Do you know Richie Carter?

Last week, we sat down with our fall instructor, Richie Carter, and asked some questions about his studio practice...

How did growing up in rural Montana impact your practice?

Growing up in rural  Montana definitely influenced my practice.  Out in Montana things move at a much slower pace and quite far from the popular cultural norms of certainly the big cities.  I was alway in nature observing and taking in my surroundings.  There was a lot of boredom to be honest.  I've later learned how important boredom is to any creative and really any human in general.  When you're bored, your brain has to begin solving problems and coming up with ways to entertain oneself.  I would constantly be creating anything as a young child.  I just liked making things, anything. 

How old were you when you started to see the landscape as a muse? Was it in Montana or during your travels later in life?

I never really saw Montana as a muse until I left my home.  I left once as a freshman in college and again to study abroad in France my Junior year.  I missed home so much and began to really be grateful for the place that I grew up.  It really is a special place.  Toward the end of college I started painting landscapes from photos I had taken out of the car window.  I knew I wanted to learn how to paint realism and began to study it once I graduated.  It really began to change my perspective on the land once I started painting it.  The hours I have spent sitting in one place observing and painting cannot help but change the way one sees. 

Considering the variety of subject matter in your work, from landscapes to intimate still lives, what would you say is the common thread?

The common thread that I believe runs through all of my work regardless of subject matter is the emotive quality that rests within the image and the paint.  I am a very emotional person who spends a lot of time reflecting and thinking about the power of emotion. It is something that seems to find its way into all that I do.  

What is the difference between your approach to a plein-air landscape painting and landscape painting from a reference photo in your studio?

The difference between plein air painting and studio painting which is often from photos varies quite a bit.  I love painting low light scenes in the studio and must use photo references.  I've come to a place where I separate the two practices.  I know that the plein air piecers are going to have a much more loose and fresh approach to it.  I am able to study color and mood in the atmosphere when I plein air paint.  It definitely informs my studio work from photos because I know how light works and what it looked like vs. what the photo is showing.  Photos never quite capture what my eye sees, so doing work plein air is invaluable to teach what colors and temperatures things are, especially shadows.  When I'm in the studio I have all the time in the world to recompose any scene and experiment with non direct methods of painting.  Plein air is just fresh and quick and although incredibly difficult, it can be so fun and enlivening.

How do you feel when you paint en

plein air? Is it meditative? Is it energizing? Do you enjoy its challenges (fading light, etc), do you forget about time and stay present in the painting moment?

When Plein air painting I usually feel the entire spectrum of human emotion.  From excitement to hesitation, confidence, complete questioning, frustration, joy and defeat. It really is such a humbling thing to do.  It can be very meditative when you can really get into the flow and then it is energizing.  When a painting is not working out however, it is one of the more deenergizing and frustrating things.  I've learned how to not take it so seriously anymore so it doesn't get me down like it used to.  There is always something to learn from nature.  Always. 

Richie Carter will teach Tonal Landscape Painting with us in western Sicily from September 8th - 14th, 2024 - have you signed up yet?