Let Go and Trust

I feel as though I am a sailor and the wind is filling the sails of my vessel, taking Amy and I toward a future we do not totally understand, but is our destiny. In many ways I acknowledge divine assistance, and let go and trust—giving thanks. 

Collector from Scottsdale, Arizona

Since Amy and I decided to move to Mexico, we have announced the closing of The Boone Gallery and begun preparing to leave the USA. Many details are as yet to be concluded, but we are assuming in our near future we will be living in our house in Oaxaca.

People from all over the country have been stepping forward to buy my paintings, especially as I have been offering a one-time discount of about 30%. Collectors have been buying oil paintings before they even dry. One couple from Georgia have bought six and now own nine Boones. Another couple from Texas have bought four, and others from Colorado and Arizona have bought two each. A couple from Albuquerque bought two—and so on.

I wonder at all the activity—and think a combination of factors is at work: The pandemic is making people feel homebound. Perhaps in a moribund environment the chance to enliven their homes is welcoming. A fleeting discount for first quality original oil paintings from an established artist is attractive. October is always a top month for art sales. Who knows if I will be painting the scenes in Mexico?

Collector from Oklahoma City, Oklahoma

Whatever the reasons, it is totally satisfying to be shipping out my paintings. Especially as there is no business on the street coming into the gallery— and everything has to come down from the walls in a couple weeks.

Collector from Dallas, Texas

Meanwhile, Amy has been diligently packing our valuables for the long trip south.

To see available work and make an offer, go to: Steven Boone

Regal Pageantry

At the center of my town is a plaza. It is well-used, especially in summer with frequent festivals and music concerts. Santa Fe, New Mexico is the oldest state capitol in the nation, founded in 1608 by New Mexico's third Spanish governor, Don Pedro de Peralta. It was made the capital of the territory in 1610. At over 7,000 feet above sea level, it is the United State's highest capital city. Santa Fe is the third-largest art market in the United States, after New York and Los Angeles.

Folk festival

I am fortunate that the Boone Gallery is just steps off of the plaza. There is usually music there, tourists from all parts of the globe visit, and I have been surprised by car shows, motorcycle gatherings, avant-garde music raves, Spanish markets, folk festival parades, pet parades, and now the big daddy of them all—Annual Indian Market which commenced this weekend.

Classic car show

Usually, despite being so close to the center of action during Indian Market, my shop is quiet—like being in the eye of a hurricane of cultural and commercial activity.


This is understandable since there are over 200 fabulous Indian artists spread across the plaza and adjacent streets. The masses of people are busy perusing and purchasing Native American arts and crafts.

Traditional Native Attire

A favorite attraction during the market is a fashion show. There are various categories including traditional and contemporary. Natives from all over North America present themselves in hand made attire and it makes for regal pageantry.

To add to my happiness sharing the plaza with indigenous Americans, a local hotel owner came in my gallery and bought one of my large paintings; a colorful river scene. Nature is the most native of all. Thank you Santa Fe plaza.

Embudo, oil on linen, 36x48 inches. Print available

Portal To Another World

 
One of my favorite subjects to paint and photograph is water. Why? Mostly because it is fluid and reflective. The water molecule is made of 2 hydrogen and 1 oxygen atoms. When they are bound together they form a very flat surface with the oxygen and hydrogen alternating in the same direction. This is great for causing photons (light particle) to bounce off in a consistent direction. They bounce because water is denser than air. Water is much flatter and smoother than most surfaces. You see reflections in water but not, say, sand, for the same reason you see your reflection in a polished piece of steel but not a rough-sanded piece of steel. All materials reflect light to some extent, but a rough surface scatters the reflected rays in all directions, so reflected images are blurred beyond recognition. On the other hand, with a very smooth surface, all the reflected light rays stay arranged in the same way they were arranged before hitting the surface, (except for being flipped into a mirror image, of course).

If the water is flowing rapidly, there is little reflection because the surface is not flat. Usually it picks up some surrounding colors, especially the sky. I have had fabulous outings in autumn, when the blazing fall colors are reflected in rivers.

Last fall I was living in Venice, Italy, the magical city built upon water. Some of my favorite photographs are of reflections. With the slightest movement on the water, the images shift and distort—a portal to another world.

All Improvisation

"January Jazz",  final version, 20 x 16 inches, acrylic on canvas, January 2015

To make an abstract painting is different than painting from life. There is no subject matter except the painting itself.

"January Jazz" beginning version

I paint both from nature and abstractly. In the last couple days I made the painting depicted here. I did not know what the outcome would be when I began . . . it was all improvisation. What informed the progress was work that I have done in the past with scumbled, open areas that are punctuated by rectangles or squares of pure color, that float in the field. The pictures are dynamic in the way space is created by color and shape alone, without reference to a particular subject.

