An Interview with Gayle Sleznick........by Joyce Oroz

Today I have the great pleasure of interviewing a very accomplished watercolor artist and lovely person, Gayle Sleznick. She is an active member of the Aromas Hills Artisans. Gayle frequently and joyfully shares her newest painting techniques and materials with the members—along with her regular students. I know you will enjoy the answers she gives to my questions.

Gayle, who in particular has inspired you?

One who was my real inspiration was Muriel Doggett, an artist from Livermore, who pulled me out from under a bush my first day at Asilomar, where I was trying to paint something/ anything, shaking in my boots, knowing it would be critiqued by Millard Sheets that evening. Muriel Doggett was a powerful woman and artist in her own right. She spun me around and said, "nonsense, Millard will love this", and he did. Later a friend and student of Muriel's, Marge Alderson, joined us. Marge was one of the founders of the Torpedo Factory located in Alexandria, (an art complex, built in what had been a torpedo factory during the war, housing 250 artists who work and sell out of their studios, has two galleries, teaching space and art supply store). It revived the Old Town of Alexandria. We three roomed together, painted together, went to other workshops, always pushing each other to do our best. Muriel died of cancer 27 years ago, but, her constant yammering in my ear, with solid instruction, remains with me today. Marge instructed for Flying Watercolors and ran workshops from the Torpedo Factory. I continued to join her as a roommate and helped where ever needed when she was instructing in England, Bali, France, Italy, Mexico or Ghost Ranch. Another fine lady, Miriam McNitt, who lived at Yosemite, was a stitchery artist of renown and an accountant. She insisted I pursue my passion to painting along with helping me set up my books. Her large murals can be seen at Yosemite. Richard Nelson, who lives on Maui, studied under Joseph Albers at Yale, introduced me to painting with the three primaries. Since I was traveling to Europe to paint at the time, limiting my list of colors seemed like a good idea. It was and has been my method ever since. Some of these friends are gone, but they set my course.

Why do you paint and teach?

I paint, because I cannot, not paint. It is a complete part of me. It defines my personality. Once you have been exposed to so many fine teachers and methods and have become rather competent yourself, it is time to give back. Learning an art form is difficult in a structured classroom. I have always felt the Arts are best taught in a mentoring or apprenticeship format.

What do you enjoy the most, painting or teaching and why?

•I love the painting part the most. It requires discipline, but where I go with the brush is for me. It is me.
•Teaching is more structured and makes one really understand the subject by putting it into words. It is for the students. With a teaching background, I want to be prepared with an outline and course of study, to give them the most for the time we have together. That takes time and thought, but nothing is more fun than to see the visuals that come out of those who suddenly not only look at things, but actually start to see them.

Besides watercolor, do you like any other mediums?

They say oil painting is like a dog. Watercolor is like a cat. I tried oil painting. Guess I am a cat person. I tried stitchery, macramé, stained glass (love the end product) ,sculpting, but watercolor became all consuming and the easiest to pack up and move and we were moving a lot. Drawing is a part of a watercolorist’s world. The use of pencil, ink and pastels are a recreation to my painting. With over 35 years of painting I have explored all sorts of water based paints, mediums that change the surfaces of the paper and every color imaginable and multitudes of new brushes on the market. I have gone from realistic to loose renditions, colage, abstract and back again. Not sure I have gotten any of it right, yet, but all the possibilities keeps me going.

Gayle, what is your best advice to up-starts in the painting business?

If you decide to paint, never consider it a hobby you might enjoy. Push towards professionalism from the beginning. Taking on watercolor is not a frivolous medium. Understand it will be costly to gather supplies. Start with the best paint, brushes and paper. Student grade will only be a handicap. Expose yourself to master painters early on. Colleges offer classes and a place to start, but the true painters, who are in the business, give workshops. California has some of the best. Set yourself up to many methods and subjects. Drawing is just as essential as Painting. Do not expect success immediately. Watercolor is done in layers. Your learning follows the same path. You are you and no one else contains your background which will definitely show in your painting, if you stay true to yourself.

