I went to the studio early today, ready to see how the overnight dripping of Painting #2 turned out. I found that the drips had gone fairly well, although there were a few more blue/gray drips intruding on the orange/yellow space that I cared for. Continue reading
A foggy day at the studio…
I started my first painting and caught another awesome sunset!
Read previous post: Day 1
Last night I slept with the windows open to allow for the cool evening breeze to enter the cabin, but that also meant that I could hear every single sound outside — crickets, water lapping, bird calls, seagulls crying, coyotes howling, and then the sound of boat engines at around 3-4am, as the local fisherman revved up their boats and drove them across the bay on their way to work. Needless to say, I woke up just about every other hour, and awoke not feeling very well rested. Continue reading
I am pleased to announce that back in April 2018 I received notification that I had been accepted to the Golden Apple Art Residency, located around Bar Harbor, Maine for the last weeks of August. I plan to use this residency to explore the harbor, forests, rocky coast, and sunrises & sunsets over the ocean as viewed through my Abstracted Rainy Moments filter.
Here are some exhibition photos from the exhibit opening reception of Oceans & Beaches art exhibition at Sprout Coworking Gallery in Providence, RI of work by artists Rachel Brask, Ewa Romanewicz, Jesenia Cruz, Eran Fraenkal and Liz Sauco. This image gallery highlights photos of artwork by Rachel Brask.
“Check Out Rachel Brask’s Artwork.” Boston Voyager. July 9, 2018.http://bostonvoyager.com/interview/check-rachel-brasks-artwork/
Today we’d like to introduce you to Rachel Brask.
Rachel, we’d love to hear your story and how you got to where you are today both personally and as an artist.
I have always been obsessed with color lots of colors, bright colors, subtle colors. When I was little I would pretend that I could “capture” colors of the world (with my imagination) and stow them in my little magic satchel of colors. Many years later, I use the colors stored in this little magic satchel through the pigments I apply to my paintings. Each painting I create is just another excuse to explore the magical world of color.
I knew from a young age that I wanted to be an artist. I drew and sketched anything I saw with whatever drawing implement I had — pencil, pen, marker. I was particularly drawn to the beauty of nature and landscape. One of my earliest recurring drawings from memory was of hills and a river at sunset.
It wasn’t until I took my first oil painting class early in college that I felt that I had finally found a medium that I could connect with so intuitively. In college I double majored in art and writing, until I had major writer’s block the very last semester of my senior year. It was at that point that my advisor said that up to that point I had always treated art and writing with equal importance — the visual art was becoming more prominent in this ongoing equation. So, I went down that art road, full steam ahead. Now I have my own art studio practice that includes exhibiting and selling my paintings, commissions, art residencies, and teaching art. Along that road were several day jobs, personal challenges and lots of graphic design. It was a long and bumpy road to get to this point, but absolutely necessary.
We’d love to hear more about your art. What do you do you do and why and what do you hope others will take away from your work?
I call my current series “Abstracted Rainy Moments.” I create contemporary oil paintings that evoke the sensation of looking through windows when it is raining outside, emphasizing the drips and blurry texture of colors and shapes as seen through the water pouring down the glass of a window during a storm. When I look through a window during a rain storm, I study how the sheets of rain pouring down the panes causes distortion of the view outside. The rain flow abstracts the lens through which an observer sees the outside world in that moment. Colors blend together, articulated lines and shapes become blurred, and the motion of the continuing rain makes the scene continually moving.
I have always been inspired by rain. While others may see rain as a gloomy, sad day, I see rain as peaceful, refreshing, cleansing, renewing — sometimes the colors outside on a rainy day even seem a little brighter! Through my paintings, I want people to see the beauty of a rainy day, to see a perspective they may not have contemplated before.