"Moroccan Drift" early 2014. oil on canvas, 24x18 inches
 
Click for more abstract paintings by Steven Boone

Emblems Of Love

Usually, when I visit my parents in Santa Barbara, California, I also set up my easel and make a painting in their yard. They have cultivated a garden and take care of their corner lot, with its giant pine trees, orange and lemon trees, and tall hedge that guards the perimeter of the property. The last time I spoke with my mother and talked about her beloved rose plants, she said, “Oh yes, they are beginning to bloom. You know Steven, I have eighty rose bushes and they each have at least ten flowers . . . that is 800 flowers!” 

   

I know the yard well—and all the varieties of color and scent of her roses. She has a special relationship with the plant life around her, and holds conversations with the growing things that exist in her surroundings. 

Although my parents are advanced in age and becoming frail, they take deep satisfaction in their surroundings. The bird feeder outside the dining room window is replenished, a man comes regularly to mow the lawn and trim the hedges, and my mother prays every day in thanks for the elements and nature around her.

I know that the jasmine outside their backdoor is now finishing its bloom. Its unmistakable fragrance is etched in my memory.

Hopefully, I can arrive there again in the next few months . . . and make another painting. I always call it “Mother's Backyard” and after I bring it back to Santa Fe, it always sells to someone who finds emblems of love within it.

"Mother's Backyard"   oil on linen,   16 x 20 inches

The Miraculous Cycle

Aspen Glory, oil on linen, 36 x 48 inches

The earth is tilting further away from the sun each day as the northern hemisphere enters the autumn season. All the plant life is responding to shorter days and cooler temperatures. Leaves are changing colors on trees that will soon be bare, and plants are busy casting seeds from spent flowers, ensuring that come spring, progeny will come forth to repeat the miraculous cycle of life.

I enjoy the cooler temperatures and changing colors, and relish the autumn season before it gets too cold. Especially, my artist eyes are dazzled by color. Here in northern New Mexico, the greatest display of color is found in the masses of aspen trees that grow on the mountainsides. They are called “quaking aspen,” because their small, heart-shaped leaves tremble at the slightest stirring of a breeze, and the light reflected off the leaves dances. In autumn, their color changes from pale green to brilliant gold. Because the aspen share a root system, they grow closely together, and the creamy white trunks shoot straight up in the air up to 100 feet. It is awesome to see entire mountainsides covered with aspen, shimmering golden before deep blue skies.

It is a favorite subject of mine to paint.

Autumn Path, oil on canvas, 12 x 16 inches

 To see more artwork, go to The Steven Boone Gallery, or Steven Boone Fine Art.

Autumn is a second spring when every leaf is a flower.  ~Albert Camus, (French, 7 November 1913 – 4 January 1960)

Visual Vocabulary

How often does it happen that after visiting an art museum, we walk back out onto the same streets, but with different eyes.  After spending hours looking closely at art, we have begun to see differently, because the artwork has given us a new visual vocabulary.

Many times, I have stepped out of a museum, and suddenly I am aware of even the cracks in sidewalks seeming to speak to me . . . informing me of their unique lines and the shapes they carve into a picture.
Since the twentieth century, there have been two main themes in visual art: abstraction and realism. Common thought is that the two do not meet, but are opposed. I do not think the contrast is so stark. How often is it that we look up into an abstract sky that is constantly in flux, and notice how the clouds have taken a “realistic” shape. Someone points a finger upward and says, “Look, it is a horse!”  Likewise, looking at large, realist paintings, if we bring our eyes close to the work, it becomes abstract, so that we need to step back in order to get the full picture and read the story. 

Yesterday, a woman bought a painting from The Steven Boone Gallery. She bought a small, square shaped oil painting of mine, called “The Pleasant Path.” She may or may not realize it, but she has many paintings in one—both realistic, and abstract. Hopefully, the painting is broadening her visual vocabulary, and doing what artwork does for us, enhancing life.

Flux Of The Street

Polignano, Italy
He appeared with two friends and stood nearby, watching me paint. His friends interest soon waned and they caroused off, but he stayed close by. I continued at my easel, painting a tall narrow house, rising from the foot of a small public square, with a few trees in the foreground. The afternoon light illumined the surroundings under a cloudless sky. He watched in silence only a couple feet away, studying my every move from over my shoulder. After awhile, I felt something unusual was occurring. Breaking the silence, I asked him a couple questions, and learned he was eighteen, liked skateboarding, did a little artwork and originally came from Romania, where he began school late, at eight years old. His handsome look was of the sensitive type. I painted, and noticed feeling slightly uncomfortable at moments, being that my activity was so closely observed without falter and in silence. Other friends arrived, watching, then leaving to play soccer in the streets. The lad’s mother strolled along, spoke in English then disappeared. He did not leave my side, standing motionless for what seemed like an endless sojourn. I felt him become an extension of my being, and was embarrassed if I made a mistake and had to correct myself. Late in the afternoon, he said, “I have to go now.” We smiled, said “ciao,” then he vanished.

I remember him, and I am sure he too remembers me—and our chance encounter in the flux of the street.