First off thanks to everyone that has been visiting and keeping up with the ramblings here. As I work to streamline my online presence, the decision to move the blog over to my new website seemed to be a no brainer. There it can work well with the new portfolio entries,twitter and facebook feeds.
Head over and see what has been done!
StevenLeahy.com
Up in the Air
Check here to see the weekly updates, tips and tricks from the Studio of Airbrush Artist Steve Leahy
Wednesday, August 13, 2014
Monday, July 21, 2014
And sometimes things just start to come together.
Thanks to the incredibly talented folks at Sandbox Designs, my new website www.stevenleahy.com is just about up and running! During the process of supplying images and copy, I have found myself reflecting on how my career has guided itself despite my best efforts to screw it up. I would have been the last one to tell you that I would be painting grains of rice and razor blades. These things might be parlor tricks to some but the miniature work has hit such a deep and resounding chord with me. I can't help the need to paint small and now understand that it has always been in there waiting to bust out.
The painting 'Air and Steel' was a piece that would not
allow me to ignore it. It really became a self portraits of sorts. Since the late 80's, the airbrush allowed me
to bridge the gap between where my art was and where I really felt it was
supposed to be. During the 90's, it was an unassuming razor blade painting that
changed the way that I look at all of my art. Creating a painting now that featured
the two was the natural next step.
'Air and Steel' began as a personal study and it was really
meant to only make sense to me. What blew me away was when it began to appeal to
others. Especially those outside of the airbrush community. I expected my peers
in the airbrush world that were used to my miniature obsession to understand yet I wasn't prepared
for the mainstream art world to take an extra look. This little painting ended
up getting juried into the Cambridge Art Association's RED show.
With that unexpected surprise, I polished my shoes and went
to the opening reception, not quite sure of how things were going to go. What I
found was that the things that I was passionate about in my work, translated
into that work. Others saw what was important to me. It was a solid painting
first, tiny second.
Sunday, June 29, 2014
I love surprises (sometimes)
'Bath House' |
As I mentioned in my last blog, it was aviation art that
helped me turn the corner. That was the work that was first noticed for me.
When all that happened, I decided that I needed to push that love of aviation
art. There are a few big juried shows for aviation art and it
was there that I would need to get my work. The massive annual fly in at Oshkosh Wisconsin
is one of those shows. I faithfully entered every year and did pretty well. The
core of recognized aviation artists are a close knit group and I was the
definite outsider. Add to that, I used an airbrush which for a long time in
many traditional art circles had been deemed as some sort of cheat.
One goal that I had (as lofty as it seemed) was to have my
work printed in Flying magazine. I sent several well constructed pleas but
found little success. Over time my passion for painting planes was set aside
for my passion for painting cars and we bring the story to the present.
The other day, I happened to find my name linked to an issue
of Flying magazine back in 2001. Clicking the link, I found that in May of that
year, they did a feature on some of the paintings from that year's show at Oshkosh . Surprisingly, the painting 'Bath House' was on the top of that page.
Sometimes things get checked off the Bucket List without you
even knowing!
Sunday, June 22, 2014
Hornet High and Roger Ball, Hornet
Sometimes I slow down and try to look in the mirror to take
a bit of stock in this journey I have been lucky to be on. People often have
memories triggered by pictures, songs and even smells. For me, I can add seeing
my old artwork to that list of triggers. Looking at a piece of art that I have
done in the past acts like a time machine of memories. In some cases, I can
even remember the songs that were playing in the studio as I was working on
them.
Hornet High and Roger Ball, Hornet have a lot of these
memories for me. I did this pair of FA-18 hornet paintings in 1997. My head is
still spinning with what was happening in my life back then. I had been
graduated from college for six years without a whole lot of hope of having that
degree earn a living, I was married and had two young children. It really was at
a point where painting pictures for a living seemed like a selfish hobby.
However, something happened to my work to reinforce the path that I knew I
needed to be on. This pair of Hornet paintings were received very well. Better
than I had really expected. Both were accepted into the EAA juried art exhibit
in Oshkosh and
led to my first articles in Airbrush Action and Airbrush Magazines as well as a
feature in Naval Aviation News. In addition, these two paintings became my
first limited edition prints. It was clear that I needed to continue pushing.
Roger Ball, Hornet |
Not only did these two paintings give me a boost of hope, they
also brought me into contact with so many of the heroes that make this plane as
incredible as it is. I was fortunate to meet pilots, ground crew, mechanics and
even designers that made this plane live and breathe. They are memories that
will live with me forever.
Wednesday, June 18, 2014
How paintings choose me
I am intoxicated with the creative process. There is
something extraordinary when an idea takes on a life of its own and really
dictates its own outcome. That was certainly the case for 'In the Club', the
painting of a 1949 Cadillac.
