Art Naturally (The Blog)

Four O’Clocks were my first introduction to growing plants from seed. Uncle Teddy took me by the hand at his home in Schenectady and introduced me, the kid from Brooklyn, to gardening. I can still smell the soil as we dropped the seeds of Four O’Clocks into the ground he taught me to prepare. Four O’Clocks weren’t the only things growing in his garden, so was I.

The Kansas Peonies I grown in my garden was a Mother’s Day present from my son Chris. I have so many gifts he’s given to me over our many years together but I still cherish the bright pink of these robust plants each year as they bloom for me right in season. They return each Mother’s Day, expanding and adding to their beauty, as does he.

One year for my September birthday, my son, Michael came swooping in proudly bestowing upon me a stripling of a Japanese Maple. Still dangling was the $9.99 tag placed on it from Home Depot. Now this mature specimen holds court as a central focal point in my front garden.

A bouquet of Zinnias comes into my hands each year when my husband Dave buys them from the gardener with a stand up the street from us. The grin on his boyish face as he hands them to me with love is matched only by the riotous colors of the single and double flowers grouped tightly in his hands.

On Mother’s Day this year my grandson C.J. bounced up to greet me with a pot full of poppies. He shares my garden with me and helps to bring my attention to all the wonderful colors and shapes he finds there for fear I might miss them. These poppies are pink he told me and reminded me that we need to photograph everything so we’ll remember how they looked.

I’ll remember.

My Garden and my Art work side by side. Both require me to make aesthetic judgements about composition, scale, color, texture and style. When I’m deciding where to plant the flowers I’ve hauled home on my endless trips to the nurseries it doesn’t seem that much different to me then when I’m deciding how to compose them on a two dimensional surface.

I think about what style I’m looking for, what colors will work together, whether the scale of the placement works for me. I think about the type of flower and texture of the leaves. I make decisions about the 3D composition of the garden much like the 2D composition decisions on a painting.

The garden adds so many additional layers of complexity since the artwork is moving in time with nature, the seasons, the elements, and time. The painting remains caught in a moment.

Capturing that ephemeral moment is so gratifying to me in my Fine Art. I control it, unlike my Garden which is usually out of control.

You can visit this Watercolor painting on my website in The Work or you can buy a print of it in The Store.

Grape muscari, otherwise known as Grape Hyacinths live close to the ground. For years I never took much notice of them except for the little spots of brilliant purple that bounced so nicely against the bright yellow daffodils they bloomed along with in April.

Then I got down. Hands and knees down.

What a surprise! How intricate the little flowers are. Little bells dance around a central stem forming a small pyramid. This inflorescence changes shape as it ages and can be more and less tightly knit.

The individual purple doesn’t seem to change on each bell but the overall purple varies when viewed at a distance based upon the tightness of the overall flower.

I enjoyed these 4″ bulbs so much in my garden that I bought a bag of them from Costco one year and low and behold the next spring the flowers that bloomed were very different from my originals. They were more blue then purple and had a more rounded then pyramidal over shape.

So I googled Grape Muscari and found a world of cultivars I didn’t previously know existed. That’s one of the things that is so much fun about gardening. You are constantly in a learning mode. You are in for surprises every year and every season. The knowledge and information you acquire just keeps on growing, along with your garden.

So now I know that so far in my garden I have Muscari armeniacum and M. azureaum. Next year I’m sure to have more.

When I made my Digital Mixed Media Painting of my Grape Muscari I was careful to recreate the basal growth of the leaves. It would not have been accurate if I’d placed the leaves higher on the stem. The painting would have looked like a plant Frankenstein. As a Garden Artist, that is not what I’m trying to create.

You can view this Grape Muscari piece in my Store.

Isn’t that a fantastic name? Dicentra spectabilis. It just rolls out of your mouth in a lilting singsong kind of rhythm doesn’t it? I love to say it quietly under my breath as I walk around my woodland garden in May. Not too loud so as to scare the birds and the neighbors (and myself for that matter.)

I love their color pink. I have some white ones, , but the pink ones are just so luscious. They reseed very freely for me and I’m able to reposition the offspring into springtime vignettes.

