​Material Honesty is a term I learned while studying architecture at the University of Washington, Seattle. They were very big on teaching us future architects how to be true to our building materials.

​Although I'm not designing buildings now, I do think about material honesty quite a bit while I work. I've come to love the idea of hinting at my process and using materials in the way that works best for them. 

If I'm using pastels atop a colored paper, then when I'm finished I feel that one should be able to determine that I used pastels and a colored paper for the piece.

Here are some ways that I accomplish the idea of material honesty with pastels, illustrated with details from my artwork "I Dare You".

Being expressive; not photo-realistic
For me, my art is about expressing a mood and getting at the heart of what inspired me in a subject in the first place. For the painting shown here, I had taken multiple photos of my model. In one of the photos, her eyes really drew me in. They seemed to be almost daring me, the viewer, to take her on. I absolutely love the strong, determined expression on her face. Of course, the gorgeous sunlit hair only added to my desire to paint the image.

I'm not interested in creating a photographic replica with my work. It's much more interesting to me to express myself and the media I'm using. For this piece, ​I used a specific set of colors and very expressive mark-making to get those original inspirations down on the paper. In the end, I do feel that I captured the ideas that prompted me to paint this image in the first place.

With each new piece I paint, I'm learning more and more about pastels and their specific abilities. I hope to continue to add to my list of ways to use them honestly.

Having a portrait painting commissioned is fun and exciting. The process shouldn't be stressful! If you'd like me to take photos for you, I offer a convenient photoshoot option for Standard Portrait Commissions. If you'd like to use your own photos, here are some helpful tips to make choosing a reference photo easier.

1. It is best to choose a photo where the subject looks most natural.

2. Look for a photo where the camera caught the subject unawares. A natural expression when the subject looks most like themselves is best.

3. Do not choose a photo where the subject is smiling "cheese!" for the camera.

4. Consider a photo where the subject is not facing the camera straight on. 

5. An angled face, an interesting expression, and good lighting are great.

6. You do not need a perfectly framed head shot. I will crop your photo and change the composition. ​

7. Most importantly, be sure the subject is clear and in focus. Zoom in on the face to be sure that it is not pixelated or blurry. 

​Let me know if you have any questions about how to choose a reference photo! I'm happy to help. Contact me here.

XOXO

​Step three - and very importantly! - I've got to purchase a tent. It'll happen soon. I'm doing research.

I hope to see you at the Edina Fall into the Arts Festival this September!
Find more of my upcoming events here.

​I find that I'm drawn more and more to painting people. I've been inspired by a number of photographs taken by friends and family and have used their photos, with permission, to create artworks. However, I believe it's time for me find willing subjects (my own kids really don't like getting their photos taken!) so I can have a variety of my own photo references to work from.

If you, your kids, or someone you know is interested in being subjects for my art, please contact me via email at mary@marypow.com.

I put the final touches on Jonah's portrait today. So, now my Portrait Project "Addendum" has wrapped up and my Portrait Project is officially finished!

Twins Noah and Jonah are a coordinated set of paintings, meant to be framed separately, but displayed together. I focused on capturing their two different personalities, while also having the pair of paintings still match. They are twins, after all! 

I kept my mark-making loose and free with this pair. Preteen boys are endlessly growing and changing, and always active. I feel that this loose look showcases the idea that these paintings capture but a moment in time.

Thanks to all of my Portrait Project "Addendum" subjects!

The Portrait Project may be over, but ​I will continue with portraits. Contact me if you're interested in having a custom portrait painted.

If you'd like to take a look at all of the portraits together, see them in my portfolio.

I'm back at work on my Portrait Project, working on the twin boys! It's going really well and I'm having a wonderful time with them. I'm sure I've said it before, but I have to say it again - I never would have guessed that painting portraits would be something that I'd enjoy this much. But it's true; I love it!

I also finished another portrait in April! So, here's Addendum, Part 1 to my Portrait Project showing my in progress work on these final three.

I should have an Addendum, Part 2 with the finished portraits in about a week!

If you want to find out more about having a portrait commissioned, please contact me or view my commission request page. I'm always happy to chat!

I made it halfway through my goal of 10 pastel paintings of my neighborhood lake before Spring hit me full on - and I took to my garden. :)

All winter I've been planning a huge DIY landscaping project to overhaul my backyard and it was time to start! I love to design, I love to grow things, I love to be outside, and my kids are now old enough to handle themselves for long periods of time, so not much could stop me from getting to it. And after I finished my work for my art exhibition "Orient, Disorient Repeat" - I couldn't focus on anything else but my garden!

Now I've finished most of the planned landscaping and the summer heat has set in, so I'll be back to this pastel project soon. I have three more photographs of the lake in my queue, which will bring my total to eight. Two images short!

I had wanted to include a sunrise and a sunset image, but now if I do there will be a big gap between the dates. I haven't even been on a walk around the lake since May 20th due to my yard work giving me plenty of exercise!

