Welcome to the 275th installment of A View From the Easel, a series in which artists reflect on their workspace. This week, artists revel in the freedom of southern Indiana and the gift of an outdoor painting space.
Want to take part? Check out our submission guidelines and share a bit about your studio with us through this form! All mediums and workspaces are welcome, including your home studio.
Bridget O’Brien, Bloomington, Indiana
How long have you been working in this space?
About two years!
Describe an average day in your studio.
I like to work in the quite early morning, or into the night, if possible — on an ideal day, there is a three- or four-hour period of zoning out and avoiding the consideration of time. I think it’s a good sign when I’m only working on one piece at a time; there is a certain hypnosis and obsession one should feel toward their making that, for me, is monogamous. If I’m dating around, I’m not at my best, but there’s good to be gleaned from that, too. I’m curious if other artists experience this: I feel satiated and quite academic when I listen to a book or podcast while I paint, but then when I look at the painting the next session, I can’t take away the association. My painting about tree sap becomes about a politics podcast, and that’s a terrible pickle for me personally. The painting practice should be the form, the dance. So I’ve been listening to a lot of Glass, Eno, lately Tigran Hamasyan — musical compositions that have a wonderful drive but generally not the demands of discernible language.
My routine involves moving things around a lot and talking to my dog. I usually spill a jar once or twice a session. I read things and look at art books. Zinaida Serebriakova is someone I come back to a lot. I feel elation or anguish concluding a studio session, and absolutely no in between. The whole process is extremely melodramatic, as if a demiurge is demanding I put paint to canvas. Overall, I’m incredibly grateful to get to paint every day, especially in this space.
How does the space affect your work?
I have a lovely little window, phenomenal light. I have a few plants on palliative care that sometimes make their way into paintings, but more often into the compost. I paint in a private area that opens into a communal, shared space — many painters slinking around — and that is such a gift. I can grab anyone, usually anytime because they’re all crepuscular like me — and get fresh eyes on a painting. It rocks. It makes me a better painter.
How do you interact with the environment outside your studio?
I’m fortunate to live in a community that deeply values capital-A Art; in my university community (I am an MFA candidate at Indiana University) and in the greater Bloomington area. We have so many weird, passionate, beautiful artsy folks making remarkable work around here. And I think the key is, living in southern Indiana, nobody cares what we’re doing out here. It’s unexpected there’s such an abundance. But it’s here. We have an extraordinary art museum, tended to by world-renowned curators. They’re hiding down here, in the woods, experimenting and failing and howling at discoveries. I am very lucky to marinate in it, to make work in it.
What do you love about your studio?
I love when a painting is behaving itself, and we can greet each other amicably in the studio. I love when light is streaming through the trees out the north-facing window, especially in the evening, when the sun turns the trees bright red. I love when people drop a few knocks on the door and my dog peels into a horrible fit, but then melts when the door slides open, a “who are you barking at?” And a “huh that’s interesting.” I love that I have a studio — that is a seriously magnificent fact. It’s a space wholly devoted to painting and discussing painting. I am blown away by that.
What do you wish were different?
Try drilling into these walls! I think they’re metal, or something. Metal disguised as wood.
What is your favorite local museum?
The Eskenazi Museum of Art, particularly the Contemporary and African wings. The African wing is one of the largest collections in the country, which, due to their dedicated provenance research, is slowly returning a large part of the collection to the continent. There’s an Ibrahim El-Salahi piece I like to spend time with every time I visit, which reminds me, I should go there this week.
What is your favorite art material to work with?
I am a figurative painter, so oil paint. But I really have to loosen up. Not quite Richter-squeegee time yet, but it’s not off the table. Lately I’ve been using primed canvas paper as my palette, letting that dry, and then cutting up that canvas paper to either sew onto clothes or other paintings. Like I said, nobody cares what we’re doing out here. I know someone who is filling a room with old TVs and rocks. It’s wonderful.
Dragan Strukelj, Manhattan, New York
How long have you been working in this space?
Five years.
Describe an average day in your studio.
I’m usually in a preempted state of mind before I start to work; and often, working on more than one artwork at the same time. I do enjoy sketching before painting, which is a ritual in many ways. I try my best to sketch first to unwind and get ideas flowing — sort of like stretching before a workout. I like to listen to all kinds of music from Lana Del Rey and KAYTRANADA to piano and classical music.
How does the space affect your work?
I’m constantly influenced by my surroundings; however, my work is primarily informed by my inner world and life experiences. My creative process largely reflects my early upbringing and incorporates stories borrowed from my family history.
How do you interact with the environment outside your studio?
My studio is located in the Upper West Side inside my good friend and art patron Kim Manocherian’s home, located right across the street from Central Park where there is a big bird watching community. We love to be engaged with them because it’s fascinating how deep their knowledge is on birds.
What do you love about your studio?
I love that I’m surrounded by inspiring art (my good friend and art patron Kim Manocherian has the largest collection of Paula Regos) and I’m able to have access to a balcony. When the weather gets nice in New York, it’s a real treat because I paint with the doors and windows open; it feels like freedom.
What do you wish were different?
I don’t wish anything was different. I feel lucky to share space with such a great friend and supporter; alongside her cats!
What is your favorite local museum?
The Met.
What is your favorite art material to work with?
Oil paint.
