If you’re like me and you love both creating and being outdoors, I encourage you to try painting “en plein air”. It’s a French phrase that loosely means putting brush to canvas “out in the open air” rather than in a studio. Although plein air painting has seemed especially timely over the last year, as the coronavirus pandemic forced social distancing upon us, its roots go way back.
A Very Brief History of Plein Air Painting
You could argue that cave dwellers were the first plein air painters. But historians date plein air to the late 1800s, when the Impressionism movement first took hold among a group of French painters you may have heard of, including Claude Monet, Alfred Sisley, and Pierre-Auguste Renoir.
However, it was a not-so-famous American artist, John Rand, who opened wide the doors to plein air painting. Not through his art, but through an invention: paint in a tube. Suddenly paint became portable, enabling artists to more easily haul their supplies outdoors.
Speaking of America, we have our own plein air history. The Hudson River School was made of American landscape artists who wandered into the woods, mountains, and valleys of New York and New England to paint inspiring natural scenes. Some ventured farther to produce stunning images of the American West. The documentary “Outside the Lines” beautifully tells this story.
Among my favorite plein air painters are Monet; early 20th-century California artist Mary DeNeale Morgan; and current artists Stephen T. Datz of Colorado and Carolyn Lindsey of New Mexico.
My Plein Air Backpack
I was introduced to plein air painting in Texas during my 20s. While taking beginner oil painting lessons from Brigitte Woolsley — a former courtroom artist who now depicts western landscapes — we often painted outdoors, which I thoroughly enjoyed. And though I put painting aside for several years to focus on Frame Destination and my academic education, I’ve now got time to pursue plein air painting.
A couple years ago, I moved to the Black Mountains of western North Carolina with my husband and business partner, Mark Rogers. I’ve always loved hiking, but I’ve got a few minor back issues, so my plein air backpack needs to be as lightweight as possible.
Below are my top 10 essential supplies for painting outdoors in a mountainous region. Revisiting the same places multiple times is a great way to figure out exactly what you need to bring — and the best times to come and paint.
Soho Urban Artist Plein Air Easel
When I’m working outdoors with an easel, I typically sit on a rock. Sometimes I just stand. The Soho Urban Artist Plein Air Easel is the best one I’ve found in terms of portability, ease of use, and height adjustments.
Pastelbord or Multimedia Artboard
For plein air painting, I prefer to use oil pastels and I love lightweight Pastelbord or Multimedia Artboard panels. They accept multiple layers of oil pastels and water blending.
Water-Soluble Oil Pastels in Basic and Rustic
I’ve been using Sennelier oil pastels in my studio work for years. I recently discovered Art Philosophy’s water-soluble oil pastels and have been using them in my plein air work along with Catalyst Art Tools to create "sgraffito" effects. See more about this in #4.
Catalyst Art Tools and/or Sculpting Tools
As I was saying above, you can produce sgraffito effects by adding a few layers of oil pastel, softening the layers with a brush/tissue and water, then layering on more pastel and use Catalyst Art Tools or sculpting tools to create marks.
The rest of my list should be self-explanatory:
Large Brush and/or Portable Brushes
Spray Bottle or Small Container for Water
Tissues, Paper Towels, or Rags
Water, Snacks, and a Resealable Bag to Hold Waste
Hat, Sunblock, and an Emergency Blanket.
Business Cards—Keep reading for the why behind this one.
Plein Ol’ Common Sense
Painting outdoors requires awareness of your surroundings no matter where you’re located. These are a few practical safety tips I’ve learned over while hiking/painting in the mountains.
Let someone know where you’ll be painting, and be specific. For example, “I’m going on ___ trail and I plan to be back around ___ time.” Also, bring a buddy if possible.
Research the wildlife in your area. In western North Carolina, we have a large population of black bears, which I encounter on an almost daily basis both at home and while out hiking. I carry bear spray and stay aware of my environment at all times. Here are some tips on what to do if you encounter a bear.
Wear sunscreen and/or a hat and long sleeves if possible, and use insect repellent.
Prioritize water and food over extra art supplies.
Check your local weather before venturing out.
Bring a map and/or a compass in case the cell service is sketchy.
