About the Workshop
A three-part observation and investment in time looking inside out....from the warmth or sometimes coolness of an interior, out into the warmth or sometimes coolness of an exterior...or sometimes the almost seamlessness of warm balmy days and open windows with garden vines lazily insinuating themselves, inside. The object is to see from the architecture and objects within - often the identity in which we frame ourselves...outside to a world we cannot necessarily control...and the delight in the contrast of our interior lives and how we wish to present - and the randomness of the exterior world. Light, shadows, and forms on two different levels.
Please bring photographs of the rooms you like with similar perspectives...one session will be spent just drawing the spaces out, with help to see the photograph and your initial inspiration as well as map out the original perspective (flattened by a lens) and light...so that the geography outside is contrasted as they originally saw it. I’d suggest too, if you wish to be more present, bring a lamp and a couple of objects of favour which could be placed on a table before a window and the view outside... with lessons on how to see and render the views in observing two different spaces in one, and the subtle mystery of the contrast.
You can choose to work with Oil, Acrylic or Pastel as it is a lesson in looking.
Your oil, acrylic or pastel supplies.
B. 1960, Simon started painting in the mid-nineties when an employer suggested he could paint a large mural for an antique fair...he was doubtful about his ability until it was finished and moderately good enough that he had the confidence to buy an easel, and start painting. A stint at Christie’s learning about the the fine and decorative arts provided him with good background knowledge to paint, hours spent in galleries observing.. and then later a year working at the Vermont Studio Centre, Johnson, Vermont...where he benefited from visiting fine artists and educators lectures and studio visits. Early on he was particularly drawn to artists of early twentieth century New York, many who had been at the New York School of Art with his grandmother, her own works and tales which had naturally made an impression upon him. He likes to paint from nature for the meditation it provides, but also to paint in a more visionary way in the studio, taking one sketch and slowly transforming it into picture where everyone moves together in one large sweep of energy.