Abstract Träumerei

Of People and Pets

2013-05-16T12:07:00.003-05:00

One of the many interesting facets of painting commissioned portraits is the opportunity to illuminate a person's or pet's character, what matters most to one, one's most valued relationships. In the case of two recent portraits, I was given the chance to create pieces which featured much-beloved furry companions. In Joseph and Casey [above], Joseph Baxley hugs his little cat protectively (never have I seen such a bond between a man and a feline). Sassy [below] was painted for Jessica Garcia to commemorate the long life and personality of her dog; Sassy has always loved to stop and smell the flowers!

On Display: Art@TAC Gallery

2013-05-15T10:22:00.001-05:00

If you find yourself in the Von Braun Center between now and July, be sure to have a look at the new selection of paintings on display at The Arts Council Gallery, including my own Art of Conversation [above] and First Cup [below]. Both pieces are currently available for purchase through the Huntsville Arts Council.

Josef Albers: Or How I Learned to Stop Worrying and Love Abstract Art

2013-04-09T16:11:00.002-05:00

My natural exuberance for color became a more intense subject of study many years ago when my Mom advised that I read books on color by German-born artist/educator Josef Albers and Swiss painter/theorist Johannes Itten. As I flipped through page after page of multi-hued squares and fascinating optical illusions, I was soon astounded to learn that the perception of any given color could completely change from one context to another, that there was more to color than merely finding aesthetically-pleasing combinations. It is no wonder that by the time I had begun to paint, I had grown enamoured with the abstract work of Wassily Kandinsky, and as part of a quest to develop my art, I had started to take in-depth notes on his writings and to find inspiration for color studies in his ideas about color. Since those early days in 2007, I have often set aside a week here or there to make new color studies to refresh my thoughts and my work. To some, abstract art may seem daunting, but I find that there is something liberating about the pursuit of pure color and form, expressions of pure ambiance and thought, that is as worthwhile as any other artistic approach. I began my first two spring color studies during the final week of March and had a series of four by the end of last week. Terra et Caelum [above, 18X24, $200] is the expression of the otherworldly colors of dusk, our poignant awareness of the universe as the sun sinks beneath the horizon. Greenway [below, 22X28, $300] is based on colors I observed by walking along my favorite creek recently, abstracted and reformed into a dreamscape of my imagining. . .

3 Years of Color

2013-03-29T11:47:00.001-05:00

Spring Break offers me a week of neither teaching classes nor taking them, and therefore an excellent opportunity to prepare for events such as my May Art Sale and to reflect on projects, technique, history, directions, and color schemes. As I will soon begin a new portrait commission and today marks the 3-year anniversary of my blog, I decided to focus on color this week. After all, I embarked upon my artistic career with an intense love of color and motion-- so I often find that revisiting my earlier, more intuitive style of working, but forcing myself to seek out new color combinations or throw in a new element, gives me quite a bit of insight into my thought processes and goals. I also use color studies (see my Organic Compositions I-II, III-V, and VI-VII from 2011) to help keep my work fresh; after all, an artist can easily fall into certain patterns, choosing the same colors, the same ways of depicting things over time. While this may help forge a recognizable style, I believe that "having a style" does not have to mean producing work that is stale and repetitive. I planned four color studies for this week; two are complete, two are still in the works:

Color Study: "Technical" [above] was based on colors and forms that I saw while driving through town last week-- the metallic blue of a truck, the faded yellow of a utilities box, the red of bricks, and, because Huntsville, AL is so technology-oriented, thoughts of computers, aircraft, and spacecraft. I am very happy with the clean precision of it, the glowing yellows and subtle greens. It is a 16X20 water-based oil on Canvas.

Color Study: "Romantic Arabesques" [above] resembles my painting Spring in color, but is far more loose in style. I wanted it to evoke ruffles, roses, and all things feminine without resorting to being merely cute. I used my palette knife and glass bead gel medium to give texture and a free-spirited air to this 18X24 water-based oil on canvas.

With the final two pieces in the series [above], I would like to revisit the precision of the "Technical" study. . . I find that this precision is something I gravitate toward more and more in my work. Even so, my goal is that both pieces have a natural "outdoors" feel somehow. The painting on the left is to evoke the colors at dusk as viewed from my balcony, the painting on the right is to evoke the colors of an afternoon on the nearby Aldridge Creek Greenway with its blue rolling hills and myriad shades of green and violet in the spring. . .