Human Encounters
During your plein air painting forays, you may meet other walkers, hikers, and nature lovers who are interested in your work. If you are seeking solitude, don’t feel obligated to engage with people commenting on your painting, aside from a polite “thank you.” However, if you choose, you could take this time to practice talking about your work and maybe even gain a potential customer. I always carry business cards and have made customer contacts and sometimes sales while plein air painting.
Plein Air Organizations
Outdoor Painter, the home of Plein Air magazine, has a weekly newsletter with excellent content. I took their Plein Air Live Beginner’s Day 2021 Online Workshop as a refresher and learned so much. If you’re interested in learning about plein air painting or you’d like to network and enter competitions, I highly recommend signing up for their newsletter or getting a subscription to Plein Air Magazine for tips, tools, and contests.
By now I hope you’re feeling inspired to get outdoors, breathe in some fresh air, and create. Feel free to share your art with us — we’d love to see your work! For ideas on how to frame your art once it's ready for the spotlight, see our new options for plein air painters.
Last Updated November 2, 2021
If you’re like me and you love both creating and being outdoors, I encourage you to try painting “en plein air”. It’s a French phrase that loosely means putting brush to canvas “out in the open air” rather than in a studio. Although plein air painting has seemed especially timely over the last year, as […]
A technologist and software developer by trade, Dave Therrien has two creative outlets: music and photography. He finds similarities between recording his own songs and photographing landscapes, seascapes, and architecture: both require the energy, tools, and creative mind to transform something raw into a more beautiful form.
Shapes and Shadows
As Frame Destination’s resident ambassador, I, Artie the Panda, have a deep appreciation for nature and art. I was drawn to Dave’s work for the way he conveys shapes, textures, and light. In the photograph we feature here, “Winter Ending,” you can see his eye for detail and his patience for capturing the exact right moment.
After-Hours Tech
Dave’s technology talent is not limited to his day job. He uses Adobe Lightroom Classic for post-processing his photographs, and a Canon Pixma Pro-10 printer. His frames — always metal — come from us. "Frame Destination has been the most consistently high-quality website for frames, glass, mounting hardware, etc.,” says Dave, who is based in New Hampshire. “They are the only place I recommend to my photographer friends for frames. The shipping packaging is bomb-proof and I've never had any breakage in shipment.”
See More of Dave’s Work
The website Pictorem features eight galleries of Dave’s best work, with an abundance of gorgeous landscapes, seascapes, and architecture, but also unique perspectives like closeups of a zebra and a World War II bomber. Keep reading to discover Dave’s penchant for podcasts and serendipitous moments.
Now for Artie’s Eight Q&A with Dave Therrien…
1. What is your background; how did you get started?
I've been interested in photography my entire life. But my interest in creating fine-art photography really began in 2013 with the gift of a Canon DSLR. I captured images of landscapes, seascapes, architecture, urban street scenes — anything that caught my fascination with light, shadow, shape, and lines. I switched to a smaller, more lightweight Fujifilm mirrorless camera in 2015 and loved the portability. Through the recommendation of a friend, I purchased a Canon Pixma Pro-10 printer and started to print my own images. From there, I learned to mat and frame my images. I began showing and selling them at local coffee shops. From there, I became a juried member of the New Hampshire Art Association in Portsmouth, New Hampshire. A few months later, my work was juried into the League of NH Craftsmen organization. Today, I focus on selling my work through the New Hampshire Art Association and nine League galleries.
2. How important is it for a photographer to "connect" with their subject?
As a fine-art photographer, I mostly focus on capturing images of scenes/objects that exhibit a unique visual field-of-view, with interesting lines/shapes, or interplay of light/shadow. I “connect" mostly with landscape/seascape subjects as well as historic/modern architectural scenes. Conversely, while I love viewing all genres of photography, I have little interest in capturing wildlife, portrait, event, or street photography. Every photographer I know has a strong emotional connection to the subjects they capture, and they study and work on those focused subjects over the years to further enhance image quality.
