"Just a Little Green"

"Just a Little Green"

A few years ago I was fortunate to explore one of my favorite places, Ding Darling National Wildlife Refuge, with several talented artists who also happened to be much loved friends.  After the Florida Wildlife Art Expo Rob Mullen, Carel Brest Van Kempen, Cole Johnson, Steve Oliver and I headed to Ding Darling armed with cameras, binoculars and canoes.

After a lovely few hours paddling off the beaten path, we pulled ashore near a dike that was a popular birding spot.  One of the tourists, seeing our cameras and binoculars, walked over and said "you people look like you know what you are doing…" he pointed to a bird perched nearby "is that an eagle or an osprey?"  It was obviously an osprey even to the naked eye, but we glassed it to make him feel better and confirmed "osprey".  The gentleman looked at the printed bird list he held and said "well, I want it to be an eagle…so I am counting it as an eagle"  He checked the eagle off his list and headed back to his group.  We looked at one another and laughed...

Along the dike, we spotted a little green heron hunting from a mangrove knee.  Every species of heron has it's own techniques for hunting.  The green heron's arsenal includes sitting perfectly still and watching the water until a fish swims within reach…then, with lightning speed, the little green will try to grab it from its perch.  

We sat and patiently watched, waiting for the moment…the heron didn't move.  Time passed and the observers, birders, photographers and artists alike, began wandering away one by one.  Pretty soon it was Carel and I and a photographer we didn't know.  Then Carel left.  The photographer and I sat as still as the heron. cameras poised for the shot of the moment when the bird went for a fish…waiting and waiting and waiting.  Finally, almost simultaneously, we both lowered our cameras in defeat.  Of course, it was then, as if on cue, that the heron shot its head into the water after a fish.  

What came as a complete surprise was that the heron apparently forgot that it was supposed to maintain a grip on the branch when it grabbed for the fish…and crashed into the water with a completely undignified splash.  The heron scrambled back out of the water and onto another mangrove knee where it fluffed its soaked plumage and ruffled its crest indignantly.  The photographer and I looked at one another, laughing in amazement.  Neither of us had ever seen that happen…and I have never seen it happen again.  

It is moments like this that are carved into my memory after countless hours in the field watching the creatures I love to paint.  Over the years I have learned that, for me, it isn't enough to visit a place and snap a few pictures for reference.  The payoff for all those hours spent as my limbs cramped waiting for what happens next…are a plethora of precious, priceless moments of wonder.  

In the end, I painted the heron poised for the strike…but, swirled into every brushstroke, is the memory of the pink cloud of spoonbills we flushed as we paddled, the a perfect day spent in a wonderful place, the "un-birder" and his "eagle", the laughter of friends and the hilarious "miss" of a beautiful green heron…

"Gimme Shelter"

UPDATE August 13, 2015:

Sad news today, a grizzly sow was euthanized.  It is possible that she was one of the grizzlies that I have watched, photographed and painted for over a decade. It is said that she killed a park employee who was hiking off trail without bear spray.

I cannot imagine the horror and pain that defined the last minutes of this man’s life. My heart goes out to his family and his friends as they deal, not only with his death, but with the horrific manner in which he died. As if their loss were not painful enough, they are being subjected to a barrage of insensitive barbs and rants by the wildlife lovers who insist on blaming him for the euthanization of the bear.

It does not matter if he was off trail, it does not matter if he was without bear spray, it does not even matter if the bear was protecting her cubs. A man is dead.  For those of us who choose to live in bear country, this is the sobering reality: this bear did not just defensively attack and run, she killed, fed, cached and returned to feed again. For that, the Park and bear management felt as if they had no option other than to euthanize her. Like many, I hoped and tried for better options. At least the lives of her cubs were spared...they will be sent to zoos, possibly re-habbed and released. Wherever they end up, I hope their story continues to be told.

Tears come as I write those words, for if this is the bear they say, I have watched her for over a decade as she skillfully raised a number of cubs by the roadside. She brought so much awe and joy to the countless people who were fortunate enough to have seen her. I have painted her, laughed at her antics, marveled at her parenting skills, cried for her lost cubs and admired her grown cubs as they go about their life being the bears that she taught them to be. There is a hole in my heart just as there is a hole in the ecosystem of the Lake area.

