Artista in residence

That's me, the Artista, at my studio and a view of the inside with some of the October paintings.

Birthday Bouquet

Birthday Bouquet, 2023

This studio floral 20" by 24” (oil on canvas) belongs over a couch and I had a stunning wide frame prepared for it. That is, I HAD a beautiful frame until it slipped and shattered a corner. This art business gets pretty expensive when big frames need replacement. 

It has a new frame now, carefully wrapped and ready for assembly. 

A New Year Resolution in progress.

Want to see lots of older paintings? My New Year's resolution is to post paintings daily in January, so I began with paintings from 2015 and 2016. They can be found on Instagram as well as Facebook. This is a screenshot of the first 10 posts of January, starting with the large Sailboat, 'Barcelona Lunch'. 

The last two shots are the Christmas Blizzard and my new studio wall, set up for the holiday open house. 

 

Friday Night Challenges

A group of artists, originally based in California, meet online to Zoom and paint from a selected photo. Called the Plein Air Club, their 3pm meeting is at 6pm EST for me so I can't always join. Here are three recent paintings. It is a BIG challenge for me to paint from a screen as I always prefer working from life or from several views of the same place when necessary. This is my winter sport as a plein air artist.

It's fun to meet new artists and chat away while we all paint. At the end of the time, about an hour and a half, we share our paintings. Afterwards, when the paintings are completed and signed they are posted on the group site. It is quite amazing to see the variety of techniques and materials and interpretations. 

Foxen Canyon Winery, oil 9x12 c. K. Schifano

'Stop. For a California Sunset' oil 9x12 c. K. Schifano

'Sunflowers for Ukraine' oil 9x12 c. K. Schifano

 

Bringing Spring indoors

An unusually early Spring brought out glorious flowers that lasted weeks longer than usual because it didn't get hot. The Forsythia bloomed for at least a month and the huge yellow bush out back reflected yellow into every window. We had planted 3 of them in one spot and it is about 10 feet tall and 15 feet wide, a haven for birds waiting their turn at the feeders. I have planted lots of yellow daffodil bulbs over the years but the majority have turned themselves into these orange centered daffodils.

This is a traditional still life with soft pastel sticks and it was a very happy project as long as the flowers lasted in my studio.

In progress

Bringing Spring Indoors

Bringing Spring Indoors, pastel, 20x16

Covid 19 Time out.

Two months indoors? What ever have I been doing? Along with the rest of the world I have caught up with a bazillion plans, sorted places I hadn’t paid much attention to and painted some challenges. I am so fortunate to have my art studio/gallery in my home. Here is a sample of what else keeps me busy. 

BAKING. This is an Irish bread from an old family recipe which I have discovered must be made with only the freshest ingredients to have it taste like Aunt Rose's. She made several large loaves weekly and brought them to the firehouse in Locust Valley NY. And 2 loaves to visit as I was growing up.  Plus some oatmeal cookies since the ingredients were out. I’ve baked more different things these days than I usually do all year, except Christmas.

RESURRECTING PAINTINGS. Not every painting is perfect the first time around so I have sorted through 15 years of work and discarded some more (I have a 'to be burned' pile) and reworked others. This needed more pastel color, it’s pretty big and the balloon which is the subject had faded in storage. There are more paintings to tackle and correct, so both oils and pastels are out in the studio.

MEMORIES. I found this on Facebook from 2011. I still have everything in the photo...shoes, pants jacket and hat are all useful painting clothes. Except the car. This had a good back deck for protection from rain and wind, and occasionally snow. I require a lift back so I can use the car as a mobile studio and have shade or protection. I can’t wait to get back out! 

A story of two paintings.

Several years ago I was invited to participate in the Westfield NY Plein Air Event, a week of painting at various sites, meeting artists, some get-togethers and dinners and a final public exhibit and sale.

A day was scheduled at Johnson Estate Winery. In the morning I trekked the tractor path up a hill and painted a lovely barn scene surrounded by the vineyards. After lunch I settled my easel under a sour cherry tree in deep shade, so cool on that hot summer day. For several hours I worked on a painting (framed, below). Although it is a lovely memory and a fair painting I continued to have concerns about it-was it too realistic, too hard edged, not painterly, well, just too something to me which I couldn't define clearly. 

With all the studio time we have now (as I am social distancing) I felt I should tackle my problem. It turned out that I probably won't ever change the first painting since the composition is okay and it is a lovely close up of the tree. 

I decided to repaint it as an experiment on an old canvas, a hard edge abstract that I don't remember painting. After sanding the old painting a bit I sketched the cherries a bit closer and oversized. The canvas is twice the size of the original. With some serious planning and evaluation I adjusted leaves, added fruit on the top right and poured on paint with large brushes and bravado, mostly using old paint tubes of odd colors. After all this was an experiment on an expendable surface as well as rejected tubes of colors.

