Martha Kelly Art

I just hung all these for this weekend’s Open Studio, but it occurs to me that some of you might be too far away (or too busy) to make it to midtown Memphis just now. Here is the batch of small edible still lifes that are available this holiday season. The two oils have deep gallery sides and are ready to hang, and all the watercolors and gouaches are framed and ready to go. The oils are 8” square, and the others are in the 10-12” range. $225 each. It’s fun to see them hanging up all in a group in my hallway, but I’d be happy for anyone who wants to give the present of an eternal eclair or perfect avocado to take one home.

It’s been show season, and this weekend is the final one for me for the holidays, and always my favorite. If you’re around Memphis, please come out on Saturday or Sunday (the 14th & 15th) from 12-5 both days at 1780 Autumn in Midtown. As always, I’ll be joined by Melissa Bridgman and her gorgeous pottery. I recently hung up all my finished oils from the last year or so to look at and invite folks in to see. It’s fun to see them all together, dressed up and ready so to speak. I’m hoping to find an out of the house showing for them at some point, but Open Studio visitors will get a sneak peek.

I also have several recent prints and one set of brand new ones for this show. After my Daily Pleasures still life show this fall, I took the cherries image on the “choose joy” plate (one of Melissa’s!) and made a print. The show had been all paintings, but I really liked the image and wanted to play with it graphically as well. It’s a single plate, but I’ve been hand rolling different color combinations on it. Each one is a little bit different, and it’s been fun to play with them. Come see us if you’re able, and if you’re not, I’ve also been shipping prints off in a good quantity, and there’s plenty of time to get them before Christmas if you’d like to give some original artwork. My online store is at https://squareup.com/market/martha-kelly-art. I’m selling what’s left of the still life gouaches and oils too. I haven’t added them all individually, but if you’re interested, I’ll be happy to put up any that are in demand as needed. See the bottom photo for a sample of them. Give an eternal eclair or macarons with no calories!

I pretty much spent the day on Broad Avenue on Saturday. It’s one of Memphis’s newer art districts, and they were having an art walk/festival. The Memphis Urban Sketchers met up at 10 at City and State, the coffee shop at the far end, and beautifully, my visiting sister went with me. One of her college friends is one of my sketching friends, and we had a ball. It was coldish to start, so we hung out at City and State a good bit. Above is a sketch I had done there a couple of weeks ago but not posted. Below are the people studies I did while we were all hanging out talking.

I was working in gray fountain pen and watercolor. I enthusiastically put down a bunch of wet paint in my regular art journal (5x5”), so I switched over to the 8” square one after and did a larger more connected spread. Elizabeth was wearing stripes, which are always such fun to draw. Vicki and Nancy were sitting with her, and I caught Nancy with a brush in her mouth as she worked.

All of this was accompanied by chai. Very civilized sketching. Afterwards a group of us walked all up and down the street, checking out the shops and art shows. The last three bought fantastic bowls of paella and sat out in the sunshine eating and visiting. It was an excellent day.

I visited family over the weekend and also did something of a Midwest art museum tour. Back in college I had taken one summer sculpture class in Omaha and visited the Joslyn, but my memory of it was hazy at best. It was a total delight. A gorgeous variegated pink stone building housing a beautifully curated collection. We had just that morning seen a piece on Helen Frankenthaler on one of the Sunday morning shows. My art knowledge of mid 20th century and beyond, especially in abstract work, is pretty sketchy. I had seen her being mentioned various places and seen a piece or two, but beyond that knew nothing. This monumental piece gobsmacked me in person. It’s the only one I managed to do a sketch of, but I was so glad to have that time to sit with it. Later one of my honorary nieces, which is how I think of several different daughters of people dear to me, wanted to do a collage project. I had told her that I’m always drawn to collage, but I don’t feel I do it well. So we sat down together with my journal page from the museum and each constructed at least an homage to the Frankenthaler piece we had seen together. It was great fun to do, if nothing else.

Here are a couple of other pieces I loved at the Joslyn. I’ve always been a total sucker for Dutch still life paintings, and they had a lovely breakfast piece — well on the fancy end of that category. Pieter Claesz’s super simple ones are my very favorites, but I really enjoyed this one from 1630 by Jacob Fopsen van Es. I was also struck by a Madonna with Botticelli/Fra Lippo Lippi resonances by Lorenzo di Credi, c. 1490. The detail is exquisite. I’m going to flood this blog post with too many photos, so I’ll put up another couple of favorites in a post to follow. Too good not to share.

This past weekend was the Pink Palace Crafts Fair, a longtime fair in Memphis, and I was the demonstrator for printmaking. It’s special for me to be out there. I started going to the fair with my parents as a kid, I remember getting to choose my special Christmas present just as I got old enough to fall in love with the silver handmade jewelry, and now I get to be a part of it. I don’t generally do outdoor fairs, and I don’t own a 10x10 tent, nor do I want to, but this fair puts me safely inside an enormous tent (which was key this past weekend) and lets me sit out and see all my friends and neighbors passing through the show.