My grief and sympathy extends also to the bear management team. They know this bear and I have no doubt that it also pains them greatly to have to say goodbye.

What has saddened me in addition to the loss of this bear and the hiker, is the blame and hatred being leveled at the hiker, the park service and even anyone that did not post a dozen different petitions to save her.

The reality is that blood of this bear is on all of our hands…she dies not simply for killing and eating an ill-prepared hiker…but for all of us. She died because people, willingly or ignorantly, fail to abide by park rules and recommendations. She died because people love to see bears, get close for a few moments, take photos. Anyone who has ever stood in a bear jam or been closer than 100 yards carries some responsibility in her loss, because we helped her become acclimated to people rather than instinctively running from us. Everyone who visits the park, lives in the area or simply drives a car has to shoulder a little of the weight of her death. Because we want to visit or live in their habitat, consume the products created by destruction of wild places and allow our population to outnumber them by greater numbers every year...we threaten the wild things that we love. It is something we ALL need to think about.

I am still holding out hope that it wasn't the bear teveryone says it was...there are a lot of bears in that area.  Whether is was or not, a man was lost and a bear was lost...sad all around.

Here is the original post telling a story on one of my experiences with this bear:

There are countless reasons to spend time in the field if you want to paint wildlife...not the least of which is the chance of witnessing something truly extraordinary.  

This is the story of one of those days and one of the paintings it inspired...

It was May 17, 2011...I was driving the road South of Hayden Valley when a Grizzly with a tiny coy cub stepped out of the trees to cross the road.  "COY" is an anacronym for "cub of the year"...the wee bear beside its mama was just a few months old.

Roadside mama bears are often pretty traffic-savvy.  She waited for the inevitable stop of the traffic.

When there was an opening, she ran across first...

The cub followed...look at how TINY it is!

We had an extraordinary amount of Spring snow this particular year...and the burms created by the plows were mountains to a teeny coy bear.

Safely across the road...mama headed for the melt-off flushed Yellowstone river.  She started swimming and we wondered where the cub was...and how it could possibly make it across the wide, cold water.

Mama swam out a few yards...then turned back.

She met the cub in the water...

then turned around and waited as the cub climbed on her back.

Then she ferried the wee one across the river.

On the other side, she shook him off...

Then the two headed away from the road, no doubt, to rest and nurse.

In my MANY years of bear watching, I had never seen anything like this (and haven't since).







Throughout the Summer the cub often climbed up to sit on mama's back, much to the delight of anyone who saw them.  In watching the two later in the season, I wondered if the cub learned that behavior because of unusually late (and deep) snow.  It would be much warmer on mama's back!

The only other time I have seen a cub "ride" its mama was during the first summer that the sow with four was roaming the area south of Mammoth a few years ago.  Once in a while, if the little runt of the litter was having trouble keeping up, she would turn back and wait for it to climb on before continuing to go where ever she was headed.

These moments of discovery are simply magical...and can only be found by being out there.

"Gimme Shelter"

Oil on Gessoed Panel

9" x 12"

Fox Me a Copy

by Lyn StClair

In the Fall of 2012, I debuted this painting
titled "Grasshopper"...

A week after the Georgia show where it was first exhibited, by chance, I walked into a little art show in Nashville...and saw this:

When I spoke with the artist (who, up until then, I had considered a friend), it went something like this:

Lyn:  "There is a fox painting out front that looks extremely familiar"

(Copycat):  "Yes, I was inspired by your use of color"

Lyn: "It is exactly the same"

(Copycat):  "Oh no, the pose of the fox is COMPLETELY different"

That, and seeing copies of work by other artists hanging in his booth, was the conversation ender. I picked up his card, photographed the copy and contacted my attorney.  

As I was taking a photo of his copy (he'd even copied my framing!), a customer walked in, looked at his piece and exclaimed..."Wow!  That is what I love to see, a completely original work of art!"  When I showed her the image of my original painting on my iPad and replied "it is a copy of my painting", she shrugged and took a photo of his painting.

Originality…what is it made of?  As artists, we strive for originality in a world that makes copying "okay".  There are knock-offs of everything you can imagine being sold on street corners, online and in stores everywhere.  What has happened to us?  Where did we lose the appreciation for true originality?  Artists are admired and revered for their originality…but what about the ones who copy other artists?  Why do some people choose to copy the work of others?  Is it laziness, a lack of integrity or simple ignorance…is it possible they just don't know any better?