A Commission with a Penchant for Travel

2013-03-27T16:05:00.004-05:00

Being able to celebrate travel memories in a commission is not only an interesting challenge but a great pleasure, and my friend Liz Hisle of Lexington, KY recently gave me a perfect opportunity to do just that. While she was completing her college internship in Buenos Aires, she fell in love with the classic wooden cars of Linea A, the oldest line of the metro system. As I was reading about the history of the Buenos Aires Metro, I found that, sadly, the wooden cars were replaced earlier in 2013, making this painting a very nice commemoration indeed. I made sure to add a depiction of Liz herself, with her signature streak of pink/purple hair, sitting happily and contemplatively in the car.

As far as style is concerned, I wanted to express the warm, deep tone of the wooden interior, but also give Liz a color scheme that would be appropriate for her new apartment. Moreover, from what I have heard about Buenos Aires, anything short of brilliant colors would not be proper! Impressionism, with its multi-colored dabs and stripes of paint, seemed the best path to take. The result is a recognizable but vibrantly blue-and-violet piece that will hopefully bring Liz and add a joyful touch to Liz and her husband's home. It is a smaller piece, a 16X20 water-based oil on canvas, and once it is dry it will be ready for a trip of its own, to Kentucky!

New Commission: Venetian Masquerade

2013-03-18T12:23:00.003-05:00

Jerry Gilley and Jenn Nye are a fun-loving pair, and when Jerry requested a second commission for his home and gave me carte blanche to decide the subject matter, the vision for this piece came to mind immediately. It would continue the travel theme and rich colors of Roma, but this time it would include scenes of Venice and a portrait of Jenn dressed for a masquerade. From a personal standpoint, it would combine the type of abstract work with which I began my artistic career with my new forays into portraiture. I wanted to give Jerry and Jenn a piece filled with their interests, strong artistic symbolism to contemplate, and the allure and exuberance of a young beauty on her way to a party. It is, as always, an honor to be able to create a new addition to their home and art collection that they can enjoy for years to come.

Venetian Masquerade [above] is a 30X30 water-based oil on a thick gallery wrap canvas with the edges painted matte gold. From first sketch to finished painting, this piece took about six weeks to complete. Given the interest in Classical Studies that Jenn, Jerry, and I share, the piece has been signed "C. Wegman/SVV VIAPERSONA".

10 Reasons to Buy Art During a Recession

2013-03-04T11:08:00.000-06:00

It is a most certain fact and I am not going to sugarcoat it. Many people I meet who want to buy original art for their homes or commission a portrait will inevitably back down because they are hesitant about the price tag. With many American families fearing the consequences of sequestration these days, this uncertainty has only heightened. Artwork may seem like a luxury, something only the very wealthy can ever hope to own. However, as a working artist, I have a few thoughts I would like to share on the matter.

1) Art is good for morale. Perhaps life is feeling a bit drab and dull. You need that extra spark of inspiration to brighten your day or remind you of your beliefs, interests, or at the very least how beautiful the world can be. To commemorate a special event, perhaps, or to bring good cheer to a special person. Art has always had the power to uplift and enlighten, and that is not a mere luxury. It is something worth spending money for.

2) Buying original art helps your local economy. Many artists are independent small business owners (for instance, Christina Wegman Fine Art is a sole proprietorship). Buying directly from them puts money back into your community to keep it booming.

3) This is a purchase that will give you joy for a lifetime. An original work of art, and perhaps especially a commission, is something very personal, a family treasure. Much like your professional wedding photos, a prized memento, or that cherry dresser that you inherited from your grandparents, it will stay with you and brighten your home for years to come.

4) Art makes an excellent gift. A painting can be quite a touching surprise, an incredibly meaningful expression of love and appreciation. Just take a look at the story behind my portrait of Eugene and Georgia Baxley, and you will see what I mean!

5) A commission may not be ready for months, or even a year, giving you plenty of time to finance the project wisely. It takes me about a week to a month to complete a painting; my 30X40 Von Braun portrait took three months. I have known artists who only do one piece per year, and others who complete a painting a day. Regardless, if you commission a piece, it may not be ready for a month or more, so there is typically no obligation to pay right now, this instant.

