Scott Gellatly


Friday, October 2, 2015

Studio Visit

Welcome to my studio.

Years ago, I visited the home of a prominent Portland painter whose home (and studio) was under massive construction at the time. He shared with me that he produced an entire solo gallery exhibition at his kitchen table. The inspiring take-away here was that painters need to paint, whenever and wherever necessary. We need to find any means necessary to make painting fit into our lives.

Having said that, I am fortunate to have a dedicated space in which to produce my work. This blog serves as a peak behind the curtain into my space and process, for fellow artists and collectors alike.

Enjoy the visit!

(And, no, it isn't as clean as it looks in the pictures.)

The space is a detached, two-car garage that was remodeled over the course of three years. I promised myself that this conversion would be self-funded, so it was done a bit at a time. As my studio work is informed by my plein air paintings, its helpful to have a number of plein air works visible at once. The small pieces shown here, all painted in 2015, are from both the Northwest, as well as from the Palm Springs area.

Foundation to ceiling north-facing windows provide consistent natural light into the studio.  That's the idea at least...the cruel irony is that I usually use the studio at night...after the kids are asleep. Oh well.

Building up color and texture on a recent studio painting.

My palette.

At work. I usually have multiple paintings going on at once. I find this helps the work relate to each other in color and feel.

The work shown here will be in my November exhibition, Native Shores and Distant Sands, at Brian Marki Fine Art in Portland, OR. Show opens November 6th.

Thank you to Carrie Judah for the wonderful photography.

Wednesday, November 5, 2014

Northwest Impressions at Brian Marki Fine Art, Portland, OR

How is it this time of year again?  I think it should still be summer, but alas, the kids have been back to school for two months, Halloween has come and gone and, for that matter, so has Election Day.

But here we are, the first week of November, and it is time for my annual exhibition at Brian Marki Fine Art in Portland.  I've now been with the gallery for 14 years and have had solo November shows almost every one of those years.

This show is a bit different, as I'll be sharing the gallery with two other Portland-based artists: Aimee Erickson and Eric Bowman.

Ok...they're not just "Portland-based artists," but good friends whose work I've admired for years. In short...this show should be BLOCKBUSTER!

Through my work for Gamblin, I travel all over the country and am fortunate to meet and work with a number of excellent painters.  This makes me realize, however, that there is something very special about the group of painters we have here in and around Portland, many of whom are starting to receive well-deserved national recognition.  Aimee and Eric are two such painters...and it's a pleasure to show with them.

As for my work, the last couple exhibitions at Brian Marki has explored specific themes - Urban/Rural in 2012 and The Sky Suite in 2013.  This year, I've been focusing on simply getting out in the field and making good paintings - true to the spirit of plein air painting with a eye toward light and atmosphere and a bravado toward mark-making.

Here are a preview of some of the work included in the exhibition:

Carlton Vista, oil/panel, 14" x 18"

Coast Range Foothills, oil/panel, 8" x 10"

Northwest Sound, oil/panel, 12" x 16"

Vista Clearing, oil/panel, 24" x 36"

Park Block Crossing, oil/panel, 11" x 14"

Wallowa Sunrise, oil/panel, 12" x 12"

Northwest Impressions runs from Nov. 6 - Dec. 31, 2014.  Opening reception: Friday, Nov. 7th, 5-8pm. 


Tuesday, October 22, 2013

The Sky Suite

My most recent exhibition of paintings, entitled The Sky Suite, opens in November at Brian Marki Fine Art in Portland, OR.  As the name suggests, this year’s show explores the dynamic qualities of skies and clouds. 

So, why clouds?
Painting skies, and clouds in particular, has been a long-standing interest of mine and has been a theme in my work for years.  Capturing the unique atmosphere and light of the Pacific Northwest continues to be one of my main intensions through my landscape paintings. In addition, I’ve always been drawn to both abstract and representational painting. I recall a former painting instructor who stated, “the best representational work is abstract and the best abstract work is realistic.” This still resonates. 

So, this recent foray into painting skies and clouds, for me, has been the perfect marriage of plein air, representational, and abstract painting.

Humble, Practical Beginnings…
This series of paintings had a very practical beginning, well over a year and a half ago.  Needing to “kick the tires” on an early batch of Gamblin’s Solvent-Free Gel that I was developing, I had to get some painting done one evening.  With my better half working late and watching my boys in the backyard, I simply set up my plein air gear and looked up.  The glowing clouds in the late spring sky become my available subject matter, so I knocked out a few 6” x 6” studies. These early paintings are included in the show and sparked the whole series.

The Sky Suite opens November 1st at Brian Marki Fine Art in Portland, OR.  Show runs through the month. 

