Brenda Beck Fisher

First, Brenda, give us a background of the artist. When did you know you had artistic talent? What made you
go with watercolors?

From the time I was in grade school I knew that my drawing skills were a little better than the other kids
around me since they were always asking me to draw something for them. In grade school, art period was my
favorite time and I was excited to be able to take art as an elective in seventh grade. Unfortunately that
experience (with the teacher) caused me to not take art class again until I was ready to declare a major in
college.

During college I took one watercolor class and from that time on I knew that if I ever got to do art, watercolor
would be my medium of choice.

You tackle all kinds of subjects in your work: landscapes, still lifes, people, animals, architecture, vehicles, and
whatever else seems to pique your interest and inspiration. When deciding on the piece that you like most, or
represents you most, why did you choose "Table For One"?

The main reason "Table For One" means so much to me is that it is the painting that, I feel, launched my art
career. After waiting 20 years to be able to do art, I painted this piece for a local exhibit and competition. I won
Best Of Show from this piece and things have been going very well since then.

Where did this scene come from? There is an obvious divide in the scene: the person eating in the warm
colored interior of the restaurant, and the person looking in. Is this a statement about the haves and have nots?

The scene comes from various photos that I put together to make this composition. The painting represents not
only the haves and have nots, but also represents how we can sometimes get so caught up in ourselves and our
own lives that we don't even notice those hurting and in need around us. Clearly, the gentleman seated at the
table inside the restaurant has just enjoyed a nice meal and has done well for himself in life. At first glance at
the painting, the viewer may think that he is looking at the lady outside peering in at the leftover food on the
table wishing she could at least have someone's leftovers and be inside the warm and dry environment. In
reality, the man is looking at his own reflection in the window and doesn't even notice her.

Artistically, I was intrigued with the way the outside light source was casting a warm glow into the restaurant,
resulting in a nice contrast of subdued, shadowed hues and bright colors.

For those of us who have never used watercolors, or at least do not use them as artists, how do you start and
progress through the work?

I usually spend a good amount of time sketching the subject on drawing paper to make sure I am happy with
the composition and to minimize erasing on the watercolor paper. After transferring the drawing onto my
watercolor paper, I begin applying thin washes of watercolor. Typically I will lay in broad, juicy washes and
finish up with tighter, drier applications for the details. Every painting is different and sometimes requires a
different approach.

What happens if you make a mistake in watercolor? Do you like the measure of certainty you have to have in
that medium?

Making a mistake is probably the number one fear in my watercolor student's minds. Although watercolor is
one of the more difficult mediums to control and to correct, there are things that can be done to make
corrections. Lifting off color is one of these techniques, but you have to be familiar with the colors on your
palette in order to know if you will have success lifting.

I love the measure of certainty, or uncertainty, with the medium. I guess I love a good challenge and watching
the water carry the pigment in a wet area is fascinating. As a watercolor artist, you learn when and how to
control the pigment and when to let it "do it's thing."

Do you ever use a white or black paint in your watercolor?

Neither. I consider myself to be a "purist watercolorist" which means no use of white paint and applying the
watercolor medium in thin, transparent washes to show off the exclusive characteristic of watercolor. Any white
you see in my paintings is the actual paper and I mix my own blacks, using blues and Burnt Sienna and or a
deep red to make my black tones.

How long did "Table For One" take you to create?

I would estimate 30-40 hours were put in on creating this piece, including sketch time.

Other than the fact that "Table For One" means so much to you personally because of the future success it
signaled to you, do you like it more than any other piece you've ever done?

Not necessarily. I have many favorites.

Looking at many of your pieces on your web page at www.hannibalallianceartgallery.com, I see many great
compositions. "Waiting" really hits me personally, just something about it. If you could pick your favorite from
that page yourself, other than "Table For One", which image would you pick and why?

I'm afraid I can't pick just one! That sounds egotistical, doesn't it? What I mean by that is that I am very happy
with the way many of the paintings reflect the true characteristic of the watercolor medium by showing the
transparent layering of the pigments. I really like "Wild Horses Of Alaska", "The Watering Hole" and any
other horse paintings I have done, mainly because I love painting horses. The paintings with water in them such
as "Stream Of Light", "Turtle Bake", and all the boat paintings are favorites.

"Mango Girl" is a favorite too. I loved the way her skin looks warm from the sun, and the reflection of her
head wrap on the enamel bowl on her head.

If you could do "Table For One" from the opposite perspective, would you do it? from the outside? ; What
would you use for the setting?

Interesting question! I don't think I would be as inspired to do a painting from the opposite perspective. If I did,
I might use the same setting, but show more people dining in the restaurant, not looking at the person on the
outside. Perhaps in the foreground of the painting I would show the lady's hand on the window so the viewer
could get a sense that she was on the outside looking in. I might title it "Someday" to express the idea that
even though the person on the outside is at a low time in their life, they still have hope that they can make it
better for themselves someday.

Do you identify with either of the human subjects, and why?

I've certainly never been without food or shelter, but I've never experienced extreme wealth, either. I would
like to say that I identify more with the lady on the outside simply because I would hope that I never become
unaware of someone else's need.

Do you ever do any plein air watercolors?

I have been able to do a little plein air painting and really enjoyed the looseness and spontenaity of the
experience and feel that it is good for me to try to get out and do it more often to counterbalance my usual in
the studio, controlled style.

If you had to switch from watercolor to another medium what would it be?

Most likely it would be acrylics.

Brenda Beck Fisher, thank you very much. - Host of LUYA

You're welcome!