Throughout the history of art, artists have learned to paint by copying one another or other people's photos.  The comic books that many artists grew up with (my Dad and I included) had adverts on the back asking you to "Draw Me!", copy a drawing in the ad to send in to their "scholarship" competition.  For centuries, students of art have stood with easels and sketchbooks in front of the art of masters (old and new)…to learn by copying every brushstroke.  Heck, I started my professional career doing dog portraits from life (at age ten) after copying a lovely portrait by Betty StClair (my Mom…and she said I could).
Copying as a tool to learn is one thing…

Where does it cross the line into "theft", though?  

First, lets get the dry stuff out of the way...a little about the legalities of copyright.  According to the U.S. Copyright Office/Library of Congress:

"Copyright is a form of protection provided by U.S. law to authors of  “original works of authorship,” including “pictorial, graphic, and sculptural works.” The owner of copyright in a work has the exclusive right to make copies, prepare derivative works, sell or distribute copies, and display the work publicly. Anyone else wishing to use the work in these ways must have the permission of the author or someone who has derived rights through the author."

"A work is automatically protected by copyright when it is created, that is, “fixed” in a copy or phonorecord for the first time. Neither registration in the Copyright Office nor publication is required for copyright protection."

"Before March 1, 1989, the use of a copyright notice was mandatory on all published works, and any work first published before that date should have carried a notice. For works first published on or after March 1, 1989, use of a copyright notice is optional."

As per that last paragraph:  If you see a work that does not have "copyright" on it…it does NOT mean it is free to use!!!

For visual artists…copyright of every original image belongs to the creator of that image (this includes photographs).   That means you may not copy a work of art (or photo) without express, written permission of the original creator.  To put it bluntly, if you copy a painting, sculpture or photograph created by anyone other than yourself without written permission:  it is stealing, plain and simple.  By the way, it goes for writing, as well.

What if you"change" it…where does it become "safe" or "derivative"?  Here again, words from the Library of Congress:  

"A “derivative work” is a work based upon one or more preexisting works, such as a translation, musical arrangement, dramatization, fictionalization, motion picture version, sound recording, art reproduction, abridgment, condensation, or any other form in which a work may be recast, transformed, or adapted. A work consisting of editorial revisions, annotations, elaborations, or other modifications which, as a whole, represent an original work of authorship, is a “derivative work”."  

Copyright law takes a narrower view, defining “derivative work” as “a work based upon one or more preexisting works, such as a translation, musical arrangement, dramatization, fictionalization, motion picture version, sound recording, art reproduction, abridgment, condensation, or any other form in which a work may be recast, transformed, or adapted.” (17 U.S.C. § 101)

This is important because one of the rights given by law to copyright owners is “to prepare derivative works based upon the copyrighted work.” 17 U.S.C. § 106. That means the original creator of a work has the exclusive right to produce derivative work…anyone else has to have the permission of the creator.  Even Hollywood cannot make a movie of a book without obtaining the " rights" from the author…the same goes for photographs and paintings!

As artists, we often find "inspiration" in the works of others. Where is the line drawn between "inspired by" and "stealing from"?  "Fair Use" is a defense available to someone who uses the work of someone else—without permission—in the creation of (his or her) own.  "Fair Use" does not mean "okay to copy"!  This is what the U.S. Copyright office says about Fair Use:

"The doctrine of fair use has developed through a substantial number of court decisions over the years and has been codified in section 107 of the copyright law.  Section 107 contains a list of the various purposes for which the reproduction of a particular work may be considered fair, such as criticism, comment, news reporting, teaching, scholarship, and research. Section 107 also sets out four factors to be considered in determining whether or not a particular use is fair."

Fair use is a slippery slope, though… the court's interpretation of  those four factors is subjective and can bring  unpredictable results.  You may think your use is fair, the original creator and the court may well think otherwise.   Essentially, if someone recognizes any similarity between your work and the original: you're in trouble. 

A few simple rules to remember:

If you didn't create it yourself, someone else did…and it belongs to THEM!

It does not matter if you are selling it or just using it for your own purposes…copying without permission is stealing.