When I bought this property in 1989 there was one plant of Dicentra native here and I’ve managed over time to spread the wealth around my own garden and also with other gardeners. What a treat!

I don’t mind that they die back in the summer because it gives me another planting opportunity but some of the holes they leave behind can be very BIG planting opportunities…all the more opportunity for creativity to kick in.

I made a Digital Mixed Media Painting, which I call, “Dicentra Necklace”. I think of these joyful little gems in my garden, decorating the light greens of spring with their pink heart shaped “jewelry”.

I have a number of varieties of White Daffodils growing in my garden but I don’t feel that I ever have enough. Since I am over run by squirrels I try to focus away from crocus and my beloved tulips. (After all, both my parents were born in Holland!) Squirrels consider the bulbs as an entrée and the flowers, if they arrive, as delectable garnish but they leave my daffodils alone.

The abundant shade in my garden causes challenges to many of my daffodil plantings but I still crave the color in early spring. One of the fun parts of designing gardens is figuring out how to hide the declining leaves on the daffodils as they absorb the chlorophyll for next year’s growth.

I’ve been known to hide them using daylilies, Siberian iris and ornamental grasses. I’ve stopped braiding the leaves since it seems so demeaning to their dignity.

I created a Digital Mixed Media Painting from one of these white daffodils. I love the way daffodil leaves have a slight twist to them. One of things I kept in mind when composing the piece is that the stem is offset where it enters the back of the flower, unlike a tulip which is a straight up vertical.

Another issue is making sure that I paint the shadows different from when the “light” hits the round stem vs. when it hits a flat leaf.

You can see this Single White Daffodil in my Store. I created various sizes for purchase. I think it has a rather heroic feel to the composition.

My garden is often the source material for my Digital Mixed Media Paintings. Though I am not a Photographer, I like to use my digital camera to record the progress and changes in my garden from day to day and year to year.

Springtime is such a hectic time since I’m always late uncovering the perennial beds. These jolly yellow daffodils came up in my entry garden and I was lucky enough to catch the early morning light behind them.

My entry garden is still in need of some tidying but putting the pansies into the pots and baskets takes my mind off the leaves from last fall.

Though I like to create gardens and like to create Fine Art using my garden, in the garden I get messy and dirty while my Botanical Art is clean and stylized.

This Digital Mixed Media Painting is a very popular piece that surprisingly sells all year long, not just in the spring as I would have imagined. People buy this Single Yellow Daffodil as an individual piece and also as a grouping along with some of my other daffodil Art Works. You can see them in my Store.

In June 2004 when I did my first outdoor Art Festival after a 30 year gap since my debut at the Floral Park Art League shows, I bought a tent and some shoji screens to hang my work. What was I thinking?

I wanted the booth to look classy so I didn’t want to use metal frames that I’d seen at other shows so I figured that I’d hang my paintings on the screens and it would give an upscale look. Wrong!

The first gust of breeze at the show in Northport harbor blew everything down. I resorted to folding the screen around one of the legs of the booth with bungee cords and hanging a few pieces on them. The wind was unrelenting but I sold $150 that day and I was hooked again.

I quickly rallied for my next show two months later, which was the Westhampton Beach Art Festival in August of 2004. By this time we had gone to other shows to scout out booth strategies and decided on the mesh panels made by Flourish. Since we had severe transportation space restrictions at the time, we needed to conserve space in our SUV and these panels did that and more.

I really like the white walls. It is a nice sleek modern look. The panels are easy to put up and take down. The booth is cooler in the summer since the breeze can go through the mesh. I can endlessly fidget with my arrangements since the hooks I use are simple to reposition. They roll up and fit in a bag which makes for very easy transporting. They are amazingly strong and I’ve been known to hang a lot of very heavy paintings with glass on them.

We’ve used the same panels on our outdoor EZ-Up booth and also on our indoor booth frame which we got from Flourish. The choice of booth sidewalls was one of our better equipment decisions.

Excerpt of Article posted in The Times of Northport

Artist cultivates her livelihood like a garden

By Arlene Gross
June 13, 2007 | 02:39 PM

Northport resident Mary Ahern is a successful artist who practices a unique technique she describes as. “Digital Mixed Media Painting”.