3. What has been a formative experience or the best advice you’ve received within your career?
I think the best photography-related career advice that I ever got was to purchase a high-quality photo printer. This opened so many doors that allowed me to share and sell my images. There is an incomparable thrill with knowing that someone purchased one of my prints and it's now decorating their home or office space. It connected with them in some way. In terms of formative experiences, I am an avid photography podcast listener. There are about nine photo-related podcasts that continue to inspire me to improve in all elements of capturing images and preparing them to be displayed and sold at galleries.
4. In what ways does your work reflect your personality?
I've been shooting more seriously since 2013. I am not interested in capturing my own images of iconic locations in Iceland or the Grand Canyon or the Eiffel Tower. To me, that's boring. I like to roam in wooded areas as well as urban environments with no planned destination. To unexpectedly come across a simple object in a vast landscape is exciting. To visit a location that I've been to a dozen times before and, because of the light or the change of season, find something that moves me in a new way is exciting. I think this serendipity about what I see through my camera while roaming is what people see in my images.
5. Creative blocks, do you get them? If so, how do you overcome them?
Creative blocks are not something I have a problem with, and here’s why. As I mentioned, I listen to podcasts related to photography (The Candid Frame, Behind the Shot TV, Lens Work, The Digital Story, Photography Radio, The Picturing Success Podcast, The B&H Photography Podcast, Fujilove Podcast, Picture Methods.) These are always inspiring to me. It's where I learn about the latest camera and post-processing technology. It's where I am introduced to great photographers of the past and present. There is one current photographer whose work inspires me greatly. Her name is Olga Karlovac. Her sense of embracing blur, black and white, and grain is refreshing in a time where most photographers fight against those qualities in an image. Every time my camera autofocuses on a subject, I am re-invigorated to shoot more!
6. What is your most indispensable tool? (Not counting the obvious, like paints, brushes, canvas, camera, etc.)
More of a process than a tool, I don’t rush through environments and snap the obvious photos that most people capture. I limit myself to capturing dozens of images within a constrained geographic area in order to capture as many macro-to-micro views of that environment as possible. I enjoy capturing the fine details as well as the grand/majestic views of landscape and architectural environments.
7. Do you have a new project you are working on, or a new passionate idea?
As a single focus, I am working on emulating the style of Olga Karlovac. It's a counter-intuitive way of shooting and processing images. I have taken some baby steps in that direction, bringing blur and grain into my black-and-white images. But really, I am typically going in 10 directions with photography and it depends on when I can take the time to get out and shoot. If I'm with family members, I'm making high-quality memorable portraits of them. If I'm traveling on business to a new city, I will roam around the area on foot at multiple times of the day — 4AM, 10PM, midday — just observing a new area and finding detail that most people in that area have long ignored. In short, my Fujifilm camera is always with me and I try to take any moment where the light is right to capture an image.
8. What "fad" gadget do you most regret purchasing?
There is a little product called the Platypod that one can use to set a camera on the ground as a low tripod. It was tedious to use with little thumbscrews. Too time-consuming.
All artwork and/or photographs used in this post are subject to copyright held by the featured artist.
ARE YOU READY FOR THE SPOTLIGHT? Simply respond to the questionnaire here to apply
to be included in an upcoming Artie’s Eight Spotlight.
Last Updated May 20, 2021
A technologist and software developer by trade, Dave Therrien has two creative outlets: music and photography. He finds similarities between recording his own songs and photographing landscapes, seascapes, and architecture: both require the energy, tools, and creative mind to transform something raw into a more beautiful form. Shapes and Shadows As Frame Destination’s resident ambassador, […]
Recently, gouache paints have been experiencing a renaissance. The velvety, versatile nature of gouache (rhymes with squash) attracts beginners and experienced painters alike. So if you've ever wondered what it is or how to paint with gouache, keep reading!
Intro to Gouache
Nontoxic and water-based, gouache is often touted as ideal for novice painters because it’s easy to rework and less expensive than oil paints. However, gouache has its own challenges, and may or may not be suitable for a beginner.
Gouache paints date back to the ancient Egyptians, who mixed pigments with honey or other binders. Famous artists who have used the medium include Albrecht Durer, Paul Klee, Salvador Dalí, Edgar Degas, and even Jackson Pollock.
We can’t talk gouache without mentioning Henri Matisse, who used the medium in his famous cut-out series. I’ve always loved Matisse’s bold, colorful flair, so as I prepared to delve into the world of gouache, I found myself drawn to vibrant colors and lines that echo his style.