Go to art shows, museums, subscribe to watercolor magazines, buy books on watercolor. Look and look and look some more at paintings.

You may give away some of your earlier paintings to family and friends, but once you sell a painting, you have to set yourself up with the Board of Equalization. At that time, you know you have gone professional.

Once an artist is properly trained in the fine art of painting, she feels comfortable breaking the rules now and then. What rules have you broken-if any?

Classes in formal school teach rules, the student parrots them back and those rules lead to correct answers. The painter has rules called the Elements and Principals of Design, but the choices of color, how to lay down paint, use of surfaces and the final product is unending. If you correctly follow the rules you may NOT come up with an answer. For a Mathematician, this would be frustrating. For the Creative person, this opens up all possibilities. I do feel comfortable with a brush, but hopefully never feel comfortable with what I know. This is what pushes me to learn more and try more directions with a creative twist.

The Impressionists were the first to go outside to paint and come up with images which were not just as they looked in life. They opened the freedom to constantly experiment. After painting pure watercolor for years, it was a break away for me to go abstract, using opaque paints and transparent watercolor together, sand, glue, rice paper, stamping, plastic wrap...anything I could find. A total change in approach for me where the happenings on the paper pulled images and shapes out of my head instead of the scenery in front of me dictating the direction of my painting.

I enjoy keeping the mindset of breaking rules in most everything I do. Alter a recipe, use a piece of furniture differently than its original format, add or take away from jewelry, alter clothing and their use, use a scarf more than just around the neck (and I don't mean hanging myself if my painting bombs). Creativity allows everyone to break the rules and it saddens me that it is not the center of our educational world.

I know you are an active and valuable member of AHAs. How has the organization helped you?

I had been in San Benito County for almost twenty years before I discovered AHA. From the first meeting, I was impressed with the variety of mediums and the professional work and attitude among the members. The easy, friendly way of the meetings, was a breath of fresh air. Artists can hold egos and none of it was there. Just the simple evening of members sharing their work at AHA meetings brings me pleasure in seeing their accomplishments and jogs a direction for creativity within me. Setting a theme is brilliant in pushing all of us to come up with something within the month. Meetings are never boring since each month is led by a different member. The events throughout the year give all of us opportunities to show, sell and share our work. It is an impressive family.

Gayle, where can we see your paintings?

I have a wonderful working studio and gallery in my home, open to the public to visit and tour whenever I am home.I have hung my work at Ella's restaurant on two occasions, my painting grace the walls of the clinic here in San Juan Bautista. This month I have paintings hung in the Valle del Sur show at the Art Alliance in Gilroy. This show comes down February 4th.

• Paintings hang in the permanent collection of the Office of the White House Historical
Association, Washington DC in memory of Ronald Dickson, architect to White House for
25 years, Wheeler Hospital in Gilroy, Hazel Hawkins Hospital, Hollister, CA., Hollister
Sister City of Takino, Japan and Magadon, Russia
• Christmas ornament by Sleznick, representing Pinnacles National Monument, hung on
2007 White House tree. The ornament is in a box, being stored at the Smithsonian.
• Watercolor of Pinnacles National Monument graced the Holiday Cuvee label for ChaloneWinery

Choosing the RIGHT Career.......by Joyce Oroz

Today I want to share something I recently wrote for "Career Day" soon to be held at the local Junior High and High School.

As an impressionable twelve-year-old, I remember distinctly a "paint-day" with my uncle who was a teacher and professional artist. Using oil paints on canvas, we each painted the same forest scene. Uncle John gave me his finished painting and I gave him mine. I painted passionately for the rest of my life because of that one experience--until I retired and discovered writing. I believe we should expose children to as many career choices as possible. Finding the right calling in life can mean happiness and prosperity.

Writing Your First Novel
By Joyce Oroz

Writing is something you can do between other things such as school or work. Chances are you will not write a popular novel right away. It could happen, but most likely you will have to study and write, work and write, think and write, keep writing and hope that you will be “published” some day.