6) Many artists are willing to take payment in instalments. Those that are not used to taking instalments may even make an exception for you if it is really necessary. Some artists want half down at the start of a commission, but not always. Never feel hesitant to discuss your options with the artist.

7) Many artists actually price their work quite reasonably. I like to make it possible for people to buy my work. I am most certainly not the only artist who feels that way. While I must price my art so that I can make a living, and while those prices may rise occasionally, they still remain as accessible as a new suit or overcoat, with a 16X20 starting at $175.

8) You are investing in the beauty of your home or office. Just as you might buy vitamins, a certain brand of make-up or a flattering outfit to invest in yourself and look and feel your best, a work of original art is an investment in your home or office. A declaration that you not only want the best, but that you want the real thing. In a business setting, this can wind up being the difference between whether clients come back or not. Nobody enjoys walking into a cold office with bare walls or mass-produced prints. You will have a happier work space, and so will your colleagues and clients.

9) This technically makes you a job creator. And if an artist is able to continue and grow in his/her path, that painting you bought might wind up quite valuable! Art is not my hobby. I enjoy it thoroughly, but my vocation is my business, not my leisure activity, and should you contact me, I will act in a friendly, professional manner. By purchasing my work, you are helping me to continue it. You are saying that "artist" is a necessary and rightful career in society. You are investing in me and saying that my work is useful now and could appreciate in value later.

10) Fear should not hold you back from something you love. I believe that if we spend the next few years trembling in fear about the economy, many opportunities to create beauty and success will be avoided. Art can bring hope in a recession, can teach America a lot about respect, thrift, and creativity. That can create new jobs for everyone, and more important, that mythic "quality of life" that Americans supposedly care so much about. Why be so afraid? Yes, live within your means; no, do not feel forced to take my advice on the matter, but one way or another, if you want something, you can find a way to have it. If what you happen to want is art, you need not think that it is inaccessible. Enjoy this life and carpe diem!

You've Either Got or You Haven't Got Style

2013-02-08T14:58:00.002-06:00

When it comes to matters of style, it almost goes without saying that there are as many ways of working and ideas about style as there are artists. Some may seek a tried-and-true style to polish over the course of decades, others prefer constant experimentation, others still might try to cultivate an intuitive approach, and so on. I personally seek both a sense of continuity and steady growth, a balance between the two, so my goal is usually to try something new in each piece without sacrificing elements of older pieces that I found appealing. I like to think that a quick look through the archives of this blog shows pieces that are each different, yet fairly recognizable as my own.

Even so, upon completing Jupiter [above], a piece whose theme was decided through a poll on my Facebook page, I realized that my current stylistic directions had changed even more than I had thought. I was deliberately trying to recreate the feel of, say, my self-portrait from 2007, but I kept rebelling against myself. As Kandinsky once said, trying to resurrect a style that one has moved beyond is mere aping. . . so Jupiter took new turns with an unusual colour scheme, experiments with metallic paint and glass bead gel medium, and the end result is the piece above. Since I have become increasingly interested in painting imaginative portraits, the way I handle paint is evolving; strong, abstract geometry is still present, but it seems to be getting more precise, with smoothly blended values, and I seem to be more conscious of how clearly I am telling a story and setting a mood with every aspect of the composition. Attempting to revisit an older style with Jupiter has made it all the more clear to me that I have turned onto a new road in my art and that there are going to be many good surprises along the way. . .

The Eyes Have It

2013-01-30T14:29:00.003-06:00

From top to bottom, here are the three main stages in the development of a recent portrait. This piece was commissioned by my parents, and my mother (an artist herself) expressly stated that she wanted a painting of her eyes (which always have such a lovely, dreamy look in them). There is quite a difference between the second and third pictures; this is simply because in step two I found that I had focused too much on the mood of the eyes and not enough on the resemblance itself. . . with a little careful reworking, however, these eyes are quite unmistakably Mom's!