Dabbling with Gouache
Until recently, gouache was the one medium I had never worked in. So, I decided to experiment with two small gallery-wrapped canvases I had on hand. I found a Gouache Jar Set from Jack Richeson & Co., purchasing it online at Jerry’s Artarama.
This gouache paint set includes: Zinc White, Yellow Light, Ochre Light, Red Vermilion, Alizarin Crimson, Iron Oxide, Prussian Blue, Emerald Light, Violet Deep, Green Deep, Mars Brown, and Carbon Black.
Prussian Blue mixed with Zinc White.
The colors are gorgeous — deep and rich — although I recommend you pick up an extra container of Zinc White for tinting if you prefer colors that aren’t as high chroma. You can create lovely blacks and browns by combining two complementary colors. Complementary colors are two colors that, when placed side-by-side, create the strongest contrast; examples are red/green, yellow/violet, and blue/orange. Subtle neutrals can be achieved by adding Zinc White.
Mix two complementary colors to create shades of black and brown. Add Zinc White for softer neutrals.
The Challenges and Benefits of Painting with Gouache
Add water or build texture. Although I loved the creamy texture, my initial attempts to work with gouache came out quite flat-looking for my taste. I was able to solve this easily by adding a lot more water, which resulted in a fairly loose style for my “Still Life with Flowers and Fruit.” It’s equally a breeze to build the consistency of gouache paint. In my “Pineapple” painting, I bulked up the texture by applying multiple layers with a palette knife; no separate texture gel necessary. Although my cheaper synthetic bristle brushes worked fine for these paintings, natural bristle brushes might be more appropriate for glazing with gouache. The Creative Folk has a great blog on the five best brushes for gouache.
“Still Life With Flowers & Fruit” by Joely Rogers.
“Pineapple” by Joely Rogers.
Reworking and remixing. Gouache dries quickly, but it’s a breeze to rework. (I typically use watercolors and acrylics, so gouache’s rework-ability was a pleasant change for me.) Keep a small spray bottle handy to rewet your canvas or paper as needed. Also, I found that the gouache paint in the jar set separates easily, and needs to be remixed before using. Gouache is also available in pan sets and tubes.
Indoors or out. My gouache painting experiment took place in my studio. However, if you enjoy painting outdoors, gouache is a flexible medium for plein air studies done on paper. Below are three plein air gouache sketches on Strathmore Toned Tan Mixed Media paper. I created these using the Jack Richeson paint set. First, I placed an assortment of colors on a paper palette, then folded it in half, then rewet the gouache at my painting spot.
Plein air painter Michael Chesley Johnson has an excellent blog post discussing what’s in his plein air gouache kit along with some excellent “nuts and bolts” tips on plein air painting with gouache.
Matte or gloss. Gouache dries completely matte, but you can apply a gloss finishing varnish if you prefer more shine. I’ve been using the Krylon brand of aerosol varnishes and finishes for years. To add a little extra sheen to your gouache art, try their Satin Finish, or to keep the matte look while adding extra protection for your art, use the Matte Finish. If an aerosol varnish doesn’t work for you, Liquitex has excellent high gloss, gloss, and matte varnishes that can be applied with a brush.
Framing Gouache Paintings
When you’re ready to frame your own gouache paintings, we have an extensive collection of custom frames to complement your artwork. If you decide to use canvas, as I did, consider using a wood floater frame, which gives stretched canvases a professional, unique look. The edges of the painting remain uncovered, letting the artwork “float” within the frame. For details, read our article on why floater frames are one of our top-selling items. Check out our guide on framing canvas paintings for more ideas and tips.
My Final Thoughts
Overall, I enjoyed my first forays into using gouache, and I can see why these paints are experiencing a resurgence in popularity. Next, I might blend gouache with another medium like watercolor — à la Fidelia Bridges, one of my favorite female artists whose watercolor/gouache paintings feature sensitive depictions of local flora and fauna.
We’ll see what happens with a little practice and playing around!
