Margaret Lockwood on smaller paintings…
Perhaps one of the most appealing aspects of being a full-time artist is the “visits” I receive from my many patrons. Sometimes the relationship established between myself and those who pass through my doors is fleeting, a temporary introduction and farewell that is never to be repeated. More often than not a relationship is established with my clients who return to the gallery year after year. Some I get to know very well, others become great friends over time, each relationship is different and each relationship is treasured for the varied texture these differences add to my life. From these most-rewarding-of-relationships I learn as much about my art and its reception as I do from Allin or myself.
I am well known for the size of my paintings…that is to say, many of them lean toward the larger size! Indeed painting on a larger-scale is very rewarding; one need only experience a painting by Mark Rothko once (in person…not in a magazine!) to understand the appeal of creating a work that envelops the viewer with its mass. In fact, the idea that one can experientially become immersed in the texture and subject matter of a painting is very important to my work; like one of György Ligeti’s slowly evolving and expanding soundscapes (I’m thinking here of the incredible symphonic work Lontano), the large-scale painting can suck the viewer into a unique and private world.
However, my tendency toward “ample two-dimensional proportions” has its drawbacks It is not uncommon for friends and patrons who would like to own one of my works to have neither the funds nor the space for one of my large-scale paintings, and really, the unique moments that each of my paintings represent can exist on any scale, and what any artist wants, at the end of the day, is for their work to be appreciated by as many as possible.
I have therefore begun a new series of smaller-scale paintings, paintings that are no less vivid or intense in their depiction of the outside world, but paintings that do it in a more proportionately succinct manner. And, it turns out that I find these paintings to be as enjoyable to create as my larger-scale works, for while the latter may afford the opportunity to capture a larger (physical) swath, or provide a more detailed imitation, of a particular moment in time, the former can be produced with more frequency and therefore can represent a greater variety of moments. Marcel Proust once said “the painter, who has to have seen many churches in order to paint a single one, the writer, in order to obtain volume and consistency, generality and literary reality, needs many beings for a single sentiment.” These smaller works end up as my “many beings,” they provide me with visual “volume,” and help me explore, and more-fully understand, the nature of the world around us through the medium of painting.
I look forward to showing you, my many clients and friends, these new smaller works. Come down to chat; come down to check out the jewelry of Angela Lensch, the pottery of Renee Schwaller, and the sculpture of Dan Bresnahan; come down to check out my new paintings, both large and small, or check them out on my online “painting wall,” where you can watch those same paintings begin, come to life, and then leave for hanging in my Sturgeon Bay Gallery.