#Snapshots: My Instagram Life

My love of Instagram has come to a tangible art show. #Snapshots: My Instagram Life is a show completely made up of select Instagram photos I have posted over the last couple of years. The show is in the TePaske Gallery at Northwestern College in Orange City. There are 44 images in the show and I had a tough time narrowing it down to that since I have posted nearly 500 images. The gallery is open daily through October 16th.

The show opened on Monday and there was an opening reception Monday evening. I was truly humbled by the amazing crowd that showed up. Above is a selfie with just a portion of those who attended. Click on the panoramic image below to get a view of the gallery.

If you're not currently following me on Instagram, I invite you to do so! New followers will be entered in a drawing to be held after the show closes on October 16. I'll be drawing 5 names and each will receive one of the small photos from the show.

Search for John Vander Stelt or  jvstelt on Instagram.

Tulip Festival painting -Part 3

 The unveiling of the Tulip Festival painting was a part of the Extravaganza luncheon. The event took place at the Prairie Winds Event Center, and there was a wonderful crowd on hand for the festivities. The Tulip queen, Cara Venema, and her court were present. They are such a wonderful group of young women who represent the community.

Below is the finished painting. Many of you have seen this by now, but for those who have not I'm excited to show it to you and tell you a bit more about it. I decided to title it,  A Faithful Walk.

The theme of the 75th Orange City Tulip Festival is “Remembering Our Roots.” To commemorate the 2015 festival, I wanted to paint a scene that would take a glimpse into the heritage of the community and of the festival.

The tradition of scrubbing streets began at the first festivals and 75 years later remains one of the most popular events. It led me to thoughts of painting something associated with that activity. I felt a genre painting of a father and son carrying water would be a natural subject to paint–a subject that at first glance seems simple and commonplace, but in reality says much about our shared
experience as descendants of those who worked so hard to make this place special.

In the oil painting, the sun has recently set and a warm summer glow washes over the landscape. An iconic Dutch windmill is seen in the distance and a long path extends from the mill toward a father and son in the foreground. Both are dressed in the simple clothing of the province of Volendam and the father carries buckets of water with the traditional yoke to help lighten load. The curious son, always wanting to be at his father’s side, is seen taking a curious peek inside the bucket.

I wanted to communicate a number of things through this simple scene of life as it was in the Netherlands of old. The painting stands alone as a straightforward glimpse into everyday life, but there are symbolic portions of the painting, which represent some of the things that make Orange City unique.
    •I chose the simple attire of the province of Volendam to signify the strong Dutch work ethic that embodied settlers of NW Iowa and the same work ethic that thrives today.
    •The winding path connects and leads from the present where the father and son stand, to the past with roots in the Netherlands.
    •Those who settled in Orange City were people of faith. The father
        showing the water to his son is symbolic of the faith he passes to his son. The Living Water continues being shared from generation to generation.
    • God’s faithfulness and care are represented by the sparrow, by the sheep in the distant field and by the wild flowers growing along the path.

Joyfully you’ll pull up buckets of water from the wells of salvation. And as you do it, you’ll say, “Give thanks to God. Call out his name. Ask him anything! Shout to the nations, tell them what he’s done, spread the news of his great reputation!” –Isaiah 12:3-4

Two options of prints of the work are available for purchase at the Tulip Festival office. The first option is a traditional print on sterling paper, 75 of which are hand signed and numbered. The paper is sized at 22”x22” and the print at 18”x 18.” The signed prints are $50 each and the unsigned prints are $30 each. Print number 1/75 will be framed and auctioned off at the grand opening of Stadscentrum later this spring.

A canvas print of the work, sized at either 24”x 24” for $275 or 30”x 30″ for $325, can also be ordered through April 30.

Prints of the work can be ordered by calling the Tulip Festival office at 712-707-4510.

Tulip Festival Painting - Part 2

It was a goal to make this painting have an old masters quality to it. I wanted it to have a significant warmth that would almost radiate from the work. In order to do that I used a technique of underpainting called grisaille, which is an underpainting done in nearly monochrome. Often it is done in shades of gray but I wanted the warmth to come through in the final painting, so I opted for yellows, golds and browns.

As you can see, the whole painting was completed in these tones prior to adding any other color. I had family members who saw the painting at this stage and thought it was finished. Nice of them to think that, but it was far from done!

This was at a point later as I began layering color. I tried to remain mindful that the colors not get too vibrant or vivid. Even the red of the little boy's jacket was muted to help in creating the old masters feel. 

Next blog post will show the completed painting and unveiling event.

Learning Commons Painting - Part 1

It has been quite some time since I last posted. It has not been that I haven't been working on art, but rather just been busy with life and art I suppose. Or are life and art the same thing? I thought I'd share with you a project that began in April and was just installed last week.

 Back in April, a Call for Art was sent out by my alma mater, Northwestern College in Orange City, Iowa. They were in the final stages in constructing the new Learning Commons which is to house the college's library and information resources.

Included in the Call for Art were details of the facility, including color schemes, fabrics, surfaces and more.

Judging by these elements and after giving it some thought, I decided to submit a proposed piece of art that would be created specifically for the structure. A piece inspired by the design elements of the facility, by the purpose of the building, and by the mission of the college itself.

