When I am at my desk organizing my life and looking up dates, I become a little impatient when I have to stop and check the calendar on my smart phone or desk computer, because doing so requires so many steps . . . .
Last year I was gifted a narrow art-filled calendar that hung on a tiny nail near my desk. I loved using it and found that it much more easy to glance over to my right to reference a date, say, Tuesday the 19th, to see what day of the week it fell on.
This year I decided to design my own narrow art-filled calendar for 2020 and share it with the public for purchase. It also seemed like a good idea to use it promotionally and give a calendar to my art collectors, and gallerists, and all who have supported and encouraged me over time, especially during the past year.
I am not a graphics designer, but I do edit photos in photoshop and create layouts for postcards, newsletters and marketing pieces in inDesign. For the most part I have always enjoyed the process.
So, it's official. The coming year, 2020, has birthed a new calendar that contains twelve months of pages in contemporary style colorations from images of original oil paintings that I have created this year. I wanted the content to invoke optimism with each passing page, to brighten up a space and help a fellow human being stay present and organized.
It's fun to find what lies behind each calendar page, what will the next month look like? Will I like July as well as June? That's what I wanted to create, the particular pleasure of turning the calendar page and seeing a new delight.
I have studied color for twenty-five years, and utilize its power to express the beauty of being alive. How perfect it is to inspire others in the form of a calendar.
Share the joy of now, of color, and of connection with friends and family with Jill Keller Peters’ Art Filled 2020 Calendar.
7.75” x 3.5”, fastened at the top with a magnetic metal clip.
Synergy is an epoch, intuitive painting.
Oil on canvas, 48 x 36 x 1.5 in
Part 1: Synergy was not planned. It just happened.
The underpainting for Synergy was a personal painting that I quietly titled Smoke and Ash (below). Meaning, it was never meant to be seen or exhibited, because it was too tender and a very personal painting. It is my memory of the Tubbs fire, standing out in the street with my neighbors in a fog of swirling smoke and ash that left my legs feeling weak.
I created this painting a couple weeks after the fire and felt myself lost in the fog.
Part 2: The painting was stored in my shed until a year and a half later when I decided to create a painting in all red hues, an inspiration from a blog sent to me from Gamblin Artists Colors. Consciously, the painting of reds had nothing to do with fire, more a thing of passion, focused on spending time learning about interactions of Reds.
I worked horizontally and intuitively on the painting with an intent to paint the reds in a way that they would move spatially on the plane of the canvas. Although I had an intimate memory of painting the underpainting I didn't really think about the previous content of the smoke and ash at the time, but more that it was making a very interesting background in the artwork, and that I wanted to include it into the composition.
The Reds came began to describe a new strength, new curiosity and an unstoppable energy. I didn't do it, not out of consciousness, but out of my interaction to the paint.
Eventually I switched to working vertically, filling in shapes of various sizes and hues to create interest and space, sometimes regretting losing the under layer.
Epoch - Marking a place in time, a division of time.
Synergy - Cooperative interaction.
Synergy is currently exhibiting at Fulton Crossing Gallery November 1 through December 29 and is available through the gallery.
I discovered a new method of working with paint and tape this year that really resonates with me. I sought to learn how to paint lyrical hard edge curves that are both
lyrical and intuitive. I don't lay out a design, but have an idea of movement in my head and pull tape across the canvas in a shape that I respond to. I paint the first curve shape and continue from there. The trick is that I cannot paint an adjacent shape until the first is completely dry, and since I paint in oil, it is often at least three days before I can proceed.
Marimba is about the sixth painting that I have created in this approach. I love it's sensual movement and and rhythms. I particularly enjoy the subtle tonal differences between the white and off-white curves at top center. I can see many color palettes and individual wavy shapes that could be painted in this languid ambiguous style.
Marimba is currently exhibiting at Fulton Crossing Gallery November 1 through December 29 and is available through the gallery.
"Passaggio" - oil on canvas, 36 x 36 in, La Crema Estate at Saralee's Vineyard
For me, moving paint around on a surface is an exercise of an intuitive, intimate relationship with oil paint, color and my painting knife. It is similar to sitting in my oversized and out-of-date stuffed chair where I journal and meditate, and where my cat sits near my head on the back of the chair, purring. Yeah, painting is like purring.
I think about all of the various aspects of my life while I am painting, a series of lovely, annoying, gritty, fabulous and regrettable episodes that are part of my collective existence, while I simultaneously critically consider color, line, space, harmony and balance. “Life” sits on the back burner in a big stew pot sharing space with my psyche, the painting process, and all the classical decisions and comparisons that create a piece of art.
Today I’m pondering about how much the elements in the stew pot have to do with the final outcome of a painting, how “life” might become mashed up into the paint, and how the essence the life of an artist could perhaps reside forever, interlinked within the layers of paint, gesso and substrate of an artwork. Speaking for myself, I am painting the stew pot of L I F E. And it’s all about love.
Jill Keller Peters
Found Beauty on the I-5, 1, 2, 3, and 4 - Oil on canvas, 6" x 12"
The painting is extended around the sides of each canvas.
Available at La Crema Estate at Saralee's Vineyard. Each sold separately.
On a previous post that I sent out in March, I wrote about the spark of creativity. The small works in the suite displayed above are inspired from a drive I took to Palm Springs in February along the bemoaned and boring Interstate 5.