I don’t mean to sound bleak, but there are millions of “writers” in this world struggling to get their work noticed and published. It does not matter how fast you write, it matters that you are like the turtle—you don’t give up. Anything worthwhile is worth working your fingers to the bone and then some. Writing isn’t “work” if you enjoy doing it.

Write what you know about, your experiences, thoughts, beliefs. If your character is going to the Congo, research the Congo thoroughly. Want to include a fox terrier, research it. Be able to describe its bark, the color and length of its hair, etc. You must be able to convince your readers that they are looking at the thing you describe. Show how the thing looks, smells and runs—make it seem real even if it’s a three-headed toad wearing miss-matched socks.

I have been writing a journal for ten years. Writing about the days events helps me to honor my own life experiences, no matter how minor. Some of those experiences will end up in my mystery stories. Your life experiences are all your own. Draw from them in your writing. The habit of writing for five or ten minutes in a journal every evening will help to form a habit of writing which will carry over to your novels and a lifetime of serious writing. Just think, if you wrote one page a day—every day, you would have a 365-page book in one year. Set realistic goals and follow through.

When you take Creative Writing classes (which I recommend) you will be encouraged to write an outline or a time-line of your story before you begin the first chapter. Most writers do this, but not everyone. It is helpful to know your plot in the very beginning. I wish I could come up with an outline, but the plot doesn’t appear for me until I am halfway through the book. Instead of giving up, I created my own methods.

I write mystery stories in an unconventional way. When I am ready to start a new book, I think up a quirky or unusual murder which usually happens in the first chapter. I spend months and many chapters trying to figure out who, why and how this murder happened.

Example: In the first sentence of the first chapter of my fifth book, my protagonist’s neighbors’ house blows up in the middle of the night. I am only on page 92 and the plot is starting to reveal itself to me. I think I know who murdered the neighbor and why. Of course I can always change my mind. My characters tend to lead me where they want to go.

In my head I am the protagonist searching for clues, wondering what happens next. Usually I set up three or four characters who might be the murderer, dropping clues along the way. At some point, I decide who’s guilty, but Josephine and my readers don’t find out until the end of the book. By that time the plot is clear to me and I can push it to the finish line.

Simple rules for writing an interesting book are:

1. Set realistic goals and follow through.

2. Start the action early so the reader is quickly drawn into the story.

3. Everything you write should push the story forward.

4. Showing what happens is better than telling what happens.

5. Create a good mix of dialogue and narrative.

6. Create characters readers will “love to love” and “love to hate.”

7. Take Creative Writing classes—daytime, evening—whenever you can.

8. Learn to write a perfect query and synopsis.

9. Write about what you know and write, write, write!

If your book is published without doing half a dozen rewrites and your walls are not papered with rejections—you are one-in-a-million! Good Luck!!

Solow recommends "Shaking In Her Flip Flops"

Did Santa give you a Kindle? If you're not afraid to use it--download my latest book, "Shaking In Her Flip Flops," recommended by Solow himself and have a shaking good time! Here is a little preview.......

...... putting it all together—I realized that Inez had piloted a classic Mustang through dozens of redwood branches, narrowly missing their deadly trunks and finally landed in an unsuspecting oak tree with no one around to see her do it. No clapping or bands playing for the little lady who landed her craft like an ace. I looked back over my shoulder toward the road, through a clear path of destruction that ended in a miracle......

Solow writes.......

BASSET ACTION By Solow
A basset mind is a terrible waste
I’d rather chase a rabbit
Than Google, cut and paste
Thinking is not my habit
I’d rather run in haste
After that crazy rabbit
The one I almost faced.

Steve Snyder In His Own Words.......presented by Joyce Oroz

Steven W. Snyder is a 59 year-old photographer & printmaker from Aromas, CA. He is an invaluable member of the Aromas Hills Artisans, an outstanding self-taught photographer and an all around nice guy! Steve specializes in giant, colorful canvases of microscopic worlds found in nature such as rocks and ice. He has mastered landscapes, seascapes, Yosemite, oak trees in the mist and so much more.

