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PLEIN AIR LANDSCAPE PAINTING

I paint in both oils and watercolors. I prefer to paint in a style/approach know as "Plein Air". This style/tradition refers typically to landscape painting done on location from life in a single sitting (or two), usually in a few hours rather than being produced from photos in a studio over days or weeks. These constraints present distinct challenges which require among other things, a skill for abbreviation and decisiveness.

The approach results in a style that is purposely and practically devoid of fussy detail but does not ignore believable rendering. The trick is to do the most with the least. The result is a chunky style focusing on light and color that tends to gel when viewed from a distance (sort of like the thumbnail images above) where the viewers eye/mind fills in many of the details. The viewer is "participating" in the work in a way that doesn't occur when all the detail is fully rendered. Its quite a pleasing feeling. And then, as one moves in for a closer inspection, the paintings disintegrate into chunks of color (see zoomed in versions of some paintings).

Working "en plein air", the painter must be quick and decisive. Key shapes, colors and gestures are sought out, avoiding detail leaving the painting with a brisk lively feel. Plein Air painters think that this approach captures more of the essence of a place, both in and through time, and therefore the painting has more "life" than a photo produced image. Each painting is actually a composite of the light, shadow, color and shapes evolving over the course of the painting rather than an analytic, studied painting of a frozen moment in time in an easily accessible photograph. We are out there in the wind, rain, fog, mud, cold, wind, sun, heat etc etc. For each painting above, I can remember not just the scene but the entire environment and weather of that day. Theres an intimate feeling that's only gotten by being there in the scene. I hope that feeling shows through in the paintings.

The act of painting "en plein air" is as much sport as art. Its very engaging, active, physical, somewhat intimidating and that is what makes it both fun and difficult. The painting becomes a record of the artist in the place, in the cold, wind, sun, sand, mud with the leaves blowing and the bugs biting. One must go for it and being willing to crash and burn. Its risky and often the painter leaves with a scribbled mass of brush strokes, but when it works the paintings are so much more than just a picture. In each painting I'm simply hoping to get at some essential aspect of the place: light, color, form, rythmn, mood. If I can get a few of these, then I probably have a decent painting.

When you look at my paintings, look for the bold brush strokes, they show decisive commitments to colors and shapes, the willingness to put down a stroke and risk blowing it or nailing it, for example - the effort to capture an entire section of woods or marsh with one or two brushstrokes. Look at the speed and intensity of the strokes. Imagine making the painting yourself - try to feel what the artist is feeling and saying not just with the image contents but with how the image is made, with each mark. This is how plein air painting attempts to communicate more that just subject matter to the viewer.

I hope this helps you enjoy my paintings a bit more.
Steve Sabia