Just because it is on the internet…it is NOT free to use.

Just because millions of other people are doing it…NO!  Hello?  Heard of lemmings?

Now to the "art" of the matter…and the original point:  What true artist would WANT to copy the work of another artist?  

Having stared at my easel for seemingly endless hours over the years as I work to draw something original from my mind/heart/soul…I can tell you it is not always easy (understatement!).  THAT, my friends is why they call it "art"….if it were easy, it wouldn't be special.

People who hear of a copyright infringement often say to the original artist: "what a compliment".  The artist who copied my fox, when confronted, said "I was inspired by your use of color".  While I can appreciate the intended compliment, what that artist did with his inspiration was WRONG.  To look at someone's work and be moved, to be inspired to reach for something greater in yourself, to push your work a little closer to the edge…THAT is a compliment to the original artist.  To copy what they did and sign your name to it…that is just stealing.  By the way, another thing people tend to say when they look at the samples of "stolen" paintings such as above:  "well, it's a BAD copy".  It does not make a difference if the copy is bad or better than the original…it is theft.

As artists, it is impossible not to be inspired by artists and work that moves us.  What one does with that inspiration is what separates the chaff, though.  Oleg Stavrowsky wrote a fabulous article for Southwest Art (Dec. 1996) called "Ten Artists I Steal From".  Stavrowsky strikes at the soul of what it is to be "inspired" by another artist.  I encourage every artist to read it if you can find a copy…if not, come to my house and you can read mine.  

By the way, if you don't know it already, photography falls under the copyright law.  If you copy someone's photo without permission…it is theft.  It amazes me how many artists hang work at shows that was copied from magazine images…seriously, do they think they're the only one who saw that photo?  This applies to images  online, as well (including FaceBook).

Something to consider if you buy photos for reference…there is not a serious photographer anywhere who does not let the motor drive run when something cool is in front of his/her lens.  Just because you buy the rights to image #27…does not mean the photographer will not sell image #25, 26 and 28, 29 to someone else…all of which could look exactly like the image you purchased.  Legally "owning" an image does not mean it is a good idea to copy it exactly.  The composition of a photo is the artistic creation of the photographer.  Faithfully copying someone else's image and/or composition, whether you "own" it or not, is not original art.  

Creative people are quick to whip out their "artistic license"…perhaps more artists should also embrace their "artistic integrity".   Artistic integrity does not mean you starve rather than "sell out"…it means you approach your work with honesty and ethics.  It means you go the extra mile to create works that vibrate with your OWN voice rather than echo others..  We should always strive to create art that draws from the unique originality that lies within each of us…it might be harder to find, but it is well worth the effort.  Remember, your art will live long after you are gone…be true and be ORIGINAL.

Post script:  As I was working on this article, I came across the prospectus for Southwest Art's "Artistic Excellence" Competition.  The paragraph on "eligibility" included this:  "Compositions based on published material or other artists’ work are NOT considered original and are not eligible. Paintings based on another person’s photograph (even if it’s copyright-free) are NOT eligible."  THANK YOU Southwest Art!  If  only that standard could become de rigueur for all exhibitions, museums, galleries, shows and competitions.   

Here are a few links to more information:

"10 Big Myths of Copyright Explained" by Brad Templeton http://www.templetons.com/brad/copymyths.html

Library of Congress  http://www.copyright.gov/help/faq/

The Yin and Yang of Duende

by Lyn StClair

We have all heard artists refer to the "muse".  The muse is inspiration from outside. Creating with passion also means listening to and acting on something deep inside. It often means defying logic and sometimes pushing ourselves in directions we don't consciously want to go.

The Spanish poet Garcia Lorca called this "duende" and described it as "a power and not a behavior, it is a struggle and not a concept...it sets blood afire…it exhausts and consumes us" He wrote "I have heard an old master guitarist say: ‘The duende is not in the throat; the duende surges up from the soles of the feet'."  

In his "Theory and Play of the Duende", Lorca wrote:
"Seeking the duende, there is neither map nor discipline. We only know it burns the blood like powdered glass, that it exhausts, rejects all the sweet geometry we understand, that it shatters styles and makes Goya, master of the greys, silvers and pinks of the finest English art, paint with his knees and fists in terrible bitumen blacks..."

