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FASO Collector Recommends: Cecelia Cox
Biography
Cecelia Cox studied art briefly at the Atlanta College of Art but found the emphasis on commercial and conceptual art wanting. A year living in Brussels and visits to many of the major European museums had a much greater impact on her growth as an artist. While raising two children, she continued her study of art through workshops and classes with many notable artists. She attended open figure drawing sessions held at the University of Tennessee, Chattanooga for many years.
Upon moving to Greensboro, NC, in 2006, Cecelia was fortunate to be invited to join a talented group of local artists who met regularly at the studio of Scott Burdick and Susan Lyon to draw and paint from the figure. She also participated in local plein air events and painted weekly with the Piedmont Outdoor Painters Society. A workshop with Sherri McGraw in 2010 inspired her to focus on still life.
Cecelia is a Signature Member of Oil Painters of America. She was honored to be the 2018 winner of the Robert Douglas Hunter Award in the Guild of Boston Artists Regional Juried Exhibition. She lives with her husband, Ken, in Lancaster, PA.
Artist Statement
I am drawn to serene compositions which explore the harmony of colors and textures and the juxtaposition of the natural world and the human-made. My goal is a defined sense of light and space to evoke the beauty of what I see and to share that with the viewer.
I work from life in oil on linen. My studio is illuminated by north light which I find especially beautiful for its softness. Setting up a still life may be completed quickly or take as long as a day. I usually have a concept in mind based on the objects used and the color harmonies but sometimes that concept takes a turn when I start arranging the set up. I sometimes do a detailed charcoal drawing and then an oil transfer to the canvas if a subject is especially complicated, but I usually start the painting directly on the linen with an umber underpainting by lightly sketching in with a brush and paint. I next thinly mass in the darks and middle tones and wipe out the lights with a cloth. I then have a fairly complete, but lighter, value range in umber called an open grisaille. After allowing that to dry, I move on to thin applications of paint to establish the color overall with additional sessions in thicker paint to model the form and further establish the all- important sense of light. I often glaze thin applications of transparent colors to complete the painting.
There are as many valid ways to execute a painting as there are artists (well, in theory). For me, using traditional techniques and working from life is the most enjoyable way to create my vision. I am always grateful after a day in the studio.
Represented by The Good Art Company, Fredericksburg, TX and Square Pear Gallery in Kennett Square, PA.
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John Lasater painting it is easy when you know how composing it is diff. I like your painting
Technique fabulous but trees like like they're collapsing. Artistic? Defective growth? Seems macabre. Just sharing. Ps. I dont think you accept comments.