Urban realist painter and printmaker Lisbeth Firminwill be teaching “Drawing with the Right Side of the Brain,” a five-day workshop held at MURAL Gallery in Hobart, NY, Monday through Friday, August 28 – September 1. Firmin is known for works such as Fifth Avenue (1995), and Woman on a Train (2014). This past spring she traveled to Venice, and enrolled in Scuola Internationale di Grafica where she perfected her monotype printing technique. Firmin is one of the artists featured in “How Art Is Made: In the Catskills.”
This workshop will explore drawing as it relates to the right and left brain hemispheres, based on the work of Dr. Betty Edwards. Participants will learn basic strategies of seeing that will enable them to draw with a high degree of skill.
This weekend, Saturday and Sunday, July 29 – 30, from 11 am to 5 pm over twenty artists in Roxbury, Halcottsville, Margaretville, Fleischmanns, Halcott Center, and Arkville will open their studios to the public, and show their working spaces as part of the AMR – Artists Making aRt ™ – Open Studios Tours 2017.
A good place to start the tour is the Wawaka Grange in Halcottsville, which is true to its original function as a Grange and General Store. Refreshments, bathrooms, and handicap access are available at this location. Several artists will be showing at the Grange, including painters Sophia Maduri and Oneida Hammond.
For the first time this year Art in the Catskills will participate, and present and sell books at the Grange. “How Art Is Made: In the Catskills” will be offered at a discounted price. The book pays homage to the Catskills’ vibrant artistic life, and its long tradition as a magnet for artists and writers from all over the world. The region is known as the place where American art was born, through the works of landscape painters Thomas Cole and Frederic Edwin Church, affiliated with the Hudson River School of Painting, and writers Washington Irving and James Fenimore Cooper, who wrote specifically about American realities.
Alix Travis, one of the founding members of the tour, will once again open her studio located at 103 Bragg Hollow Road in Halcottsville. An established plein air painter, Alix has received several awards and recognitions, including signature status in the Pennsylvania Watercolor Society and the New York Plein Air Painters. In 2014 she published The Catskill Coloring Book, which includes twenty-six plein air watercolor paintings. This weekend, during the open studios tour, Alix will paint en plein air, and demonstrate some of her techniques. Alix’s website is https://alixhtravis.com/.
Urban realist painter Lisbeth Firmin will be showing oil paintings and monotype prints at her studio in the Commons Building in Margaretville. Lisbeth is known for works such as Fifth Avenue (1995), and Woman on a Train (2014). This past spring Lisbeth traveled to Venice, and enrolled in Scuola Internationale di Grafica where she perfected her monotype printing technique. Lisbeth explains that her work is really not about the colors, but about the light and shadow in the composition which she captures masterfully. Lisbeth is featured in “How Art Is Made: In the Catskills.” Her website is http://lisbethfirmin.com/.
New this year, internationally renowned sculptor Brian Tolle will open his studio located in a repurposed Catholic church in Roxbury. Brian is known for The Irish Hunger Memorial in Battery Park City (2002), and more recently for Miss Brooklyn and Miss Manhattan, two replicas of Daniel Chester French originals that sit on the façade of the Brooklyn Museum – Brian’s replicas were installed on Flatbush Avenue by the Manhattan Bridge in December 2016. In 2015 The University at Albany’s Art Museum hosted a retrospective show titled Bordering Utopia: Sculptures by Brian Tolle, exploring the artist’s evolution over time. Brian’s studio is located at 53266 State Hwy 30 in Roxbury. He is one of the artists featured in “How Art Is Made: In the Catskills.” Brian’s website is http://briantollestudio.com/.