The best work comes out of responding to duende, this consuming "urge" to paint. It makes your heart pound....sometimes it seems to tear your heart right out of your chest.  When this feeling hits, I have to drop everything to paint and I will paint until wholly exhausted. 

Some paintings almost feel as if they are channeled...the hand with the brush pulls something out of the air that often surprises even me.  In addition to countless learning opportunities, in my opinion, these wild dances with the muse and "duende" produce the best work.

The other side of the duende fire...the "yin" side...is "block". As suddenly as it appeared, the inspiration may vanish...maybe right in the middle of a painting. I have learned to stop when that happens. For me, trying to "force" a painting to work often ruins it. At times, I may go a month or more without even going near the easel.

You have to let go and understand that periods of "non-creativity" are as essential to the artist as the frenzies of inspired work. You can't be creative 24/7...you need time to recharge.  When faced with "block", I try to do something different. I "chase" bears, hike, ride/train my horses, take a trip or dive into a book.  Sometimes I look for activities that may inspire future work…other times, I simply play. 

If you want to keep your work fresh, learn to give the muse a little breathing room once in a while. Stepping away can be just as productive as sitting at the easel...if you learn to turn "block" to your advantage.  

It is easy to get caught up in the rush of duende…it feels good, it is what we believe making art should be like.  Block, on the other hand, brings stress and suffering.  We berate ourselves for having "lost" our creativity or worry that we will not have the work we need for exhibitions and collectors.  The key is learning to perfect the practice of block…and to appreciate the opportunities it offers to reflect, consider, explore, experiment and learn.  

Have patience with your periods of block, honor that time to look within (or without).  Soon you will discover that the deep, dark, cool stillness of "block" is as delicious in its own way as the wild, heated rush of duende's fire!

Drawing on Karma

by Lyn StClair







The first piece pictured here is the latest in a new series of works exploring an entirely different (and experimental) medium.

While I was absolutely captivated by Karma's amazing use of her personal airspace...to me, this piece (titled "Touch the Sky") is more than just a drawing of a horse.  It is about reaching for the stars and being willing to leave the security of the ground.

As artists we HAVE to try to go where the muse sends us.  That is how we grow...and, hopefully, what makes "art".  When we choose to spread our wings and reach for something new, it can be like stepping into the void.  This new series of "paintings" (sparked by one I did of Karma this past Winter) is a long leap from the work that I have become "known" for.  That alone is scary...wondering how they will be received...and if they will sell...

The first show where I showed these pieces helped a little...an "Award of Excellence" for the first one of Karma and a great response, even a couple of sales.  Then a rejection from a museum show for another.  Neither awards nor rejection mean anything in the long run, though...what matters is the originality you strive for and the soul that goes into your work.

Exploring a new direction is more than trying a new "style":  it is about finding your voice all over again in a completely different key.  It is about re-inventing yourself.  These new "paintings" (I am still not quite sure what to call them) have swung from fairly representational...to wildly loose and contemporary.  Each one brings its own set of challenges to the table as I not only experiment with design...but with surface and media in a way that has not been done (to my knowledge).

Once again, I have fallen in love with black and white...with contrast and line and negative space and value.  Subject-wise, I have tried some of the usual "charismatic megafauna"...in part because they are subjects I love...in part because I want to worry less about "subject" and more about style, comopsition, design, etc.  Again and again, I come back to Karma, though.

It is hard NOT to be inspired by Karma (Karmelita).  She is big, gorgeous and has a personality that, in itself, is a work of art.  She is grey...like a charcoal come to life.  She plays like no other horse I know...she seems to be as much a part of the air as the earth sometimes.  In a way, she is the personification (horsification?) of what I am trying to do with my work.  Not to mention...she is fun to watch AND draw...and there lies another factor in making art...it should be fun.






In my opinion...artists themselves are a work in progress.  We should be constantly trying to explore, to experiment, to raise that bar ever higher.  Along the way there will be some wonderful highs, some brutal crashes and some seemingly endless plateaus.  But if you constantly push yourself and your work beyond what you are comfortable with...you cannot help but become a better artist.



