"Love at first sight," does not apply solely to romantic love

Thank you to Andrea Mace at the Cannon Beach Citizen for such a great article.

http://cannonbeachcitizen.com/index.asp

The expression, "Love at first sight," does not apply solely to romantic love, according to well known painter and illustrator, Michael Orwick. In Orwick's experience, art patrons fall in love with paintings in a similar fashion, feeling an almost visceral connection with certain work.  The formal components that come together in a final painting and cause this magnetic draw to a particular painting will be the focus for Orwicks next painting workshop. http://michaelorwick.com/workshops

     “When a painting from across the room has a magnetic draw, almost like falling in love at first site, this initial impact is most often caused by design and the values or lights and darks in the painting’” Orwick explained.

    “As you wander closer to investigate, it is the colors and temperatures that come into play more. As you get closer yet, wanting to learn more, the brush work comes into action,” Orwick continued. “Many of my students want to first learn brush work, but they are approaching the image making process in reverse, the details may sell the painting, but it is the big picture things that are the real strength and initial cause of the love affair,” Orwick said.

     The weekend long oil painting workshop entitled, Strengthen your Visual Sensitivity and Creative Visual Language, will be taught by Orwick on March 26, 27 and 28 at the Cannon Beach Chamber of Commerce.  The workshop is designed to explore the fundamental reasons behind a painting's success while artists create their own masterpiece under the tutelage of a well established painter.     

   Orwick compared the process of learning how to paint to playing the piano, “No one expects to be able to play music and successfully relate their ideas the first time or even tenth time they try to play.  It takes time and learning the basics.” 

    When he teaches, Orwick believes in stressing the classic fundamentals of design and composition over a narcissistic exercise in self-expression. Often, people overlook the formal training of such modern masters as Picasso or Kandinsky, and want to jump right to the point where they can express themselves without the constraints of learning such basics as how to mix colors to make a complimentary palette or how to render light and shadow to create form.

    “Painting is hard, and all I try to do is make it easier and more fun by helping people learn how to hold a brush and what the paint is capable of when used in an educated way systematic way.  The SELF Expression comes naturally with time and as we get more comfortable with the tools,” Orwick explained.    

   In his experience as an artist, it is a true compliment when a viewer gets so close to a painting that they are nearly kissing it. 

    “That is when the viewer is trying to figure out the what’s and how’s of the mysterious pull the painting has,” Orwick said.  “Then, as they step back and shake their heads in a silent bewilderment they wonder, ‘How do these loose brushstrokes that appear so fragmented come together from just a foot or two back?’  And the answer to that are the big picture things, like design and values.”

  Orwick majored in Illustration at Pacific Northwest College of Art, where he discovered that oil painting and the method of working from dark to light meshes with how he processes visual information.

    "When I'm not illustrating books, I still find my whimsical images and my landscapes to be very illustrative. I love creating art that invites you on a journey, in which you're invited to form a story and explore your world within," Orwick said.

    In his workshops, Orwick takes a hands-on approach, encouraging a lively dialogue amongst his students and making use of step-by-step demonstrations to teach technique and the interrelated components of value, shape and color in oil painting.  Students will also learn how to work with a limited palette to achieve dynamic effects in their compositions.

    Born in Astoria, Oregon in 1975, Orwick has been around the coast all of his life.  Still, he is in awe of the mighty Pacific Ocean and the magestic coast line.  “I feel like I’m still learning how to see like an “Artist” as my eyes become more sensitive and I learn what questions to ask about the beautiful scenes laid out in front of me,”  Orwick said.

  "My daughter has also done so much to help me remember all the simple and utterly perfect childhood joys that can be found by looking through new eyes.  We collect shells, look at the tidal pools, find salamanders in the near by forests and make moss covered fairy homes at the bases of trees," Orwick added. 

    Orwick loves to come to Cannon Beach with his family to walk on the beach, explore the galleries, and eat chowder.  But he also loves to paint, or to take reference photos when the wind threatens to blow his canvas away.

    Those interested in more information about Michael Orwick's Cannon Beach Oil Painting Workshop should contact Dragonfire Gallery on the web at www.dragonfirestudio.com or by phone at 503 436 1533.  Tuition is $250 for all three days and a special reception; for those in town for less time there is an open option of $100 per day.