Abstract painter Adam Cohen will also open his studio for the first time this year. Adam is known for works such as Intuition (2015), a finalist in the Art Olympia International Competition in Tokyo, Japan, and Mystic Marsh (2014), shown at the Morren Galleries in Amsterdam, Netherlands. Adam is an intuitive painter whose style has been defined as Gestural Abstraction; his paintings are very much sculptural, and have a visceral look and the kind of inexhaustibility that the artist strives to achieve in his work. Adam’s studio is located at 53856 State Hwy 30 in Roxbury. He is also featured in “How Art Is Made: In the Catskills.” Adam’s website is http://www.adamcohenstudio.com/.
Poet and painter Esther De Jong, a former fashion model, will be showing her watercolors, oil paintings, and charcoal and pencil drawings at her studio located at 50 Maple Lane in Roxbury. Esther, who is formally trained at the National Academy of Art and Design, co-founded by Thomas Cole in 1825, refers to her paintings as “lyrical images” of her poetry: she often creates haikus accompanied by images that reflect her daily life experiences in the Catskills, a mood, or a feeling that is thus being immortalized on paper or canvas. Although Esther loves figural painting, she is also very much attracted to botanical themes, and finds inspiration in the Catskills’ changing seasons, particularly in the spring. Esther’s website is http://www.estherdejongpoetics.com.
Although not formally trained as a painter, Michael Guilmet has been painting still lifes, landscapes, and portraits pretty much his entire life, growing up with family and friends interested in art. Trained as a magician, Michael had lived in Beverly Hills, Dallas, and New Mexico before moving to the Catskills in 2014. His interests in art theory, history, and philosophy are ubiquitous in his paintings which he says must “evoke an unexpected emotion.” Michael does not think as having a style of his own – he can do works on commission in any style, and can approach any subject; but design is always the idea behind all his drawings and paintings. “A strong design is the driving force behind my work,” he explains. Michael shares his studio at 50 Maple Lane in Roxbury with Esther De Jong. His website is http://www.mcguilmet.com.
Artists Peter Yamaoka and Gerda Van Leeuwen met in a Boston airport in the early 1980s as they were both traveling to and from Provincetown. They married three years later. Peter studied at the prestigious Rhode Island School of Design, while Gerda received a degree in art from the University of Utrecht in her native Netherlands. In college both Peter and Gerda studied painting. Later in their artistic careers, they specialized in printmaking: Peter chose lithographs, while Gerda directed her attention to etchings. Since moving to the Catskills in the early 1990s both artists switched to ceramics: Peter prefers voluminous mythology-inspired vases, while Gerda makes small porcelains inspired by animal life. Both artists are featured in “How Art Is Made: In the Catskills.” Their studios are located at 777 Carroll Hinkley Road in Roxbury.
Also in Roxbury, painter Ellen Wong is the recipient of many grants and fellowships, including the New York State Council on the Arts Decentralization Grant Program, as well as a National Endowment for the Arts Fellowship. She studied in the Art Department at Brooklyn College with Philip Pearlstein, known for reviving realist figurative painting in the 1960s. Initially trained as an abstract painter, in time Ellen discovered that what she really wanted to do in life was landscape: “I noticed that every time I went somewhere I always brought with me my watercolors, and I always sketched where I was; somehow that’s how I got to understand, absorb or take in a new environment – I felt very sensitive to place. And it was a good way for me to get to know a place.” Ellen’s studio is located at 121 Shephard Lane in Roxbury. This year she will be showing some studio drawings and still life watercolors as well as plein air work. Ellen currently has a show at Longyear Gallery in Margaretville which will remain on view through August 7. Ellen’s website is https://ellenwongfinearts.com/.
Studio visits trigger questions that aren’t often asked in formal settings such as galleries and museums, and provide access to an intimate space that the artist doesn’t often share with anyone else.
The AMR – Artists Making aRt ™ – Open Studios Tour 2017, sponsored by MURAL Gallery in Stamford and participating artists, is made possible, in part, with public funds from the New York State Council on the Arts (NYSCA) Decentralization Grant Program, with the support of Governor Andrew Cuomo and the New York State Legislature, administered in Delaware County by the Roxbury Arts Group (RAG), and additional funding from The A. Lindsay & Olive B. O’Connor Foundation.
