Ellida at the Sea

Ellida at the Sea
Also visit www.sandbergstudio.com

Wednesday, June 24, 2020

Kate Jarvik Birch

Kate Birch is a Utah based artist and fiction writer. I first encountered her on Instagram and was impressed by two words written beneath every post: "Daily Painting." In almost as many posts there is a third word: "SOLD."

Kate produces a painting almost everyday. She has made a business of these paintings and I wanted to learn more.

Andrew: Finding the motivation to produce can be one of the biggest challenges for artists. You produce a painting a day. How did that begin and how do you stay motivated?

Kate: It started New Year’s Eve three or four years ago when I decided to write a poem everyday. I got to July and I wanted to quit with every ounce of my being. But I kept going and finished off the year. I realized there was something to creating constantly and putting it out in the world even if you don’t like it. You’re not going to love everything you produce but every once in while you’ll create something that you’re truly proud of. And I found that other people find beauty and joy in things that I do not necessarily connect with.

Andrew: And how did that transition into a painting a day? Did you develop an interest in painting at that time?

Kate: No I had gone to school and gotten my degree in fine arts in 2005 and began a career as an artist. But then I began to focus on writing and published a number of books. So I waffled between the two. But I had a financial setback the December before last when I separated from my husband, so I needed a source of income that would be more consistent than writing and selling published prints. I had done #Inktober, creating a drawing a day for the entire month of October, and loved it. So I decided I would make a painting a day and offer it to friends on Facebook. This went well. I took a break when I got job ghostwriting a book. When that job was done I began again making a painting a day. It's been a great way to do what I love and connect with people. It's a way for people to buy fairly inexpensive original art and it's a way to support myself.

Andrew: You write on your Instagram posts when the pieces sell. It's impressive to see how many of them do sell. Was that always the case?

Kate: It was when I started on Facebook and they were mostly selling to friends. And I was selling them for much lower prices then. Now on Instagram it's becoming its own little business and it's exciting to see it growing. It's much more exciting when I don’t know the people who buy them and I was surprised at how many people wanted them. And many people who buy one end up buying more, because they really are prettier in person. There is something about the texture of the gouache that you can’t really capture in a photograph. And I like that it's an opportunity for people to buy original art at a low price. There is a special quality to owning an original painting that doesn’t come across in prints, which is how I had sold much of my earlier work, through print publishings sold at places like Pier One and Target. 

Andrew: As a consumer it's nice to be able to enjoy landscapes from environments you’re not used to. Are your landscapes done from life or photographs? And are they all from your own area? 

Kate: The landscapes are from photographs. And living in Utah I have access to all kinds of scenery, from rock arches to mountains, but I get bored doing scenes from only here, so I use photographs from all over the world.  

Andrew: The piece that I bought, of the hand; is that your hand?

Kate: Yes. That was a study that I did the other night in reaction to another artist’s painting which used a similar lighting. It was just a study for myself before I decided to put it online. I was pleased that you liked it because I've been doing landscapes for so long and was beginning to feel bored with it. So I felt like branching out.

Andrew: I think that’s why I liked it so much. It was a change from what I was used to seeing from you. But having prepared for this interview I found that your work is actually very diverse. Some of your older work has a much more 2-D graphic quality. I found ink studies of architecture and still-life. Plus your novels deal with very abstract science fiction concepts. It is surprising to find an artist with such a diverse taste for subjects.

Kate: I think what you’re seeing is someone who gets bored very easily. (Laughter.) I'm always looking for something a little bit different to occupy my mind. I just can’t tolerate it. I have to move to different things or it becomes torturous. I have to be learning something new with each project or it becomes monotonous. 

Double Mums. Published by Poems Art Publishing. Kate's paintings have been featured at World Market, Z Gallerie, Home Goods, Pier 1 Imports and more.

Andrew: Can you walk me through a day in the studio?

