Photography Day May 2017

It takes a team to shoot extra large paintings.  Since the canvases are not stretched until consigned or sold, they have to be perfectly pinned to the wall for a smooth flat surface to photograph.  We color correct as we go.

Photographer:  E.G. Schempf


Reclaiming Space and Form

After a long period of photographing completed paintings, preparing for shipment, inventory and buying materials, it is at last time to reclaim space and form, and begin to paint again.

Music by Taj Mahal – M’Banjo


Immersion – Working Into the Night

I’m working on large scale narratives, and immersed in the studio, always alone, keeping focused.  Language is uttered in color and mark.  The large scale work is exciting, being much larger than I am, and the physicality of harmonizing the painting by moving from one end to the other makes it feel like we are one.

Often I’ll shoot videos to watch the progress, slowing them down to see if I am leaving a better painting under the one that it becomes.  Strangely, being shot as time lapse, it feels impersonal, and I’m comfortable posting the process.

This one tracks the sun lowering in the sky and eventually darkening into night.  If I have enough snacks and water, there is no sense of early or late; as long as the energy is flowing, the work does too.




Immersion – Working in the Morning

It works best for me to immerse in the studio, without weaving anything else into that time.  Getting to work early mornings and watching the light move from dark to first light to brightness, is exhilarating and focused.  Occasional breaks to simply sit quietly, reintegrate body and soul.

I’ve been running time lapse videos to watch the progress, slowing it down to see if I am leaving a better painting under the one that it becomes.  This one picks up the energy of the morning, especially when accompanied by Mozart’s variations on “Laat Ons Juichen, Batavieren”.


Moving a Large Painting

For two of us to move a 15′ painting under a partially 14′ ceiling, requires strategy and patience, threading the painting between rafters, for storing.  We ask ourselves sometimes, what can’t two women do?



BLUE: A Group Exhibition – February, 2017

Jane Booth Paintings at Sherry Leedy Contemporary Art

JANE BOOTH in BLUE: A Group Exhibition
February, 2017

Jane Booth’s work emerges from her dedication to the landscape of her
physical environment—rural Kansas—and the landscape of her interior life. Consequently her work has a diaristic and dreamlike effect, suggesting the rich interior life that we may access when we connect to that portion of our psyche. By painting in an abstract style that is still dependent on a certain naturalism, Booth mines the rich veins of formalism and conceptualism.

Booth has a B.F.A. from Kansas State University and furthered her education at the Kansas City Art Institute. Her paintings are in more than 300 private collections and numerous museum and corporate collections including the albrecht-Kemper Museum of Art, Marianna Kistler Beach Museum, Polsinelli Shughart PC, Blue Cros/Blue Shield, Emprise Bank, Farmers Mutual Insurance of NE, Lockwood Development, Millard Holding Corp., National Indemnity Company, Cisco Systems, H&R Block World Headquarters, Hilton Hotels, and Kansas University Heart Hospital.


Time to Play

I work incessantly, partly because of an obsession with visual beauty, but also because the act of creation for me is a way of feeling the most alive.

It’s hard for me to remember that an important part of the process of creating art is taking IN the world, not just the output.  In fact dedication to observing and fully living in the world, for an artist, may be one of the most important and honest things we can do.  Experiences then can course fully through one’s system and show up when creating.

We are staying on the Florida Gulf coast in a cabin on the beach, taking it all in, taking in the beautiful rhythmic surf that narrates the natural world of sky, water, sand.  Harmony begins to take over.  Playfulness blooms.

Here’s how the days go by on the gulf coast:



Beginning Again

Projects have been completed and shipped or put away, the studio is swept clean and there are blank canvases on the floor.  The light is beautiful, a large flock of bluebirds who are wintering  here dot the hedge tree just outside the studio’s glass door.  There’s a sense of spaciousness internally and externally.  It is time to begin again.


Out With the Old

I use about 150 pairs of rubber gloves a month for painting. Gathering them up, sweeping the floors, rolling out new raw canvases, helped to make January 1st feel deliciously fresh and clean. There’s nothing on the calendar for 9 days except painting.




Prairie and Painting, a Process View

Working on our land and working in the studio seem to me to be two sides of the same coin.  Both are connections to nature, rooted deeply in earth and sky, both feed the soul, one reflects the other reflects the other.

This week we burned the prairie, and while it’ll remain charred all winter, in the spring, the wildflowers and native tall grasses will flourish.  The painting that arose from the experience carries the feeling of the day.




Upon Awakening

Upon awakening, there was a sudden and urgent need to paint something fresh and innocent, and hang it in the living room.


Photography Day – October 2016

Photography Day:  a 2 minute view of an 8 hour photo shoot.

with E.G. Schempf, Cassie Rhodes, Jane Booth

music by the Count Basie Orchestra – Oh, Lady Be Good




A Week in the Woods and on the Lake

I’ve just spent a week in a unpopulated part of the Ozarks, tuned in to when fish are biting, moon rise and ballooning spiders traveling by wind on a single thread to their new homes.

It is strange to be here without painting supplies, and luxurious to simple take it all in, no output.

We walked for five hours yesterday in the woods.Woods

There was a leaf hanging by a spider’s thread in the woods, dancing in drafts passing through the woods.  Here’s a long look at it:


Netting shad, a small silvery fish that is great catfish bait.


We caught 5 nice channel cats and had them for breakfast.

First time off of work since spring, I feel renewed.


Unstretching, and Stretching Canvases

Extra large paintings are hard to stretch.  My studio assistant is small and mighty, and stretched these three jumbo paintings using a ladder and brains.


Twenty Eight Legs, an Installation

My paint encrusted work pants seem to me to become senselessly, effortlessly beautiful.


At last too stiff to wear, I’ve saved some of them, now 14 pairs, amusing myself by considering them in numerous options that include concrete
forms, fences, polyurethane, awnings….  I finally settled on hanging them out to dry, permanently, to watch the twenty eight legs wave in the wind among falling leaves, freeze in ice storms, and slowly disintegrate.  Perhaps the single layer fabric will be the first to give, leaving the pockets and seams and masses of paint strung together until at last, they drop.