Amy Masters has been an artist all her life. Formally trained as a painter and printmaker, she pursued a degree in Interior Design at the Parsons School of Design, and worked as a draftsman for an engineering firm in New York City, before dedicating herself exclusively to painting and drawing. For over two decades, she taught in the New York City’s public school system, and spent her summers painting and drawing the world around. Moving to the Catskills in 2006, she was suddenly given far more space and limitless opportunities for inspiration. Amy likes to think about her work as being inspired by the natural world and the actual objects and vistas around her studios. But she likes to re-arrange and re-envision the landscape in the abstract. What is important to an abstract painter, says Amy, is the relationship between colors, lines and shapes, and the complexities of pattern and texture that emerge at the end of the process.
I spoke with Amy in her studio in Arkville, New York, earlier this summer.
Simona David: Amy, let’s talk a bit about your training.
Amy Masters: As an undergraduate student, I was a studio art major at Ohio State University in Athens, Ohio. I mostly studied painting and drawing. Then I wanted to come back to New York, and went to Sarah and Lawrence College in Westchester. I studied for about three years under Ansei Uchima, a phenomenal printmaker. And then I started my life, just working different jobs. I ended up working with my dad, who was an engineer. I worked as a draftsman, drawing plans – that was before computers. And then I went back to school and studied interior design. For a while I worked in an architecture firm, doing architectural design – I thought that was kind of a creative job. That’s where I met my husband, Ted Sheridan, who is an architect. All the while I was still painting; I had a couple of shows in the City. Fast forward, I went into teaching, and continued to paint, mostly throughout the summer, when I had time off from school. When I moved to the Catskills, ten years ago, I got all this space to work, and that’s when I feel like I got really serious about it.
SD: Do you think that moving to the country has helped your career as an artist?
AM: Absolutely. The environment informs my work. My work has always been about the place where I am.
SD: I’m reading a book What is Art? by Leo Tolstoy. Ultimately Tolstoy defines art as the transmission of an emotion felt by the artist, and calls it an infectious phenomenon. What moves you, as an artist?
AM: That changes. As an artist of course you’d like to think that your work has improved over time. You get better, just because you’re doing it: the muscles get stronger, you get more confident, the dexterity improves, everything. But going back to just what moves you, I think that has changed dramatically for me. The things that I’m drawn to now I wasn’t drawn to before. And I see things in other artworks that teach me something new or move me in some way I didn’t think possible.
SD: Where do you start a new project?
AM: That’s a really good question, because I do feel like I get onto something and I can’t stop. Sometimes it would be just the strangest thing. For instance, the feather print series – I don’t know where I first got the idea of this feather. There is something about the object itself, it’s very fluid. And I was thinking how unique, how individual each feather is, and that resonated with the process. Each time you make a print, it’s completely different.
SD: Let’s take a closer look at this series.
AM: There are different versions. Some are just monotypes, one-time prints, made with a soy based ink that I was experimenting with. I took a printmaking class in the City – an etching class, and had access to all sorts of equipment there, and began to explore what I could do with an etching. I made hard ground etchings where you just draw on a plate, and then etch it in a bath. I’ve also made actual impressions of feathers: you lay the feather onto the copper plate, it picks up the image, and then you remove the object, and etch it, and that’s what you get. It’s an amazing process.
SD: What kind of paper do you use?
AM: Some are done on rice paper, others on printing paper. A lot of the etching is done on printing paper.
SD: I see other types of prints in your collection.
AM: I was doing etchings, and just couldn’t stop. And from there I thought, oh, I could do other botanicals. And the leafy quality of the feathers made me think of roots. So I started doing a root series. From there I don’t know how I got into these.
SD: Bird nests?
AM: Yes. Keeping with the botanic idea, I started to do the nests. And inspired by the nests, I started doing a new kind of monotype: wiped monotypes. I would start with a plate full of ink; and then it’s more of a reductive process. I like these two images together. One reminded me of the sky at night – the galaxy; and the other one is a nest.