    In addition, Orwick is extending an open invitation to workshop participants to paint Haystack Rock directly from nature, Plein Air style,  before and after class, weather permitting. 

www.michaelorwick.com 

--
Andrea Mace

cute paintingsdance prints
dance prints
dance greeting cards

add a little fun and humor to your day, This whimsical Gallery show

whimsical paintings

Story Time, by Michael Orwick, 30x40 oils on canvas

March 5 - 28

Playful and Lighthearted Art Show

http://www.columbiaarts.org/gallery/2010/03-10/whimsy.html

Playful Art

“Whimsy” opens on March 5th.

Spring, if not here already, is fast approaching and nine artists are celebrating the turning of the seasons with lighthearted, playful art.

---

Get Rid of the Blah's!

This whimsical Gallery show seeks to lift any vestiges of winter blahs and add a little fun and humor to your day. The collection of artwork will range from sculpture and ceramics to graphic images and paintings.

The exhibition opens on Fri., Mar. 5th and runs through Sun., Mar. 28th.

Featured Artists

Participating artists have each interpreted the "whimsy" theme differently. With the following talented artists participating, you're bound to see something that tickles our fancy:

Artist Reception

Be sure to join us and meet the artists at the opening reception Fri., Mar. 5th from 6 to 8p.m.

• Jim Diem,
• Chad Mayo,
• Rachel Harvey,
• Myah Bailey,
• Mike Orwick,
• Bud Egger,
• Wendy Wees,
• David Brandt,
• Todd Smith.

 

The Art You'll See

The sculptures of Troutdale resident Bud Egger focus on elongated human forms and birds. The exaggerated musculature of the figures gives them a levitating and mythical appearance.

Another visiting artist is Wendy Wees, who comes to us from Seattle. Her clever and colorful drawings of everyday objects and animals are positively delightful—you will want to collect the entire series.

Local artist, Jim Diem, will be premiering a new collection of ceramic tea pots with fun, exaggerated forms.

Mosier resident, David Brandt, will present several finely executed drawings aided by computer design that are wonderfully creative.

Another artist using computer sketching techniques isMyah Bailey and she produces dramatic monochromatic drawings.

Children's book illustrator and Beaverton resident, Mike Orwick, will display paintings derived from fantasy.

Chad Mayo of Hood River also creates exquisite fantasy images evoking another world altogether.

Finally, both Rachel Harvey and Todd Smith have painted in oils; a medium often thought of as appropriate for more serious subjects. For this exhibition, their images involve visual punnery.

Let's See You Smile!

We look forward to sharing smiles with you at the Columbia Art Gallery at 215 Cascade Ave. in downtown Hood River.

Regular hours at the Columbia Art Gallery are Wed. – Sun., 11am – 5pm. For more information, visit www.columbiaarts.org.

About Columbia Art Gallery

Columbia Art Gallery, located in the Columbia Center for the Arts, is a non-profit community gallery with the mission to promote an arts-rich environment in the Columbia Gorge. 

strengthen visual sensitivity and creative visual language three-day workshop Article in the Cannon Beach Gazette

Michael Orwick 

This three-day workshop promises to strengthen visual sensitivity and creative visual language through the medium of oil paint.

"Haystack Rock"

by Theresa Myers

Whether you're completely new to painting or an old hand at the canvas, Michael Orwick's oil painting workshop from March 26 to 28 at the Chamber Community Hall promises to be rejuvenating, fun, and just the break needed to launch into summer with creativity and positive energy.

Orwick, whose work is on display at the Dragonfire Gallery in Cannon Beach, said he knew he was an artist even as a young boy.

"My family was totally supportive," he said. "My dad is a doctor, so for awhile I thought maybe that is the direction I should go. But my parents gave me total support for following a career in art."

That career began as a children's book illustrator, focusing on whimsical scenes. But in the past few years, Orwick has found his true love and artistic calling in landscapes.

"The California Impressionists have influenced me quite a bit," he said. "And that interest led me to the Barbizon school."