I love the results of this experiment!  Reused canvases, painted over failed pictures, practicing new skills...and coming up with a fine painting on top of a discarded image is a welcome result. I can't actually regret painting on old canvases when the new picture turns out well, because the colors underneath probably influenced the new image. That is one more reason I always prefer to paint onto toned backgrounds.

Sweet Sour Cherries 16x12 oil on birch, © 2016

Sweet Memories 22x18 oil on canvas © 2020

The Castellani Museum Reception

20/20 Vision:Women Artists in Western New York at the Castellani Art Museum contains work by 186 artists from five WNY counties. I am so pleased to be represented in this amazing exhibit which will remain until August 26. My painting 'Beyond the Rock of Ages' is on the Tops Gallery wall. It is 15"x30", an oil painting that shows the talus being pounded at the base of the cataracts. Many of these rocks are as big as a bus, I chose this because of its power. All the art works are arranged alphabetically in the main rotunda as well as the large gallery you can barely see over my shoulder.

We visited a few days before the reception, so this is BEFORE

and this is AFTER!

 The reception at 5:08 pm, it opened at 5:00 and people kept arriving until the last minute. What a crowd and a great opportunity to meet artists and guests. 

 Interim Director Michael Beam, NU professors Amelia and Marian and I found a moment to celebrate with a rare selfie.

Castellani Art Museum 20/20 Vision

I am so pleased to be included in this comprehensive exhibition of art representing women artists from counties in the western part of New York. 

The Castellani Art Museum exhibition '20/20 Vision' reception will be on February 20, 2020 at 5pm-7. I expect a crowd! Nearly 200 artworks by Western New York artists are displayed through August. The large central gallery room as well as the double gallery on the north side will be filled with examples from women of varied styles and levels of expertise.

My painting of the American Falls from the hurricane deck is included in this comprehensive exhibit. Most of the artwork is for sale and in support of women, and businesses run by and supported by women have been  requested to support the artists by purchasing work.
Be there, 02/20/2020
Castellani Art Museum at Niagara University

Beyond the Rock of Ages, 15x30 oil on canvas

Working with a dark background

Clematis buds, about to open, are the second flowering of this climbing plant.  The fluffy light parts are from the previous blooming, the petals fall and the center turns into a pompom. It always flowered with the first brave buds the first week of June, but lately has been covered with open blossoms by then, the Clematis is starting to open in mid-May

This is a 'test' pastel of newly acquired skills using color to create strong contrast and interest. I think it turned out just fine.The paper was 16x20 but it had to be trimmed to remove all my color tests on the edges. I didn't expect it to work this well or I would have done my color tests on another page.

Crossing Seasons 16x10 pastel c.2017

Elegantly dressed, this trumpet player serenaded from this doorstep, Cuban flag mounted on little clips attached to the fan fold green door. I felt honored to capture this moment in Havana, Cuba. The painting was done later in my studio, the third in a series for Pasion Latin Restaurant.

 I worked from the background to the center details, leaving his hands and face for last. My photo didn't have the hand and fingers in enough detail to paint a three foot tall canvas, so I googled 'trumpet player.' Lots of great musicains and portrait pictures, but very little information that I needed at this angle, so I tried 'Cuban trumpet player' in a google search. Lo and behold, this particular musician was in half the shots, and by scrolling down I could see his advancement, from a plain red button shirt, to a brown tweed suit and up to this dapper white one. Bless those tourists!

Now part 2 of his story, he is mounted on the wall in Pasion and looks simply wonderful, adding color and atmosphere to the room. A gentleman comes up to me at the reception and says "There is a guy in there who knows the trumpet player." Of course I have to introduce myself, and he and his date are next to each other looking at the painting. He tells me the trumpeter's name which I promptly enter into my phone notes. I also learn that he played at the Buena Vista Social Club. Our group got to go there, just in time, as it has since permanently closed. The reason given is that the musicians are too old and want to stop. What, no substitutes? Anyway, I wrote his name amidst a crowded restaurant, surrounded by friends and blasting Cuban salsa and didn't notice that spell check corrected my Spanish. Later, looking up his name, I read 'Campo Defunded' Nope, that's not right.

Concert to the Cuban Sky, oil on canvas 36x24 c. 2016

Spirit of Havana

I am so thrilled to have mastered SATIN!

This beautiful and proud lady modeled for the plein air painters in Cuba and I took her photo when she took a break. She was an amazing model, no motion, and she stayed seated and kept her foot stretched for a half day. I didn't paint her in Havana, instead this is a studio piece and quite large. I painted it especially for the dining room of  Pasion Latin Restaurant in Buffalo, one of three paintings for them.

