Michelle McCune May 2014 Visual Language Vol 3 No 5

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VISUAL LANGUAGE contemporary fine art

Michelle McCune, DVM

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May 2014 Volume 3 No. 5

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Sunshine in a Cup http://www.michellemccunedvm.com/

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michelle mccune DVM

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Artspan Studio Visit Michelle McCune

Why do I paint?

Why do I paint? The simplest answer is that I have to. In 2006, I attended a workshop with John Banovich. He asked us if anyone had ever stopped doing their art. A number of us raised our hands. When he then asked what happened, it was amazing to me that we all had ended up on antidepressant medication and/or therapy. This demonstrated that a true artist is not dependent on style, media, popularity, sales, etc. but rather that it is part of who the person is. That moment was enlightening to me and opened up a new perspective on being an artist.

As a child, like many children, I enjoyed arts and crafts, playing outside and animals. I never saw myself excelling in any one thing, had trouble fitting in and lacked confidence. There were always kids who were more outgoing, better at sports or playing the violin or got higher grades.

My older sister was a terrific artist whose work was hung around our house (she later went on to college as an art major) and I looked up to my her and wanted to be as good as she was.

In 8th grade I was awarded “Best Artist” and was overwhelmed with pride that my teachers thought I was the best. This validation was empowering and I continued to study art in school.

I took great pride in my work but felt it was a hobby not my future career. My love for science also continued to grow during this time and long story short I pursued veterinary medicine.

During veterinary school, I received a grant to study free ranging wildlife in Namibia with the Cheetah Conservation Fund. Having never traveled outside the country, I mustered all the bravery I could and went to Africa. The experience was life changing. I learned so much about the need for conservation and education and what can be accomplished with passion and commitment. Dr. Laurie Marker was an incredible mentor and the time with her inspired my self promise to be a part of conservation efforts. Upon

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graduation I got married and entered small animal private practice – a career I still enjoy today.

While an exciting career, I felt something was missing, that I should be doing something more, but what? The answer would come a few years later.

After the birth of my son in 2000, my sister convinced me to attend a weekly art class to get out of the house. I had little painting experience prior to that time but found an affinity for oils. I was inspired by photos I had taken during my time in Namibia and later on safari in Zimbabwe.

After completing a couple paintings I began attending workshops with wildlife artists. My first workshop took me to Montana with Terry Isaac, Susan Labourri, and photo shoots with Triple D ranch. I began to subscribe to Wildlife Art Magazine to find inspiration. In the Jan/Feb 2006 issue, I discovered John Banovich whose philosophies seemed to be aimed directly at me.

He said “There is no great nobility in creating an incredible painting. My question is, Now what are you going to do with that incredible painting that will result in something of REAL value? If I am going to be remembered for anything, it is just as a person who caused people to think and realize how important wildlife is.” I joined John for a workshop that fall in Canada and found the answer I had been looking for. Art would be my connection to conservation efforts.

My knowledge of animal behavior and anatomy and reverence for each animal as an individual explained why animals were my muse. Over the years I attended workshops with Terry and John (even traveling to Kenya on an artist’s safari – talk about memorable!) a couple more times as well as John and Suzi Seerey-Lester, Jan Martin McGuire, and Guy Combes. I learned so much about techniques and found camaraderie with the other artists and felt at home. I continue to attend workshops whenever possible.

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Royal Repose

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It became important to share the experiences I had while traveling to Namibia, Zimbabwe, Kenya, South Africa, Costa Rica, and within the USA. I only paint from my own photo references as there is so much emotion given to a painting with each brush stroke – palpable emotion from the experiences themselves coming out in the paint. My style will continue develop and evolve and I am still finding what works and what isn’t right for me. I prefer to lay out my palette and make set premixes prior to working. Then I can focus on the subject instead of questionning what colors to mix constantly. I have borrowed the palette of my friend and mentor Guy Combes which uses only 9 colors. I choose a subject from my photo references and determine the proper dimensions for the strongest

compositional design. I use a grid system to draw it out to ensure proper proportions. I then tone the canvas and work dark to light, back to front. My style is representational with the most detail in my focal area. I often ask for critiques from friends and fellow artists. It is easy to get so involved in a painting that I miss obvious flaws so input from others as well as using tricks including a mirror or turing the painting upside down. Compared to other wildlife artists, I feel my style is more feminine. I prefer the quieter moments in nature, relationships between animals and more realistic or regular animals (real women not runway models!). I don’t always choose the biggest tusks or horns because it is not always needed when real life is so full of beauty, grandeur, and breath taking moments.

Regal II

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The Seclu Mount Tam 16 x 20�, A Walk in the Park

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uded Lake— malpais from Bon Tempe Oil on Canvas

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Michelle McCune

Mama’s Got This

Wildlife painting has provided me with an outlet for my passions and a vehicle to educate and support conservation. It has also given me a family of fellow artists who share similar passions, goals and understanding. Artists see the world differently and their work allows them to show others the world through their eyes. In the words of Jan Martin McGuire, “What number brushes you use, what paints – this has nothing to do with art. True art comes from inside you, and the best art comes

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from the heart.” I put a part of myself into every painting and hope my work will inspire others to talk about nature and land and working together to support conservation and sustainability long after I am gone. I chose the name “Vanishing Visions Studio” as each piece represents a stolen moment of time that was gone a moment later and if we do not join together and work for sustainability and preservation, visions such as these might one day vanish forever.

Just A Nibble

Lands End, Summer Fog, 9 x 12�, Oil on Canvas

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Meeting of the Minds

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Spotlight King

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MBOGO

Watcher

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