But Ahern, who… (was) among the exhibitors at Arts in the Park in Northport July 8, (2007) was not born an artist. “I didn’t come to paint until I was older,” she said. “I didn’t even know I had a facility for it.”

As a young girl, she focused on music: playing trumpet and saxophone for the high school band and conducting her Fort Hamilton High School graduation in Brooklyn with a rousing rendition of Beethoven’s Fifth Symphony.

“I’ve been in the bleeding edge of those kinds of issues,” she said. “In those days, girls didn’t conduct.”

A life-changing moment came in her 20s, when a friend gave her a coffee table book of Georgia O’Keeffe’s paintings.

“I opened it up and turned the pages and wept,” she recalled. “It was completely transforming. I could only look at 10 pictures a day, it was so overwhelming.”

From that moment, Ahern knew she must study art and, then a resident of Queens, attended Queens College.

Although she was influenced by O’Keeffe and painted similar subjects, such as close-up and sensual florals, Ahern said she did not mimic her idol’s technique. Whereas O’Keeffe painted with direct and rapid strokes, Ahern’s traditional paintings were created in grisaille, or gray scale, and layered with washes of pigment on top, giving the subjects a glow through the optical blending of glazes of pigment.

After divorcing her first husband, Ahern took a job at Barnard College’s career counseling office, where she herself was able to get some career guidance. Through her Barnard position, she attended Columbia University for free by working there while raising sons, Chris and Michael, then ages 10 and 8.

“I knew if I couldn’t stay home and be a mom and paint, I had to make a decision: I’m going to make as much money as possible,” she said.

With profit in mind, Ahern went into technology sales, selling computer graphics and eventually becoming Northeast regional sales manager at Chyron Corporation in Melville (and a National Marketing Manager at The Dynatech Video Group.) Then she started Online Design, a digital graphics company.

For Ahern, feminism was not a word to bandy about but, rather, her day-to-day reality - working as a single mother in a male-dominated industry.

“My single-minded focus on providing a good life for my sons enabled me to ignore the tremendous obstacles, prejudice, emotional assault and loneliness that comes from breaking through social barriers,” she said. “I, like my father, pulled myself up by my bootstraps. As a woman in a male industry however, I, like Ginger Rogers, did everything in high heels and backwards.”

In 1989, Ahern fulfilled her dream of buying a house with a spacious garden in Northport, which she said, “was like a step back in time to a slower and more gracious lifestyle.”

“The center of town with a Main Street embedded with trolley tracks leading to the harbor breezes and music in the gazebo captured my attention and insisted upon my attendance. I needed to move here.”

Eleven years later, she renovated her home, adding an airy, second floor art studio, and now natural light trickles throughout.

The garden, which Ahern designed, encircles the house, with its artfully designated focal points and meandering paths, everything flowing gracefully.

“I practice nonviolent gardening - no rose bushes to stab you - all soft inviting plants,” she said.

Seventeen years after her first marriage ended, Ahern married David Ruedeman, an engineer at Chyron. The couple worked together there but got to know one another only when he became a client of Online Design. This year will mark the couple’s 10th anniversary…

Early on in the second marriage, wishing to reinvent herself, Ahern got a degree in horticulture from SUNY Farmingdale in 2000, with the idea of becoming a landscape designer, which she did for a year. “It was too much for my (aching) body,” she said, of the many hours spent working on bended knees.

From there, it was a two-year course studying botanical illustration at the New York Botanical Gardens in the Bronx.

Her (Mixed Media) painting, a culmination of expertise paralleling her life’s progressive journey, combines a passion for the fine arts, gardening, computer graphics and botanical painting.

“To be creative, you need to know your medium,” Ahern said of her computer graphics skills. Through her paintings, she seeks to make people look around them and become more aware of the nature surrounding us.

Dr. Roberta Koepfer, her friend since 1971, said, “She’s like a phoenix. I have seen her rise up from a fair number of devastating experiences. Every time she comes back, she comes back more dynamic, more focused on her art and with an increased zest for life and personal growth.”