Each of my big paintings take about 24-48 hours of process from start to completion. I start all paintings with a pointillism-inspired composition of colors using thick paint daubs of specific colors placed together deliberately all over the canvas, imagining how the colors may be pushed together later in the process. Then I use a combination of lots of stand oil, a viscous linseed-based product with the texture of honey, and a brush, to smear all the dots on the canvas from the top to the bottom, dragging the colors together as the brush descends the canvas, I will then revisit the canvas every few hours with a smaller brush to blend in and out some of the paint as the drips continue to “rain” down the canvas. After I go to sleep for the night, gravity continues its collaboration on the painting, and often I’ll awaken to respond to a very different painting than the day before. The rain motion continues to move for the next day or two, and I’ll continue to revisit the canvas every couple hour to respond to new drips, until finally the painting begins to form a skin from the stand oil’s top layer finally drying.
What do you think it takes to be successful as an artist?
As an artist, and as a human, I believe that success is defined by whatever parameters are important to that person. Some measure their success by fame, recognition, or financial milestones. For my art, I will feel successful if someone sees my paintings and thinks about rain in a new and different way from how they saw it before. I will be successful if a person stops and is able to find moment of peace with my paintings in an increasingly chaotic world.
For general success as an artist, in however an artist measures his or her own success, I believe that two of the top traits needed for success are passion and resiliency. A person needs passion for her art, passion to be able to believe in herself and in her artwork, even when the road gets rough.
Resiliency is a necessary characteristic because in any artist’s life there will be rejection, some rejection, and then probably more rejection. This resiliency is able to help the artist absorb some critical and necessary feedback, and then disregard the rest to keep moving forward in her process. Resiliency is not letting the wrong person’s negative comments or not being accepted to a show or gallery completely derail that artist’s vision, hard work, or momentum — it’s using those for fuel to continue to better her art game.
Do you have any events or exhibitions coming up? Where would one go to see more of your work? How can people support you and your artwork?
I always enjoy the support of new friends, fans and other artists! I think that as artists, and humans, we all need to encourage one another. People can support my work through purchasing my paintings, prints or products on my website (www.rachelbraskart.com), at galleries exhibiting my paintings, and through attending opening receptions of my work.
I always invite people to follow and comment on my works in progress on my Instagram @rbartworks, my Facebook page (fb.com/rachelbraskartworks) or my twitter @rb_artworks. To keep update on my exhibitions and events, people can sign up for my monthly newsletter on my website or via this link: http://eepurl.com/Grpz I really enjoy working with people on their painting commissions, working together to bring together the reality of the vision they may have for a new painting as a gift or for their home or office. So, commissioning a painting with me in a rainy or abstract style is another way to support my artwork.
I also love helping people to find their inner creativity or to learn art mediums or methods they may not have tried before, so I offer private or group art lessons.
- Address: Rachel Brask
- Website: http://www.rachelbraskart.com
- Email: email@example.com
- Instagram: https://www.instagram.com/rbartworks/
- Facebook: https://www.facebook.com/RachelBraskArtworks/
- Twitter: https://twitter.com/@rb_artworks/
- Other: https://www.etsy.com/shop/RBraskArtworks
The profile photo uploaded (of artist peaking from behind easel): photo by Tiffany Axtman.
The photo of artist painting in front of easel: photo by Tiffany Axtmann.
All other photos courtesy of Rachel Brask.
Rachel Brask is pleased to announce the lineup of summer and fall festivals and open studios in which she will be exhibiting her artwork. Links for more general information about each event has been provided below. Since some of the festivals aren’t for several months, check back to the links occasionally, as each organizer will be updating their event’s info as details are finalized for each event.
July 15 (3-7pm): EP Heritage Days Festival, Pierce Field, 201 Mercer Street, East Providence, RI. Rachel will be at the HeARTspot Art Center booth.
August 11 (11am-6pm): Looff Arts Festival, Crescent Park, 700 Bullocks Ave, E. Providence (Riverside), RI.
August 18 (12-5pm): Attleboro Expo for the Senses, Attleboro, MA.
