The Still Life Project
by Sarah Freeman, has past the 100% mark, which means we are now fully
BUT this project ain't over yet! Which means there's still time to become a backer if you would like a quality print to frame on your wall, some nice notecards (they make a great gift), or a new painting for your home.
Anything over the original goal of $1600 will go towards making the packets to mail out to galleries, as well as supplies to make even more paintings.
And for some "stretch" goals:
If we make it to the $2,600 mark, I will give one extra notecard with envelope to each backer (all backers).
If we make it to $3,000, I will give one extra drawing from my sketchbook to every backer at or above the $15 level.
Thanks for your generosity!
My name is Sarah Freeman, and I've been making art all my life.
I've painted many different things, but the one thing I always go back to is the still life.
Still life gives me a chance to really slow down and pay attention to light, form and composition. I'm drawn to the humility of mundane objects, and through them I want to shed light on what is simple and true.
I'm making a series of twelve still life paintings. Once I'm done with this series, I can begin to approach galleries with my work, and hopefully exhibit them in a show.
The good news is I'm almost there! I've already made eight, so there's only four more to go. I need a little extra money for the supplies so that I can make the remaining four. I also need to get the paintings photographed so I can send quality images of my work to galleries (and also so that I can give you quality prints as rewards).
Here's the breakdown:
Other art supplies (subjects to paint, backdrops, tape, stretcher bars, staples, paper towels, brush soap, etc.): $50
Cost of making, printing, packing, & shipping rewards: $800
I started oil painting at the age of 15, when I became a student at the California Art Institute. I was very lucky to have Jeremy Lipking as a teacher, who has since become quite well known. Through him, I became connected with much of the L.A. realist art scene, and began exhibiting my work professionally at the age of 18.
I went to college in Santa Fe, and experimented with printmaking, design, sculpture, and surrealism. After graduation, I found myself wanting to get back to basics, and was drawn once again to the still life.
What fascinates me about painting is the process of making the familiar seem unfamiliar. I feel a successful painting shocks the viewer with what they already know. To paint something that imitates the experience of seeing, while simultaneously remaining true to the medium of paint, is my goal.
Much of my inspiration comes from the artists of the late 19th century and early 20th. I love Emil Carlson, Vilhelm Hammershoi, Henri Fantin LaTour, John Singer Sargent, Manet, and Degas. But my biggest source of inspiration is everyday life. I'm always looking at life and seeing ideas for interesting paintings.
There are endless possibilities in how you can see the world, so there is no great need to look beyond what is close at hand to say something interesting.
Awards/Honors for Art:
Winner in Fine Art Professional Category in Creative Quarterly Magazine, May 2012
Cover Illustration chosen for "An Honest Lie", a collection of short stories by Open Heart Publishing, 2009
Editor's Choice Award for The Pastel Journal's 7th Annual Pastel 100 Competition, 2006
Received grant of $10,000 Canadian from Elizabeth Greenshields Foundation, 2004 and 2002
1st place, The Artist's Magazine Annual Competition, Still Life category, Student Division, for oil painting "Still Life With Grapes", 2002
Accepted as member of the California Art Club, an elite 92-year-old organization. Was the youngest member ever accepted, 2002
ARTS Week 2002 finalist for National Foundation for Advancement in the Arts. A select group of 15 high school-aged art students from across the country were flown into Miami for a week of classes and activities, 2002
PTA Reflections Competition National PTA Award of Excellence and California State PTA Award of Excellence, High School Division, for pencil drawing "Books Can Grab You", 2000
Exquisite Exhibit, at St. John's College, Santa Fe, NM, April 2012
Goya and Influences, at Argos Gallery, Santa Fe, NM, December 2011
The Brown Paintings: Solo Exhibition, at Eli Levin Studio, Santa Fe, NM, February 2011
Look Closer: Senior Show at College of Santa Fe, Santa Fe, NM, 2009
315: Student Exhibition at College of Santa Fe, Santa Fe, NM, 2008
California Art Club Annual Gold Medal Juried Exhibition, Pasadena, CA, 2002 and 2003
Second Annual Women's Show at Wendt Gallery, Laguna Beach, CA, 2003
The Young Artists Show at Wendt Gallery, Laguna Beach, CA, 2003
Salon d'Automne: The 3rd Annual California Autumn Salon at Morseburg Galleries and the Edenhurst Gallery, West Hollywood, CA, 2002
Young Brushes II: Young Painters of the California Art Club, at Mission San Juan Capistrano Museum, curated by Jeffery Morseburg of Morseburg Galleries, San Juan Capistrano, CA, 2002
Risks and challenges
The biggest challenge I face with this project is completing it within the time frame I've set out. In addition to my regular job at a restaurant, I'll also be teaching a painting class this spring, so to finish four paintings before June will be a bit of a challenge. I'm confident that this will not pose a problem however, because I've always found the time to make room to do what I love in the past, whether it means disappearing from my friends for a while, eating frozen pizzas so I don't have to cook, or simply good ol' fashioned staying up late.
The next task after the paintings are complete will be to find a gallery that is interested in exhibiting them. I'm not currently showing at any gallery, so I'll need to approach new galleries to find a home for the series. I realize this may take some time, and therefore I have not included it within the confines of this project.
Another constant, though minor, issue when painting still life is the rotting of fruit. Often a flower or piece of fruit will begin to wilt or rot before I'm done painting it. I've learned ways to handle this, such as refrigerating the fruit between painting sessions and completing each part of the painting before moving on to the next.
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