The early 19th-century Barbizon school movement emphasized realism and the play of light and dark. Its influence can be seen in several of Orwick's recent works, including the painting of Haystack Rock he did for the 2009 Stormy Weather Quick Draw contest. He admits this classical, representational style may not be in vogue everywhere, but because the style is classic, "these paintings can fit into any setting," said Orwick. "If it's a modern room setting or classic beach cottage, a good landscape can fit the space."

Orwick does paint in plein air, but more often works from photographs. He is also not afraid to add elements to the image that may not be in the original scene.

"I believe in doing what the painting needs," he explained. "For me, painting is telling a story. Even if I'm working in plein air, I will add a figure to the scene if that is what it needs to tell the story."

Orwick also believes in starting each work from the basics.
"If a painting is not going well, it's almost always because I haven't paid attention to the fundamentals," said Orwick.
The fundamentals of landscape will be the focus of Orwick's March workshop, starting with an overview of light and dark values on the canvas, then color composition and "temperature." Students will learn about mixing colors from a limited palette to achieve dynamic light and shadow effects with lively color and harmony.

"The last part of a good painting is the texture," said Orwick. "The brush strokes, the finishing lines. Those are the elements that go down last, but they make the painting unique and put the artist's signature style on it."

Orwick says he is looking forward to the workshop. He and his wife, Gabriella, and their 5-year-old daughter, Elena Grace, are frequent visitors to Cannon Beach and the couple have a cottage in town.

"Elena shares the studio with me," he said with a laugh. "She has her 'gallery' at grandma's house."

"I love to teach art," continued Orwick, who currently teaches a class at Clark College in Vancouver, Wash. "I use a limited palette in my classes and keep it pretty simple. But that's how I paint, too. I generally use a small number of brushes and keep plenty of paper towels on hand. Because I keep it simple, participants in the workshop can expect to finish a painting over the course of the three days."

Orwick emphasized that a person does not need to be "artistic" or "gifted" to enjoy painting, or even to be good at it. "Anyone can learn to paint," he said. "It's all about learning the fundamentals and telling a story."

Orwick's paintings have been in galleries in Cannon Beach for the past eight years and are currently in the Dragonfire Gallery. He also has work in galleries in Lincoln City and Seattle.

To obtain more information about Michael Orwick, visit his Web site at michaelorwick.com. To register for the workshop and obtain a supply list, contact the Dragonfire Gallery at (503) 436-1533.

Tuition for all three days is $250, which includes an early evening reception on March 27 at Dragonfire Gallery. The workshop schedule is March 26 through 28, from 10 a.m. to 4 p.m. each day.

Acceptance into the 2010 Oil Painters of America's (OPA) National Exhibition

It is from a photo I took on father’s day last year just before going on the boat tour of Jenny Lake I received as a gift from my wife and four year old daughter.

The weather was cold and often stormy and we camped part of the trip in the snow.  I tried to capture the cool light and the turmoil of the constantly changing weather in the reflected clouds and thick active paint.

http://michaelorwick.com/works/412088/jenny-lake-canoes-grand-tetons (link to image and info on website)

2010 Oil Painters of America National Exhibition

I've Been Notified of Acceptance into the

2010 Oil Painters of America'sPublish Post

(OPA) National Exhibition 

Scottsdale, Arizona at the Legacy Gallery.

http://www.oilpaintersofamerica.com/

There will be a preview which opens on April 24th. The show will close on May 31st.

Please fix dates and location of show.

Breakfast in the Gallery at Amato Galler

This weekend is Amato Gallery's "Breakfast in the Gallery. A continental-style breakfast will be provided by Beaverton Bakery to visitors, along with concurring demos by Chris Helton and Gretha Lindwood.

Every Saturday morning in March, Amato's Gallery in downtown Beaverton will host "Breakfast in the Gallery," from 9 to 11 a.m. Coffee and continental fare will be provided, along with artists' demonstrations in a variety of media. Mark your calendars and start your Saturdays with a dose of artistic inspiration. Amato's Gallery is located within Amato's Florals, 12320 SW 1st Street, Beaverton.