SD: What an unexpected association! Especially if you see them from a distance.
AM: Yes, I like that. From doing these, I got into this wiping process. I use a reverse surface roll. With an etching you push the ink into the etch line. With the surface roll, it’s reverse: it’s like a relief process, when you’re just keeping the ink on the surface, and you don’t want it to go into the etch line. It’s tricky. But you get a different kind of image. It’s interesting to try it a couple of different ways. For the past year or so I’ve only been doing prints – learning the medium, and the limitations of it. With printmaking there really aren’t any limits: you can do tremendous things.
SD: Let’s talk about your paintings. You’ve been a painter your entire life. Abstract painter. I know that your approach has changed over time, especially after moving to the country. How about your color palette?
AM: My palette changes a lot. I get into a color palette, and I work on it until I feel like I exhausted all the possibilities. Late last summer I did a series of white paintings. I don’t know how I got into this subtle palette, but I just wanted things to be very peaceful. I was looking for a way to convey that. I like to use a little bit of red, because it makes everything else look so much calmer. Generally, I like a limited palette. One reason I’m attracted to prints is their limited palette. Then you have to think about other things like the image, and the composition.
SD: What do these paintings represent?
AM: These are trees. It’s the landscape.
SD: I’m just wondering how you name your paintings. As an abstract painter, if you name your paintings in a fashion that doesn’t really give people any hint of what they’re looking at, I imagine it makes the whole experience more intriguing.
AM: The naming of work is a really curious thing to me. Sometimes it’s very obvious, other times more mysterious. For instance, some of the feather work I’ve done began to look very fossil-like to me. I began to name them “Fossil I,” Fossil II,” etc. They kind of look like something that was left in a stone.
SD: Let’s talk a bit about the artistic process.
AM: It’s always an idea that I start with. For instance, there is this orchard on the Thruway. In the winter all the trees look like big hands, and fingers. I wanted to pursue that idea for a while: the idea of these finger-like trees. I got distracted by printmaking, and were put aside for now.
SD: How do you know when a painting is done?
AM: It’s such an elusive thing. I guess when there is nothing more you can bring to it. You don’t want to overwork it.
SD: Talk about your transition to country life.
AM: I really struggled in the City. We have a very small apartment, so it’s very hard to set up things. I had periods when I had a lot of materials in the studio, and painted a lot. Printing, on the other hand, is very portable, I would just bring it back and forth with me. I could print all winter in the City.
SD: How has your daily routine changed after moving to the country?
AM: In the past few years it’s become really important to spend a few hours daily in the studio. Even if I’m not producing a new piece of work, it’s really important that I commit to spending time in the studio. I could be cleaning, or doing research, or just doing anything to be in this space. I like a book called Rituals – it’s about artists’ daily routines. It maps out what everybody does. For instance, some writers would take walks and think. I like to get up early, and garden for a bit, and then come in the studio and work six – seven hours. I try to get a swim in there, if I can.
SD: Who are your influences?
AM: I love Turner. Bonnard was an early influence of mine, for his colors. I like Morandi, an Italian painter of the early 20th century. Morandi is a painter who uses a very limited palette. I adore his still life bottles. You can really feel the artist’s presence in all his work.
SD: Looking back at all the work you’ve done as a painter and printmaker, is there any piece in particular that you can call your favorite work?
AM: It’s a painting called “Rocks in the Pool.” It was painted on an island in Maine. I think it’s my favorite, because it’s me – I think this painting really is me as a painter. The colors reflect what I was seeing. It’s a magical place that I like to remember. I struggled a bit, because I’m not a realist painter. But I just wanted to paint what I was seeing.
