ANDY SKAFF Portfolio
| Artist Statement | Bio | Contact
While
growing up in Ohio, I was always drawn to the rugged, remote beauty
of the upper peninsula of Michigan or what I called the “North Country”.
This fascination with the “North Country” no doubt kindled my love
of the western landscape, particularly the mountains, which I discovered
when I moved to California almost 40 years ago. On my way west I
remember driving over the Mount Rose Highway and seeing, for the
first time, the spine of the Sierra Nevada rising from Lake Tahoe.
It took my breath away — as it still does today.
Though my career path as a young man took me elsewhere, I never
lost my love for art and the great beauty of the western landscape.
I have always been drawn to the texture and color of oil paintings
and the manner in which certain artists, especially the French Impressionists
and the early California plein air painters, interpreted and brought
to life the landscapes that they observed. Years ago a close friend
introduced my wife and me to the world of Early California art.
As time went on, I came to admire the works of William Wendt, Edgar
Payne and the Society of Six, and their ability to translate the
West’s remarkable light and color into timeless works of art. I
have little doubt that this admiration fueled my interest in studying,
collecting and ultimately painting these very same landscapes.
When painting was a hobby and collecting a joy, the texture of paint,
the expression of mood via simple brushstrokes or gestures and the
use of vivid, harmonious color drew me to certain subjects and paintings
like a magnet. I am fortunate enough to live and paint in the midst
of Northern California’s amazing landscape and to be able to easily
travel to remote spots where the sound of birds, wind in the trees,
or a running stream provide the perfect environment in which to
paint. There are few places in the world where such an incredibly
diverse and beautiful variety of landscapes can be found within
the space of just a few hundred miles. From grand mountain vistas
to perfect vignettes of mountain streams or the trunk of an ancient
cedar, the West provides an infinite and ever-changing variety of
subjects. Simply put, there is an endless variety of “perfect” spots
for me to paint.
Color and light are perceived differently by different people, and
communication of one’s perceptions can take many forms. Although
I paint what I see, my vision isn’t necessarily what a camera would
pick up. The multitude of colors and their values and the pattern
of light and shadow are elements that only the naked eye can observe.
While I admit to using photos as a reference for my larger works,
I primarily rely on small color studies I do on location and my
memory of light, shadow and color to translate my vision onto canvas.
The texture of my paintings is intended to communicate the rugged
beauty I see, while their color, sometimes pure and straight from
the tube, is intended to reflect the light and clarity of the places
I paint. It is a great privilege to be able to set up my easel in
a stand of old aspens, a peaceful meadow or at the edge of rushing
stream, listen to the quiet sounds of nature, take in the light
and attempt to communicate the color and spirit of those moments
with paint on a canvas. Hopefully, those who see the results will
feel the same sense of inspiration and peace.
Though I feel that I am just beginning to understand how to translate
the color and beauty I see onto canvas, I regard this second chance
– my career as an artist – as a great gift. My art, like all of
life’s passions, will continue to be a work in progress. It is my
attempt to share the fragile beauty that I see and the peace that
I feel when I paint. I hope that these works will bring some pleasure
and a sense of peace into other peoples’ lives. I also hope that
by observing my paintings, people will be inspired to do what they
can to preserve these special places for generations to come.
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