Of Old Southern Towns and Wintery Days

2013-01-18T14:47:00.003-06:00

It is always a pleasure to do a painting for Jamie and Andy Hoffman, and given the three prior pieces they have commissioned from me (View from a Garching Window, Maple Ripples, and The Happy Turtle), I wanted their newest commission to look backward and forward simultaneously; in some ways it is thematically related to the other three pieces, with a nod to their love of nature, color preferences, and my history as an artist, but with a conscious sense of stylistic evolution too. That having been said, Winter Village, below, is inspired by a photo that I took in Athens, AL [above] when I was still in high school. I loved old towns and the fantastically gnarled trees of the American South as much then as I do now, though at the time my favored medium was photography, and I was often spending winter, summer, and spring, wandering around sleepy towns, tangled woods, stony creeks, and junk yards with a 35mm camera, fleeing the suburbs to experience the sense of "authenticity" and "romance" I found in the countryside. Many of the towns I visited were very quiet, sometimes even a bit lonely, but most were cosy places, and all seemed rich with shapes, textures, stories, and a interesting mix of overgrown nature, stately (even when small) older homes, and barns and storefronts and sheds in varying states of repair.

Recently, when driving back from a trip to Lexington, KY through Ardmore, TN with a friend who grew up there, we found ourselves discussing the charm of some of these places, and agreeing that a certain amount of weathering is an important part of it. (We were soon avidly discussing the way the Italians actually prefer to leave historical buildings and ruins in a state of disrepair for effect, of course. . .) I wanted the painting to blend man-made structures into nature in the way that some of my older pieces, such as Emerging Red or 417 Greenacres Drive, do, but with some of the softer brushwork of the much more recent Roma. Most importantly, I hope that the result will be a cheerful addition to Jamie and Andy's home and am honored to be able to add another piece to their collection!

On Display: Art@TAC Gallery

2013-01-14T13:06:00.003-06:00

Beginning today and continuing through March, two of my paintings will be part of a new group exhibit at the Huntsville Arts Council Gallery. If you happen to be near the Von Braun Center in North Alabama, be sure to take a look at the art just outside the Arts Council office and theater! My pieces include Longhorn, New Braunfels, TX [above] and Organic Composition I. Both paintings are available for purchase through the Arts Council; prints of all sizes can be purchased directly from me by E-mailing ChristinaBWegman@aol.com or contacting me through Christina Wegman Fine Art on Facebook.

A Portrait Commission with a Twist of Noir

2013-01-04T14:11:00.003-06:00

Not unlike many of the superheros he so admires, David has a conventional day job, but transforms into something completely extraordinary and different come evening-- in this case, a writer. Exploring politics, the nature of justice, religion, and more in dystopian short stories and complicated fantasy works, he is also quite the "nerd"-- a lover of Batman, Dr. Who, and strong protagonists who seek to leave the world a better place despite (or perhaps because of) their inner conflicts. When he requested that I paint an imaginative portrait for him, we originally talked about doing with Dieselpunk what I did with Steampunk in Steam Bryan, but as I looked through many different reference photos, I was drawn more and more to Art Deco style and the very urban portraits painted by Tamara de Lempicka. David, after all, does enjoy wearing bow-ties and a leather blazer, has a lovely watch and uses cologne-- he is quite the classy gentleman too. As I began envisioning a gritty film noir atmosphere in the piece, David himself was inspired to begin writing down his ideas for a story about "D", a vigilante who is trying to remain a helpful, decent, free-thinker under an extremely oppressive, corporate-run political dystopia. As D winds up stealing supplies to help a starving family and having to use his eclectic arsenal of weapons more often than he would like, he feels conflicted-- is he doing too much? Too little? How can he, one individual, really change anything?

As David's writing project and my painting project developed, we had many conversations over tea that managed to influence both. . . the perfect casual collaboration. The resulting portrait is David as "D", the vigilante and man of thought and justice. . .

Portrait Commission: Eugene and Georgia Baxley

2012-11-14T13:20:00.000-06:00

There are many reasons why one might commission a portrait-- to celebrate a wedding or anniversary, to honor a community leader, as a dignified addition to one's interior-- or in Joseph Baxley's case, as a gift of great love and gratitude. When Joseph brought me the above snapshot of his grandparents, asking for a portrait to give them this Christmas, I knew that I was being presented with both an incredible challenge and a chance to do something truly meaningful for the Baxley family. The picture and the story of the people in it had an iconic quality-- the word "All-American" came to mind instantly.