Lisbeth Firmin was born in Paducah, Kentucky in 1949. She is a contemporary American realist known for her urban landscapes. For over four decades her work has been in hundreds of solo and group shows across the country and internationally. There was a retrospective exhibition at the Taft School in Watertown, CT in 2011, featuring painting and prints from 1994-2010. In 2010, Firmin’s monoprint, “Heading to Work, Varick Street” won ‘Best in Show’ in WSKG’s annual Art in Motion Competition in Binghamton, NY. Her paintings were included in the 2009 Winter Issue, Stone Canoe Review, Syracuse University. She was cover artist for the 2008 spring issue of Epoch, Cornell University’s literary magazine and was the featured artist in the 2008 summer issue of the Gettysburg Review. Her urban landscape paintings were included in “Five Women Artists in New York,” curated by Ken Ratner, Flushing Town Hall, 2008. Awards include a 2007 New York Foundation for the Arts Fellowship for printmaking (Lily Auchincloss Fellow) and a Merit Award at the 2007 Roberson Regional Art Exhibition, Binghamton, NY, juried by Philip Pearlstein. Firmin was awarded a Community Arts Funding Grant, New York State Council on the Arts in 2007. Other awards include a Pollock-Krasner Foundation Grant, the New York Print Club Emerging Artist Award, the CCVA Award at the Chautauqua Center for the Visual Arts, first prize in the LANA International Arts Competition; along with full fellowships to the MacDowell Colony, National Seashore Residency, the Vermont Studio Center and Saltonstall Arts Colony. She was a guest artist (printmaking) at the Vermont Studio Center from 2001 to 2004, working with master printer Sarah Amos.
Selected publications include: Provincetown Arts, American Artist, American Art Collector, McDougal Littell/LITERATURE, The Boston Globe, Art and Auction, Art of Our Town, The New York Times, Arts Magazine, The Banner (Provincetown), The Albuquerque Journal, and The Sarasota Herald-Tribune.
I spoke with Lisbeth Firmin in her studio in Margaretville, New York.
Simona David: How did you become an artist?
Lisbeth Firmin: This is a picture of me at three. I’m left-handed, and seriously trying to stay in the lines. I started my brilliant career right there.
SD: One could say that you were born with an innate talent.
LF: What I can say is that I could draw since I could remember. I could always draw something that looked like something. Kids love to draw, and they all draw the same way when they’re young. But when they get older, they want to draw something that looks like something, and can’t – and that’s the difference: I could always do it. So I kept on doing it.
SD: Did your parents notice immediately that you had this amazing talent?
LF: Not immediately, but I started winning scholarships when I was 10 or 11 years old. I was sent to an art institute where we lived. I was sent there with these teenagers and 20 year old artists, and I was only 12. That was an eye-opener.
SD: Were you a mature child, or everybody knew you were just a 12 year old?
LF: Everybody knew, but I was accepted because I could draw, and my drawing had this vigor in it. I was full of energy, and even at that age I had a style of my own.
SD: You already had your own style when you were 12. After forty years of artistic career, do you think you still maintain something of that style?
LF: Yes. I think so.
SD: Do you have formal training as an artist?
LF: No. I won these scholarships to art institutes – one in Indianapolis and one in Los Angeles. I wanted to go to art school, but my father wasn’t going to pay for it – he didn’t think I was serious about it. It was also the late 1960s, and everything was falling apart. I went to the University of California at Santa Barbara for a year in a liberal arts program, and took as much art as I could. I took just exactly what I wanted to take, and got really good grades. The second year I didn’t go back.
SD: So you continued to be self-taught, and continued to draw and paint.
LF: Yes, constantly. It just poured out of me. I was doing all kinds of things: I was doing prints, and drawings, and collages. I didn’t have my subject matter down. What draws me is painting what I see – translating what I see into a painting or a drawing.
SD: During your formative period were you working with other artists to develop your skills? Or perhaps you had someone in mind you wanted to emulate?