Saturday, October 5, 2013

Master Palettes: Exploring Color Mixing

Earlier this year I was invited to teach an online workshop through the Craftsy website. This gave me the opportunity to explore a subject that has fascinated me for years – color.  Ok, not just color, but exploring how color has evolved over the history of oil painting and the profound effect that the expansion of artists’ color palettes have had on the evolution of painting.

This workshop also explores a theme that I have shared with painters through my work with Gamblin – namely how to make color personal.  We all come to painting with unique intentions and interests.  We as painters should build a color palette that supports those intentions. Sure, we could use a standard impressionist palette for a lot of uses, but how can we build a color palette that is truly personal – one that expresses our unique artistic vision?

Explore these concepts in my new online Craftsy class Master Palettes:Exploring Color Mixing, and develop and define your artistic voice with the foundation of color theory.

Using the distinct color palettes of Classicism, Impressionism and Expressionism, we’ll create three paintings that evoke the elegance and energy of each respective era. You’ll begin your foray into color theory with an exploration of the key concepts behind successful color mixing; value, hue and chroma. Learn how to accurately replicate any shade, lighten and darken value, and use complimentary colors to alter intensity as we explore color’s prismatic principles and analogous properties. Once you have a firm grasp on color theory, you’ll develop an underpainting that serves as the compositional road map for each of your paintings, informing your work with tonal and spatial relevance.

Next, we’ll use the muted earth colors of the Classical palette to capture the timeless elegance of the classical masters. Derived from the natural world, these shades allow you to expand the value range of your underpainting, refining your work with light and shadow. Using negative space and contrast to create visual interest, you’ll complete a sophisticated still life that embodies the style of the Renaissance.

In our second work we’ll move on to the Impressionist palette, a high-impact array of colors made up of the brighter metal-based mineral pigments of the Industrial Revolution. We’ll focus on achieving greater visual vibrancy through true replication of natural colors, color harmony and defined details, creating a luminous painting that reflects the era’s emphasis on light and movement. The intense pigments of the 20th century make up our final palette; here, we’ll modify and replace colors for a more expressive approach to our subject matter.

Enroll in Master Palettes: Exploring Color Mixing, and join me on a journey through the three eras of pigment history to find your unique artistic voice.  

Wednesday, September 25, 2013

The Crush - A Celebration of Columbia Gorge Wines and Fine Art

I was invited to take part in this unique exhibition at the Columbia Art Gallery in Hood River, OR, celebrating the harvest and Oregon's wine-making community. Below are the five paintings included in the show, all of which were painted at or inspired by area vineyards.

These first three were painted at the western-Willamette Valley vineyard that supplies grapes to Big Table Farm, run by friend and fellow painter Clare Carver and her husband. 

The show opens October 4th - 27th. 

Learn more about The Crush and look for the schedule of wine-tasting events here.


Sunday, September 1, 2013

Pacific Northwest Plein Air - 2013!

Now in its ninth year, it's an honor to participate in the Pacific Northwest Plein Air show, which opens at the Columbia Arts Center in Hood River, OR, this Friday, Sept. 6th. Every year this show gets better and better and is now starting to draw terrific artists from throughout the western U.S.  This show is ALWAYS worth the short hour drive from Portland!

I've been fortunate to take part in this show since its inception in 2005 and having the opportunity to paint out in the Columbia River Gorge never tires. This area is more than deserving to be on the map of great plein air destinations in the country.

Below is a preview of three of the five paintings submitted to this years' show. The top two were painted on the first day of the Paint Out last Friday.  Finishing off the day of painting with a pint at the Full Sail Brewery ain't too shabby either...

Clouds & Orchards, 11" x 14" Oil. 

Mt Hood Foothills, 12" x 12" Oil. 

And then one from earlier in the summer...

Gorge View, 6" x 7 1/2" Oil.

Tuesday, July 9, 2013

Workshop Recap - Cooper Mt. Natural Area

Hats off to all the wonderful participants who braved the near-one hundred-degree heat to paint together at the Cooper Mountain Natural Area! Luckily for us, there was enough shade to paint from and we managed to pack the 8-hour workshop with plenty of painting and color discussions.

 Paintings by Kay Elmore. Photos by Nancy Klos.

Cooper Mountain Natural Area provides terrific lessons in atmospheric perspective as well as mixing diverse greens. We all worked from the same "split-primary" color palette, using a warm and cool for each of the primary.  From this, I gave a demonstration on subtractive color mixing and mixing greens with the colors at hand. 
Color demo. 

I had all of the students come with a 12" x 16" panel taped off into four sections for them to produce four paintings throughout the day. The small scale as well as the time constraints prevented them from getting to detailed in their work and focus on economy of mark-making. This proved to be a welcome challenge for many of the students, but most of them got all four paintings completed throughout the course of the day. 

Below are my demonstrations from the day. My next Portland-area workshop is July 28th at the Blue Heron Herbary on Sauvie Island.  If you're interested in joining us to paint the lavender, please let me know - only a few spots remain!