It is my great privilege to share Steve's story with you today…….while he vacations in Death Valley in the middle of winter! Did I mention how dedicated to photography Steve is? Here is Steve in his own words………

……..my desire is to make large canvas prints that look like detailed paintings. Examples of my work can be seen at the Framer’s Corner in Prunedale and the Dragonfly Gallery in Aromas.
Since I love bold colors, I search for scenes rich with color and contrast. Although much of my photography is of local landscapes such as Point Lobos State Reserve and Big Sur, my most recent work involves microscopic pictures of polished stones (macro landscapes). Most viewers think these macro photographs are abstract paintings.

I purchased my first digital camera in 1997. The digital camera’s instant feedback renewed my interest in photography and allowed me to experiment without worrying about film and developing costs. Upgrading to professional digital cameras and high quality lenses improved picture quality enough to allow for making very large prints.
In 2002, my acquisition of a large format Giclée printer and hours of labor making test prints, resulted in a big canvas print that met my high expectations. With the encouragement of family, friends and co-workers over the next 2 years, I made and displayed many canvas prints and joined Aromas Hills Artisans. I began publicly selling my photos on canvas in September 2002.
Steve Snyder’s work has been displayed in shows like San Juan Bautista Open Studios, Black Sage Gallery, Cherry Bean Coffee shop, Sand City Westend, Bargetto's Winery, Aromas Day, San Juan Bautista Art and Wine and Popular Photography (contest)

Look for Steve's work at the Dragonfly Gallery in Aromas!

Thank you, Steve for sharing your story and your talent with us today!

Kan't Fail Kale......by Joyce Oroz

Don’t bite the hand that feeds you greenery, better known as vegetables. Your Mama pushed them on you, your doctor pushes them and your grocer peddles them. I recently met a new vegetable friend … rather stand-offish, deep green and curly. Turns out—lots of people have run into my friend, kale. In fact, these people have convinced me that I should eat kale for good health. Great. How does one eat Kale? After a bit of experimentation, I came up with a delicious way to prepare this new mineral-packed vegetable. Here is my recipe for Kan’t Fail Kale………makes two servings—double it if you want more.

3 cups leafy kale, chopped
2 cups grated zucchini
1 teaspoon caraway seeds
4 tablespoons grapeseed oil (or olive oil)
1 tablespoon water
Salt to taste

Combine all ingredients in sauce pan, cover and simmer until kale is limp—five to ten minutes.

Kale Basics
In Season: Kale turns sweeter in cold weather, so it's at its best from mid-fall through early spring.
What to Look For: Choose kale with firm, deep-green leaves, avoiding any that are wilted or have yellow spots.
How to Store: Keep kale in the coldest part of your refrigerator, loosely wrapped in a plastic bag. Though it seems like a sturdy vegetable, kale will quickly wilt and turn bitter

J O Phone Home.....by Joyce Oroz

Remember when phones were expressly used for verbal communication? Wow, I just dated myself. Actually, I can still remember the wooden-box-phone hanging on the wall at my grandfather’s house. It was the phone that didn’t work because years ago Grandpa told the phone company he didn’t want a new-fangled phone so they cut off his service. He left the old phone on the wall, maybe thinking Mr. Bell would be hard up for money someday and hook up his phone again.
There is no time for human nostalgia over phones these days. We barely have time to learn about the various apps and such before it’s time to turn the thing in for a newer model that does twenty more unnecessary things, that is, if you can learn to do them before the next trade-in.
I am obviously speaking from the mature and seasoned adult view. Young people are free to explore all the wonders of a little pocket phone. They use their phones to text, take pictures, check the mail, order pizza, look at life on Mars and even talk on the phone if they wish.
I have to admit I like the phones photo feature and love to share my pictures with you—especially when it’s a picture of my grandson taking a picture.