In The Studio With Mary Parkman
Background
I was fortunate to have grown up with art all around me. My mother was a sculptor and a taxidermist, my Aunt, a painter. My grandmother grew flowers, arranged flowers, and painted them. About 10 years ago I was given one of her watercolors of peonies. I guess I shouldn’t be surprised!
In high school, one day a week I took a life drawing class at the Cleveland Institute of Art. It was a college class with nude models, an eye opening experience for me at the time. Drawing, especially the figure, feels natural for me. I started painting portraits, getting hooked on the thrill of capturing the likeness of the person (which can come and go so quickly, with mere smudge). In creating a portrait I learned the facial features was not necessarily critical in getting the likeness of that person. Simplifying the image to its essence I realized it was more about the overall shape of the head/hair silhouette, where the ears fall, the length and thickness of the neck all contribute to its “likeness”. Features are last and can often destroy the essence already achieved in the silhouette. Allowing the viewer the job of filling in the details became most important. My floral paintings are a similar kind of portrait; instead of a head, its a flower or grouping of flowers. Getting the essence is what I am after. Each petal and leaf does not interest me. Less is more. Giving only what is necessary is what I am after.
Work Evolution
Changing how and what I paint keeps me open to the process. Painting abstractly helps me back off from the details of the subject and focus on the overall composition. Painting ‘plein air’ in the summers up in Maine helps me to focus on light and how it affects the subject. Painting small with big tools forces me to not rely on drawing. Painting big encourages gesture and painting quickly keeps me from overdoing it. Using the brush less and big tools more helps me to simplify. Imagine painting with a small frying pan. When the viewer is forced to do a little work, it is more fun for them.
Teaching art workshops keeps me humble. I am always learning. I dive deep in order to understand. I try to summarize what I have learned so it is relevant to others. I have been fortunate to have studied art at Cornell University, New York Studio School, International School of Art as well as attending many workshops. But lets face it, the real education is what happens in the studio looking, discovering, experimenting, and trying new things.
What do you hope viewers see in your work?
There is so much the viewer may not notice at first glance. Simplifying a subject to its essence takes a lot of adding and subtracting until the balance is just right. That balance is intuitive. My goal is to make a painting look effortless, not slaved over. What I hope the viewer feels is a sense of place, a presence. A moment in time captured.
I hope people will appreciate the work that goes in to creating depth, through layers front to back, a history to enjoy as you come close to the painting. Layers of paint, first thinly applied in translucent washes, along with the activity of gestural drawing and mark making, contrast to the calmness of a solid opaque, application of a color. One sits against the other in a curious harmony. I hope the viewer might wonder about the process and perhaps consider a different part of the painting each time they look at it.
Studio
My studio is in my house. If you were to come over you would see how it spills into my living room and kitchen as well. I like having my studio in my home and artwork around so I can easily work on it as I notice it. Fresh eyes keeps the artwork fresh so I will stop periodically so I can return to it with a different point of view.
What is your favorite flower?
Peony!
How about a favorite color?
For me it’s about tints, tones, and shades, not just one color.
This post was brought to you in part by Mary Parkman and her studio assistant, Sedna.
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