LF: Artists have this kind of creative bent. And I’ve always been curious, and always had a ton of energy. When I was in Provincetown I studied with Philip Malicoat. He was good friends with Edwin Dickinson, a very good painter, who is in a lot of big collections. I spent a winter working with Malicoat in his studio. He taught me how to paint, and how to lay out the palette. That was in the 1970s.
SD: You spent the 1970s in Provincetown, in a bohemian artistic community. Talk about that period in your life and career.
LF: I believe the hayday of that artistic community was a bit earlier when Hans Hofmann was around, and everybody from New York City came up, Pollock, everybody. I lived in Provincetown for a decade. I worked in the theater there. I was also painting a lot, and selling: my friends were buying my work. I was also a street artist for a time: I was doing portraits for tourists. It was an amazing period.
SD: In the early 1980s you moved to New York City. Let’s talk about your artistic trajectory in the Big Apple.
LF: It’s funny. I was visiting friends in New York City, and had my trunk full of collages I was bringing as gifts to my friends. I was stopped in front of a gallery, and the gallery owner saw the collages, and offered me a show. I thought if that was that easy to get a show in New York City, I’d stay. It was a great show, it got great reviews.
SD: That was in 1978 at Marie Pelliconi Gallery in New York City, a show called Souvenir Collages.
LF: Yes. I had twenty collages in that show. It got Holly Solomon interested in my work, which is a pretty big deal, but I wasn’t ready.
SD: What happened next?
LF: I guess there is a big gap in my resume. From 1979 to mid 1980s I was just trying to survive and bring up my daughter. I got a job as a graphic designer that was paying a decent salary. I would paint at night after my daughter went to bed. At one point I did a whole series on cockroaches, because we had so many of them. I was also doing some landscape, some subway stuff. I was doing all work on paper. I didn’t start painting in oil until the late 1980s. Back then I was doing gouaches or collages, all kinds of images.
SD: And in the late 1980s you started to paint in oil.
LF: Yes. What happened was that I was trying to decide what I was going to do, and I walked out of my apartment on Sullivan Street, and I said that’s it: I’m going to paint what I see. I did thirty gouaches – small 10 x 10 gouaches. I had an open studio party, and I sold every single one of my paintings. I knew I was into something, and I had so much fun doing it. I was painting things I didn’t know I could paint: police horses, cabs, people – people started to appear in my paintings. My career just started to take off, right after that.
SD: Taking off, like showing in galleries?
LF: Yes. I started working in oil paint, and showing urban landscapes in galleries. And people started buying them. I began to do one new show every year. I was producing a ton of work at this point, and had some big names interested in me like Allan Stone.
SD: Nowadays you also make monoprints. What is the process?
LF: I work on plexiplates, and apply ink, and then use rags to create a pattern; I press on paper, then pull out the print, and clean the plexiplate for future use. I learned to do this at Parsons: I took a class there in 1991. It’s an amazing medium, it’s called the painterly print.
SD: Talk about these two monoprints you have here.
LF: I made these in the early 1990s. I come from a small town in Maine called Eastport. They have an art institute there – Tides Institute. In 2013 they offered me a show – these monoprints were shown there in an exhibit called Coming Home.
SD: How do you choose what to work on? How do you decide what comes next?
LF: I can’t explain that. It’s a visceral thing. I could be walking around, and doing grocery shopping or some other mundane stuff like that. And I see something, and I say “I want to paint that.” I don’t even verbalize it. It’s more like “I could paint that, I want to paint that.” Now I always have my iPhone with me. And what’s happening these days is that I see something about the light on a figure, and this is what interests me. And it is just coming naturally to me these days: I know where to put the paint, and how to capture the light. I’m moving away from buildings and streetscapes.
SD: What role do colors play in your approach?
LF: It’s a good question. But honestly it’s not about the colors. It’s more about the light and the shadow: that’s what gets me. For instance, last year I was in Barcelona and painted this woman on the street: I wanted to get her in the dark, in the shadow of those buildings, and moving towards the corner of the street where the light was blasting. It was the light – I knew I wanted to paint the light, not the color. Generally I paint with pretty muted colors.