He, Eugene, one of ten siblings growing up in rural Oklahoma during the Depression, lied about his age in order to join the Marines at 15 in 1945. He later enlisted in the Navy the year this photo was taken, 1950, and served a full tour. During the time he spent in the Navy, he was a tailgunner and flew reconnaissance missions over Formosa. After that, by this point married with two childen, he went to college, majored in mathematics, and was able to support and better the lives of his family members by working for the government and at one point even teaching mathematics. Joseph describes him as humorous, hard-working, strong-willed, and still "fiery".

She, Georgia, grew up on a tobacco farm with her four siblings in Tennessee and has always been a clever, stong, outspoken woman. Joseph remembers her once showing him a picture of herself dressed in overalls as a child and matter-of-factly telling him that she "hated wearing overalls" because she was simply "not a boy." She and her husband have been married for nearly 62 years.

As far as the painting itself is concerned, I have worked with vintage photos and postcards in the past, but usually with more fanciful intentions. With this project, it was imperative, despite the small size of the main reference photo, that the figures look fairly "real" and that the resemblance be strong. With the help of a few other photos and Joseph's feedback at each stage of the process, I was able to re-create the scene with only minimal changes to improve the composition or reduce the "squinting" look of the eyes in harsh sunlight. Since I did not have photos large or crisp enough for a completely traditional rendering, I took a pastel-toned, semi-impressionistic approach, hoping to achieve the warmth of a colorized photo and a style that would evoke the late 40's and early 50's. The finished result is the 24X30 water-based oil on canvas below.

The original photo was taken on the 24th of December in 1950; when Joseph brings it to his grandparents for Christmas this year, it will be 62 years to the day that the picture was taken. It was an honor to be able to do this painting, and I hope that it will bring joy to the wonderful people for whom it was painted!

Half a Decade in the Making

2012-10-19T14:03:00.003-05:00

As I was growing up, learning to play the piano, devouring every word of books such as Great Expectations and National Velvet, wondering about the different things I could do with the Future (that illustrious thing), my mother would often remind me that it takes ten years of dedicated work to truly master and succeed in anything. She would usually cite Van Gogh as an example, showing me pictures of his often poorly-proportioned early work in contrast to the bursting color and strength of line in work from the final two years of his all-too-brief life.

What I came to understand from her words was not that it took any particular number of years to master a skill, but that it was what I did in the present over time, not mere distant wishes, that would shape my future. Even so, having recently passed the 5-year mark in my art career (I began painting in the summer of 2007, as I discuss in this much older post), I start to think of Mom's Decade Rule more literally. I start to wonder about the developmental stages of an artist-- how it all begins with an awe for life and nature or simply an instinct to take up a pencil or brush and evolves into goals, plans, a quest for concrete skills, the road to technical mastery, a way of life, a philosophy, a vision to inspire and bring joy to others, a basis for many friendships and new experiences, a career marked by learning and a formidable body of work.

Of course (and I say this with a sheepish grin) while Rome may not have been built in a day, it was built day-by-day, and I will continue to stay focused on the present as I make plans for the future.

That having been said. . . concerning current news, two of my pieces, Michele [below] and Claire de Lune [above] are on display at the Arts Council Gallery in the Von Braun Center. They will be there until January, so if you find yourself in Downtown Huntsville, do take a look at these two paintings and the many others by talented North Alabama artists. I am also busy at work on a new portrait commission, which I look forward to sharing with you soon!

Pricing and Commissions

2012-09-14T10:33:00.007-05:00

If you would like to purchase a painting, print, or commission a custom piece from Christina Wegman Fine Art, please E-mail me at ChristinaBWegman@aol.com, or contact me via my Facebook page, here. I also do keep a number of prints and SALE items listed on my Zibbet page.

The price of a painting can depend on many factors, including the materials used, complexity of the project, the reputation of the piece (being in a juried show, for instance), and the size or thickness of the stretched canvas among other things. At any rate, here is the current range of prices you can expect when buying paintings directly from me:

*Ready-Made Originals:

See individual pricing at Christina Wegman Fine Art. . . most pieces will be priced according to the guidelines below with a few exceptions. If the piece you like has no price and has not yet been sold, please inquire!

