Featured artist: Sharon Schock
Summerland Overlook, 12x24, oil on Ampersand Gessobord
Based in Santa Barbara, CA, Sharon Schock paints light-filled scenes inspired by her surroundings. Her alla prima, wet-on-wet technique allows her to capture each moment in a single, expressive sitting.
Bacara Palms, 8x8, oil on Ampersand Gessobord
Q: As a daily painter, what role does it play in your practice, and how has that commitment shaped your technique, mindset, or creative voice over time?
Practicing daily painting has kind of put me in a “painting mindset” most of the time, meaning that I’m constantly looking for compositions and inspiration everywhere I go. Taking reference photos helps channel this into something productive when I can’t just whip out my paints (which, with 3 young kids, is most of the time!). Painting small daily paintings has also helped me branch out and be brave with subjects. Something that feels daunting as a large painting can feel fun and creative as a 6x6-inch piece. And if that 6x6-inch painting looks great, I then have the confidence to try it again as something larger.
Laguna Street, 6x8 oil on Ampersand Gessobord
Q: In what ways has plein air painting changed how you see the world?
Plein air painting is something that I used to despise. I didn’t like the feeling of being watched, dealing with bugs and changing conditions, sunburns, unexpected wind, and feeling like I couldn’t make a decent painting. Then I signed up for a weeklong plein air workshop. For months beforehand, I practiced painting outdoors so I would be confident when I got there. And now it’s something I thoroughly enjoy. It’s such a different experience than working in the studio from a photo. My plein air pieces feel fresher and livelier, more painterly. Not necessarily great, I probably still prefer my studio work. But plein air painting has made me a better painter; it has made me more careful about my compositions and more conscious of my color choices.
Pismo Beach, 8x10, oil on Ampersand Gessobord
Q: Has the coastal light in Santa Barbara influenced your color palette?
Yes, I have a pretty consistent color palette, usually a warm and cool of each red, yellow, and blue, Sap Green, Yellow Ochre sometimes, and Titanium White. I have noticed that when I travel to other places to paint, my color palette needs adjustment. What works for me in Santa Barbara doesn’t work as well in Colorado or Maine.
Last Light at Hendry's, 9x12, oil on Ampersand Gessobord
Q: When painting on location, how do you adjust your approach as light shifts or the environment changes?
When painting outdoors, I usually pick a time when the light is a bit steadier, like 9 a.m. instead of 6 a.m. I work out my composition, then quickly mark in my shadow areas first (I also take a photo when I start so I have something to look back to if things change too much). Then I paint as quickly as I can, and by the time the sun breaks through the clouds, or vice versa, or the shadows change, I have enough on the panel to finish. We have a lot of morning fog in the summer here, and I finished my overcast painting so quickly that I could hurry and start a sunny version of the same scene. I never paint very large outdoors, 9x12 is about as large as I’ll go.
Take a Seat, 9x12, oil on Ampersand Gessobord
Q: What draws your attention to specific moments of light hitting buildings or landscapes, and how do you decide what to emphasize?
It’s mostly shadows, and the shapes the shadows are making. Also, I like the way late or early morning light can make colors more dramatic, and high-contrast subjects are just fun to paint.
Butterfly Beach From Above II, 8x8, oil on Ampersand Gessobord
Q: When working from a complex scene, how do you decide what to simplify or leave out?
I try to identify what is speaking to me about a certain scene, what I like most about it, and those areas become focal points. And then I think about what objects or areas support the focal points; those things stay. And then I ask myself ok what isn’t helping, what is maybe just distracting, or is it visual clutter? And I take those things out.
The Game, 8x10, oil on Ampersand Gessobord
Q: Do you typically begin with a clear composition in mind, or does the scene evolve as you paint?
I am very much a planner when it comes to composition. I sometimes feel like I spend more time agonizing over the composition than the actual painting.
Victor the Florist, 9x12, oil on Ampersand Gessobord
Q: What differences do you notice in your process when working with oil versus gouache, and what influences your choice between the two?
This is an interesting question. I think it comes down to lines and edges. If I feel like the most compelling thing about a scene is its lines, then I know that it’s going to work better in gouache for me. I started painting in gouache because it was easier to set up when my baby was napping. I would paint quickly with the few minutes I had and sometimes use those gouache paintings as studies for larger oil pieces. I notice that I paint faster in gouache, maybe because it dries so quickly. But more recently I switched to gouache when I’m feeling stuck or uninspired. I find that switching media really helps to get the creativity going.
Yosemite Falls, 12x6, oil on Ampersand Gessobord
Q: Is there a location you haven’t painted yet that you would love to capture?
Gosh, so many! I would love to travel around small towns in Europe and paint, especially in Switzerland. But there’s also plenty around me locally that I have yet to discover.
Miramar Nocturne, 8x10, oil on Ampersand Gessobord
Q: How did you discover Ampersand, and what do you love most about Gessobord for capturing your plein air work?
I discovered Ampersand probably 16 years ago, when all the daily painters seemed to be painting 6x6-inch squares every day. And Ampersand sold them in a 4-pack for a pretty reasonable price. I fell in love with the surface texture. I feel like the texture of canvas gets in the way of my brushstrokes; linen is doable, but still not ideal. Gessobord has a smooth surface but still has enough grit to it that the paint doesn’t just slide around. It is my all-time favorite surface to paint on. And since they’re flat, they are easy to transport for plein air painting, they slide easily into a panel carrier, and they’re light enough that I can use painters’ tape to attach them to the lid of my pochade box.
Artist Bio:
I graduated with a BA in Fine Art from Westmont College in 2006 and continued my studies at the Denver Artists League. In 2010, my husband and I moved back to Santa Barbara, where we are enjoying life with our three young children.
I feel very blessed to live in such a beautiful area with so many natural inspirations. Tall palm trees contrasted against the sky, seaside cliffs, adorable, bright buildings, and quaint little towns. My goal is to isolate and build upon what I find beautiful, what others may have overlooked.
I paint using an alla prima technique, painting wet-on-wet usually in a single layer, and in a single sitting. I really hate to stop working on a painting before I'm finished, so this approach suits me perfectly! To see more of Sharon's work, visit her website, Instagram, Facebook, and YouTube.