Last Updated May 6, 2021
Recently, gouache paints have been experiencing a renaissance. The velvety, versatile nature of gouache (rhymes with squash) attracts beginners and experienced painters alike. So if you’ve ever wondered what it is or how to paint with gouache, keep reading! Intro to Gouache Nontoxic and water-based, gouache is often touted as ideal for novice painters because […]
Beth Rose is the mother of five children. And she hints there may be more to come. This begs the question: How does she have time for a photography business, where she is busy “making memories into heirlooms,” as her tagline aptly describes?
Momentary Bliss
Her husband’s nickname for Beth Rose, “Hummingbird,” may be the answer; she rarely sits still. This quality no doubt helps her during family portrait sessions, ensuring that she’s always on the lookout for authentic moments of joy that reflect each individual family. As Frame Destination’s resident art ambassador, I was mesmerized by the way Beth Rose captures normal, run-of-the-mill activities — like a mother and father lounging in bed with their newborn, or kids on a backyard swing set.
DIY Process
A point of pride for Beth Rose is her hands-on approach to the entire process: shooting, editing, and printing on archival paper in her Nashville home. All except the framing, for which she relies on Frame Destination. “Because making my own frames is one of the few things that I am not able to do myself,” Beth Rose explains, “I appreciate having access to frames that I can so easily and accurately customize to my vision for my work.” We are glad to do our part, Beth Rose.
See More of Beth Rose’s Work
From family portraits to her daisy series, Beth Rose’s website is a great place to appreciate her work. Dive into her Instagram for recent photos, gallery news, and some humorous Mimosa Monday video posts. Scroll down to my Q&A below and discover the worst advice Beth Rose ever got, what (or whom) she finds indispensable, and her take on the unconventional (and controversial) father-son portrait showcased above.
Now for Artie’s Eight Q&A with Beth Rose Goin …
1. What is your background; how did you get started?
In high school I was the entire photography club. I went from there to the Nova Scotia College of Art and Design. The darkroom became my refuge; I spent many hours there to avoid going home. I spent some time after that following adventure races in Canada and then moved to Nashville, got married, and started having babies! Then I switched to digital for practical reasons and in the last few years, as the kids have all needed me a little less, I've gotten into printing my own images at home.
2. How important is it for a photographer to "connect" with their subject?
There is an inherent truth in photography, or an assumed truth, at least. If it's in a photograph, it must have really happened. Other art mediums can create, whereas photography has to capture. A connection is imperative if the subject is going to be known in the image. It's never just about the artist, because the subject is physically present, not merely implied or represented. A lot of my work is with families. It's very important to me that I document them as they are. I don't have a formula that I use, or a “style" — instead I get to know them so that the images reflect who they are. This man happens to be a very good friend of mine, so I know him well. Several people told me that they didn't like the image, and one person asked, “But why is he choking the baby?" They can't see past what they expect in a father and baby portrait. My friend is not what you expect. Fathers are often so timid and clumsy with their first child. Not my friend. He is so sure of who he is in everything that he does. Even as a brand-new father, he doesn't wonder, or doubt, or hesitate. And as he holds his son so confidently, that sweet baby looks so brave, so ready — because he knows that his father holds him and his father is strong. If I took the same photograph of any other father and child, it wouldn't carry the weight this one does, and it wouldn't be “true.”
3. What has been a formative experience or the best advice you’ve received within your career?
It's easier for me to talk about the worst advice and how I became an artist when I let go of it. In art college my skill was often praised, but the art itself was not. I was told that it was not deep enough, simply because it was not dark enough. They had it so backwards. I was in an abusive relationship and I was in a very dark place. When I dug deep and went beyond what I was living in that moment — I found joy. And that is what I expressed in my images.
4. In what ways does your work reflect your personality?
I have five children (so far). I love nothing more than the everyday joy that comes with children. Everything is new and amazing to them. I live that way, too, as much as a I can. I love the little things. When I am not photographing people, I am photographing little joyful things. Even in some of the images I have of flowers in their last days, I see joy in that death. Not happiness — death hurts — but joy in the completion and fullness.
5. Creative blocks, do you get them? If so, how do you overcome them?
I shoot anyways. I shoot something that I don't think I can nail. I try something new. I find someone or something to document, because even if I have nothing to say, maybe they do.
