May 2024 / No.10

Notes on my art and creative process

When I moved from a giant city to a small town, I adjusted to several new things. One was the chance of unexpectedly seeing someone I know out and about is somewhat high here, unlike the one-in-four-million chance in Los Angeles. Yet, I still find this surprising and react – at least in my mind – like it’s the wildest coincidence in the world.

I’ve had similar experiences through my artwork. While visiting Montana in 2007, I spotted a darling barn that I admired during each subsequent visit. I even did a painting of it way back, which sits in the other room waiting for a much-needed update/refresh.

Last autumn, I passed a small tree that was luminous in the setting sun. I took a quick photo and later painted the scene. While working on the background, one of the tiny buildings felt familiar, but I couldn’t pinpoint why... Then I realized it was the other side of my favorite barn. You’d think I’d spotted the Loch Ness Monster.

About fifteen minutes into a walk I take along the Whitefish River, one arrives at the vantage point that inspired “Field’s Edge” (top of this newsletter). A red-roofed structure with white walls sits in the distance and contrasts with the shadowy tree trunks to create a focal point. The other day, I decided to walk a different way (from the same starting spot) and immediately passed a red-roofed house. I stopped for a moment in disbelief. Could this house could be the distant structure in my painting? It turns out, YES.

Despite my decent sense of direction and ability to “map out” places in my mind, these examples reveal just how much a different area can reset one’s way-finding. I am still learning how to measure distances here by acres and fence types versus city blocks and freeways exits; not a bad swap, in my opinion.

“Why, one day in the country,
Is worth a month in town.”
— CHRISTINA ROSETTI

Instagram: @DrawKevinDraw
Website: KevinTseng.com
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