There is no getting "there" in the life of an artist...there is always a better way to try, a different way to express, a new thing to explore.  As with anything, it is easy to get stuck in a rut (especially if the "rut" means sales).  For me, it is vital to create for the sake of art, not just the market.  When I catch myself feeling restless or "working" too hard on stuff that is "easy" to sell...I know it is time to try a new direction.


That period of transition is always scary...and yet also exhilarating.  There are few things harder than feeling yourself not growing in your work...and few things as delicious as finding joy in your work once again.

When you can hardly sleep after finishing a piece because you cannot stop thinking about the next one...you might be on to something,

Are You "In" or are You "Out"?

Today hundreds of artists are turning on their computers and checking email with a mix of anticipation and dread. The jury results for the Leigh Yawkey Museum's "Birds in Art" are in and the email notifications have been sent out.

Rejection is one of the most difficult things artists face. 

What we create is deeply personal...it comes from our hearts, our minds and our souls…the true artist creates work as unique as they are.

Beyond the ability to draw/paint/sculpt...artists
must have the willingness to expose themselves to criticism, mockery, judgement, rejection and a public that sometimes simply might not "get" what it is we do.

Being an artist is not so simple as having "talent".  It means having fortitude, grace, determination, compassion, an open mind and a very thick skin.

The rest of the world views our work from their own perspective.  They look at it through eyes that see things differently than we do…maybe a little differently, maybe a lot.

Still, we strive to create something that describes what we want to say about our world...because that is who we ARE.

It is important for artists to remember that art is subjective...
everyone sees something different in a piece based on their own set of life experiences.

Try not to let a jury decision (bad OR good) carry too much weight...

Though it is tempting to try to fit into the niche you want to be a part of….being an artist means being true to that uniqueness within your own soul.

Sometimes it is brutally difficult to "own" your individuality…ask any high school kid!

Regardless of the endless work, the pain, the hard knocks, the string of rejections…nothing matters more than pouring your heart completely into what you do and being true to your own perfectly unique vision.

It is worth it...and soulful intent will shine through in the work you do.

The technical end is relatively easy…most anyone can learn the craftsmanship of making art.  Most anyone can copy a style or a photo and create something that someone somewhere would be happy to have in their home.

The hard part, what separates the wheat from the chaff, is being willing to step outside the box, out of your safety zone…and choosing to leap boldly off the edge without looking for a net.

As Agnes DeMille said:
"The artist never entirely knows.  We guess.  We may be wrong, but we take leap after leap in the dark."

THAT is what makes the truest of artists:  no matter what style they embrace, from abstract to impressionist to representational...
they honor their unique way of expressing themselves through their art.

And no matter how many times they fall...they keep leaping!

Living your creativity in such a way means finding a delicate balance between being true to your vision and learning to find the positive in criticism and rejection.  This is how we become better artists.

One of the things I love most about art is that you never get "there"...
there is always something new to try and there is always room for improvement.

In hindsight, I wish I'd saved the plethora of rejections that have landed in my mailbox (it would be an impressive stack of "no"!)…but it would also be a reminder of the sheer determination that is a big part of my foundation as an artist.

Over the years I have won over 90 awards for my art and my work hangs in museums and collections all over the world...

Along the way, I have also been rejected from more shows than I can count.

If I miss out on an award or get a rejection...I work harder to push that envelope next time.

If I win an award or get "in"...I work harder to push the envelope next time.

Ribbons or rejections...either way, it changes nothing.  I am an artist...and no jury decision can change that.

No matter how many rejections come my way...I will continue to try to break free of my comfort zone and make art straight from the heart.

This is a journey, my friends.  The true artist's path is no yellow brick road…it is fraught with washouts, thorny patches, ruts and blind curves.

Choose your steps carefully, trust your heart, listen to your muse and find joy in the fact that there could be something wonderful to learn just around the next bend.  

"In" or "out", I am grateful for shows like Birds in Art that give us reason to raise the bar and take flight as artists.

Heartfelt thanks go out to the fabulous staff of the Leigh Yawkey Woodson Art Museum for, to paraphrase Pooh, giving us something that is so hard to not get into!

Congratulations to ALL of the artists who spread their wings to even TRY for this show...

as far as I am concerned...every one of you is "in"!

By the way...
ALL of the paintings that illustrate this post represent just SOME of my Birds in Art "rejects" over the 20 years I have applied...(and, yes, there were some others that DID get in!)  :-)