Oh well, I may just take some photos for those two a bit later than planned. Then I will have my 10 view of Lake Nokomis.

Stay tuned!

In one episode of the podcast Hidden Brain, host Shankar Vedantam describes a theory called the edge effect, which is the point where two ecosystems adjoin. It's at this location that the most new life forms are created.

Shankar then asks the question: "What could happen when strangers meet?" He explains that interesting things can happen when people from different cultures, backgrounds, and points of view, work together. Just like the edge effect between ecosystems, innovation is more likely to occur when diverse ideas come together. Diversity and creativity go hand in hand.

I've found that I can use the concept of the edge effect on an individual level to spark creativity in my art practice and my life. Simply by doing something different, trying something new, listening to another point of view, or putting uncertainty into my day, can cause a spark of creativity. Trusting that spark and seeing where it takes me is a challenging, but satisfying thing to try. In the past year, I've used these concepts to break things and start anew.

It is scary and uncomfortable to step into the unknown. But it's also exciting. And it's amazingly gratifying to come out the other side and see how you've grown!

Everyone has a desire to be comfortable and safe, but the most interesting things can happen when you allow yourself to be uncomfortable. Open your mind to possibility. Be curious.

 Thank you for coming. Hi, I’m Mary Pow.
 
I began this grant process with the simple desire to have more time to create art. I was interested in allowing myself the freedom to be creative. So, I spent much of the year researching the creative process. The social psychologist Erich Fromm said, “Creativity requires the courage to let go of certainties.” I took this to heart when I started my work last summer.

I decided to throw some uncertainties at myself and see what would happen. I pulled out an assortment of strips of fabric that I had saved from other projects. I started to arrange them and sew them together without thinking of the final result. I played a bit with the idea of back and front, and exposing the seams, which was something I had wanted to try for a while.

I wasn’t sure where this work was going to take me. I started to feel a lot of nervousness at the not knowing. What would the final exhibition for this grant turn out to be anyway? What was I going to do? And would I be a disappointment? It was a scary place to be. Yes, I was freaking out a little bit.

 
As I worked with my random scraps of fabric, without the solid knowledge of what the outcome would look like, I realized that I was living through the exact things I was researching. Doing something new requires one to be bold and brave. It can be really, really hard to allow yourself to trust the process and see where you end up. To trust yourself.

As I worked, I considered how human beings are such a confusing species. There is this duality to us. I mean, we have two opposing desires: predictability and exploration. How can we desire both? They are opposites.

On one hand, we love to fit things into boxes. We want simple explanations and absolute answers. We want things to be black and white. Plus, predictability is comfortable.

Contrast that with the human desire for exploration. We crave the new. We’re curious, we love to learn, make discoveries, and explore the vast unknown. We like a challenge, but this can be uncomfortable. ​
 
I got to a stopping point with the piece I was working on, so I hung it up in my studio doorway and stepped back. I didn’t know what I thought about it. Well, I thought I did. I thought I didn’t like it. I thought: What is this anyway? I don’t know what I’m doing! But then then sun streamed through it, and I realized that it was two-sided. And I had an ah-ha! moment. I realized that the things I was thinking about – the opposing human desires of predictability and exploration cannot be separated. They are two sides of the same coin.

And so, I realized for myself as well, that the only way to get through the challenging part of creating art was to push through the hard parts. If I allowed myself to go through the uneasiness of the unknown, I would find the delight of discovering new things; about myself, about my world, about my art. Once I pushed myself through the discomfort, the unknown became known. Thus, the title of the piece hanging in the window is “The Way Out is Through.”

 
I recently heard a journalist say, “How you see the world depends on where you look.” Which really resonated with me, as I love to consider all the different ways that people view the world. I can really get myself going, thinking about: what is reality anyway, when we all see things differently? You know, everyone experiences and understand the world slightly differently, and it all depends on what you value; what you notice; how you were raised. There is never a singular way to see the world.

Of course, people tend to seek out and spend time with others who share similar viewpoints because it’s really comfortable to be with others who see the world like we do. But I learned the importance of searching out ways to make yourself see things differently. The way to be creative and uncover new ideas, is to get comfortable with being uncomfortable.

 
The title for my large piece here on the wall, Luster, comes from a novel. In his book The Corrections, Jonathan Franzen writes, “Life had a kind of velvet luster. You looked at yourself from one perspective and all you saw was weirdness. Move your head a little bit, though, and everything looked reasonably normal.” This line sticks with me. I like to think that each person’s reality can be similar to the luster of velvet. If you are able to shift your viewpoint slightly, everything will look different. And if you can open yourself up to other viewpoints, your world can only expand.
 
If you have any comments or questions, I’ll be more than interested in hearing your viewpoint.
 
Thank you.

Thank you to everyone for coming to the opening reception! If you missed it, you can see the exhibition through July 27, 2019.