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VINS

En Plein Air Painting Festival

Last fall, before my long winter hibernation, I participated in En Plein Air Painting Festival at The Vermont Institute of Natural Science and Raptor Rehabilitation Center in Quechee, Vermont.

I painted on on the trails, by the river, marshes, and in the open meadow for seven days, capturing the peak of New England fall foliage, my palette a swathe of earth tones and warm pigments. Before all my painting sessions I visited the incredible raptors; owls, ravens, bald eagles, hawks, and falcons. On one of the last days I painted a male snowy owl and two Ravens. They felt so mystical and wild, it was an awesome opportunity.

I ended up getting second place in the quick paint competition. This means you finish your outdoor painting in less than four hours. It was raining so I stood under my umbrella, rain drops dripping from my hood, and my hands getting pretty wet and cold. I also made the front page of the local paper! The photographer captured the exact light I was attempting to capture in the scene by the river.

Plein Air Workshop

In 2018 I taught my first Plein Air Painting Workshop, focused on foundational oil painting techniques and the process of en plein air painting.

The most significant message during this course is that Nature is our greatest teacher. I wanted to encourage painters to ask the scene, not me, to answer certain questions pertaining to composition, shape, light, color, and depth. My hope was to encourage others to transcend modes of thinking, and communicate with their surrounding environment intuitively, deeply, and with an open heart.

This way of painting, and creating a flowing dialogue, has created a huge transformation for me, and continues to. It allows me to recognize the complex living organisms all around me, and for a moment to tap into that energy that words cannot describe. This connection nourishes my soul and increases my sense of compassion for something that I am apart of and inextricably linked to. To me en plein air painting is so much more than direct observation; it is an emotional and meditative experience that brings me to the very spirit of Nature. Its also about connecting with your own sense of adventure; swimming through tall grass, hungrily searching for a scene you feel kinship with, and breaking a sweat looking for the perfect spot!

World Of Interiors Magazine

I was recently featured in the summer 2018 campaign “Artistic Impressions” in the Conde Naste publication, World of Interiors, UK. One of my paintings was featured in each of the three issues. The last issue, October, has a ton of information on the annual London Design Festival. The paintings featured include, Long Pond 2015, Impermanence 2018, and Tine 2018. The theme I had in mind for this campaign reflects my interest in conveying strong value and color gradients, either monochromatic or complimentary colors. I tried to choose peices that reflect space in particular, whether that means expansiveness in composition or creating depth with light and perceived distance.

 

August 2018 PC WOI Instagram

 

Long Pond, 2015

 

September 2018 PC WOI instagram

 

Impermanence, 2018
October 2018 PC WOI Instagram

 

Tine, 2018

Time Lapse Painting

I awoke before sunrise with a stack of gessoed, orange stained masonite panels and planted myself in front of the window panes overlooking the Worcester mountain peaks in the barn home. 
My boyfriend and I were house and seedling sitting as the farmers were traveling for a few days. 
The full, supermoon light poured in and I sat, soaking in it's energy before setting up my easel. My eyes circled the glowing orb, a ghost beckoning a silent reverie. I followed the silvery arm-like 
beams outward, into the darkness of night, spreading across the sleeping fields, all the way to my 
feet on the concrete floor. 

As the sun began to emerge and illuminate the mountains, casting a pale pink and 
orange glow on the frosted ice caps, I began my painting, of my favorite peak "No Name." Time 
unraveled before me. I made the finishing touches, as the shadows drained into the tree line, while listening to the 
slow pumping of the watering hose next to me. The sound reminded me of the breathing tube I had to 
use in the hospital as my collapsed right lung fluttered, day and night, into a chest tube. 
Everything is 
coming alive, I thought. 

The day, the mountains, the birds, the seedlings are coming alive. I am coming alive. 
As the day continued on, I returned to my easel at 12pm, 3pm, and 4pm, and tried to 
capture the light over the course of an hour. I continued to use the same color palette that I mixed at dawn, but adding variations of grey, and mixing more blue into the oranges, reds, and whites. By dusk I was mostly just adding a lot of ultramarine blue! As the sun began to set behind the 
mountains, I watched the dip in the ridge line, like the contour of a profiled mouth, swallow the 
egg yolk sun whole. I expressed this with swift, hungry, shadowy brush marks. What must it be 
like, to be No Name for a day? I wondered. 

It was a beautiful experience to sit 
and observe such a small part of the vast landscape, and explore 
that pivotal area where the light and sky change over the mountain ridge. I felt the charge of 
energy, where air and water meet earth. I felt these elements interacting, inside of me, and all 
around me. 

Additionally, I had greeted the moon and journeyed with sun from the east to the west. 
It's such a trip to know this magical sequence of events is happening each and every day. 
I've included these four studies entitled "A Day with No Name" in show24 at The Front Gallery. I'm 
happy to announce they have sold as a set! Even though the physical records will be leaving me, the memory leaves a powerful imprint. And for that I am so grateful.

 

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“A Day with No Name” Oil on masonite, 2018, 4 x 4 “
Knowing is loving.

 

Show 23

Show23 at The Front Gallery!

This exhibition focuses a lot on color and light it seems, largely due to the work of this show’s guest artist Jeanne Thurston. The gallery is starting off 2018 with some beautiful art and new innovative ideas! My first painting of the year “Impermanence” seeks to merge experiences of the landscape on a farm with my own internal landscape exploring emotional and physical healing. 

We have to break open in order to let the light enter.

45488403-236F-466D-8941-920C5296EFB3Sculpture by Hasso Ewing, color paintings on Beehive Bars on panel by guest artist Jeanne Thurston, installation view by Janet Van Fleet, and wall mural by Michelle Lesnak. 
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Collage by Deluxe Unlimited, and oil painting by me, Lydia Gatzow

hunger mountain

Just hung some paintings at the natural health food store in Montpelier, Vermont!!!
This work will be exhibited for the month of January, 2018 in the art cafe of the store. Hours are 8AM-8PM daily!
623 Stone Cutters Way in Montpelier, Vermont
All work is for sale. 30% of proceeds will go towards The Good Heart Farmstead where I am currently yurt living, farming, and painting. Check them out as well! They are offering spring, summer, and fall CSA shares. 
PS Hunger Mountain is one of the peaks in the Worcester Range, which has been a huge source of inspiration for me on the farm. 

 

“Field Studies” At Hunger Mountain Coop

show21and dark matter

This Friday night, October 6th, is the opening for show21 at The Front Gallery in Montpelier and Dark Matter at the S.P.A.C.E Gallery in Burlington. You can check out my newest large scale painting at The Front and a few road kill pieces at The S.P.A.C.E!

 

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How Lovely the Silence of Growing Things, 2017
show21, The Front Gallery, Barre St in Montpelier, VT
opening reception October 6th 4-8pm, exhibit runs through November 25th

 

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Front of The S.P.A.C.E. Gallery on Pine St in Burlington

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En Route III, IV, and II, 2017
Dark Matter, Juried Exhibition at The S.P.A.C.E Gallery on Pine Street, Burlington, VT
opening reception October 6th, 5-9pm, exhibit runs through October 28th