September 8-9 (11am-5pm): Slater Park Fall Festival, Slater Park, Pawtucket, RI
We began our summer 2018 Coloration Exploration Class at the Fuller Creative Learning Center with a sense of wonder — there is just so much to learn about color! We can’t possibly begin to cover it all in just an hour and a half class in six sessions…but we would cover asmuch as we can, and have fun with it too! Each week we will cover one main color (hue), the history and origins of its pigments, some of the psychological/emotional/cultural associations of the color, and then create monochromatic paintings in each of those colors.
The very first class we spent the whole time just on the fundamental introductions of color, what we will cover, and in making a basic color wheel of hues, shades, tints, and more.
The first color we tackled was red, which tends to be one of the earliest known pigments to be used in early cave paintings, using a reddish ochre or mud-made pigment. Red has many opposite meanings all in the same color, depending on which source you consult. After covering some of the history and associations of the color, we made a palette of many red variations, then students were encouraged to paint a small segment of our all-red still life set up in the center of the room. In the next class we have, I will am to talk less and let the students paint more.
Hello! You are one of the few with whom I am sharing this exclusive content. As one of my email subscribers, I value your input and feedback about my artwork. You may be familiar with my Abstracted Rainy Moments oil paintings evoking the sensation of looking through a window during a rainstorm. Now I’m thinking of using a different medium and technique to translate my rainy series into encaustic, or painting with wax!
Take a look at some of my good, and some not-so-good, results of my experimentation with wax, during a one-day workshop with instructor Taleen Batalian. Let me know which direction you like or don’t like for whatever reason and comment below, or email me your thoughts to rbraskartworks[at]gmail.com
Here is my workspace setup for this experimentation:
Attempt #1: This is the first attempt at creating a composition using the rainy pointillism technique I usually employ with oil paint, but the texture and quick cooling of the hot wax made for a different challenge.
Attempt #2: Instead of applying gobs of colored wax, instead I painting a thin layer of oil paint over the first fused layer of smooth wax. After, I applied another layer of that of the smooth wax. After this top layer of wax had cooled, I took some of my shaped carving palette knives and experimented with carving out some texture that could potentially be read as the lines of falling rain in the background layers of the “painting.”
Attempt #3: At the suggestion of my instructor, Taleen, my third attempt at this process started with getting a new board and painting oil paint directly on the wood panel, without any wax in between. After I finished the painting, I took some of the differently colored waxes and dripped little drops in the areas already masked by the same oil paint background. Then I applied a very light coating of wax to this composition. Letting it dry and cool, I returned to it and applied a hot iron to smear the colors instead of using the heat gun.
Attempt #4: I took the Attempt #2 textured final look, and pushed oil paint into the crevices to then wipe the surface for a scrimshaw effect to highlight the carved out lines. After doing this, I put a layer of wax over it. Just as our time was coming to an end, I took a brush of each of the colors of hot wax I used and free dripped it from the top of the panel to let it drip down the panel as the wax dried. Here’s the final result from that process.
Rachel Brask will have up to 10 of her coastal-inspired paintings of beaches, oceans, coastal sunsets, and dunes. Some of these paintings are from her residency in Truro at the Castle Hill Center for the Arts in March 2018. This exhibition will include several other artists, full list TBA.
Sprout Coworking Gallery is located at 166 Valley Street, Building 6M Suite 103, Providence, RI. Sprout Gallery will be hosting a Providence Gallery Night reception with the artists in attendance on Thursday, June 19, 5-9pm, open to the public.
Truro Center for the Arts, Castle Hill, May 10, 2018.
Rachel Brask is a painter from Rhode Island who has been hard at work with a goal of creating twelve paintings to take back home for her upcoming exhibitions throughout the state of Rhode Island in April. Her style of painting is abstract expressionist with impressionist tendencies. She uses a “drip effect” with stand oil to make it appear as if the viewer is looking at the scene through a window on a rainy day. This is Rachel’s first residency experience. She says that, for her, having the opportunity to get out and explore the local landscapes as well as spend countless hours in the studio and gain new ideas and directions from the other residents has been invaluable.
BankRI Galleries featured Rainy Moments: Paintings by Rachel Brask on exhibition March-April 2018. The following is an article written by curator Paula Martesian. Continue reading