Reverting to the First Artist
In 1907 art critic, Carleton Noyes published “The Gate of Appreciation” which contained the following passage:
“The child is the first artist. Out of the material around him he creates a world of his own.
The prototypes of the forms which he devises exist in life, but it is the thing which he himself makes that interests him, not its original in nature. His play is his expression.”
Pablo Picasso is also claimed to have said, “Every child is an artist. The problem is how
to remain an artist once he grows up.”
These words, and others like them are what acrylic abstract painter, Rosemary Craig ponders daily, since leaving the world of advertising design, illustration and marketing, and committing herself to returning to her first love, the art.
Her abstracts are the antithesis of her previous profession, capturing the essence of feelings and ideas, as
opposed to representing things. And every piece is still a challenge.
Daybreak (watercolor on paper)
Maggie's Joy (acrylic on canvas)
“When I was about six years old, I handed my mother a drawing I had just finished of a Coke bottle. We were at the bowling alley where she and my father were in the middle of league play. She seemed so astounded by the little pencil drawing, showing it to all her friends and going on and on about it.”
This is the first clear memory Rosemary Craig has of her passion for making art. Since that evening at the bowling alley, she has practiced art in some form, every day. “I remember one winter when I had to be about 10 or 11. There was a valentine art contest at the roller skating rink. I had been working on this large cutout heart with more cutouts and drawings on it. My theme was Precious Moments and I was so excited to take it and turn it in when I went skating that night.” Unfortunately, young Rosemary came down with the flu that day and wouldn't be able to go. “I was more heartbroken about not being able to take my entry than I was about not being able to have fun skating”, she recalls. As was often the case, her mother came to her rescue and said she would take it for her. “Honestly, I don't know if she actually took it to the roller skating rink. What I do know is that I believed she did and when she came home to tell me I'd won the contest, I believed that too.”
As the youngest of 8 children, Craig was encouraged to pursue her art from her earliest memories. “I remember my brothers and sisters always thinking me a bit ‘odd’, with the way I would play by myself outside, drawing, coloring, or being completely fascinated by the tiniest things in nature. If I wasn’t outside ‘bonding’ with the ants creating a new ant hill, I would stare out the windows or doors almost in a daze, thinking about all the goings-on out there and marveling at all the color.”
She attended Parochial schools for most of her elementary and high school education. While art classes were offered during her elementary years, they were not offered when she attended junior high and high school. Craig was undeterred and with the help of her mother, inquired about taking art classes at the nearby public school. She learned that would be possible in high school but was not allowed in junior high. Amazingly, one of the nuns in the office had previously taught art in another city and she offered to tutor Craig after classes were completed every other day. “Those afternoons with Sister Mary Josephine were so valuable,” Craig recalls. “Everyone else at school thought the Sister was kind of crabby, but she was completely different with me during our sessions. I loved her!”
By her senior year, Craig was spending more time at the nearby public school than she was at her own school. Credit requirements had been met and she was taking as many art classes as she could squeeze into the day. Drawing, Painting, Stained Glass, Photography, Ceramics, Sculpture and more. When Craig was 17, she applied for and was granted an internship at the Cedar Rapids School Board in the Graphics Department. More invaluable experience in her preparation for college.
She had decided to pursue Graphic Design in college and as a career. It didn't even occur to her to pursue fine art as a career. No one she personally knew had done it and it seemed frivolous to even contemplate. She researched Minneapolis College of Art & Design, the Kansas City Institute of Art and Art Center College of Design in California. While these were all excellent schools and very tempting to pursue, she decided to stay close to home. Craig was accepted into Iowa State University, College of Design.
Rosemary Craig made a career in the advertising industry, wearing many hats from designer and art director to sales and marketing. Each of these experiences was extremely valuable and contributed to the person and artist she is today. “I made attempts to work in other industries, but even then, I always found a way to incorporate my creativity into whatever I did.”
When her career was combined with marrying and raising a family,
the fine art was shelved, but certainly never forgotten. “I have a
tendency to go ‘all in’ when I commit to something, so I simply
couldn’t spare the time or the brain power to continue with the fine
art. Why is it when we’re young we think we have all the time in the world to pursue our dreams?”
As the career staled and the children grew, Craig asked herself if
she could do anything she wanted to do and make a living doing it,
what would it be. Her answer seemed clear at the time – open a
working studio/gallery. She thought this was her answer to finally
returning to her first love, the art. The plan was to get back to
creating while featuring the work of other talented local and
While this endeavor was a tremendous learning experience, and
Craig doesn’t regret taking on the challenge, she found there was
even less time to create than before. Starting the business shortly
after 9/11 didn’t help matters and she had to close the
studio/gallery after two years. “I honestly felt a mixture of loss and
relief when I had to close the gallery. The absolute best thing that
came out of it, was that I had surrounded myself with so many
talented artists for those two years. It was a huge eye-opener for
me.” Though the studio/gallery closed, Craig was even more
determined to return to her fine art and build a body of work.
Unfortunately personal and financial issues continued to
sporadically interrupt her progress, but by 2010 Craig was
undeterred. Whatever, the distraction or interruption – family or
job – she would give the work priority and make sure everyone
around her knew of her determination. Time was running out and
distractions could no longer be tolerated.
