Roanoke Times
Copyright (c) 1995, Landmark Communications, Inc.
DATE: SUNDAY, December 12, 1993 TAG: 9312160257
SECTION: EXTRA PAGE: 5 EDITION: METRO
SOURCE: REBEKAH WOODIE|
DATELINE: LENGTH: Long
``Living here in Roanoke, I could look at the mountains - everywhere. Everything I saw was a landscape and pretty colors,'' said Clingempeel.
But subject matter wasn't all that she needed; she needed feedback from other artists. She and several colleagues found they'd had enough classes. They wanted something more.
Two painters out of this informal group of artists, Gwen Cates and Pat West, approached one of their former art instructors, Peyton Klein, about leading a group of artists. Klein, co-founder of The Studio School on the Market, decided it sounded like an interesting way to talk about art and give artists an objective second opinion on their work.
And so Clingempeel, Cates and West, among a group of 12 artists, started getting together on a regular basis. They would bring several paintings or watercolors or whatever medium they used to have Klein talk about their strengths as well as their problems.
During these sessions, ``the paintings dictate the conversation,'' said Klein. ``Sometimes we talk about style and movements in art history. But mostly we talk about the ideas they are working on. A fresh set of eyes is all it takes to see the problems.''
The group began about 12 years ago with just about the same 12 artists who are in it now. They have added members as some original members have moved away, keeping the conversation lively and the artwork varied. They now meet every other week at Roanoke Parks and Recreation's Leisure Arts Building.
As the group evolved, Klein was not the only one commenting during their sessions. ``Everybody feels free to comment and compliment when you've done an outstanding job,'' said Frank Murphy, a group member since 1986.
Because of the group's encouragement, Clingempeel has been experimenting with a technique that is a departure from her original medium. ``When Gladys first started in the critique group, she was painting landscapes. Now her work has evolved into experimental monoprints,'' said Klein.
She uses these natural settings in her work. ``After the Rain,'' a monoprint, was first painted on glass. Then the image was pressed onto dampened paper. Once the print is made, ``I may add a little more color here and there. I begin working on it with pastels,'' said Clingempeel.
If she runs into a problem, she can take it to the group.
``Peyton studies it and tells me what could improve.'' Sometimes Clingempeel does not agree with Klein's suggestions, ``but I can see later that she is usually right.''
Murphy's ``Atop Potts Moutain II,'' an acrylic painting, depicts a favorite subject matter of his. ``I remember I took in one of my unfinished landscapes. The group asked how I was going to proceed. Then they suggested that I should do something about the flatness of the blue mountains.''
These artists say the critique group makes them produce work and try harder. ``It's competitive,'' Murphy said. However, ``the competition we feel is within. Each time I go I want my painting to be the best it can be.''
When Shirley Johnson, director of North Cross School's Living Gallery, offered the opportunity to exhibit their work together, it seemed like a natural outgrowth from their critique sessions.
Their exhibition, ``Critique 12,'' is open through Thursday. The serious approach these artists take to their work is evident. ``We do try to enjoy ourselves,'' said Clingempeel, ``but we are definitely trying to improve.''
Ann Hale, a watercolorist, said that the critiques have helped her appreciate styles different from her own. ``Some members work in an abstract form, which is stimulating to me,'' she said.
The group brings new ideas each time it meets. Hale said, ``I can see the materials they have used, the images they are working with, and the approach they are taking.''
When Hale began participating two years ago, her work was mostly representational. ``I am trying to bring the abstract into my landscapes,'' she said.
Her watercolor, ``Ames Pond, Stonington, Me,'' has these abstract qualities.
``I feel freer to experiment.'' Hale said, ``to push ideas, styles to the limit.'' Hale works entirely on location and her watercolor, ``Walk Along the Maine Coast,'' shows her newest experiment with the watercolor pencil, also encouraged by the group.
``There is a sense of community in our group,'' said Roberta McGuire, who has been a member from the beginning. The members have become friends and are devoted to each other's development. ``We respect each other's opinions,'' said McGuire.
Group members who can get the time off retreat to a beach house, spending the time painting during the day and critiquing in the evening.
Like Clingempeel, McGuire believes the group has validated her work and encouraged her to paint what expresses her feelings and ideas. ``They gave me permission to have my own voice,'' she said.
McGuire's ``In-Out,'' an acrylic painting, shows a departure from her exterior landscapes of the city and country. ``I moved this summer, and my life was filled with boxes. My paintings come from whatever has happened to me,'' she said.
McGuire's early initiation to art was squelched by an insensitive instructor. But her desire to paint resurfaced, and she began painting under Klein's mentorship about 14 years ago. ``Peyton has always encouraged me. If the desire is there, then the skills can be learned.''
Hale said, ``Peyton sets a positive tone. She gets excited when we are trying a new way of working.''
The artists share tips, such as how to make corrections. One group member, Gene Strelka, is an orthopedic surgeon. His knowledge of the human body helps others correct proportional details on figures.
``We also discuss the use of color,'' said Murphy. ``Repeating a color will give a painting the balance it needs.'' McGuire remembers a long critique about the colors and shapes in her acrylic, ``Behind.''
``They said I had focused on the center of the painting. The edges needed more color, more shapes.'' Using these comments, McGuire said that she was able to finish the painting for the exhibition.
In the final days before the exhibit went up, Klein said, ``We chose as a group which work went into the show.''
Klein tells her students that the work they choose for an exhibition should be cohesive. ``It's best to pick things that go with one body of their work, things that go together,'' she said.
Klein has two of her acrylic paintings, ``Duvall House - Key West and Arcadia Creek,'' in this exhibition. Hale reflects what group members think and what a viewer can notice: ``None of the works [in the exhibition] look like Peyton's, and we don't paint like each other. We find our own way.''
Rebekah Woodie is a Botetourt County free-lance writer.
\ Critique 12, an exhibition of 14 area artists: Anne Bialek, Peggy Brandt, Lue Calhoun, Gladys Clingempeel, Ann Hale, Peyton Klein, Linda LaVigne-Long, Victor Leitzke, Roberta McGuire, Frank Murphy, Jan Naschold, Gene Strelka, Fred Taylor and Beverly White. Their works will be on exhibit at North Cross School's Living Gallery through Thursday. Gallery hours are 9 a.m. to 4 p.m. Monday-Friday.
by CNB