In 2002 Heidi moved her painting and photography studio into Ironton. With her humor and great observations she’s become an important part of the day-to-day life here. In studio environments we all watch and learn from one another, an advantage that can sometimes feel vulnerable if things aren’t clicking away; Heidi has always been open to sharing her process and giving honest feedback.
With this new body of work she’s kept the graphic quality of her botanic photographs which emphasize the form of the subject. To this she’s added the painterly and allowed her brush to carry too much paint, to let the ink run, to make ‘ugly’ marks and to draw with eraser and white chalk. The subjects, tulips and artichokes and the like, are transformed through this process; the newly defined objects are rendered slightly sinister.
What follows are answers to a few questions I posed to Heidi via email. _ jhh
Your dad has always been really invested in geology and is an avid observer of the natural world, do you think his interest inspired you to look at flora and fauna for subject matter?
Yes, I grew up in the mountains in a fairly wooded area. Most of my time as a little kid was spent with my brother running around and adventuring. I was fascinated by insects, snakes, lizards, animals, and was surrounded by nature at our home. Fast forward to my senior year in college and a film named Microcosmos came out. It was a beautifully done sort of documentary on insects, with very little narration or dialog. That film inspired me to use insects as the subject matter for my senior thesis show that year. From there it seemed a natural progression to explore the endless imagery of plants and flowers.
Was there an initial ‘first image’ in this series that you created that made you realize you could sustain this as subject.
I was in my studio in Ironton and we had an open studio night I had just finished two large chartreuse and charcoal plants. I sold them that night to a fellow artist, and from there on I kept finding interesting imagery to draw from, that was about 5 years ago.
Later that year I was asked by an interior designer to do a few commissions for a project of hers in Vail. She asked if I would mind looking at the fabrics and colors that they were working with to see if I had any ideas on which direction they should go with their art. I love textiles and color and the process of creating a sanctuary in a home, so this was a really exciting project for me. They ended up doing more pieces than we had originally talked about, and that was when I realized the attraction that people have to botanical imagery. It is appealing to multiple audiences , it has roots in classicism, and I have yet to tire of the subject matter.
You have a career as a rep for Baker Furniture that is demanding. Some say that thru friction (day job) pearls are born (art).How does your career, and the attendant travel, affect your studio time and art-making?
I think my travels and demanding “other life” as I like to call it, may help my studio time. It is hard to be creative on demand, but I think I have managed to work with my situation and fine tune it as much as I can. I am constantly aware that I have limited time in the evenings, on the weekends, and in the state for that matter, in my studio. I know that the time I have set aside to paint, has to be disciplined, productive and purposeful. In ways I feel that continuing to work in the design field has made me stay true to my work. I can concentrate on what I love about drawing and painting without thinking about what is saleable or desirable by others.
Why do you limit the palette? Is it an aesthetic decision, or does it somehow reflect on the content?
I have always been attracted to monochromatic work, specifically black and white works by other artists. I would much rather own a simple pencil drawing by Picasso than one of his elaborate paintings. Sometimes I feel that color can be distracting or typical especially when it comes to the works of plants and flowers. They historically have been drawn painted and documented so much, that I have had to find ways to create something new within a regularly exposed subject matter. My goal is to have the viewer have an experience with the strokes, lines and washes within my pieces, rather than focusing on the fact that it is a daisy or a tulip. I find that a limited color pallet helps me achieve that.
In working with design, I tend to be attracted to calm, classic, serene environments. I love the look of a home that has the perfect piece of art placed amongst other loved things. In my world that tends to be an environment with neutral colors and powerful bold artwork. I think that a neutral or monochromatic piece will stand the test of time in ones collection, no matter how much the interior walls of a home change over the years.
What and who has influenced you and continues to shape your work?
Working in the interior design field over the last 12 years has had a huge impact on my work. Some of my dearest friends are incredible talents in the field and I highly respect their taste and eye. When I started working in the design world it was a completely new world to me. I have now become half country mouse and half city mouse because of it. While working in design I have been exposed to travels, and environments that I never would have been otherwise. Working with interior designers, furniture, and textile designers has made it possible for me to work around creative, inspired people, without being a starving artist. In working in this world I have not changed my tastes in art, music, or culture but I do find that I continue to focus on what inspires me. Working with these people has guided me refine what I want to achieve in my own work.
I do have idols in the art world. I have always been inspired by the “drawers” Schiele, Dine, Motherwell. Locally Bill Stockman and Ian fisher. I have been lucky enough to be surrounded by fantastic talent at Ironton and the greater Denver art community, having these relationships has defiantly shaped my drive and inspiration.
