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A Beautiful Struggle

ustin Anderson

Academy of Art University, Graduate School of Fine Art Painting

Final Thesis Project

July 22, 2014

1:00 PM

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Table of Contents!

Autobiography ! ! ! ! ! ! ! 3! ! ! !! ! ! ! !

Artist Resume! ! ! ! ! ! ! 4!

Timeline ! ! ! ! ! ! ! ! 5!

Thesis Summary ! ! ! ! ! ! ! 6!

Thesis Project ! ! ! ! ! ! ! 7 - 17!

Thesis Photographs ! ! ! ! ! ! 18 - 30!

Influences ! ! ! ! ! ! ! ! 31 - 32!

Promotional Materials ! ! ! ! ! ! 33!

Statement of future plans! ! ! ! ! ! 34!

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!Autobiography !!One summer, when I was 22 years old, I studied oil painting; everything about it intrigued me. The smell of the paint and oil seemed inviting. I loved the buttery feeling of the paint as I mixed it and applied it to the canvas. The challenge of juggling the many relationships of color and value captured my interest. My instructor was very encouraging; he often said I could have a future as a fine artist if I wanted to take that path. Slowly I allowed myself to entertain the idea of spending my life as a painter, despite the unpredictability of the profession. !My journey through my artistic education led me to the Florence Academy of Art. When I walked into their student gallery my perception of my own potential changed. The skill demonstrated in the examples was unlike anything I had seen. Everything seemed accurately drawn; the feeling of light, form and atmosphere felt so life like. I progressed dramatically in the year I spent in Florence. I was surrounded by artistic influence and shown a path to excellence. Unfortunately I was not able to continue studying in Italy. !The subsequent years challenged me in many ways. I returned to Utah and attempted to continue on my artistic path. My confidence began to diminish as time passed. Painting for a living became irresponsible. My adjunct teaching position didn’t cover the expenses of my little family. Hopelessness permeated my life as I found a second job and resolved to begin an education program in medical laboratory science. The laboratory program consumed the time I had allocated for painting. I was defeated. !As a last attempt I searched for an online masters degree program and found the Academy of Art University. The examples I saw online were very respectable. A couple of my favorite artists had received degrees from AAU. I could complete the entire degree online. Although it seemed like a gamble, I decided to enroll in the Fine Art Painting Program. !As I progressed in the program I could see that I was improving. The sheer quantity of work forced me to be more efficient. The experience of creating the thesis project has been monumental. I have developed my own working methods that can continue evolving. I can say that the program has been a positive, life changing experience for me. !!!

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!Timeline!!Fall 2011!FA 600, Figure Studio, Warren Chang!FA 630, Color Theory, Jennifer Almodova!!Spring 2012!FA 606, Still Life Painting, David Tirado!FA 602, Head Drawing, William Maughan!!Summer 2012!FA 605, Landscape Painting, Dean Larson!GLA 612, Writing and Research, Kate Winsor!!Fall 2012!FA 604, Figurative Painting, Tae Park!FA 616, Portrait Painting, Warren Chang!GLA 606, Crossing Borders: Art and Culture Andrea Maison!!Spring 2013!FASCU 632, Ecorche, Stephen Perkins!FA 614, Contemporary Painting, Kevin Moore!GLA 601, The Renaissance Art World and Its Classical Origins, Caroline Hood!!Summer 2013!FA 801, Directed Study, Process and Thesis Development, Jesse Mangerson!FA 607, Situation and Environment, Warren Chang!!Fall 2013!FA 801, Group Directed Study, Figurative, Zachary Zdrale!FA 801, Group Directed Study, Landscape, Jesse Mangerson!FA 622, Artistic Anatomy, Sean Connor!!Spring 2014!FA 801, Group Directed Study, Figurative, Zachary Zdrale!FA 801, Group Directed Study, Landscape, Bryan Taylor!!Summer 2014!GLA 674, Professional Practices, Cheryl Coon!FA 801, Group Directed Study, Figurative, Brandon Smith!!!!