6. What is your most indispensable tool? (Not counting the obvious, like paints, brushes, canvas, camera, etc.)
My husband. I don't think I knew how to believe in myself before he showed me.
7. Do you have a new project you are working on, or a new passionate idea?
I have a daisy series that has over 100 daisies in it. It is an extension of something that I've thought about for years after the result of a project I did in college surprised me. It was images of women where I had stripped their faces down to just the basic features expecting to prove that "deep down we are all really the same." Pfft. I was wrong. I discovered that even at our most basic we are all individuals. Each of us is uniquely handcrafted and original down to the last detail. So if something so simple and so well known as a daisy can have so many surprises form one to the next, how much more so each of us.
8. What "fad" gadget do you most regret purchasing?
I wish that I could still shoot film. I don't regret going digital; it's practical. But I wish that I didn't have to. Other than that, I think a monopod. It really holds nothing still.
All artwork and/or photographs used in this post are subject to copyright held by the featured artist.
ARE YOU READY FOR THE SPOTLIGHT? Simply respond to the questionnaire here to apply to be included in an upcoming Artie’s Eight Spotlight.
Last Updated May 1, 2021
Beth Rose is the mother of five children. And she hints there may be more to come. This begs the question: How does she have time for a photography business, where she is busy “making memories into heirlooms,” as her tagline aptly describes? Momentary Bliss Her husband’s nickname for Beth Rose, “Hummingbird,” may be the […]
Whenever you move a piece of artwork — whether it’s a custom-framed print or a gallery-wrapped canvas — you run the risk of damage. Frames are meant to hang on walls, not lie flat on a gallery floor or rattle around in the back of a moving car. And you didn’t put your heart and soul into your art just to have it broken on your way to a gallery or a show.
(Scroll to bottom for my video of how to order your GalleryPouch™.)
Frame Saver, Time Saver
To help make your art transport life a breeze, and to keep your masterpieces in tip-top shape, we developed a custom solution called GalleryPouch™. Crafted from double-laminated bubble wrap, these pouches are custom made to fit your exact dimensions — all the way up to 50”x156”. This heavyweight pouch cushions your work in 3/16” polyethylene bubbles that are nearly impossible to pop. Completely smooth, GalleryPouch™ slides easily on and off of anything you need to transport.
These protective pouches are reusable, giving you years of protection and keeping waste to a minimum. For a pouch that stays securely closed, you can order yours with Velcro®. Or, since your GalleryPouch™ is completely customizable, you can choose to skip the Velcro® altogether, opting for a fold-over flap instead. You may even opt to order the Velcro® separately so you can control exactly how much or how little to apply to your pouch.
GalleryPouch™ makes it easy to see exactly what you’re transporting. The pouches are transparent and come with labels you can personalize to make storage and organization super easy.
The Many Benefits of GalleryPouch™
Artful Praises
Some of our customers have been gracious enough to share what they love about GalleryPouch™. Let’s see what they have to say ...
"I have about 20 of these in all different sizes. They are amazing!"
– Betsy Silverman, Boston Artist @betsysilvermancollage
"These pouches are a lifesaver."
– Garima Parakh, New England Artist @garimaparakhart
"I am a huge fan of the GalleryPouch. Have been buying them for years. Great investment to easily protect your artwork."
– Carol Parker, Photographer
"I use them all the time — they are fantastic."
– Jan McKay, Wildlife Artist
“The time it takes to wrap frames for transport is often overwhelming. These wonderful protectors are true time savers and so easy to use.”
– Linda L., Verified Customer
“Great idea! I'm using them for my stained glass panels and it's so much easier for my client to carry the panel away from the art festival.”
– Iva K., Verified Customer
Ordering the Perfect Size
Ordering your GalleryPouch™ is simple. Just measure your artwork — height, width, and depth — and go to our website to customize your order. Click on Pricing and Ordering to get started. When you enter the dimensions of your artwork, start with the side where you’d like the opening to be. Select whether you want Velcro® on your pouch, or order it separately. Once we receive your order, we’ll make your GalleryPouch™ to your exact specifications.
Watch my video to see GalleryPouch™ up close and in action. I’ll also show you exactly how to order and get the right size for your art.
