JEH: Let’s start at the beginning of your journey. What was the catalyst, that moment that made you pursue art (either personally or professionally or both)?
QT: In college, I majored in art (about 25 years ago), so it’s always been a passion of mine. I took a long break to work full-time and raise my child. It wasn’t until a combination of the pandemic and my daughter getting older that I decided to delve back into it. My aunt invited me to try watercolor with a group that paints Plein air weekly, and I was able to say, “Absolutely!”
JEH: What inspires you to paint and create overall?
QT: It makes me happy! I feel creatively stifled if I don’t let it out.
JEH: What inspires you to paint a particular piece?
QT: There are a couple of answers to that question. If I get comfortable and confident a piece will turn out well, and I enjoy the process. I’m very inspired. On the contrary, I like every day to be different so trying something new is exciting.
JEH: Are there any movements or styles or artists that have and/or continue to impact your work?
QT: Yes, definitely. A friend recommended the artist, Erin Hanson, to me. Erin created the Open Impressionism style, which is a mix of classic Impressionism and modern Impressionism. Her paintings have a stained-glass look to them. The style is fabulous, and I’m strongly drawn to her colors.
I’ve also been studying watercolor under Pete Morris. He’s the first person who ever made me enjoy painting with watercolor. I used to hate it because I was never very successful with the medium. He is a terrific artist and so supportive.
There are many artists I’m lucky to consider friends that I am inspired by daily.
JEH: Where has your journey, thus far, taken you?
QT: I am currently running a small non-profit art gallery with another woman. I have been having an amazing time learning, meeting other artists, and just being around art. I had no idea my path would bring me here, but I feel so fortunate to have this experience.
JEH: Can you please speak on your different works – both past and present – and how your style has or has not changed?
QT: When I was in high school, something drove me to try my hand at drawing a face from a magazine. I was very surprised at the result and found it a strength of mine. Portraits are my favorite subject matter. There’s something so satisfying about capturing the expression of the face, the emotion of the eyes, and the challenge of having my interpretation look like the person. In the past, my medium of choice was always graphite. The ability to shade with a pencil and the contrast of the black and white lead is key to capturing the depth and features of the face.
Now that I’ve been studying watercolor and painting Plein air, botanicals and landscapes have been my subject matter. It’s easier to be looser, to not be as exact in my underdrawing. As long as I’m close, a flower will still look like a flower. A face, if I want it to look like someone, must be so exact. It still will be a person, but maybe not the person I intended. I’m actually less stressed drawing a portrait. With a landscape, I tend to alter the composition and have to decide what to put in the painting and what to omit. I simply draw what I see with a portrait. It’s all there for me, and I just need to get it exact.
I’ve been encouraged by my husband to combine the two. My most recent painting is a watercolor portrait. I’m also planning to try acrylic on canvas.
JEH: Do you accept commissions? If you do, can you describe for our readers the varied differences between painting a fresh canvas out of inspiration and a commissioned piece?
QT: I occasionally accept commissions. I believe an artist must be inspired. It’s definitely easier to be inspired and paint something of my choice. It’s often harder to get started on a commission, but once I get submerged, I’m into it!
JEH: Can you describe for our readers what it is like to prepare for and mount an exhibition?
QT: There’s definitely a lot that goes into it. The creation of the art is just the first step, which is countless hours. Then you have, in my case with watercolor because it’s on paper: matting, framing, and wiring. Certificates of Authenticities need to be created, and in some cases, wall tags. The thought that goes into hanging a show is quite special. It’s important it flows and no piece gets overshadowed by another. Then there’s promotion and marketing of a show, signage, etc. I also like to keep an inventory of my work. In some cases, the artist plans a reception. It’s really a process, but fun!
JEH: Can you please share with us one or two cool or fun or unique anecdotes from either your personal or professional life as an artist?
QT: Painting Plein Air has its challenges: I’ve been stung by a bee, bit by a mosquito behind my ear (which ended up infected), had tiny spiders crawling over my paper, and rained on. The rain mist was actually a happy accident, as it created a unique texture on my paper, but I could definitely do without the bugs!