!Thesis Summary Fine Art Painting Figurative and Landscape !When I proposed my thesis idea to the committee I really had no idea that I would set out on this particular path. Throughout my education I have had the intention of being a figurative painter. I have also spent many hours studying and painting local landscapes. I had the idea in my mind that all of the best artists were very versatile in the subject matter they portrayed. After speaking with the committee, I realized that I would need to narrow the subject matter in order to find a place within the art market. In order to continue my fascinating study of nature and human physiology I would need to portray situations where both could coexist. I began to think of the different ways we interact with nature. Many of the situations I envisioned involved intense physical and mental struggle. This seemed like a perfect platform to meet my own creative needs while developing a cohesive body of work.

Throughout the series I combine the beautiful scenes I have found with human experiences of intense physical and mental struggle. I have been able to explore how lighting, scale and color combinations enhance the overall mood of the narrative. As I advanced through the project I encountered many new situations which challenged my ability and working methods. The struggle became a metaphor for my own experience. The execution of this project has been very challenging, but incredibly beneficial. I have seen my own growth throughout this struggle. My own professional success or failure seems to balance tenuously on the outcome of this project. The importance of the project forced me to give my very best effort, which propelled me past my former ability. I have realized that these periods of intense struggle ultimately leave the participant much stronger and more capable of achieving bigger goals.

This project is a visual representation of this beautiful struggle.

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The Beautiful Struggle!!!I began hiking around the mountains and peaks near the Salt Lake Valley about ten years ago. I became moderately obsessed with the beauty and challenge it presented. I ended up climbing many of the rugged peaks just to the east of where I live. As I explored these areas I found many unique and beautiful features that I wanted to capture and study through paint.

I have also spent a substantial amount of time drawing, painting and studying the human figure. I am fascinated with anatomy, and the function and power we generate as humans. The varying and highly individual forms created by the overlapping muscles are very challenging to represent.

I always knew that I wanted to be a figurative, as well as a landscape painter. As I reflected on how to move forward with my career I began to think of the different ways we interact with nature. Many of the situations I envisioned involved intense physical and mental struggle. It is always curious to witness people intentionally placing themselves into these situations for no real tangible reward.

Throughout the series I combine the beautiful scenes I have found during my wanderings with experiences of intense physical and mental struggle. I have used this platform to explore how lighting, scale and color combinations enhance the overall mood of the narrative. As I advanced through the project I encountered many new situations which challenged my ability and working methods. In a way the struggle became a metaphor for my own experience.

My own selfish pursuit of the things that intrigue me, led me to portray this intimate and beautiful struggle of humans and nature. This is about the self imposed torture that makes us unique, and the visually dynamic scenes that accompany our experience.

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!!A few years ago I found some beautiful rock formations in a place called Ferguson Canyon. Many people go there to climb these vertical walls. I convinced a friend to hike with me to this area and climb the most difficult section. He is a very accomplished climber and had no problem scaling the rock. Here he is evaluating the route he will take to the top.

I had trouble getting good reference for these paintings. I had to return to the spot a couple of times. My strategies and working habits were beginning to form in these early paintings as I learned by trial and error.

!This section of the climb was the most technically challenging. I love the soft, cool light that is filtering into the bottom of the canyon. I enjoy the contrast of the abrasive quality of hard cold rocks next to the warm vulnerable skin. The struggle is evident in the tense muscles and the stretched, yet compressed gesture.

!!Here the climber emerges from the cool shadows into the light and warmth. The natural lines in the rock lead the eye upward while the shadows seem to make a last attempt at holding onto the climber. There was a great deal of work and preparation involved in creating these paintings. I can see many similarities between the narrative of the climber and my emerging habits and efforts as a representational artist.

Next I decided to portray another type of struggle, one that involved mental fortitude and incredible physical endurance. Each year many runners begin the Wasatch 100. This is a grueling 100 mile race that involves thousands of feet of altitude gains and losses. Many participants do not finish the race, and most take more than twenty four hours to cross the finish line. The race began at 5 am. In order to get to the starting line and find a place to get reference I had to be up at 2:30 am. In the weeks leading up to the race I had developed a strategy to be in the best positions to give an overview of the race. As the race began, the faceless runners moved by in a pack illuminating the early morning darkness with their headlamps.