I really wanted to have a piece of my art selected for this library, because for the past 30 years, a large artwork of mine graced the old Ramaker Library at Northwestern. When I was a student at NWC, I painted a 4'x105' mural that has since remained on the upper level of that building. I thought it would be nice to have a piece of my work in the new library as well. I'm not certain what they plan to do with that piece, as they will be converting Ramaker into an office building for the college. I think I'll try to get in there and take some photos in the next week. I'll post those for you to see.

So, the image I submitted to the selection committee was one I created in Photoshop. It is a graphic representation of a corn crib. A simple structure, but one that has intrigued me the last few years. You see, this particular corn crib sits just to the south of the Pizza Ranch Support Center, where I work each day. I have sat in the main conference room there and gazed out the window at this structure. The light changes on it throughout the day and the simple geometric shadows have always made me want to paint it. Here is a photo of it.

Those simple shapes, angles and patterns seemed to fit with the details I saw in the Learning Commons interior design. Below is the sketch/rendering I initially submitted for consideration.

This is obviously very different in style from the way you are familiar with seeing me paint. More on that another day. To be continued...

houses the college’s library and information resources - See more at: http://www.nwciowa.edu/news/press/3465/students-to-benefit-from-campus-improvements#sthash.gtNNMyGF.dpuf

Learning Commons houses the college’s library and information resources - See more at: http://www.nwciowa.edu/news/press/3465/students-to-benefit-from-campus-improvements#sthash.gtNNMyGF.dpuf

Learning Commons houses the college’s library and information resources - See more at: http://www.nwciowa.edu/news/press/3465/students-to-benefit-from-campus-improvements#sthash.gtNNMyGF.dpuf

Oh, Brother

When I came up with the idea of incorporating an actual farm windmill as part of this artwork, I initially didn't give a lot of thought to exactly how that was going to become a reality. When it comes to building or fixing things, I am not very gifted. Fortunately, I have other family members who are willing to come to my aid when there is a need. As you saw in an earlier post, my Dad built the canvases. My brother Mike is a real fix-it guy. My other brother Bruce was the brains behind conceiving the apparatus we needed to mount this windmill.

The windmill itself weighs 60-70 pounds, and it needed to hang at the end of a shaft projecting out of the wall, beyond the surface of the canvases. That requires a hefty device.

Bruce came up with a blueprint of what was needed, and even built in a system of set-screw adjustments that would allow for slight adjustments to be made to the tilt of the wheel after mounting if necessary.

He then worked directly with the guys at Randy's Ironworks of Orange City to fabricate this heavy-duty item. I do mean heavy-duty–I think it probably weighed at least 30 pounds. I'm not usually into this kinda thing, but it was a thing of beauty, and I think I thought so because it looked like it was going to work so perfectly.

The contractors building the event center had built into the wall extra support to allow for mounting at the appropriate area of the wall. You can see from the photos that the base plate is embedded just beneath the sheetrock. After Bruce finished installing the apparatus, the drywall crew came back and patched in the sheetrock, textured and painted. All that extends from the wall is the shaft for mounting he mill.

That's my brother in the pictures above. I couldn't have done it without you, Bruce.

The Windmill

When I proposed the concept of incorporating a vintage windmill as part of the artwork, my thought was that it would be ideal to find a windmill locally, within Sioux County. Little did I realize what a challenge it would be to find one.

The wheel needed to be 6 feet in diameter in order to fit the scale of the overall piece. I put the word out to friends and family to be on the lookout for a windmill, but I had little success. We began searching online and found numerous sources that are manufacturing new mills, but I really felt it was important that this be a vintage mill, with the aged patina and wear that could only be found in an antique wheel.

We got a lead on a 6-footer that was near Lincoln, Nebraska but after exchanging e-mails, photos and phone calls I didn't like the looks of it.

I talked to windmill restoration folks who informed me that the 6-foot wheels are harder to find than the larger 8 and 10-foot variety. There were fewer of the 6-foot versions made to start with, and then those 6-footers did not hold up to the "Prairie Winds" as well as bigger wheels. As a result I was told "For every 6-footer out there, there are may be 100 of the 8-footers".

"Oh, that's just great",  I thought to myself.

Enter Ellen Sattler, of American Windmills. I found her website and gave her a call. Ellen was easy to talk to and very helpful each step of the way. She sent me the photo above and I thought it looked just perfect. It turns out Ellen is about as far from Sioux County as you can get–California. She dismantled the wheel completely and shipped it to Iowa in a box that looked way too small to contain a wheel of this size.

Mark Pottebaum and Marty Guthmiller took on the task of assembling the puzzle and did a great job. The wheel had just the right look and feel to it. Below are a couple photos of the assembly process.

 

 

Blue Skies

It's always exciting to put the first color on a canvas–especially when you can use a big ole brush filled with buttery bright oils.

This shows the first pass on the clouds.

And a shot with my eldest son, Joe, striking a dramatic pose.

Setting the Tone

This is in the basement of our house. I toned each canvas with a warm mix of yellow ochre and burnt sienna. The soft warm color gives a nice base for each subsequent layer of paint that is placed on top of it.

We then assembled all 4 canvases together. They just fit in my studio, which has an 11 foot high ceiling. In this photo my wife, Denise, gives the appearance that she completed the task by herself. Actually, it took 4 of us to manhandle  these into one single unit.