Art enables us to find ourselves and lose ourselves at the same time.
~ Thomas Merton
In her second story studio, Julie Adams was energized as the portrait of her son came to life on canvas. It was a new style for her; an oil finished in pencil. It gave the impression that the painting was not quite completed, “like my son,” she mused. “He’s not finished yet, as a person. None of us are.”
Then she learned that English artist Mark Demsteader was gaining fame and popularity in his country for the using same technique; her enthusiasm grew. “That’s what I was doing, too. When I saw his work it gave me more confidence.” Even amid comments from people saying, are you going to finish that? Julie thought, “Yes! It made me feel good that it worked for Demsteader. It could work for me, too.”
Even though Julie wonders if the new method will be well received she believes that an artist cannot worry about that if “you’re going to grow. Sometimes you have to do something even if it is just a phase. You then grow and move onto the next stage.”
Portraits and Payment
Portraiture was popular among the ancient Egyptians 5,000 years ago, as a way of recording the appearance of a person. Portraits depicted the status and wealth of the models. It was common to embellish the attractive traits of the individuals rather than be realistic about their appearances. Later when customers were more than just the affluent and upper class, artists were able to create realistic paintings of their subjects.
Ever notice how in many colonial portraits the model sits at an angle with one arm front, or is painted only from the waist up? Cost was not based on how many people were in the commissioned piece; it was calculated by how many limbs were to be painted. Consequently the saying that something is “costing an arm and a leg” indicates one will have to pay a high price for something.
When Julie is commissioned to do a portrait, she ponders on what is unique about the personality of her model. Sometimes a gesture or an expression emits a narrative that she expands upon when painting. “I like to capture the real person,” she says, “ones with lots of character. I love one I painted where a young girl was chewing on a string of pearls or another was biting her lip; or a photo of two girls who seem to have a playful history together. The narrative you get from looking at them tells you something about the people.
Art Eyes
Influenced by art history and her studies, Julie keeps developing her talents by “taking something from what you see or from an artist like Demsteader.” She gets stimulation from her classes and students. “A synergy develops there with everybody working and getting excited about something. Students inspire.”
The great outdoors are not one of her inspirations. She tried painting once next to a pasture. “I’m not a nature girl. I looked for cows. I was next to a stream that looked snaky to me. The wind was blowing my canvas. No, I am an indoor figurative painter.” She laughs.
Once the lights are out and the door is locked at her studio, Julie has come to realize the artist in her follows her wherever she goes. She sees things in people others miss. “I like to put on my art eyes. Once you have been drawing or studying a person a long time you can’t just leave it.” She smiles at me. “Like now I see light playing with your cheekbone; I love how the light plays across your cheek and chin, and I hate that I don’t have a pencil or piece of charcoal. I just can’t turn it off. When I paint I hope to put on canvas what I perceive differently so another person can see what I have revealed.”
Cultivating Talent
Julie teaches students that have had some painting experience, but some never picked up a brush. “They step right in and join me wherever I am. They’re learning from each other or from a conversation I may have with another student. I give brief lessons and remarks.” The lesson might be on pallet choices and mixing or point-of view. After a brief discussion her students go to their easels and paint.
“I highlight what they’re doing the correct way. The person next to that student will listen and learn from that conversation. If I read a good book on art and painting I will also teach a few lessons from that.”
Julie starts beginners off with teaching the basics of painting two pears. Students learn many things by creating that one canvas; drawing, value (shading), perspective, point-of-view, lighting, and they learn that shadows follow form. Finally students get to color. Advising them that all they need are the three primaries, white and black, students learn hands-on about mixing paint for their own art.
“They create their own secondary and tertiary colors. By using that avenue they don’t have to buy as much while learning faster.” Julie loves that the students support and help each other. She asks the class to add their own suggestions for someone’s art work.
This talented artist started teaching almost 11 years ago. Her husband had died and friend Jody Powell told Julie she needed to get out of the house and teach. She was convinced and started off with four students. Some of her original students are taking classes from her today.
Still grateful for that push from her friend, Julie shared a story about how they met. “Jody’s wife, Nan, and I were school mates in college. We moved to Atlanta where Nan had a blind date. Her blind date introduced me to my husband. Then later my husband said he wanted me to meet his best friend, Jody, who married Nan. We all became close friends and even got married three months apart. Jody was very much a part of my life. He spoke at my husband’s service.” Julie proudly informs me that Jody was Jimmy Carter’s press secretary.
Julie wants to keep teaching as long as she can. She has three commissions to paint and is enthusiastic about exploring the Demsteader technique. “I need to paint. I’m not happy if I can’t paint. I get itchy and bitchy if I can’t do it. But I don’t want to lose time with family either. I’m not a recluse.”
The Julie Adams Studio is located at 143 Laurens Street in the Croft Building in downtown Aiken. The 2019 Annual Artist Studio Exhibit is November 8 – 9 from 10:30 am to 4:00 pm.
About the Croft Building…
Julie loves working in her studio in the historic Croft Block Building. “I feel like I’m part of the world while being by myself. I am alone and play music but can look out and I’m still part of the community.” The two story building was constructed in 1884 by G.W. Croft, an Aiken lawyer who was involved in local and national politics. He died in 1904 from blood poisoning that developed from a small splinter in his hand.
Who is Julie Adams?
First Job
I worked for a newspaper, The Aiken Standard. I was a go-fer
Worst Job
I never had a bad job. Seriously.
Favorite medium
Oil Paint and Graphite
Favorite subject to paint
Figurative work
When did you know you wanted to be an artist?
16 years old.
Advice for an artist
Try not to listen to that ugly little voice that sits on your shoulder.
Role model
Mark Demsteader, a british artist known for his figurative paintings.
What do you do to relax?
Read and listen to good music. I listen to classical when I read and opera when I paint.
How do you get rid of a creative block?
Draw to get back into it, more like doodle. I will also go to an art gallery to get my juices flowing again.
One word that describes you
That’s too hard… well I guess it would be: Me.
Julie Adams’ Students and Their Art
By Phyllis Maclay