Kate: I get up, get a cup of coffee, and begin thinking of the day’s composition. If it's a still life I might be searching through my refrigerator for subjects. At this time of year I work in a small studio off of my bedroom. Generally I work from photographs on my computer. I use small Strathmore cold pressed watercolor paper, taped to a board to keep it from buckling.  I usually sketch first with a mechanical pencil. My paint is set up on four different palettes with different colors that I re-wet each day to activate the paint. 

Andrew: You use gouache?

Kate: Right. The gouache is very forgiving. I can build up the image without worrying too much about mistakes. I first used gouache in college and fell in love with it. You can lay it on thick to create these very velvety tones, or thin it down to this cream like consistency, or even thin it down to a glaze. 

Andrew: In looking at your recent painting of dandelions, I have trouble telling what is transparent and what is opaque. Is this ultramarine in the vase?

Kate: Yes, it’s ultramarine. And different paints have different levels of opacity, so the ultramarine, for instance, has a transparency despite how thickly it’s applied. 

Andrew: When you work on a still life like this, does it come as a moment’s inspiration or is it planned days in advanced?

Kate: It depends. Sometimes I have material queued up, but I have to find something that's speaking to me that morning. In this case I had seen a painting on Instagram of dandelions and thought it was charming, and happened to have a front lawn overrun with them at the moment, so I went outside and picked some. 

Andrew: That’s one of the great values of Instagram, isn’t it? Finding new art to look at daily.

Kate: It is. I’m constantly scrolling through and finding new artists that inspire me. I love Instagram. And it’s great for meeting people all over the world. I’ve sent paintings as far as Australia to connections I made on Instagram. 

Andrew: Who are some artists that inspire you?

Kate: I love Richard Diebenkorn, Edward Hopper, Wayne Thiebaud, Gustav Klimt. John Singer Sargent is one my favorite painters. 

Andrew: That last name makes the most sense in looking at your work. 

Kate: He was the master of brevity. He could use so few strokes to create so much. I don’t think I could ever do that because I’m too meticulous and not loose enough. I admire anyone who can be loose with their brushstrokes, but I’m very tight. You are what you are, I guess. 

Andrew: Actually the first thing I noticed about your work is how economical your brushstrokes are. You are very controlled, but there is a flow and sense to the control. It reminds me of Vermeer. 

Kate: Thank you. I think the work of an artist is to distill something. When I paint I am constantly trying to distill the subject down to its essence. To find the simplest version that still feels rich.

Observe the economy of means in this depiction of a rainbow over a canyon. In 5 x 5 inches, using 6 colors, and the barest minimum of distinct marks, Kate creates a vast environment, and teaches us how to react to it. 

Andrew: When did you become interested in visual art?

Kate: Very young, before I can remember. I was always drawing or playing with clay. And my dad was an inspiration. He had some training as an architect and designed the house I grew up in. He was quite artistic and we have the same sort of visual mind. 

Andrew: Was he encouraging?

Kate: No. He was always in his own world and he left when I was 10. But my mom is quite a good painter, though she doesn’t think of herself that way. She was a journalist and is now a playwright.  They were both creative people and my mom never limited me or discouraged me from doing what I wanted. 

Andrew: Did you begin college as an art major?

Kate: No, I started in elementary education. I had an art teacher that encouraged me to pursue visual arts. I’m grateful to her for directing me away from education. I later tried teaching art classes in my children’s school and hated it.

Andrew: How did you pursue opportunities after college?

Kate: It's mostly about putting stuff out. When I was first contracted to sell published prints, they found me at a local art show. I used to query galleries that I liked. It's mostly just asking and not being afraid of being rejected. You do get rejected, but occasionally someone says yes. And then things fall into your lap. You have to be ready to engage chance opportunities. Nowadays there are things like Instagram, which are great because you’re not limited to any locality. 

Andrew: How do you price your art?

Kate: Oh my gosh, it's so hard! My friends constantly tell me to charge more. I just started selling the little ones at 80. My standard now is the square inches times 2. That might not always be representative of the work that went into it, because some pieces take longer than others. But I don’t like to think about it, so it’s nice to have a set price for a type of painting.

Andrew: You’ve done a lot in your career. Is there a dream project?

