Things are not done in a “jiffy” here in the San Luis Valley. It’s far between places, for one thing. Yesterday my neighbors and I went on a studio tour. It began in the mountains, up above Creede at a place called Bristolhead and wandered its way down to South Fork, some 40 miles southeast. We thought we could see many of the studios on this tour between 9 and 1 and fit lunch into that time frame. That turned out to be impossible.
In winter many of these places are deserted except for the diehard, year-round residents. In summer they have a small population (and economic) explosion. There are large, multi-million-dollar fancy houses up there. It’s a different world from my year-round, salt-of-the-earth little town.
I bought a print. I would love to have bought the original, but it is out of my reach. The artist, Angela Hague, is an older lady from the east coast. She greeted me at the door as if she knew me. She exclaimed about my white hair. She said, “I paint from the New York School of Painting” and explained her painting philosophy to me — a painting philosophy another artist friend had tried explaining to me before. It was a little easier to understand what is, to me, a rather arcane philosophy, when I was surrounded by hundreds of very colorful paintings. She constantly repeated, “The subject matter is not important. What is important is the push pull of the colors on each other.”
Every artist has a “thing.” My thing is not to have a thing, but I know that’s a thing, too. And, subject matter matters to me. In the painting I bought the two “things” — the push/pull of color and the subject matter — come together in a very powerful and beautiful way.
Their house is adobe, built on a hillside, very dramatic and filled with little artistish details.
The tour — and my recent trip to Taos with my friend, Perla — has made me rethink this artist thing. It’s a crapshoot, but for many of these people a lucrative one. It’s also made me think about what I do when I paint. I wonder if all painters are the same — there are paintings that are “outside” paintings and paintings that are “inside” paintings. I will also always be a representational artist. I don’t get — or do — abstract work. Reality is abstract enough for me. My house has my paintings hanging in it — six of them. Three of them are also paintings I will probably not hang in public or ever sell. They are paintings that represent moments in the internal landscape of Martha.