It’s fun to sit and carve in my lap and let people see the laborious process (though deeply satisfying) that goes into each carved print. I like talking to the kids who love art, the teens who have done a block or two in school art class, and adults of all stripes who make art or appreciate it. I even get a little work done! This past weekend I worked on five different blocks. I had one large one going already and did a bit more on it, though you hit a point where damage can happen to something intricate if you’re in and out of concentration all day. I started a new large block for most of Saturday, but again, I felt like I needed more concentration to finish that one out. So later in the weekend I jumped to a smaller block based on a recent gouache painting of cherries. That gouache and all its friends are still up in my still life show Daily Pleasures at Playhouse on the Square in Memphis through November 3rd. I’d been thinking for a while of trying this one in a print as well, and I grabbed a scrap piece of Lino and drew it out Sunday morning to give me something new to work on. Above are yesterday’s color tests. I’m hand rolling several colors at once and printing it all in one go, a simpler form of color work than carving an individual block for each separate color.

One last tiny block I did was a snail, based on a sketch I did out west this summer. I had my sketchbook out with me, as I always do, and happened across that sketch. I always need new note card designs, so I’ll get this one printed for the later fall shows.

Here is one of the larger blocks I was also working on. The other hasn’t progressed far enough to really show yet. I’ve only got a small percentage done, even though it took a while to get there. Both are continuing my series about water that is mostly oils, but I’m working on getting some prints to go with the larger paintings. This one still needs a bit of work in the water, where light meets dark, but it’s mostly done now.

It's been a week, now. I did an artist market on Sunday, hung my main show of the year on Wednesday, and had the opening last night. It's lovely to see it all dressed up and on the wall. I've been showing bits of this edible still life exhibition along the way. It was my fun summer project, just grabbing something at a market or bakery and painting it without thinking too hard. I've always loved still life, and I've always loved the small things that together build daily happiness, so this show was a lot of fun to do. It's also the 20th anniversary of my first ever professional show, at Cecelia Lin Gallery, which is the last time I've done an exclusively still life show. It felt right to do one again and think about how lucky I am to do what I love every day. I'm so grateful for the whole tribe of folks who show up, spread the word, and sometimes even buy art. It was lovely to celebrate with friends last night.

I'm slowly scanning in at least my favorites from my sketchbook, so I thought I'd write about my last day. I had finished the work I needed to do there (still lifes for my September show and sketches for a graphic essay I'm planning), so I treated myself with another beautifully quiet morning at the Orsay and lunch at one of my favorite bakeries. It was amazing (and emotional) to stand with this self portrait by Vincent for 45 minutes, practically on my own. Two couples came through, saw it, and left. Otherwise it was just Vincent and me. Usually this piece is five people deep with everyone trying to take selfies. I felt so privileged to spend this quiet time with it. I've been thinking about self portraits a lot, had been doing some of my own (an annual Paris occupation for me) and had already done my study of Berthe Morisot's stunning one. I couldn't catch Vincent's likeness, and the background got a bit too dark, but it was wonderful to look at it deeply as I did the copy.

My friend Beth Rowlett so kindly made me a watercolor kit especially for this kind of sketching. It's attached to a wristband with heavy velcro, so I don't have to juggle the paint box as well as the book and water brush when I'm standing up in a museum. I like to sketch from a bench when I can, but there aren't benches everywhere I want to draw. You can see that I use the left side of the page to test colors or blot my brush as needed.

I also did a copy of a Bonnard painting. One of many things I love about the Orsay is that it has an absolute host of paintings of women and dogs. This one is completely charming, with their heads so intimately together. It speaks of the love in that relationship, and I was missing Mr. Darcy. I'd meant to copy it two or three years ago but hadn't gotten around to it that first summer of spending time here. Then it disappeared. The Orsay rotates paintings regularly. So when it reappeared this summer, I knew I had to take the opportunity.

I feel like I’ve been neglecting my sketchbook this trip, since I’m working both on the still life show and also on a possible graphic essay about Paris that’s in a bigger watercolor book. So I’ve been trying to lock back in a little lately and do some sketches just for me. It always feels good to come home with a visual record of at least the lovely bits of a trip that I don’t want to forget. In that vein, I sketched at the Rodin Museum where I met my friend Mavis yesterday. It’s one of my favorite places in Paris, but I hadn’t made it there yet this year. We had a lovely catch up, sketched, had tea, and then I stayed a bit after and did more sketching. It’s hard for me to walk out of there having done only one. I’m saving the graphic essay images for later, but here are a couple I did in my journal.

I also went back for my favorite curry at Kapunka, got a sidewalk table a second time, and did another sketch.

Good memories in Paris seem to be a lot about eating. Here’s the galette stand at the Bastille Market.

I came to Paris with the intention of doing a series of gouache still lifes for my September show at Playhouse on the Square. (The opening is lucky Friday the 13th for anyone planning ahead.) I like the depth I can get with gouache, but I’m still learning how it works, and often I find myself thinking it was better two layers ago. I’m going to have to pay attention and try to keep from over fussing. Somewhere along the way, I did a couple of watercolor studies in my sketchbook as studies before doing the gouache, and I really liked the lightness and airy-ness of them. So I’ve ended up doing four watercolors for the show as well.

It’s easy to default into the familiar and comfortable, though, and there was a time when watercolor was incredibly hard going for me. It still is sometimes, but I’m glad I pushed through and got it into my regular tool kit. I gave up on gouache two summers ago and don’t want to do that again, but I am still struggling. I want to do some forest studies with it when I get home, and hopefully that will keep me excited about using it. You can see the two side by side here and decide foe yourself. I think the gouache needs a little more blue in the purple shadows. I’ve got a couple I’ll do a small bit of balancing/retouching on next time I get the paints out. Right now I’ve shifted gears a bit and am painting more out in the city again.