Five Questions for Artist Tamalin Baumgarten
Tamalin Baumgarten
Five Questions
In Her Own Words:
I want to convey a straightforwardness in my work, to present what I felt when I first encountered my subject. The scenes I paint are not fancy or grandiose, they come from recognizing the dignity of small moments. I treat my paintings of seascapes, landscape scenes and buildings as portraits of memory. They often carry a subtle narrative. I build these narratives through use of light and shadow, perspective, and the careful placement of movement or objects in the scene. The narratives in my paintings are open-ended and invite the viewer to bring his or her own interpretation to the painting.
I believe painting is the manifestation of a felt experience—an attempt at representing something that once was. The absence of people in my recent work emphasizes the approach of the viewer onto the scene. I hope my viewer will find something universal, something that’s there in all of us.
- Tamalin Baumgarten
Five Questions:
Tamalin Baumgarten
1. What is your favorite piece that you have made and why?
My favorite painting I’ve made so far is Vermont Snow Scene. Making this piece was a turning point for me. I was able to leave certain areas of the painting unfinished, with less detail. Before making this painting, my natural tendency was to complete a painting by building up a consistent level of detail throughout the whole painting. In this piece I recognized the strength in establishing variety in the level of detail. I realized that a painting can be more powerful if some areas are left less defined. Those unfinished areas draw attention to the more highly rendered details within the piece, allowing the eye to move around the composition in a more intentional way. This leaves more space for the viewer to explore the scene in a subjective and personal way.
Vermont Snow Scene, oil on panel, 10 x 16 inches, 2017, Tamalin Baumgarten.
2. What does an ideal studio day look like for you?
An ideal studio day starts with clearing the calendar of all other plans for the day and evening. Entering the studio knowing I’ll have a full day of uninterrupted time, allows me to fully immerse myself in my creative process. I start by looking at the painting I’ll be working on, and deciding what area of the piece to tackle. I then mix my palette, a process that allows me to think critically about the painting, and begins my thought process for how I’d like the piece to unfold. I mix all my colors before beginning to paint, which allows me to compartmentalize my decision making and approach. As I mix the palette, I’m thinking about what color will go where. I use a palette knife when mixing colors, and I’ll hold the palette knife with the color up to the painting to see how it compares to the colors already there. During the painting process, I’m thinking about how to apply the paint, edges and texture, free from the distraction of pausing to mix colors on my palette.
Studio view, Tamalin Baumgarten.
3. If you could hang your work next to any other artist’s work (past or present) whose work would it be? What piece in particular?
If a painting of mine could hang next to another artist’s work, I would choose Edward Hopper, in particular his painting Early Sunday Morning. I admire Edward Hopper’s emphasis on light and shadow. Early Sunday Morning eliminates certain details like street signs. This omission of detail creates a timeless feeling emphasizing what’s important in the piece. The raking light across the building so clearly reveals the time of day. The overall mood of the piece relies on light and shadow and simplicity of form . I strive for this in my own work. I am after the essence of the scene, the feeling created through the use of light and shadow, and a paring down of detail so as to not distract and clutter.
End of Season, oil on panel, 36 x 48 inches, 2019, Tamalin Baumgarten.
4. What process do you go through in preparing for a work that you are about to make? (drawing, sketching, writing, experimenting, etc...)
A painting can take a long time to make, so I want to be sure the image I choose will engage my interest through to its completion. I work mostly from photographs, often combining elements from many different reference photos and sources. When developing a painting’s composition, I might start by creating a digital collage, cutting and pasting figures and objects from various sources. Once I’m satisfied with the digital composition, I then make a few small study paintings of certain details. These studies allow me to practice how I might apply the paint on the final piece. I like to vary the thickness of paint on the surface to create different levels of transparency and texture. Most importantly, the study paintings allow me to sample different color palettes. I believe a painting’s color palette strongly effects the mood of the piece. I start my paintings on a toned ground, which is a color applied as a base layer. If I am making multiple study paintings in preparation for a larger piece, I will tone the grounds with different colors to see which ground color works best with the color palette. The ground color sets the tone of the piece. Colors applied on top will appear different in relation to different ground colors. After experimenting with different ground colors, palettes, and paint application techniques, I’m ready to begin the larger painting.
Study of Mariatu, oil on panel, 14 x 11 inches, 2020, Tamalin Baumgarten.
5. What inspires you in the world outside of your work and studio? Why?
I find inspiration when I engage with other artists and connect with a community outside the walls of my solitary studio practice. I am passionate about creating learning opportunities for artists and developing environments where artists can connect and learn from each other. In 2017 I founded the Cuttyhunk Island Artists' Residency (CIAR) in Massachusetts, and have been directing it every year since. CIAR has provided over 100 artists from all over the United States (and beyond) with the time and space to work on their art within a supportive community environment.
Boat Launch, oil on panel, 40 x 56 inches, 2019, Tamalin Baumgarten.
And One More…
Do you have any advice to give artists that you would like to share?
The advice I would give to artists is to continue making work. There are many things that are out of our control when it comes to building a successful career as an artist. Something we do have control over is producing work. It is important to keep creating even during times when sales are slow and show opportunities are hard to come by. I would advise artists to develop a consistent studio practice, to show up even when feeling unmotivated or uninspired. I believe that if we maintain discipline and consistency in our practice, and continue to make work, we will be prepared for when the opportunities do come along.
North Room, oil on panel, 16 x 24 inches, 2020, Tamalin Baumgarten.
Recent Exhibitions:
2021 — Art Miami, November 30 – December 5, Curated by Brooke Shields and David Kratz, at Miami Art Week, Miami, FL.
2021 — Summer Exhibition, July – September, at Granary Gallery, Martha’s Vineyard, MA.
2021 — Summer Exhibition, June, at New York Academy of Art, New York, NY.
2021 — Cuttyhunk Small Works Show, April, at Kilburn Mill, New Bedford, MA.
2021 — Finding Sanctuary, March – May, with Visionary Art Collective, Online Exhibition.
Lucy, oil on panel, 48 x 36 inches, 2019, Tamalin Baumgarten.
