The image of Monet standing in a hay field instead of a studio is probably what comes to most people’s mind when it is explained that plein air means painting in the outdoors. Which seems almost so natural a way to paint, it is hard to think how this was once such a novel idea. Now it is the catch phrase of the day. Everybody loves the idea of it. Other artists I talk to always say they would love to start painting en plein air, but in practice many don’t end up doing it or sticking with it. Those who do, I feel, are immensely rewarded for the experience. It may be that plein air painting is not for everybody, and for some, a shot of it now and again keeps things fresh. But for me it has become such a part of my life, which I really miss it if I don’t go out. In fact, every year I say I’m going to devote more time to still life and less to landscape, but I’m so drawn to the Loess Hills, the opposite happens.

A small group of artist friends and I started painting together about 5 years ago, one morning a week. Three of us still paint together weekly from April-November, and I have started going out more on my own as well. This year my goal is to increase my paint time to the whole day. I have found that I have a body of work that all has the same 9 a.m. look to it and that has become somewhat boring to me. I want to explore more extremes of lighting.

I usually am able. now, to finish whatever piece I’ve started during a morning’s work. I take photos and finish details at home if necessary. In this process, I’ve discovered how frustrating it is working from photos when I started from location. I’m a pretty good photographer, but it still feels somehow off from what I saw on site. If I do studio work and I’m working from my photos as reference to start with, it isn’t so much of a problem. But I feel this is a different process.  It has a different and still valid goal. I don’t like to say how an artist should work, because so much depends on what their goal is. When I do studio work, I have the experience of having worked outside to draw on.  I think it all works together.

One of my goals for this year will be working on many different series. I find this another rewarding method of exploring the landscape. Right now, I’m feeling fascinated by roadcuts and the tree roots clinging to them.  The Loess soil has the rare ability to stand in vertical cliffs when graded. Locally, they cut the roads this way to prevent erosion (Loess soil being 10x more prone to erosion than other soils) instead of gradual slopes. Many times these cliffs have tree roots, prairie and desert plants, and animal burrows populating their faces. The loess soil cleaves and sloughs off in squareish chunks, making a great abstract background.

My other big project this year will be an exploration and study of one of my favorite artists: Karl Bodmer. Since I live in a region the Maximillion expedition passed through, and am blessed enough to be within close driving distance of Joslyn Art museum in Omaha where Bodmer’s work is housed, I plan on researching this artist of plein air extraordinare, in my opinion. So, keep checking back to see where all this takes me.