*Portrait Commissions:

16X20 Water-Based Oil: (Head and Shoulders Only): $175-$200
18X24 Water-Based Oil: (Head and Bust Only): $275-$300
24X30 Water-Based Oil: $375-$475
24X36 Water-Based Oil: $500-$600
24X48 Water-Based Oil: $550-$650
30X40 Water-Based Oil: $900-$1,000
48X60 Water-Based Oil (Gallery Wrap Canvas Only): $2,500-$3,000

*Non-Portrait Commissions:

8X10 Water-Based Oil: $100
16X20 Water-Based Oil: $175-$200
18X24 Water-Based Oil: $275-$300
24X30 Water-Based Oil: $350-$400
24X36 Water-Based Oil: $450-$500
24X48 Water-Based Oil: $550-$650
30X40 Water-Based Oil: $900-$1,000
48X60 Water-Based Oil (Gallery Wrap Canvas Only): $2,500-$3,000

8X10 Acrylic: $95
16X20 Acrylic: $175
18X24 Acrylic: $250
24X30 Acrylic: $325
24X36 Acrylic: $425
24X48 Acrylic: $500

(Note that acrylics will only be available for abstract works and that most of my pieces will have a different, more "solid" feel in oils!)

*Prints:

8X10 Signed, on Rolled Canvas: $25
8X10 Signed, on Stretched Canvas: $40
16X20 Signed, on Stretched Canvas: $150
18X24 Signed, on Stretched Canvas: $190

(Note that smaller paintings may not be suitable for 16X20 or 18X24 prints and that other options are available upon request.)

*Other Items

Large coffee mug: $21
Beer stein: $40
Other custom item of your choice: Please Inquire

Full Steam Ahead: A Portrait With Steampunk-Infused Aesthetics

2012-09-10T14:03:00.001-05:00

Wordplay aside (however much it amuses this German/English major), I like the idea of paintings that nod to popular Steampunk aesthetics without simply imitating what has already been done in order to fit in with the rest of the genre. I still want my work to look painterly according to my own particular expectations, after all, and to be true to my original leanings to some extent. My first trilogy of pieces was quite abstract, in fact-- a juxtaposition of Victorian costumes, gadgets, meandering arabesques, and Early Expressionist commentary, all inspired by a quick sketch.

Steam Bryan [above] is a different take on my original ideas-- it is deeply informed by my recent foray into portraiture, but adds a large measure of fantasy for symbolism. The piece has quite a bit of texture and in choosing colors, I did not strive for strict naturalism. Bryan smokes flavored tobacco from a hookah while lounging on his plush sofa, keeps a wonderful lunatic of a black-and-white dog and a scrawny black-and-white cat with Kafkaesque eyes (glaring down at us from the upper right corner of the painting), has a wonderfully silly sense of humor, and listens to a wide variety of experimental/progressive music. . . combined with the way his deep-set eyes become dark wells under the right lighting, he seemed an intriguing subject for a portrait, and only an unusual portrait veiled in decorative smoke would do! Because of the themes and colors of the piece, many have seen references to Alice in Wonderland in it, an association which I whole-heartedly encourage. In a way, Bryan as the Steampunk Mad Hatter can be an interesting metaphor for what it can be like to try to be oneself, feel one's best, and remain responsible without losing one's sense of adventure in the modern suburbia where Bryan lives and works.

Late Summer Sketching

2012-08-16T12:00:00.006-05:00

Blueprints are as useful in art as they are in architecture; I usually consider a thoughtful preliminary drawing to be the backbone of a successful painting. I like to practice drawing for its own sake whenever I can, but sometimes I would rather be practicing in a group/public setting than alone in my studio, both for the good company and the variety. That having been said, I finally made it over to the Monday morning figure drawing session at the Huntsville Art League and look forward to returning regularly. Our model on the 13th had such subtle features that getting a good likeness in a short period of time was challenging. I am not sure that I ever quite captured the spark that made her features entirely her own, but I do like the two final drawings I did quite a bit regardless [above]. As summer begins to hint at fall and the school year begins again, I start to make new goals, pick up my sketchbook and vow anew to squeeze as much art and beauty into my life as is humanly possible.

With that inspiration in mind, I made sure to take a few brief minutes yesterday between appointments and other activities to sketch my mother [above] under the shifting shade of old trees in Big Spring Park. . .

Candid Camera

2012-08-14T12:51:00.000-05:00

Some of my best shots so far this year, taken with my new Canon Rebel T3. . .