We celebrated our official opening on February 12, with an artists' reception that was lively and very well attended. I'm exhibiting my work there along with sixteen other award-winning area artists; you can imagine how excited we all are to have a permanent fine art gallery in historic downtown Beaverton.

Stop in Monday through Saturday, 10 to 4, to see sculptures by Joni Mitchell, Joe Pogan and John Wisener; glasswork by Diane Ahrendt; ceramics by Beth O'Mahony; jewelry by Bert Cohen, Sheri Gorman, and Rosie Long; oils by Linda Baker and Michael Orwick; pastels by Brenda Boylan, Gretha Lindwood and Christy Perrine; acrylics by Chris Helton and Annie Salness; and watercolors by me. It's a very talented group and I'm proud to be a part of this exciting venture.

Chris Helton will be "up at the easel" on March 6; she'll be happy to share her process and field your comments and questions.

No need for reservations - just show up. Hope to see you there, 

Congratulations Amato's Gallery & Artists!

from
http://portlandpleinairandstudiopainters.blogspot.com/2010/02/congratulations-amatos-gallery-artists.html




Housed within Amato’s Floral in Beaverton’s Old Town, the new Amato Gallery features fine art made in Oregon. Works displayed include blown glass by Diane Ahrendt, metal or marble sculpture by Joni Mitchell, Joe Pogan, Don Wisener, paintings by Brenda Boylan, Chris Helton, Gretha Lindwood, Michael Orwick, Annie Salness, Donna Sanson, jewelry by Bert Cohen, and ceramics by Beth O’Mahony.

Amato Gallery is located inside Amato Floral, 12320 SW 1st Street, Beaverton, Oregon. Gallery hours: Monday to Friday 10:00 am to 5:00 pm, Saturday, 10:00 am to 4:00 pm. Phone 503-601-3300 for more information.


A HUGE thank you to Celeste Bergin for making the video and to Dave for taking many of the photos.

You are invited! Gala Opening Night Reception at Amato's Gallery

AMATO'S GALLERY DEBUTS IN DOWNTOWN BEAVERTON

Fine Art Gallery

Wine tasting, fine art, and flowers...what a date!

Located alongside Amato's Floral, Wine & Gifts

12320 SW 1st Street (at SW Tucker)                       

Beaverton, OR. 97005

503/601-3300

Featuring fine art from the Northwest including:

Donna Sanson

John Wisener

Diane Ahrendt

Brenda Boylan

Bert Cohen

Chris Helton

Gretha Lindwood

Joni Mitchel

Beth O'Mahony

Michael Orwick

Joe Pogan

BEAVERTON, OR, January 25, 2010 -  Karen Amato, owner of Amato’s Floral, Wine and Gifts, recently decided to diversify her business by including a fine art gallery in her existing location at 12320 SW 1st Street, Beaverton, Oregon. Amato said, “People are joining together to do things differently in this economy. You have to think outside the box. One of the things I did was try to put new and more exciting things into my shop and went on Craigslist to get some local artists to join this venture.”

Amato reflected, “People are careful with their money. They’re looking for something of lasting quality and value and I feel this art gallery provides exactly that. My customers have responded favorably to the changes and are delighted that we’re up and running in time for Valentine’s Day with flowers, wine, gifts, chocolate and now fine art.”

Housed within Amato’s Floral in Beaverton’s Old Town, the new Amato Gallery features fine art made in Oregon. Works displayed include blown glass by Diane Ahrendt, metal or marble sculpture by Joni Mitchell, Joe Pogan, John Wisener, paintings by Brenda Boylan, Chris Helton, Gretha Lindwood, Michael Orwick, Annie Salness, Donna Sanson, jewelry by Bert Cohen, and ceramics by Beth O’Mahony.

A free gala reception to celebrate the gallery opening is Friday, February 12, 2010, 5:30 pm to 9:00 pm and will include a tasting of Northwest wines. Gallery artists will be on hand. The public is invited.

Amato Gallery is located inside Amato’s Floral, Wine and Gifts, 12320 SW 1st Street, Beaverton, Oregon. Gallery hours: Monday to Friday 10:00 am to 5:00 pm, Saturday, 10:00 am to 4:00 pm. Phone 503-601-3300 for more information.

