Landscape painter Christie Karis, 74, works with a limited palette of oils. She uses brushes at times, but says she prefers to use a palette knife, which allows her to paint fast, and with emotion.
“I like the idea of sculpting with paint. I try to recreate my vision, mood of the day and my reaction on canvas,” Karis said. If she’s successful, she added, “The viewer has an opportunity to experience the magic of a singular moment in nature.”
Karis, who lives in Florence, often paints en plein air, but at times, she also takes photographs to use as reference tools in her studio. She works on a primed panel or a linen sheet taped on hardboard. Then, she says, “If I am happy with the result, I glue the linen to gator board which is suitable for framing.”
Hampshire Life: What is your creative process like?
Christie Karis: My approach is dictated by the subject and mood of the day. As I choose my subject, I am aware that in order for the eye to perceive light, my scene must have an ample amount of shade or dark values that establish contrast with the light. At times, I create objects or move them around to form the dark contrast. Fulfillment of my contrast goal is not always possible, but I know that I won’t find it if I don’t look for it. As such, I usually leave my supplies in my vehicle while I search for subject material.
If I discover a scene where the drama and interplay of light stirs my emotions, and using my preferred method – painting with the palette knife — I form the composition by sketching in the value planes. I follow that with a brush to lay in color direct from the tube that establishes light and dark values. Once I’m satisfied with my composition and balance, I use a palette knife to lay in more color. The knife allows me to paint wet on wet, laying color over color.
H.L.: Does your work start with a “Eureka!” moment?
C.K.: My work is often stimulated by coming across a natural scene that makes an immediate and strong impression on me when painting en plein air, walking about or on a photo-gathering trek. When this happens, I stop to explore what is going on and commit the impression to memory. Alas, it’s a fleeting moment and I’m not always able to capture it.
H.L.: How do you know you’re on the right track?
C.K.: As long as the creative energy flows, I know I am on the right tract.
H.L.: What do you do when you get stuck?
C.K.: I stop and do something else for a while. I find that a short break is often enough for my creative genie to bounce back with renewed energy and ideas.
H.L.: How do you know when a work is done?
C.K.: The truth is that my work is never done. My creative process seems to keep bubbling up with ideas that may include highlighting with contrasts of a neutral gray or solving a perspective challenge. However, I try to refrain from overworking the piece. Ultimately I reach a point where I am done with the work emotionally and I move to something else.
H.L.: What did you do today that relates to
your art?
C.K.: I have learned that “creative” is a core element of my being. It’s not the only element, but it is central to who I am. If I am not being creative at some level, I do not feel happy and balanced.
H.L.: Why do you paint?
C.K.: I paint because it’s good for me. I don’t paint for the marketplace.
— Kathleen Mellen