New Commission: The Eternal City

2012-08-10T10:53:00.001-05:00

Rome. I have not had the chance to see it with my own eyes yet, but all roads do seem to lead me to it. The fateful day that I walked into Dr. Gerberding's Latin class in 2006 cemented my fascination with the Eternal City. Since then, many a friend has ventured to Rome and come back with a grand story to tell. A new outlook on life. A greater desire to follow that ever sound piece of Latin advice: Carpe diem. When my friend and former Latin classmate Jerry Gilley asked that I transform one of his favorite travel photos into a large abstract painting, I wanted to dive into the project immediately. It almost felt like a collaboration, given that I have great admiration for Gilley's photography. His photo of St. Peter's [below] is ominous and dark, with strong geometry. My own abstract style is already rather geometric, so I focused on angles and structure in the composition for Roma [above].

While I originally considered following the picture more closely, the warm reds and browns in Gilley's office and livingroom inspired something a bit softer and brighter. I accentuated the size and curves of the lamp for contrast and avoided harsh outlines to suggest the more romantic appeal of classical Italian style. Interestingly enough, however, I took a few of my other stylistic cues from the clean, modern architectural paintings of Feininger. Gilley-- I hope that you will enjoy this piece for years to come. Thank you for giving me the opportunity to turn many years of admiration for all things Roman, many nights listening to our classmates' wonderful memories, into a piece of art for your home.

On Display at the Carnegie Visual Arts Center

2012-08-03T13:35:00.001-05:00

From August 7th-September 22nd, the Carnegie Visual Arts Center in Decatur will be holding a North Alabama group show called "Embracing Art: A Coming Together of Amateur and Professional Artists". I am honored and excited to announce that two of my pieces, Thinking and Clockwork Woman [below] were accepted into the show! The Carnegie Visual Arts Center is exquisite and features some very prominent artists from our area-- if you find yourself in Decatur (or need an idea for a day trip), be sure to see the show!

A Little Help from My Friends: Michele

2012-07-28T13:42:00.001-05:00

In order to build a strong portrait portfolio, I have always believed that I would have to be able to depict many different subjects and "accessories" in as artistic and meaningful a manner as possible. My good friend Michele, with her love of culture, fantasy, and costumes, cute-yet-assertive demeanor, unique looks, and general willingness to pose for my camera, struck me as a great creative subject from the start. The finished portrait [above and below] is a mix of whimsy and realism that I came to after taking several snapshots with a point-and-shoot and taking some creative license (the blue gloves, for instance, were painted from my imagination and I added lots of extra texture and color to the umbrella). I am thankful to Michele for posing for this interesting piece; it is always quite a pleasure to portray someone I know and love in art, highlighting all the beauty and personality of that person. . .

In other notes, I am now able to offer all of my portraits and other paintings as high-quality prints on canvas. The below image is of my Von Braun portrait (a large 30X40 original) as a 16X20 print. . . visit Christina Wegman Fine Art for more information!

How Many Words Is a Picture Worth?

2012-06-26T18:25:00.000-05:00

When I began sharing my artwork online and keeping a website to discuss my thoughts and development, my goal was to make announcements about my career, explain why I paint certain things in certain ways, and to hopefully spark discussion about my work or art in general. At first, I was concerned that I would have difficulty updating regularly or finding the right words to describe the different ideas swimming about in my head (finding le mot juste is no easy matter sometimes). . . but after over two years of maintaining this site, the real difficulty (at least to me) seemed to be that my point-and-shoot camera was disappointing me on a regular basis. Throughout my teenage years, I liked to shoot pictures with a 35mm Canon Rebel, but as digital cameras began to gain popularity, my ability to afford a new camera of similar quality began to wane. As of last week, however, a new Canon Rebel T3 has come to pick up where my old Canon Rebel left off. As far as my work as a painter is concerned, in the internet age, most viewers will see my art in reproduction before they ever see it in person. Better photography means better prints, more vivid images to go along with posts on this site (or on my Facebook page), better documentation of my work in general, a better representation of the colors/textures in my paintings for out-of-state clients. . . but in addition to all of these things, a new camera also means a new opportunity to further explore another art form-- the art of the photograph! It is my great hope that you will enjoy all the little improvements in presentation that my re-introduction to photography will bring to this site over time. . .

