The Pastel Journal, February 2011 Sample - Artist's Network

For Balfrey, nothing can matchthe excitement of painting on site,and she tries—as much as possible—to brave the elements. “The visualaspect to this type of painting justincreases the quality of the studiowork; we see and remember so much,”she says. “But we do have cold, snowywinters.” So she’s a happy studiopainter as well, appreciating the opportunityit affords for concentratedwork and experimentation.For plein air painting, Balfrey tendsto work small—6x8 or 9x11—andfinds these pieces become indispensableguides for color when working larger. Inthe studio, after working out a compositionusing thumbnails and value studies,she begins with an underpainting onAmpersand Pastelbord or Wallis pastelpaper. “I have three methods: one, a thinwatercolor wash; two, thin oil washes;or three, pastel blended into the support,”she says. “From there, I respondto the underpainting, which sometimesgoes in the direction I’d planned and, insome cases, takes on its own direction.I’ve learned to ‘flow’ with the paintingand listen to what it needs.”Balfrey has seen her artistic goalschange over the years, recalling that—as a beginning painter—she justwanted to “get it right.” Initially, shelooked to dramatic contrasts of lightagainst dark to attract the viewer. “NowI’m working towards softening thoseedges and leaving detail out,” she says,“but still getting the viewer to journeythrough my pieces.” Her latest effortsare more lyrical, poetic and rhythmic.“Now I want to create scenes that takethe viewer to another place,” she says.Indeed, that describes an essentialingredient in the work of all four artists;these are paintings that transportus not only into new landscapes butalso into rich emotional territory.Anne Hevener is the editor of The Pastel Journal.Creek’s Melody (14x11)Willo Balfrey (www.willobalfrey.com) is an associate member of the PastelSociety of the West Coast, and enjoys signature status in the Northwest PastelSociety, the Sierra Pastel Society and the Pastel Society of Oregon. She hasstudied with painters Albert Handell and Harley Brown, but most influentialhas been the mentorship of Richard McKinley. “ I have been very lucky inmy art journey to find a mentor and friend in Richard,” she says. “I knewI wanted to paint in the style he painted, and by working with him, he hastaken me on his journey and given me wings to fly on my own.”View more pastel landscapes by the artists featured in this article atwww.pasteljournal.com/article/pastel-american-landscape.February 2011 • www.pasteljournal.com 27