Cobalt, a colour, a place, a dream, a tradition.
A 7 hour drive from Burnstown, a path I've not taken before, led me to Cobalt Studios, nestled on the edge of the Catskills, wonder and experience anew awaits me there, tantalizing me, teasing me, almost scaring me, until I settle in. Once I arrived at Cobalt Studios, a short walk through the wintry woods of New York State brings me to their 4 thousand square foot workshop. I am here for a month, time enough to learn and rehearse, then embed most of the tricks of my trade, theatrical set painting. I am an artist, who, when called upon, paints scenically, for the theatre that is. My hope is that after my time here, I will feel comfortable calling myself a scenic artist. Turning hopes and dreams into reality is the stock and trade of the artist is it not?
Collaboration, risk taking, geometry, absolute rendering capabilities, strength of character and physical strength, flexibility, ingenuity, persistence, diplomacy, intuition...are just a few of the required traits to be a scenic artist. The best tool a scenic artist has is ingenuity. Process is as important as inventiveness. What to do first; then what, these are the important questions, ‘think ahead’ is the absolute reigning motto. To have to go backwards is a nightmare, a waste of time and resources, not to mention spirit. A beautifully finished foreground usually comes after a fast and easy application of background. The question of tools comes into play, which tool is best for the job, most efficient. Often scenic artists use common tools in unique ways, as well as a raft of unique tools of their own. Bow lines, scenic foot, hand chalked snap lines, long handled brushes, bamboo poles, sprayers...etc
Then there is motivation. What is artistic motivation? Usually the designer creates the artistic motive. At the end of my stay there, it is a project, a challenge. I designed and painted a “small” muslin canvas, (by scenic standards) ~ only 9x12 feet. I planned it to include as many different paint surfaces as possible within its borders. It is a piece of hung drapery, crumpled folded, trussed, above an arched doorway, also curtained with sheer lace, and a heavy satin curtain with gold tassels. All is encased by a marble doorway, with a stone wall and a marble floor. Surely, this was a gleeful test of my capabilities, with lovely results! The Drapery is now hung up in the back music room at the Neat Coffee shop in Burnstown. (looks fabulous there)
The rhythm at Cobalt is comfortable even though the learning curve is steep, as I discover new ways to tackle old challenges. A sense of collaboration and a common goal permeates each day. At Cobalt we worked together, ate together and lived together, surely a test of character, diplomacy, compassion and a healthy dose of a recognition that we are in fact all in this together. Only working together will get the job done. It is not for the faint of heart. Shoot for the stars I say, I always do, guess I am an idealist.
My time away at Cobalt Studios near White Lake New York taught me many things, new ways to look at the paint surface, new ideas about things to do!
Creative energy abounds right now. I am in love with it all.
Off we go~
Karen Phillips Curran
February 2009
Karen Phillips Curran is an accomplished watermedia artist who works out of her studio gallery, Riverstones Gallery in Burnstown Ontario. She is also the scenic painter for National Arts Centre productions in Ottawa. A selection of works by Karen Phillips Curran is available at Tay River Gallery in Perth.
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