This drive was anything but boring, and I saw scene after scene of serene beauty lying in swaths of green, blue and white. In this series, I painted one literal impressionist painting of the land, sky and an almond orchard. The remaining three canvases were painted with the same color palette, but in varying expressions of richness and chroma, blended together or pulled apart. It was both challenging and fun. The small works are included in the paintings at my show at Fulton Crossing.
These works are available.
One of the best places to be is that moment when you get the spark to create something new. It is a moment that can wake you up in the middle of the night, loudly, or, more often, is affected by a series of colors, one moving into the next. Here lie three canvases, and they have an inspired thought, just waiting. They lie in between the planted seed of inspiration and the actual effort of employing pencil, charcoal, and paint. No sketch, just pictures flying through my head with possibilities of color harmonies, line and design.
They are small, 6" x 12", and I am painting them for a show that will be at Fulton Crossing in May. I am very enthused to get a start on them, but have to attend to some business before. However, after reading Annie Leibovitz's quote, I believe that they are just where they should be, ready, until I have cleared the way for full attention and the delight of painting them.
- Jill Keller Peters
I painted this work from my memory of October 9, 2018, standing out in the street with my neighbors, our cars packed only with essentials, waiting to evacuate. I could see
two pink glows against the night sky, one from Coffee Park and the other from Fountain Grove/Mark West. Our adult children and their families were evacuating from Rincon Valley, and we were uncertain of their status. I merged the two pink glows into one.
This painting is Available. Please contact the artist for more information.
"It's been phenomenal, but everybody keeps congratulating me on my resurgence and my big comeback. I haven't been away, guys. I've been working steadily for the last 63 years. "
Resurgence - oil on canvas, 48" x 36"
My home is in Santa Rosa, California. During the firestorm of October 2017 my beloved town experienced unprecedented destruction beyond belief. In the Tubbs Fire, 4655 homes and 94 commercial buildings were lost, vanished. (Press Democrat, 11/1/2017) In the affected parts of Santa Rosa, people from every walk of life fled from their homes. Others of us took people in, on guard, with our suitcases and cars packed and at the ready.
Betty White's quote is right on the mark. It's going to take time to restore our county, working with a steady, determined vision. Seasons will pass, the hills and vegetation will recover and the wildlife will return. We'll see thriving businesses, all ever changing. My displaced friends and community members will find new, permanent places to live. All a series of tiny, imperceptible steps, full of patience.
Painting these new works has helped me place my vision on Resurgence, dwelling on the conviction and deliberate resolve that will continue forward in our reclamation, and spring back to the familiar where we can, reawakening our surroundings and our lives to what is most meaningful to us.
These new works, shown above and below, are full of dreams for the phenomenal, for a full and beautiful recovery.
"Peace is not something you wish for;
It’s something you make,
Something you do,
Something you are,
And something you give away."
I enjoy the negative space on the canvas very much while developing a painting and designing an art piece. Looking at the painting in process above inspires me to want to work more with the use of negative space. In developing my current artwork I am committed to color, to showing off color, to fill each empty block with color and cause all those various colors in the painting to interrelate, to perform together, dance and harmonize and cause a feeling of beauty and order. I am drawn to the use of more whites and light tones with my work.
The white space in the unfinished painting above reminds me of snow: clean, pure, untouched possibilities peacefully surrounding and supporting the color. Peaceful. I want to prop myself up and surround myself with elements that say peace.
-Jill Keller Peters
You may want to read:
El Dia de los Muertos
It Looks So Simple and Easy, Right?
Two Artists Under One Roof
"The Greens Are Envious of Each Other"
“There is a sacredness in tears. They are not the mark of weakness, but of power.
They speak more eloquently than ten thousand tongues.
They are the messengers of overwhelming grief,
of deep contrition, and of unspeakable love.”
La Artists - a painting by my friend and colleague, Tamra Sanchez
. . . HeaL . . .
Today is El Dia de Los Muertos, the day we celebrate and honor the lives of loved ones who have crossed over before us. I have been thinking so much about loss lately, mourning and grieving with my community and friends here in Santa Rosa. In this short blog I am considering what other losses that I might observe: One's home, one's community, one's livelihood - one's nest egg, one's breast, one's health . . . one's country.
It takes time to come to the point of celebration as in this ancient tradition. Life lived hand in hand with death. Loss requires a deep grieving and much courage.
There was a time in my life that in my deepest grief I could not paint, didn't even want to. The viceral event that brought me back to painting was during the time while my daughter was in chemo, a young mother with two very young children. That was the point that painting became a paramount part of my survival, a strange and arresting alchemy.
Regarding El Dia de Los Muertos, in the same way that I I dance with my departed grandson - I dance with the memory of other great losses, because they are what made me who I am today. I look at my life and see a stunning, unending thread. I see the brilliant colors of the frontside and the shadowy backside of a tapestry, all in interconnected with each other, all so genuine and poignant. Today I celebrate the beauty of life and just how Lucky I have been to have lived both sides with such generous benevolence.
Indeed, one has to look for the lucky part to see it. I send my deepest condolences and heartfelt love to all effected by the fire. Be gentle with yourselves.
-Jill Keller Peters
You may also want to read:
It Looks So Simple and Easy, Right?
Two Artists Under One Roof
Do Something Beautiful
"The Greens Are Envious of Each Other"
Why All Those Squares, Anyway?
Luminous Color Explorations
My name is Jill Keller Peters, and I am passionate about using color as a language to