This scene takes place during the pleasant morning hours. The light beautifully defines the form and anatomy of the runner and landscape. The dominant cool tones seem to reflect how calm the morning felt. The runner is still in the beginning stages of the experience as he ascends from the valley below. He is moving quickly and has already separated himself from the pack. He seems to feel strong and moves on with confidence. Like the runner there were many times during this process where I energetically embraced the scope and challenge of the project.

This is mile 50. It is near 100 degrees Fahrenheit and the runners are fatigued. The leader powers on despite the physical and mental challenge. Fresh runners, called pacers, often accompany the racers. I imagined how they felt as I waited in the heat of the mid-day sun. I wanted to emphasize this harsh stage of the race through high value contrast in the light and shadow areas of the figures. I emphasized the reds and yellows and used a close cropping of the scene to accentuate the struggle of the moment. The middle point of the project begins to feel this way for me. It can be such a long, time consuming process. Despite the challenges, I attempt to push ahead as the leader has in this scene. As I began this painting I was still struggling with the process as I attempted to find my own style and working methods. Fortunately I had great instructors who guided me along at a productive pace.

!I planned to hike into a spot where I could meet the runners near sunset; it was a two hour journey on the crest of a mountain range and the highest vertical point of the race. As I hiked, an interesting storm came into the area and created the most stunning atmosphere. The scene I painted here does not actually exist; it is a combination of several scenes. I wanted to show a cumulative representation of my visual experience as I traveled to meet the runners. Here the individuals I encountered seemed to move along quietly, as if propelled only by the deepest desire to finish. !This painting evolved many times from it’s inception, and was my biggest challenge of the entire project. This was my first large scale painting, and I had difficulties filling the space in an interesting manner. I could relate to the feelings of mental fatigue as I drifted on in search of visual answers. There were many weekends and early morning hours where I contemplated the effort involved in this seemingly thankless pursuit. I pushed ahead silently hoping the accomplishment of finishing well would be worth the effort. !!

The leader of the race finished at 1:30 am. After hiking back to my car, I drove to the finish line to see him cross. It was interesting to be a silent witness to small portions of his experience. I had seen him at each spot along the way. Eventually I took a nap in my car and woke up at sunrise to capture the light flooding into the valley in the background. This runner celebrates his victory in a gesture of triumph and exhaustion. As I reflect on this event and my own struggles in making these paintings, I can find many similarities. There were many new situations, and a broader range of possibilities than I had encountered before. At times it was not enjoyable; but sometimes the most rewarding things in life come as a result of the struggle. Anyone who engages in this type of challenge will typically emerge stronger than before. !!

Mountaineering is something that I have always admired. It is a very physically and mentally taxing activity. The landscapes in these areas are harsh and beautiful. I have climbed many rugged mountains in the summer months, but never in the winter. There are many dangers of attempting to climb to the tallest peaks in the snow; people are killed in avalanches each year in this area. Naturally I had a very difficult time convincing anyone to climb there to model for me. I had to pose a model in a snowy field with similar lighting and safer conditions. I ended up ascending the mountain alone. This is a solitary view from well over 10,000 feet. !!!!!!!

As I climbed through the snow I couldn’t help but notice how insignificant I felt. I wanted people who viewed the painting to feel that scale. To enhance that feeling, the woman in the painting is only 4.5 inches tall. Because of this small scale I had a difficult time painting the portrait. I spent many hours adjusting and manipulating that small space. Unfortunately I was not able to reach the top this winter. The conditions were too dangerous to get the reference I need to show the victory of this struggle. The painting from the top will have to wait for another year. Again there are many parallels between this journey into this inhospitable and enchantingly beautiful place, and my own attempt to portray it. The satisfaction of getting so far into the process; and the knowledge of what there still is to achieve. The unlimited variety and challenge keeps me engaged and moving forward. !!!!

!Rock Climb 1!

36 x 24!

Oil on Canvas!

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Rock Climb 2!

36 x 24!

Oil on Canvas!

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!Rock Climb 3!

36 x 24!

Oil on Canvas!

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!Ultra marathon - Start!

24 x 18!

Oil on Canvas!

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!Ultra Marathon - Initial Ascent!

36 x 24!

Oil on Canvas!

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Ultra Marathon - Mile 50!