Kate: I have so many. I'd like to write a movie, I want to do really large scale portraiture, or a mural.

Andrew: Do you have an ultimate goal as an artist?

Kate: (Pause) I think it’s about my own enjoyment, not necessarily about the production. I do sometimes feel, when I walk through a museum, that feeling of: Maybe someday people will be looking at my work like this. But it's more about my own satisfaction in learning and improving. It gives me purpose in the doing. 

Learn more about Kate: https://www.katejarvikbirch.com/about

Follow her on Instagram: https://www.instagram.com/kebirch/?hl=en

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Wednesday, June 17, 2020

In the Water, Toward the Woods, Woodcut

This is a two color woodblock print made with oil based inks. Woodblock prints are "relief prints," in that the nonprintable areas are carved away, leaving a low relief of the image left level with the original uncarved surface. 
The inspiration for this image is Ichijo Narumi's postcard print designed in 1906. Narumi's print is a lithograph, not a woodcut. But the simplicity of the design and imaginative use of the limited palette is a model for any printmaker doing their first two color print. 
Two color prints are made using two printing plates. I carved both into one block of pine, each registered at the top and right sides so that I could simply slip the paper into the pre-carved grooves and know that the second printing would line up with the first. The green block is printed first, the brown second. Because the brown ink is transparent, where it overlaps the green ink, it produces the darker color of the forest and signature, making this technically a 3 color print. 

I proofed the the block in different forms to gauge its appearance, leaving me with distinct "Artist Proofs." These allow the printer to see what work is left to be done. In this case I still needed to carve lines into the hair. 

I produced 9 roughly identical prints using these colors. Future editions will use alternate colors. These first 9 are $29.50 a piece. Please message me to purchase. Or consider becoming a "Print Subscriber" through my Patreon page and receive a new print every month sent to your door. Patreon Page

Monday, May 11, 2020

Sun Earth Man, Wood Block Printing

This is Sun Earth Man, a woodblock print. This video documents its creation

This print is $29.50 to purchase. You can also become a Patreon Subscriber and receive a new handmade print in the mail every month. Please consider subscribing.

Wednesday, April 8, 2020

Drypoint Printing The Pythia

The Pythia
Drypoint print on paper 5 x 8 in

Drypoint is an intaglio printing method wherein an image is incised into a hard plate, usually copper (or in this case, plexiglass). 
The image is scratched into the surface using a sharp stylus. The plate is then covered with ink and wiped clean, with the incised lines retaining ink in their grooves. 
This plate is then run through a printing press with a dampened sheet of paper on top. The paper is dampened so that it is pliable enough to be forced into the grooves of the plate by the pressure of the press. 

Unlike other intaglio methods, like etching and engraving, the incised lines of the drypoint plate are shallow and depend for inking on the sharp raised burr along their edges.  As the plate is used the burr deteriorates. As such, only a few prints can be pulled from a drypoint plate. 

However, even a used plate retains a ghost of its incised image and this can form the basis for further development

New lines are scratched into the plate over the old, and the combination of the old dull lines with the fresh dark lines produces a richer tonal range. Each stage of development in the plate is known as a state, and each state represents a separate edition of the print. 

The plate continues to be workable in this way so long as the artist can continue to scratch the surface. Too many incisions across a given area can lead to pitting and cracking. 

That's how Drypoint is done. Thank you for reading.

This print depicts a woman experiencing a visionary state, in which she is mentally abstracted from her physical environment. It is named for The Pythia, the priestess of the Temple of Apollo at Delphi. The Pythia was believed to be a medium for divine prophecy, delivered to her in ecstatic trance. 

This print is available in each of its first two states. 4 prints are available of each, $45 a piece. 


Sunday, March 22, 2020

Dora Mina Prints for sale

Prints of my 2019 painting, Dora Mina and the Man Entering the Room, are now on sale here
Available in all forms, posters, wall hangings, pillow covers, prices start at $12.35.

Thursday, February 27, 2020

Gramma Heart Sun

Portrait of our Grandmother, for my cousin Betsy
Mixed media on wood panel 2019