SD: Talk about your style. You describe yourself as a realist painter. Some have called you an expressionist realist.
LF: It is realism – old-fashioned realism, but somehow unique. What I notice every time I’m in a group show is that my work never looks like anybody else’s.
SD: What kinds of works are usually exhibited along with yours?
LF: I enter various competitions like this show at the Bonner David Galleries in Scottsdale, Arizona called What’s Your Favorite City? Or various shows upstate New York like for instance Artists of the Mohawk-Hudson Region at the Hyde Collection Museum in Glens Falls, or the 63rd Exhibition of the Central New York Artists at the Munson-Williams-Proctor Arts Institute in Utica. My work just never looks like anybody else’s work.
SD: Would you name any artist as being influential to your work?
LF: I have painters that I really admire. When I started painting the City I compared myself to John Sloan and George Bellows and all those guys known as The Eight. I was painting the streets of Manhattan, just like they were doing a hundred years earlier. So I thought I was carrying on that tradition. But I think my work has evolved beyond that.
SD: You’ve been represented by the same dealer for quite some time now.
LF: Yes. I’m lucky. My dealer has stayed with me for 15 years while transitioning from urban landscape to figural painting. Her name is Marla Rice. She owns Rice- Polack Gallery in Provincetown, where I sell a lot of work.
SD: How does your work make you feel?
LF: I know that when I work for about a year or so to produce new works for a show, and then they’re gone and the walls are empty, I don’t like it and feel compelled to fill up those walls again.
SD: What kind of feedback do you get from your followers?
LF: What I do is so instinctive, yet it seems to have an emotional connection with the public. I know that I’m emotionally repressed, but I think it comes out through my paintings. People tell me they get an emotional reaction to my paintings.
SD: Talk a bit about the artistic process.
LF: I’m mixing the colors to get it right, and that takes a long time, because I mix all the colors that I want to use, and then I start painting and I’m still in the real world, but then after about an hour I’m not in the real world anymore. I am somewhere else – I don’t even know what time it is. I’m just in this amazing mindset, I can’t even describe it.
SD: How has your style changed over the years?
LF: It’s hard for me to say. The medium is the same – a lot of work in gouache on paper, but the subject matter is different. And the brushstroke has gotten more confident, I guess.
SD: What are you working on now?
LF: I’m preparing a show for 2016 in Provincetown. I show there every other year. Over half of the new oils I showed last year sold.
SD: Do you have a favorite painting?
LF: Every once in a while a new painting will come out that is magical. I don’t know where it comes from. “Woman on A Train,” painted last year, was such a painting. Everyone who saw it was moved by it. It sold before the show opened: Marla told me she could have sold this painting twenty times.
SD: You’ve received many awards and recognitions such as the New York Foundation for the Arts Fellowship in Printmaking in 2007, the Chautauqua Center for the Visual Arts Award in 2003, a MacDowell Colony Fellowship in 2000, a Manhattan Arts International Award of Excellence in 2000, a Pollock-Krasner Foundation Grant in 1999, and many others. What do these recognitions mean to you?
LF: Every time I win something I feel like I am on the right road. I feel like I have something special to give, and I just want to keep it pure, and give it. I also think all these early awards came to the right time to propel me to push myself to the next level.
SD: Your work is in many collections, including the Munson-Williams-Proctor Arts Institute in Utica, New York Historical Society in New York City, Vermont Studio Center, but also corporate collections such as Thomson Reuters and Barclay Investments in New York City. That must be feeling really good.
LF: Yes. Some of these works were done on commission for corporate collections.
SD: You’ve been shown in many solo and group shows all over the country and internationally. What are some of your favorite moments?
LF: What I really like about being shown in galleries is that it pushes me to meet deadlines. I know I have to have a certain amount of work done by a certain date, and I’m enjoying the need to produce.