36 x 24!

Oil on Canvas!

Ultra Marathon - Crest!

36 x 54!

Oil on Canvas!

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Ultra Marathon - Finish Line!

38 x 24!

Oil on Canvas!

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!Broads Fork 1!

36 x 54!

Oil on Canvas!

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Broads Fork 2!

36 x 54!

Oil on Canvas!

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!!Artistic Influences!

Jeremy Lipking!Vermillion Cliffs!Oil on Linen !50” x 70”!!This painting influenced my entire thesis project. After meeting with the committee for the midpoint review, I had a difficult time narrowing my focus. I wanted to be sure the subjects that would ultimately become my brand needed to challenge me throughout my career. !My encounter with this painting seemed serendipitous. I went to pick up a frame I had ordered from Rett Ashby. Rett also makes frames for Jeremy Lipking, and this painting was in his shop.!The painting included all of the elements that interested me. The design and subject matter inspired to me. Although I lacked the experience, I felt confident that I had the technical ability to create a similar type of painting.!As I progressed I realized that it was far more difficult to create a cohesive scene like this than I thought. Aside from actually being able to paint the figure and landscape, there are many organizational issues I did not anticipate.!!!

!!!John Singer Sargent!The Oyster Gatherers of Cancale!oil on canvas!31” x 48 “!!As I finished up the last painting of the thesis I had a very difficult time painting the small portrait. I have a print of this painting in my hallway. I studied the way Sargent simplified the the tiny portraits and made my own decisions based on his success.!!Simplification has always been difficult for me, so it is always good to have examples from more experienced artists.!

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Artist Statement!

!I began hiking around the mountains and peaks near the Salt Lake Valley about ten years ago. I became moderately obsessed with the beauty and challenge it presented. I ended up climbing many of the rugged peaks just to the east of where I live. As I explored these areas I found many unique and beautiful features that I wanted to capture and study through paint.!

I have also spent a substantial amount of time drawing, painting and studying the human figure. I am fascinated with anatomy, and the function and power we generate as humans. The varying and highly individual forms created by the overlapping muscles are very challenging to represent.!

I always knew that I wanted to be a figurative, as well as a landscape painter. As I reflected on how to move forward with my career I began to think of the different ways we interact with nature. Many of the situations I envisioned involved intense physical and mental struggle. It is always curious to witness people intentionally placing themselves into these situations for no real tangible reward.!

Throughout the series I combine the beautiful scenes I have found during my wanderings with experiences of intense physical and mental struggle. I have used this platform to explore how lighting, scale and color combinations enhance the overall mood of the narrative. As I advanced through the project I encountered many new situations which challenged my ability and working methods. In a way the struggle became a metaphor for my own experience.!

I am rewarded in my pursuit if I am able bring all of these elements together into a convincing illusion of life. The difficulty of orchestrating such an experience keeps me engaged and forces me to be creative. Each new painting presents unique challenges which increase my technical ability and allows me to grow as an artist.!

My own selfish pursuit of the things that intrigue me, led me to portray this intimate and beautiful struggle of humans and nature. This is about the self imposed torture that makes us unique, and the visually dynamic scenes that accompany our experience.!

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!!Statement of Future Plans!!After completing the MFA I plan to build my resume by entering shows and contests while looking for publication opportunities. In August I will participate in a group show in Loveland, CO. While I am there I plan to visit Estes National Park to gather new reference for upcoming projects. I also plan to contact the curators of local museums about displaying my work in a one man show.!I plan to send my portfolio to various galleries to see if they would be interested in displaying my work as one of their featured artists.!I have been teaching as an adjunct instructor for the past six years. I enjoy teaching because it gives me a deeper understanding of the most important artistic principles. I plan to continue looking for new teaching opportunities.!I would like to complete the series of snow scenes from Broads Fork. If I can manage to get some reference from the top of the mountain, I believe it would result in an epic painting. I would like to also paint a scene with the woman at a closer range, near the beginning of the journey. I have found through this thesis that I enjoy painting at a larger scale. I plan to continue painting the landscapes I find interesting and looking for opportunities to integrate figures into those scenes. I really enjoy the compositional challenges, and what I can learn in the process. !!