 

# # #

The Police Report, The Novel, and The Poem

by Keith Bond This article is by Keith Bond, Regular contributing writer for FineArtViews. You should submit an article and share your views as a guest author by clicking here.

Suppose a crime happened in your city or town. Three people write about it.

First is a police officer who responded to the incident. The officer writes in exacting detail everything that happened. Nothing is left out. It is a completely thorough and meticulous report. But reading it is very cumbersome and tedious. It puts you to sleep on about page one.

The second writer is a novelist who is able to explain the same event in an exciting way. The novelist’s version is enthralling and captivating. The details are controlled so that you read them only when necessary. They are carefully composed to lead you over and under, in and around the events. The author creates a narrative to tell the story. You find the read thoroughly enjoyable and suspenseful. It is a page-turner. You cannot put the book down, because you need to know what happens next. Hours go by and you find that you read all night to finish the book. The twists and turns kept you guessing, but in the end you really weren’t prepared for what really happened. It caught you by surprise. You wonder why you didn’t see it before – the butler really did do it!

Yes, the novel would be much more exciting to read than a police report. But once you have read it, what then? Would you read it again? Perhaps in a few years.

Both Paintings By Michael Orwick

www.MichaelOrwick.com

The third writer is a poet. What would his/her version read like? Likely, it would give you only the most essential details. But the poet would also leave much to the imagination. The poet captures the feeling or mood of the events. Rather than telling you what everything means, the poet would subtly point you in the general direction, but you would be faced with the task of coming to your own conclusions. Each time you read it, you find new things hidden in the words. You think the poem means one thing one time you read it and something entirely different the next time. Thus, you never tire of reading it.

It is the same with art. Three people paint the same subject, but in very different ways (actually, the possibilities are far more than three, but for the analogy’s sake, we’ll keep it simple). What kind of artist are you? Do you tell your viewers everything in such exacting detail that they are bored out of their mind? Are you a story teller? Do you create wonderful narratives in your art? Is it exciting to view the first time, but there is little to bring the viewers back time and again? Or are you the poetic artist who merely implies themes and allows the viewers to interpret the art in his or her own way? Do they come back time and again to view the painting because it keeps drawing them in, revealing more to them each time?

Before I go further, I must clarify what I mean by these different classifications.

The Police Report

I am not picking on the highly detailed artists here. I have seen highly detailed works that are very poetic. Though the analogy is built around recording every last detail, it is really about not knowing how to edit and compose. This is the artist who cannot decide which details are important and which are not. This is also the artist who can’t arrange the details in a compelling way. This artist simply records things just as they are. A police report has no emotion. It is simply an outline of facts and events, regardless of whether the work is done in photorealism or impressionism or abstraction.

The Novel

I don’t use the term narrative in the typical sense. We all have seen those works of art which depict a story – a narrative. But even these can be done poetically. I am talking about the method of painting, not the subject (I hope it’s not too confusing). Do you lead your viewers through your painting in a controlled way? Do you keep the painting exciting and enthralling at every turn, but in the end, the viewer comes to the point that you wish them to get to? This is a novel in this analogy.

Poetry

Or do you simply create a painting in which the viewer gets a gist of what your intent is, but it is left open to them to interpret? Do you put in only the most important details and leave the rest out? Do you imply rather than explain? Do you search for new ways of expressing the old ideas? Do you say so much with each passage, that more is revealed each time your work is viewed? Are the works felt?

What kind of art do you create? What kind of art do you want to create?

Best Wishes,

Keith Bond

PS This analogy was derived from a vague recollection of one I heard years ago, so I can’t take total credit. The artist who told it to me claimed that it was John Singer Sargent who came up with it. I have never confirmed that. If you happen to know, share it with us.