Cover Girl

2012-06-09T12:10:00.001-05:00

If you live in Huntsville, AL, you have doubtlessly seen issues of the Valley Planet in offices, restaurants, and shops around town. Through June 27th, the girl on the cover will be peering back at you from a detail of my painting Waltz of Impressions. A black-and-white image of the full painting and a bio are printed inside. I am very excited to be able to share this bit of news and am exceedingly grateful to the Valley Planet for this opportunity. Do pick up a copy-- I will be happy to autograph it for you!

Spring Into Arts

2012-05-30T15:18:00.002-05:00

Abstractions have not figured quite as prominently as usual in my work these days, so I decided to finish one of my more stylized pieces before moving on to the next formal portrait. Spring [Above] began many weeks ago when tulips and daffodils and other jewel-toned flowers were nodding their heads in the breeze and the delicate new leaves of Huntsville's crepe myrtles formed neon garlands across courtyards and porches. Yet harsh summer arrived early, searing away the powdery softness of spring; my thoughts drifted to other ideas and this piece hung unfinished upon my wall.

After adding the final touches to my last portrait, I thought that revisiting this piece might be a particularly good idea-- partially because too many unfinished canvases lying about can become disorienting, partially because I wondered how just having finished a very detailed, realistic piece might somehow influence this one, and partially because coming back to it seemed like a nice, meditative interlude. I found myself rather interested in smoothing out messy brushwork in places and contrasting flat color and heavy lines with shorter, thicker side-by-side strokes. The piece, I feel, has the sharply-delineated, almost cartoonish quality of the heavily-stylized, retro-inspired marker drawings I used to do as a teenager. I think I would like to combine elements of this style with realism to create an unusual-yet-still-formal atmosphere somehow. . .

At any rate, Spring is quite large, the same size as The Lady and the Sea Monster, and, to me, it is stylistically related. It is also of a sort of fantasy character, a beautiful spring lady carrying a mysterious bottle (presumably filled with a heady potion of a perfume that will inspire anyone who touches it to dream and revel in beauty).

[This painting and, indeed, many others are still available for purchase. Please visit the Christina Wegman Fine Art Facebook page for pricing information.]

Actually, It Is Rocket Science: 100 Years of Wernher Von Braun

2012-05-26T21:18:00.001-05:00

Throughout my artistic wanderings, I have often found inspiration in my hometown. Huntsville, AL, "The Rocket City", has played a role in the style and substance of many of my works, just as it has left its imprint upon my life. Huntsville's current main claims to fame are the U.S. Space and Rocket Center (home to Space Camp) and one of the leading science and technological research parks in the world. A Saturn V rocket looms in the background of every drive across town, from behind the trees when I am on a friend's balcony, in the distance as I stroll at an outdoor mall. . . and one of my fondest childhood memories is of the face of the rocket man to whom Huntsville owes its nickname, Wernher Von Braun, gazing curiously from an oil painting that used to hang in the Symphony Hall and from a photo collage at the airport. The idea of exploring the universe that sparks my imagination so greatly has no doubt been reinforced by the fact that Huntsville's identity is so starkly defined by the Space Race. My father's own successful engineering career was made possible by some of the same forces that swept America during that time. Dr. Von Braun and his team, I realize, were part of a complex and controversial history, but Von Braun's vision and contributions to spaceflight, not to mention to the quality of life in the Southern town that he called home, remain truly remarkable. Many of the German volumes of philosophy, history, and literature that now sit upon my shelves belonged to these men and their families. One of my professors turned out to be the son of one of Von Braun's team members. At my very first job beyond the university, I found myself serving Konrad Dannenberg lentil soup and Black Forest cake on his birthday. I am drawn to this history and my daily brushes with it.

2012 is the Centennial of Von Braun's birth and the above portrait is my tribute. I spent quite a bit of time looking at pictures, wondering what Von Braun might have looked like in real life, attempting to learn exactly what color the Moon is (it is not, apparently, a flat gray), and trying to create just the right amount of detail on a rocket that, despite being in the distance, is over a foot tall on such a large canvas (30X40). Since Von Braun did many concept sketches and encouraged art as a way to popularize scientific exploration, I wanted the colors and style of the piece to feel a bit like 60's illustrations. Throughout the project, I found myself not merely layering paint, but researching planets and rockets and history, politics and ethics. . . exploring different worlds; it is not only fitting, but assures me that my recent foray into portraiture will continue to prove intriguing.