When it came time to sell her art, Ahern’s business savvy came in handy; she started in Northport as an exhibitor at the annual Arts in the Park series (in 2004) and now participates in about 15 art shows in New York and Connecticut between May and September, with her husband lending a hand.

Ahern’s work has also been the focus of several gallery exhibitions, including a one-person show at Greenlawn’s Harborfields Library this past February.

Susan Hope, gallery coordinator for the library, noted that Ahern’s exhibit was well timed: her cheerful florals brightened the gloom of winter. “It has an eye catching appeal,” she said. “People really enjoyed it, whether they were art savvy or just seniors on their way to their meetings.”

Today, Ahern is either painting her botanicals, selling them or lecturing on the business of art at libraries or schools, although her business persona has changed radically over the years. “I did trade shows in high heels and silk suits,” she said, “now I’m doing business in Birkenstocks and shorts.”

To anyone seeking career guidance, Ahern advised, “Don’t throw away anything you’ve done because you want to transform yourself. Take the good portions, the positive elements and try to incorporate them into this new self you’re creating. That’s how I’m living my life.”

Now that I make my living by creating Botanical Fine Art, image my surprise when I stumbled upon my first botanical drawings, dating from 1976. In an effort to document my classical art education I have gone to the attic to retrieve my early drawings and paintings along with the schoolwork I saved from the excellent Art Education curriculums I attended at York College and Queens College, (CUNY), City University of New York during the 1970’s.

Without any historical background regarding the long tradition of botanical drawing, I documented the branch structure, flower and leaf as well as the knothole of a branch, which I more than likely retrieved from my garden in Queens Village, NY. I was an avid, but highly amateur gardener, tending to a huge cherry tree, a multi-stemmed white birch and three peach bearing trees in my tiny garden.

The drawing of my houseplant has been badly damaged by mold but it describes nicely a succulent houseplant I nurtured for years without realizing that it would ever flower. When the plant finally graced me with a huge, star shaped hairy flower, the stench it emitted attracted an abundance of houseflies much to my dismay. The flower itself was stunning. Very large in proportion to the plant itself with reflexed petals and patterned markings. I, many years later, found that the common name of my trophy was, the Carrion Plant, and the Latin name is: Stapelia Gigantia, from the Family of Asclepiadaceae.

Considering the amount of flies that I remember finding their way into my home I am not surprised to have discovered that it was known to attract pollinators by emitting the horrendous odor of dead meat. I don’t remember exactly what happened to the plant but I think that it failed to flourish after blooming that year. That may either have been because the effort it took to produce that huge flower weakened the plant or it may be because I was so offended at the smell that I was not longer enamored enough with it to tend it with care.

I am an artist creating Paintings in various mediums some of which use Traditional media and some of which are Digitally based. Whether my paintings are Digital or Traditional, the same compositional elements apply. The arrangement of the piece, including rhythm, perspective, focal points, proportion and light source are just a few considerations when I create a painting.

As a classically trained painter I was taught to paint using traditional sable and bristle brushes. My Traditional Paintings are created using either oil, watercolor, pastel, colored pencil and/or graphite. At times I will combine some of these mediums to create Traditional Mixed Media paintings beginning with a grisaille underpainting.

Along with the Traditional mediums, I also create a different type of art in the form of digital paintings.

I create my compositions and paint directly on the computer using a pressure sensitive stylus and tablet.  I paint the lighting, the color, the depth and dimension of the whole, making a unified bouquet, flower arrangement, still life or plant portrait. Though my Digital work has the same realism one expects to see in photography, this work is not photography.

Generally speaking, I use plants that I grow in my own garden; therefore, I am intimately aware of their growth characteristics and morphology. I use this detail knowledge when I accurately reconstruct and stylize the flowers and plants in my paintings. With a degree in Ornamental Horticulture, plant accuracy is an important feature of my work.

As a Traditional Fine Artist painting in oils and watercolors for over 30 years and having spent the last 25 years immersed in computer graphics, I created this new Genre of Fine Art for myself. Digital Mixed Media Painting emphasizes my skills as a painter and the left-brained/right-brained synergy of creativity and technology…mary