I love the use of color and pattern and do not paint objects completely realistically; but instead take liberties by using distortion, various size relationships, odd angles and flattened perspective.
When I was ten years old , I became influenced by Van Godh and Gauguin, whose bright, strong colors I admired. I still remember seeing their paintings at the National Gallery of Art in Washington D.C.
The most important thing I try to achieve with each painting is to create such a presence that it is impossible to pass it by without making you smile, even on a gloomy day.
About the Artist
Carolynn Redwine Geer was born in Washington D.C. and has lived in Phoenix Maryland for over thirty years. She is self-taught. At the age of seventeen she started her career as an apprentice fashion illustrator in the D.C. area. In addition to her paintings, she has illustrated several children's books. She has twice been featured in American Artist Magazine. Her paintings are included in both private and public collections. The permanent collection of Maryland Artists at the University of Maryland Global Campus since 1996. The Doris Patz Collection. The permanent collection of The Visionary Art Museum since 2017. The painting was included in the yearlong exhibition, "Parenting and Art Without a Manual" October 2018, through September 2019.Carolynn Redwine Geer website Carolynn Redwine Geer Carolynn Redwine Geer website Carolynn Redwine Geer
Artist's Statement
When I begin a new painting, I usually start with something I have seen that interests me. I like to think about the possibilities a certain piece of china or pottery, a flower or a scrap of fabric might have. Sweets and baked goods also find their way into my paintings on a regular basis. Choices are based on color, texture and design. I try to choose objects that are unusual and will be a challenge to translate onto canvas or paper. When working on canvas I like to use brush strokes that evoke a feeling of movement. My watercolors are painted using multiple layers of color. I have recently been experimenting with varnishing my watercolors. It's a little daunting but I'm finally comfortable with the technique. I like the fact that there is no need to protect the painting with glass. Varnishing eliminates the barrier of glass between the art and the person viewing it.Featured Work
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