This painting began life while I was visiting my friend John
at his antique shop, The History Room. On the wall he had displayed a number of
old license plates from various states and years. My first thought was how cool
it would be to tie a vintage plate into a painting. That got my head spinning
with thoughts of sanding and priming a square directly on the center of the
plate for the painting. That idea immediately presented several challenges such
as dealing with working on the uneven surface of the raised numbers.
This idea also raised the concerns of altering an actual '49 plate. I settled
on creating a painting that would sit
above the plate rather than altering the vintage piece.
The painting itself usually dominates my thoughts in the
early stages of the process however with this piece, I found myself wrestling
with the manner in which it would be displayed. I knew that the work needed
to be suspended above the plate without damaging it. The solution came in attaching
the painting to a pane of glass in the middle of the frame. The pane would be
invisible and not touch the plate at all. This brought me to my friend and
master woodworker Larry Rancourt of Larry's Custom Woodworking to figure out
the details of this very unique frame. I described to Larry what I was trying
to achieve and he immediately took the ball and ran with it. The choice of the
framing wood always goes hand in hand with the painting. Knowing it would be a vintage
American car as the topic, we ended up deciding on Mahogany with an inlay of
Maple.
Now that the frame was under way, it was time to turn the
focus on the painting itself. This was the first time that the frame
construction was put before the painting itself. I had a 1949 Massachusetts plate so I needed to find a
great car to go with that plate. It didn't take long to settle on the
incredible 1949 Cadillac Club Coupe. The image for this painting came from John
Filiss of Serious Wheels.com. It was the perfect image in that it showed all
the beauty of the car and prominently displayed it's rear plate which I wanted
to replace with my MA plate. From there it was business as usual getting the
painting done.
Once the painting was finished, it was installed in the
frame. One modification that was made was that the glass that the painting was
mounted on needed to be tinted. The plate was visually very powerful and needed
to be muted to separate it from the painting. The skill of Diamonds
Window Tinting got the pane of glass perfectly tinted.
The result of all this was a painting that literally
instructed me the entire way through the process. It is without a doubt where
the most successful pieces come from.
Saturday, May 10, 2014
19 Seconds
I have a friend that writes the most incredible songs. The
biggest reason I find them so incredible is that she has the ability (and
courage) to write songs about the things that are not so bright and shiny in our
lives. Her music forces us to look within ourselves at the place that gives us
pain because she knows that facing it is the only way to overcome it.
It inspired me to make the same attempt with my work. To
reach inside myself and tell a story with paint that my own voice did not have
the courage to tell. '19 Seconds' is the painting that was the result. It is
all about the pain and regret of not having the courage to make a connection
that is really important. Regardless of the outcome of that connection, not
having the courage to even try yields far more pain and regret.
I chose the old 1980's phone to represent my youth. It sits
unconnected on a teak desk that we also had in the house as I was growing up.
The frame of this painting is also solid teak to echo the painting.
Finally the title for this painting comes from the 2011
movie 'We Bought a Zoo'. In that movie, actor Matt Damon's character describes
a philosophy that he lives by. The idea is that all he need is 20 seconds of
courage with anything that needs to be done. He puts aside all doubts and fears
for only twenty seconds when faced with a challenge. More times than not that
is all the time that is required. Since this painting examines my lack of
courage in similar situations, I named it 19 seconds. I wonder if I had only
found the courage for a few seconds more how different my life might have been.
Sunday, April 13, 2014
Everything finds its place
There are so many incredible ways to get our voice heard
these days. As artists, we work hard to make sure that it is the art that
speaks the loudest yet it is always great to get the chance to offer the
'director's commentary' on a painting. To give the viewer of the work the
background and inspiration that helped pull the piece into reality.
Over the past few years, I have found that social media has
become an excellent way to keep my work and its progress in front of people that
were interested in it. Where my website is my virtual gallery, Facebook became the visit to the studio for
people. Facebook gives people a chance to follow along on a day to day basis
with the painting process here. Everyone now has the chance to get involved
with the work individually by leaving comments and asking questions. My blog and twitter accounts did not find
their place as fast as the website and Facebook did however. It involved taking
a step back and looking at the big picture at the strengths of each to help
find their place.
This blog is now going to be the place to get that
director's commentary on the paintings that I am producing. Eventually it will
be the spot where you can come if you see a painting that strikes you and get
an in depth description about how it came to be. This blog will also allow for
comments and questions to get even more information on the works.
Finally the twitter account will be the place for instant
updates and thoughts about the industry. Tweets will allow people to know when
something new is happening on the easel. In the coming months there will be a
special giveaways to help boost awareness of both this blog and of the twitter
account.
On this Sunday morning though, I need to start pulling
together the materials for the Twitter giveaway! Stay tuned for the details!!
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