art work. I never tired of trips to Miami because I love the local colors, a palette so vivid and intense and upbeat.

Below is a large painting inspired by my collage study. Curiously, this painting titled “Waves: Gulf of Mexico” hangs in a home overlooking the Hudson River.

“Waves: Gulf of Mexico” (2005)
Artist: Meg Fitzpatrick
Acrylic, charcoal, gesso on canvas | 60” x 48”

Here are close-ups of the charcoal line drawing, broken charcoal nibs (happy accidents always welcome) and acrylic paint.

 

  

Enjoy your week and have a Happy Thanksgiving.

Meg

Collage Paintings with MoMA

Back in 2010, I enrolled in a MoMA experiment which was interested in how well a studio art class could be taught online. The New York museum timed the painting curriculum and exercises with the launch of a major Abstract Expressionist retrospective.  The experience for all involved was successful. Still offered, I highly recommend “Materials and Techniques of Postwar Abstract Painting” for folks wanting to paint and learn more about the AbEx movement.

This October, I enrolled in another online MoMA class, “Experimenting with Collage.” I’d like to share one class assignment.

We were given instructions about “drawing with scissors,” which meant we were to follow a method Matisse used as he began to lose eyesight in his later years. He’d select brightly colored papers, cut lines and shapes, and then tell his studio assistant where to place each piece on a supportive surface.

My collage “paintings” from cut papers were inspired by…..

Bocce ball parties

Halloween, my favorite holiday

Fall season, leaves piled in my front yard

One summer season when my dressing style included a dainty, rhinestone flower toe ring

I’ll be back in two weeks, on November 18^th, with a new post. Enjoy your week.

Meg

Recent Paintings

Recent paintings of mine explore the translucency or opacity of color when layered. This is a continuation of my interest in the properties of paint and the use of simple shapes – lines, rectangles and squares – to make compositions influenced by the Bauhaus Modernist Movement and Josef Albers.

Acrylic on board
10” x 12” | Artist: Meg Fitzpatrick

For the painting above, I used Cadmium Red Medium, which is highly opaque and has a strong tint, for bottom layer (or underpainting).  The top layer is a thin wash of aluminum paint (middle panel) which is highly translucent. It is flanked by Unbleached Titanium White (more a buff, beige hue than pure white) mixed with Naples Yellow (left panel) and then Raw Sienna (right panel).

Acrylic on board
10” x 12” | Artist: Meg Fitzpatrick

I used primary blue for underpainting in the image above.  It’s translucent – a beauty, in my opinion. Again, the top layer is a thin wash of aluminum paint (middle panel) flanked by Unbleached Titanium White mixed with Naples Yellow (left panel) and Raw Sienna (right panel).

Acrylic on Arches Archival paper
15″ x 11” | Artist: Meg Fitzpatrick

Look at the painting above. I used cadmium orange, an opaque color, for the underpainting.  Again, the top layer is a thin wash of aluminum paint (middle horizontal panel) flanked by Unbleached Titanium White mixed with Yellow Ochre (upper panel) and Raw Sienna (lower panel).

Acrylic on paper
15” x 11” | Artist: Meg Fitzpatrick

primary yellow is the color of the underpainting, as seen in center square. The shape shimmers, and the effect reminds me somewhat of the lighting on the outside of One Arts Plaza. The surrounding 8 squares are all variations on Mars Black – adding a touch of primary yellow or cobalt blue or cadmium red caused subtle changes in the color. In person, you think there is more going on than solid black, but  initially you are not sure. So, you stare to figure out what is going on with the black color. The next two paintings are a continuation of this theme.

Oil on gessoed paper
7-1/2” x 7-1/2” | Artist: Meg Fitzpatrick
Cobalt blue is underpainting.

Oil on gessoed paper
7-1/2” x 7-1/2” | Artist: Meg Fitzpatrick
Cadmium red is the color used for the underpainting.

I’ve prepped one of my favorite types of canvas – raw linen – across 60” x 48” stretchers. This week I’m ready to work on a new painting which I’ll share with you next Sunday.

Enjoy your week and the Emmy Awards tonight – Go Modern Family and Downton Abbey. Homeland is on my list of need-to-see. What are your favorite TV shows?

Meg