Spirit of Havana, oil 36x24 c.2016

Her REAL job is to keep planting fresh lipstick on the cheeks of tourists, then posing for photos and collecting a CUC, or tourist peso, equal to a dollar. A fair number of gentlemen walk around with a juicy kiss planted on their cheeks as part of the deal.

Havana Taxi Stand

"Did you see old cars?" is the first question regarding a trip to Cuba. 

Yes. Most of the cars are old and most of them are taxis. Carefully hobbled from existing parts after the Cuban Revolution and the American embargo, a look at the streets is a step back in time. 

Other than the exteriors, the bulk of this treasure trove of classic cars have been replaced. Many have diesel engines now, and a look inside shows polka dot upholstery, broken levers and hanging wiring. Often they need to be push started and a ride, or even a walk, along a road involves seeing newly broken down vehicles being tended to by a bevy of muscular Cubans. A drivers license in Cuba requires a test in car repair.

A row of cars waits near the tourist bus stops and this painting was made from Gail Sauter's photo in that area. Painting it, I learned a lot about painting chrome and had a great time searching for photos of various details as well as the date and model of each car. It's big and it will be mounted in the new Latin Restaurant, Pasion, on Elmwood Avenue in Buffalo NY.

Right to Left, 1957 Ford Fairlane, 1950 Chevrolet, 1952 Buick

Havana Taxi Stand, oil 24x48 on canvas, c. 2016

Grand Island Memorial Library

Soma Cura. So many meanings.

I've been going to Soma Cura for lunchtime yoga classes for a few weeks and enjoy working with the new teachers and atmosphere. Several other members are acquaintances and I received a commission because seeing me gave Pat an idea for a painting. A week after we met at yoga she called me to paint the Grand Island Memorial Library building for a gift from the Library Board to the departing director. He was instrumental planning the new building so I felt pressure to get the details right. Commissions are always a bit more difficult than going out to paint 'something or anything'. Having built a house and collaborated on the new Niagara Falls High School I know what goes into planning construction, the director would be aware of scale, size, textures and colors.

The format of the building is 10 times wider than the height so it demanded a very wide canvas. On my phone I made a collection of library photos for references. A printed photo also hung near the easel. I kept flicking the phone screen back and forth to check scale, window details, brick colors, tree branches and more. It was pretty easy to pull up a photo to answer questions about the details and shapes by sliding and enlarging images with my finger. Having a 24 inch canvas of details to work on involved sliding my chair left and right to correct perspectives and shadows. Then, on occasion I also put my hand up to the canvas to slide it left and right. Fortunately only twice did I wreck wet paint and have to correct my swipe. Meanwhile, the phone also collected paint. I need to adjust some things in the studio.

Back to Soma Cura to find that peace again.

Here is the painting, nearly dry and ready for the presentation January 7.

A Life's Work, A Memorial Library, 8 x 24 oil on gallery wrap canvas ©2015

30 in 30, #16. Garlic

Oh my, Sunday evening and I hadn't started this day's painting. The garlic was on my mental list so I brought it up to the studio, the height and width are the same so I chose a square canvas. It was late so I played a bit and enjoyed my time with Mr. Garlic. Afterwards on Facebook I discovered the previous day was an official 'garlic day'. And yes, this bulb was partially eaten. Click email me if interested, only $40

Saturday Was Garlic Day. 4x4 oil on canvas board

Using a penny for emphasis

Mini paintings take a bit of effort and concentration, as well as a good collection of exquisite small brushes. I wish I had more small frames, but it is probably better that I do not; these are 'testing the wrist' paintings. I waited longer than I wanted to start to paint after my wrist surgery and the small brushes require more control and a firmer grip than I expected, so this was an uncomfortable series to complete. Nevertheless, I love them!

The penny in the center indicates how small they are. The first Horseshoe falls is the largest, at 2.5" by 3.5", all four with frames can fit in one hand easily. These will be coming to the Holiday Art Festival at the Knox mansion in East Aurora the weekend before Thanksgiving.

Two of these are from a set Annette Baumgarden gave to me years ago, I had another one painted, but they are so small I ruined it by drilling the hardware right through to the front. I have searched the internet and have not found a place that sells small frames, unless I count the wholesale lots with a minimum order of 500 pieces.

Kenan biennial 'Niagara Frontier Art Exhibit'

  Last summer my wrist and hand overdosed with pastels. In fact, I damaged tendons by having three summer residencies where I painted all day, even painting nocturnes. Actually it was 2 1/2 residencies, the third was not completed due to overuse of my gripping thumb. How the lovely colors and sensual marks of my loved pastel sets could become so difficult is still hard to understand. 