---------------------------------------------- This article appears courtesy of FineArtViews by Canvoo, a free email newsletter about art, marketing, inspiration and fine living for artists, collectors and galleries (and anyone else who loves art). This article originally appeared at: http://clintwatson.net/blog/16298/the-police-report-the-novel-and-the-poem For a complimentary subscription, visit: http://www.fineartviews.com

Cannon Beach Oil Painting Workshop

beach paintings

Strengthen your Visual Sensitivity and Creative Visual Language
This workshop is designed to explore the fundamental reasons behind a painting's success as you create your own masterpiece
Class is March 26, 27 and 28
10 AM to 4 PM daily

Think of walking into a gallery and instantly being grabbed by a painting from clear across the room. What is it that reaches out to you and pulls you to get a better look? Learn what it is that first draws you in and how the painting continues to cast such a spell that you have to get within sniffing distance to learn all you can.

Through informative conversations and step-by-step demonstrations, students will gain an understanding of the interrelated components of painting- including value, shape, color, and edge relationship. You'll be painting right alongside artist Michael Orwick. Each of you will be given personal attention and friendly critiques.

Michael will also discuss the benefits and drawbacks of photo references. He will provide some reference material for you, but you are encouraged to bring your own landscape photos to paint. Michael will emphasize emotion, color, composition, and ways to turn a photo into a spirited painting.

Starting with composition, emphasis will be placed on editing and selection skills as well as clarifying light effects for strong, personal design. You’ll study the power and importance of balance, unity, variety, interest and contrast through the tonal and color aspects of your paintings.

As a student, you will also learn about mixing colors from a limited palette while still achieving dynamic light and shadow effects with lively color. You’ll discover how values and temperature work to keep your paintings in harmony.

Take home your own light filled masterpiece along with improved painting methods and theory.

To learn more about this fantastic art town and lodging options please visit
http://www.cannonbeach.org/

On Saturday after class (4:30-5:30) a special reception with appetizers and wine is being offered free of charge at Dragonfire gallery for this group.

Bonus: Get ready for painting outdoors with a Plein-air equipment overview and suggestions list.
Also weather permitting I invite you join me before and after class to paint the magic of Haystack rock in plein air.

To learn more about the artist, instructor www.michaelorwick.com
Class is March 26, 27 and 28
10 AM to 4 PM daily.
We are meeting at the Cannon Beach Chamber of Commerce building in the beautiful Chamber Hall
207 N Spruce St
Cannon Beach, OR 97110
(503) 436-2623

To learn more about this fantastic art town and lodging options please visit
http://www.cannonbeach.org/

To sign up for the workshop
Please contact the fantastic folks at Dragonfire Gallery
Eeva, Lotta, and Marsha
DragonFire Gallery
PO BX 1010 (USPS)
123 SOUTH HEMLOCK ST (ups)
Cannon Beach, OR 97110
www.dragonfirestudio.com
503 436 1533

Tuition is just $250 for all three days and the special reception, for those in town for less time there is an open option of $100 per day.

Oil Painting Supply List Please email Michael at orwickillustration@comcast.net or contact Dragonfire gallery, or go to http://michaelorwick.com/dataviewer.asp?keyvalue=6698&page=Journals


http:www.michaelorwick.com

What a crazy painting project

These are the final images done for the new Lebaon Library, my friend Aarron Woods made a great little video about the process.

Join Artist Michael Orwick and go behind the scenes as he creates 3 large scale painting for his home town library.

Three 48x72 inch landscape paintings on canvas.

Short bio and history of the thoughts behind the creation of the images that grace the intrance to the new Lebanon Oregon Library.


Lebanon Library Art Project


Proposal ideas and size____________________________________________________

- 3 paintings, with 1.5 foot of wall space surrounding each one, for the large panel in the entry of the library

Expectations____________________________________________________________

I want to create paintings that reflect the beauty and strong ties I feel to the area, where I and seven generations of family before me grew up.

“Oh, beauty, ever ancient and ever new.” (Saint Augustine)

While I have been contemplating this amazing project and opportunity, I have been thinking both about how far I have come artistically, and about how much has truly changed in the town “that friendliness built.”

I have spent a time reflecting on change and growth, and despite all that obvious transformation, it is in fact what has remained constant that I continue to gravitate toward most: the sunsets my Great Grandfather Fred appreciated as he sat on the back porch after a grueling day on the farm (that is now the Lowe’s property); the refreshing cool my Grandmother Rusty, as a little girl, enjoyed as she splashed in the river; and the trails my Mother Laurie tromped through as she gathered up bouquets of purple Foxglove and the yellow blossoms of the Oregon grape. Change is important and constant, but it is what stays the same, those things that were beautiful then… and still retain the same appeal and potential to excite us today, which delights most.