Art transport doesn’t have to feel like you’re rolling the dice with the safety and integrity of your work. GalleryPouch™ lets you breathe easier, knowing your art is wrapped inside the best protection on the market.
Happy trails as you take your art out into the world!
Last Updated March 5, 2022
Whenever you move a piece of artwork — whether it’s a custom-framed print or a gallery-wrapped canvas — you run the risk of damage. Frames are meant to hang on walls, not lie flat on a gallery floor or rattle around in the back of a moving car. And you didn’t put your heart and […]
Although as a panda bear, I am perpetually clothed in black and white, bright colors make me smile. That’s why I couldn’t resist Kimberly Kort’s highly saturated sensations.
Painting Past the Pain
Kimberly has been suffering from migraines for more than 20 years. In fact, it was the medium of fluid art that became a cathartic release from the pain. As a self-taught artist, Kimberly creates vibrant pieces inspired by nature — from rainbows to waves to winter trees. Her tag line, “Pour art on your walls,” captures her enthusiasm for these free-flowing acrylic compositions, which range in size from 12”x12” to 30”x48”.
Guiding Steps
As you know, Frame Destination loves to advocate for and assist artists however we can. Kimberly told us that when her business, KK Art Creations, was still in its infancy, Frame Destination helped steer her in the right direction. “They explained how to wrap and present my paintings along with proper framing for different depths of canvas,” Kimberly says. “I show much more professionally now because of their guidance.”
See More of Kimberly’s Work
On Instagram, Kimberly enjoys sharing her whimsical point of view (look for her January 29 “Bubbles of Happiness” post). Watch her create a commissioned painting in a one-minute video on her Facebook page (July 2, 2020). And of course her KK Art Creations website features more fluid art. Below, my Q&A with Kimberly gives you a glimpse into her thoughts on an artist’s role in society, and why wooden sticks are a big deal in her world.
Now for Artie’s Eight Q&A with Kimberly Kort …
1. What is your background; how did you get started?
I became a fluid artist three years ago. I am a self-taught artist that began the fluid art to calm the migraine pains in my head. The calming and soothing pouring of paint and blending colors together gave me a way to get my pain and chaos in my head under control. I have always had a creative side to my work. I have been in the hospitality industry for over twenty years. I have created events, catered food, and planned parties and always with a color palette and themes in mind to give the event, food or party a beautiful design and flow.
2. What role do you think the artist plays in society?
Artists give the world a certain amount of life and interest for people to express themselves and explore new things constantly. Artists provide a resting place for our eyes, mind, body, and soul. Art take so many different forms and people need that to nurture and create new ideas, and to navigate our world. Without art, people would all be the same and never think and explore outside the box.
3. What has been a formative experience or the best advice you’ve received within your career?
I had an art teacher recently explain to me that I need to let go and let the brush and paint do the talking to me. Let go of structure and let it all flow to express more freely.
4. What ways does your work reflect your personality?
My acrylic fluid art is sometimes bold and bright and expressive just like me and my outgoing personality. Other times the works are very solemn and subdued, which may reflect a certain mood or life experience that has deeply affected me.
5. Creative blocks, do you get them? If so, how do you overcome them?
Occasionally I get a creative block and I go outside to experience nature. The outdoors re-energizes me and gives me pause to look around at what is so beautiful and natural; it gives me inspiration.
6. What is your most indispensable tool? (Not counting the obvious, like paints, brushes, canvas, camera, etc.)
The wooden stick is an indispensable tool for me. It is my tool to mix my acrylic paint. Wooden sticks help me create what I have envisioned in my head. It’s the beginning of a creation to express my emotion or interpretation of my vision for my next abstract piece of art.
7. Do you have a new project you are working on, or a new passionate idea?
I am currently working on a series of “Spring Blooming Flowers” in various colors of fluid acrylics, using a Dutch pour technique.
8. What is your favorite paint color name?
My favorite paint color is Quinacridone Magenta.
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Last Updated March 17, 2021
Although as a panda bear, I am perpetually clothed in black and white, bright colors make me smile. That’s why I couldn’t resist Kimberly Kort’s highly saturated sensations. Painting Past the Pain Kimberly has been suffering from migraines for more than 20 years. In fact, it was the medium of fluid art that became a […]