By Fall, I began wearing a brace and figured out novel ways to handle a paintbrush as well as a palette knife, but the pastels stayed in storage while I worked carefully with oils. Eventually, I was wearing the brace 20-22 hours a day, and not improving much, visiting hand specialists who administered different shots (some worked for a while) and various tests for carpel tunnel and other injuries.

After several months I retrieved a pastel commission from storage and slowly completed the late winter gorge scene. Such joy to commune with my colors! After delivering it, I needed to do this new pastel painting for myself. Views of the curve of Niagara Falls always intrigue me, individual boulders and favorite islands have been repeated in plein air yearly in paint and pastel. I just needed to be a pastel artist again.

I usually complete a large work in about a week's worth of studio painting, but this took more than two months. I paced the use of my hands, experimenting with working left handed, always aware that I didn't want more pain, but enjoying the pastels, the sound of mark making and richness of pigment and texture. I loved the process and the painting and entered it into the Kenan biennial 'Niagara Frontier Art Exhibit', one of my favorite local shows. 

Accepted, this work of ...what, a year?....hangs proudly in the Kenan dining room, right near a digital collage by Carl Schifano until August 29.

Horseshoe Racing, 22x28 pastel 2014

Coming Home in Cypress, Texas

'Coming Home' c. K. Schifano 2014 18x24

The third house portrait painting in a series for a Houston area client, this is off the easel and on my mantle until the final bits of flowers and details are dry enough to send.

Yesterday I was asked if it is hard to give up a painting. The answer is yes, but if I live with it for a while it becomes easier. I want to have each picture for a while, to study and evaluate, appreciate and accept. Occasionally, I want to change a shape or a shadow, this observation period allows me to find the spot that needs something. I had this up for a few days, took it down to brighten some of the flowers and place their kittys in the driveway. Working with oils, I cannot send it until dry so there is an advantage. I can live with the painting until it is safe to package and I am ready to let it go. It is always nice to know where they live and the wall or room a painting graces. I don't have to see it, I just need to know that I can if I want to.

With lovely architectural details, a variety of textures, rooflines and surfaces, this home offered many angles to choose from for the final composition. Although a peak and part of the stone facade is nearly invisible on the far left, this is the view most familiar angle of view, the daily entrance, the "Coming Home' of the title. 

Here is a quick step-by-step progression of the canvas in the studio.

Open Studio Event

For the fifth year, I am opening my studio for a festive weekend in November. Arranging artwork in new ways each year is a fun challenge that takes me several weeks. Sometimes the color or style of frames help determine arrangements, other times layouts are determined by color or subject. Moving pictures around gives me insights on a year's efforts.

This year I have expanded into the next room, where most of my Niagara Falls State Park paintings are now displayed together. Although there is a lot of green, and browns and golds, the blueish painted walls intensify the feeling of mist, water and WET in there.

Come on over, November 16 & 17 from 11-4, I have a gift for all visitors.

On the French River

French River, 15x30 oil, Kath Schifano

Two Paintings? The top picture shows the painting nearly finished, before some areas were adjusted, notably the large yellow tree and the ground of the wooded areas. The second has varnish on it, several months later. I include both so you can see the difference a final coat makes to the colors.

I always like a single commission on my easel, but just one at a time, for when the weather is dreadful or I want to paint late into the night. Having several to do creates unnecessary pressure!

Some paintings take longer than others due to detail or size, how much time I have, or perhaps just my mood.

Commissions usually require working from photos, the better the light, the better the painting. My client brought a strong selection of absolutely brilliant Fall photos from a variety of angles and directions. Her plan is to give it as a gift as this family cabin has been the source of many years of pleasure. As I painted, I imagined their summer activities, using a magnifying glass to create the painting, I observed the benches, burn barrel, the outdoor lights, the combinations of rocks that provide supports and markers. I found windows on the roofline of the boat garage, as well as 'before and after' pictures of the new door. I recall she said it was about 4 hours drive north of Toronto, then a 45 minute boat ride to access the cabin. A long trip, but a spectacular place to be.

This was a pleasure to paint, using vibrant colors, finding the reflections of the opposite shore in the windows, majestic super tall hardwoods. I am so proud of how this oil painting looks, cobbled together from 3 photos taped together, with references taken from several more. I love having a challenge on my easel, this challenge includes everything I like to paint, water and reflections, rocks, trees and a slice of life. While I start my next studio painting, another architecture portrait, this one hangs on my wall. It leaves me soon to become a family heirloom.

French River 15x30 oil, 2013

Why two Paintings? The top picture shows the painting nearly finished, before some areas were adjusted, notably the large yellow tree and the ground of the wooded areas. The second has varnish on it, several months later. I include both so you can see the difference a final coat makes to the colors.