THE METAPHORICAL POWER SEAT
Watch a short video narrated by Stephanie Bartron-Miscione,
as she talks about the backstory of this painting.
Taming Wild, Update of a Work in Progress
For a young South Dakota girl growing up on the prairie, the saddle represented: freedom, independence, adventure, control, thrilling speed. Pretty heady stuff imprinted on the mind and heart of a little girl – and somewhere in my lizard brain, it’s still there!
This beautiful hand tooled saddle is more like a throne than any riding accouterment that I had; it embellishes the memories of those emotional connections. It also made the last two years of interpretive work continuously compelling for me: interpreting the botanical motifs of the leather carver, myriad layers of leather color and highlights, and the visual interpretation of metaphors.
Every minute of painting this Objet D’art was in honor of the horses I loved, the best part of my childhood on the prairie, and what I learned about personal power from … Read More »
Progress on Taming Wild as of August 2017.
I have enjoyed full-time, uninterrupted work on Taming Wild since the end of August, with the exception of a week in CO with our kids.
For some reason, work on this painting is more difficult to accomplish with the kind of stops & starts that happen all during the busy, amazing Maine summertime. The results of my work are much more satisfying with the momentum of a daily routine, maybe because there is another layer of purpose for this painting. I’m doing something that I’ve never done before: the saddle’s embellishment is another artists’ work: I’m interpreting his leather carving into a watercolor painting, and I want to do that in a way that honors his recognizable, distinctive style. At the same time, I’m taking creative license with the sensuous, nouveau flow of the botanical elements and making it mine.
I was … Read More »
I created 30 watercolor browns to layer for capturing the reflections on this saddle – always going for the glow.
I really work preliminary drawings: lots of groping for the line and changing my mind. Years ago, I learned to do that on vellum to save the surface of my final draft paper for the sable tip of watercolor brushes. I end up with a contour drawing with lots of notes to myself about the details of light and shade, color, phone calls I need to return, etc. – an honest working draft. Read More
K. Christianson, a friend that I grew up with in SD, now living in CO, recently mentioned in an email that she was downsizing her clutter by getting rid of things that she no longer has any use for. In fact, to make the point about how ruthless her intentions were, she was actually considering giving up her treasured saddle! http://sbartron-miscione.com/taming-wild/ Read More
Setting up the saddle still life was going to be difficult, and the more I thought about what was involved, the more daunting it became. I’d been looking at the saddle on our banister in Brooklyn for a couple of weeks and made the decision to hang it: for a better view of my favorite parts, a more visually interesting angle, and a more interesting statement — the horizontal profile would have been the easier choice. Read More
There are a seventeen of my favorite rocks in this painting. Some are pieces of Maine that have such a strong sense of place that they make me long for Deer Isle every time I look at them. The others are from Colorado where my children live, and they remind me that my heart lives there too, with them.
After creating a color palette specific to one rock, I lived in it. Each rock became a completely abstract visual puzzle: of shapes, colors, light and shade — that fit together in a unique configuration that created patterns. Those patterns became texture and finally, that is what defines everything there is to know about what it is.
There are eleven very complete, self-contained, tiny abstract paintings that are intensely detailed with layers of watercolor. The others, using a different medium, appear to be in … Read More »
I am sometimes asked how I can be the same artist who began my life as an abstract painter, but now work almost exclusively in the forum of realism – painstakingly detailed, slow realism. Read More