HISTORY & BACKGROUND

I studied illustration at 'Paier College of Art' in Connecticut and following this I started working as a freelance illustrator. Being comparatively new to the commercial world I was happy to take on many and varied assignments from clothing brochures to cookery pages. I have always had a special interest in the organic, so even when illustrating an apron or a pair of boots I still tried to make them looked lived in. I guess this is why I got the kind of work I did – more from smaller companies and manufacturers trying to portray a difference from the mass produced, than those wanting slick photographic presentation.

I met the artist Robert Heindel and his wife Rose in the mid 1980’s and they invited me to help with their then emerging print business. Generally I was an all-rounder for them, helping with exhibitions and trade shows such as ArtExpo in New York & California. Of course I had the chance to see Heindel’s work as it progressed to each conclusion – I was so impressed by his devotion to his work that it influenced me to paint almost full-time. I took Rose & Robert a small water-colour as a gift one day and they were both so kind, firmly insistent that I produced more works which could then be selected and developed into limited editions. Reluctant though I was, some 50 different editions later I’m glad they encouraged me so.

IDEAS & INSPIRATIONS

I am generally inspired by all things around me. I live in a beautiful old home in the State of Connecticut and enjoy my garden. Although I grow lots of my favorite things, we were lucky enough to inherit an already established plot when we bought the house. I’m still discovering the plants and using many of them. Whoever designed the original planting did a great job. I always have something to gather, even in the winter months, bringing it indoors to work with. As a lover of cooking, fresh ingredients are essential for me – I am ‘blessed’ with a wonderful farmers produce stand just a short way from home, but more often than not I return with far more than vegetables for dinner – gleaming fruits and green pods will find a detour via my studio.

There are so many artists I admire, some are influential to me such as John Marin, Andrew Wyeth, Avigdor Arikha and of course Turner. Others whose work I simply enjoy looking at would include Alexander Calder and Lenore Tawney.

from paleTtE to picture

I really prefer to work in watercolor – I love the effect it can create, especially in conjunction with the lovely and diverse selection of hand made papers available today. Of course I have my favorite sorts of paper, but I will try any new kind. As I have discovered, different surfaces suit different subjects. Sometimes I will carry out some pencil sketches, but I’ve found it more satisfying to sketch with the watercolor, its more immediate and I like that. If I’m working on a project, a new quartet of images with prints in mind for example, I will make several paintings along that theme. When I painted the lily series, I must have painted some twenty five individual works which were then narrowed down to the four final ones for the print series. I tend to keep everything I paint, invariably I make mistakes, but within such works there’s usually an element I like which I will try to capture for a future piece. Often what I view as unfinished someone else is keen to have. It’s so easy to become over critical, so now I just let others decide what they like – especially when they are buying the pieces.

I do sometimes paint on location, if I can find a quite undisturbed spot. I am happy to sketch away, even if only to help focus on eventual paintings. If I’m visiting a garden of note then I will rely on my camera. Such shots are really a prompt to get more of the same flower rather than working from a photograph, I simply cannot get the texture or true colour out of a photo, plus its always an excuse to have some lovely blooms in the house.

A DAY IN THE LIFE OF CAROL MATYIA-ROSS

My working day tends to be a familiar routine, I like it that way so I have a discipline of being in my studio where I must then work. I do take a run in the mornings as my health is as important to me as anyone. A period of exercise sets me up for the day, especially if I’m sitting painting for a few hours or so. Being in the studio isn’t necessarily all painting – I use the time to research new ideas, plan out new works, study plants or fresh produce I might be painting, and of course to experiment. The latter is vital to me, it might be trying inks with watercolor or finding use for new papers. Some days I will just paint and paint, while on others there’s no inspiration. On those blank days I figure it's best to get out and look for a new focus – there is nothing worse than an overworked watercolor!!