What I propose is a series of paintings that are a reflection on atmosphere and light: the early morning moisture in the air, the thin veil of clouds resting atop Peterson’s Butte, the dust kicked up during hay season that turns the setting sun ablaze in warm hues and glowing contrasts…

The artwork would reflect the feeling I had as a child, blissfully floating down the Santiam River by inner tube, or fishing off its banks, with the warm summer light reflecting off the subtle rapids and the water-worn stones just beneath its surface.

I want my paintings to capture the magic and wander I felt as I discovered the forested trails in the hills surrounding town, and as I breathed the damp air with its very cognitive feeling of being enveloped in lush green life, and the sweet musk of decomposition as old stumps give rise to saplings and innumerable ferns. I want to capture the filtered dappled light making its way to the path just before leading me in, bidding me to explore the next bend just over the moss covered log.

The Library Art Project paintings have the potential to be the best I have ever created. I plan for them to read like four chapters that tell the story of the town that shaped me and ignited my lifelong appreciation for both natural and agricultural beauty, for winding water ways, softly rolling fields, and gray blue hills fading into the distance, which frames it all.

“We look at the picture. We walk in the picture. We ramble through the picture. We live in the picture. All are desirable, but the last two are held in the greatest respect.” (Kuo His)


Artwork, style, emotional impact____________________________________________

I have always felt that a painting’s job was to feel like a painting, to do the things that only paintings can... Paintings work best when not strictly adhering to the scene at hand, but when they capture the essence of the place and subject.

My tools are the canvas and oil paint, and using these two simple materials I strive to create the illusion of a third dimension. It has always been my goal to help the illusionary dimension feel real and beckon people to travel into it, to draw them as a place that is welcoming, that has certain nostalgia-like sense of a place they know well but are now seeing anew.

“Response [of viewers] is triggered by the design, drawing, form, color, etc. presented by the artist, but also draws on their own experiences and imagination.” (Ken Campbell)

My style has developed as a unique hybrid of elements from the artists and paintings I love. When people talk about my art they use word like “impressionistic” or “painterly,” which comes from my years studying the French impressionists and my deep fondness for the early California Impressionist painters. I love artwork that feels spontaneous yet controlled, like a thoughtful acknowledgement to what is being seen and felt.

People also use words like “relaxing,” “nostalgic,” and “timeless” to describe my pieces. This may indeed reflect my focus to overcome a deep seated fear of having my art feel dated or trendy. Years ago I began to ask myself what was the art that drew me in, which styles did I connect with most, and I noticed it wasn’t about an era or a movement... The art I like is about light and shadow, about atmosphere, and about conveying the special feeling of being in a certain place at a given time of day.

My art has been described as “story-like” or “illustrative,” and that one is easy to answer, I studied illustration and many of my favorite artists are the classic illustrators - artists such as Maxfield Parish and N.C. Wyeth, painters who created stunning images that get people excited about the story’s potential.


Reference photos_________________________________________________________

I have been fortunate to meet the local photographer Nick Boren. He has photographed the Lebanon area extensively for many years, and upon learning about my opportunity, has opened up his vast collection for me to work with. I have included 7 of his photographs and 5 of my own for you to get a better idea of subject matter images we could choose from. (I have numbered the backs in priority order to indicate which ones I prefer, but I would absolutely be happy to work with any of them as references.)


Conclusion______________________________________________________________

My paintings for the Lebanon Library project are going to be my thoughtful reaction to what I have been so lucky to have experienced first hand, while growing up surrounded by all of Lebanon’s potential and beauty.


“The vision of the artist is the vision to see and the ability to tell the world something that he or she unconsciously thinks about nature.” (Hawthorne)


Michael Orwick
www.michaelorwick.com

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New painting

Jenny Lake Canoes Grand Tetons National Park 16x20 oils on Raymar Plein Air Panel www.michaelorwick.com A painting for...me