In 2014, after returning to the Midwest from Spokane, Washington, Craig began showing her work at various local venues and teaching in the Cedar Rapids area. Of her time in the Inland and Pacific Northwest, "my time there was
personally painful, but so fed my artist spirit. It proved to be instrumental in the development of my work".
She had been working in watercolor as she found the
medium had a “mind of its own” and forced her, a former
illustrator and art director, to focus her attention on the
essence of the details rather than the literal details of
what she saw. But in 2015, Craig made the decision to
change from representational watercolor to abstract
acrylic. Her daughters began the process in 2014 when
they requested abstract paintings on canvas for Christmas.
She had done a few abstracts in watercolor but the idea
of painting abstracts for someone else was intimidating.
“I honestly had no idea how to do it – new content, new
medium, new surface. I forged ahead and now, those
paintings I did for my daughters are still 2 of my absolute
favorites,” Craig recalls. It was with these she discovered
how much she could actually say with abstracts. And
further, how much more could be interpreted by virtually
every individual on earth. While many people have to see
“something” in abstract paintings (kind of like seeing
“things” in cloud formations) there are many others who
are inspired to feelsomething when viewing abstracts.
Today Craig paints exclusively with acrylics, still using
many of the same techniques she used with watercolor,
adapted to the acrylic medium. “I love the boldness of
the acrylic colors. Even applied as a glaze, they’re bold.
There is no building of depth in acrylics as with watercolors. This could explain why every time I start to apply paint to a blank canvas I pause in fear a bit, say a little prayer, and just do it.” There are times she reminds herself that if it doesn't work out, unlike watercolor, she can simply paint over it. However she prefers not to do that. “I feel a
partnership with this medium. It's as though I’m not alone in the creation of
the pieces, because the paint itself has a life of its own. We’re in this
together,” she states.
Craig’s style of painting, often referred to as action painting, involves
throwing, dripping, pouring, etc. the paint onto a canvas lying flat. Since her
work in acrylics is born of many years working with watercolors, her pieces
can sometimes resemble a watercolor, with unpainted portions of the
canvas or negative space. Her work is very spontaneous and at the same
time purposeful. Every drip, spatter, spray, etc. is intentional. “While I apply
the paint purposefully, oftentimes what happens after with the medium
and canvas is utterly natural. I enjoy allowing the pigments to ‘play’ and the
way the texture of the canvas influences the flow or texture of the paint as it
dries, much as it would with watercolor paper.”
Craig has always found her inspiration in and from nature, and continues to
do this even with her abstracts. Of her inspiration, she says, “There are
many things in life that move us. It can be something as natural and simple
as the sound of wind blowing through the trees or as man-made and
complex as political views. I prefer the natural, as the man-made oftentimes
frustrates me or worse."
“When I want to put the way I feel about something or someone on canvas,
I turn to nature. Nature is calm, persistent, undeterred, constant, acclimating. It moves, grows, flounders, dies, feeds itself and more. We, as humans often forget we are of nature. We allow ourselves to get caught up in so much nonsense.”
Craig’s impressionistic studies of things of nature – water, grass,
trees, etc. are how she begins many of her series’. These pieces
are not always recognizable, but knowing her subject, as she
works on an impressionistic piece, and after finishing, “I think
about how that particular “thing” interacts with its counterparts
in nature – the sun, wind, snow, etc., and I see the similarities
between things of nature and the human spirit or condition.”
From the original painting, spring many more ideas, paintings
and interpretations that “speak not to the representation of a
single thing, but to aspects of humanity... so many different
messages for so many different people. My hope for anyone
viewing my work, is that they are moved in a similarly profound
way to the way I’m moved while creating it. Not necessarily
the same way or say the same thing to them. Just that they are
moved in some way.”
The work Rosemary Craig is creating at this time in her life is the
most fulfilling she’s ever made. “I’m finally letting go of all the
restrictions I put on myself as a designer and illustrator. Accuracy
in rendering, perfect use of the elements of design, and then
perfect execution of the principles of design.” However, she
doesn’t underestimate the value of all the knowledge and
experience she’s gained during her life. On the contrary, she feels
strongly that the delays and distractions she’s experienced
during her life have provided her what she needed creatively to now do what she feels is the strongest work she’s ever made. “Not only have I received a creative education, but I’ve experienced life. The same kind of life nearly everyone else has. Full of normal frustrations, fears, joys and so much more.”
This is the only place she takes issue with Carleton Noyes, who argued that the artistic instinct was usually lost as the child grew older:
“Imagination surrenders to the intellect; emotion gives place to knowledge.”
For Rosemary Craig, “Working abstractly has allowed me to revert to the child artist. And living life has taught me how to relate and speak to the grown-ups. As long as they are willing to take a moment and listen.
What could possibly be better?”
Transformation (acrylic triptych on canvas)
Deliverance (resulting abstract)
Copyright 2018. Rosemary Craig. All Rights Reserved.
Miranda's Clarity (acrylic on canvas)
Contrary (impressionist study of an eddy in water)