“Expectation” © Bill Suttles
Bio: Bill Suttles graduated from the American Academy of Art in Chicago in 1949. Exposure to the great Impressionist Collection at Chicago’s Art Institute while at school was formative and influential. His training provided a traditional academic education which he always appreciated as a foundation and sought to move beyond, as all artists must, who hope to find a way to say something unique, important to them and possibly to others. He also studied with Wolf Kahn, Irwin Greenberg, and Coralie Tweed.
An artist for over 30 years, Bill’s painterly landscapes and figurative works in oil and pastel have been appearing in galleries around the Southeast for two decades. A career in illustration, with commissions from publishers and national corporations such as Coca-Cola, Delta Air Lines and Lockheed evolved into a full time, happy commitment to his own work. Hs work was featured in the Pastel Journal, in 1999 and again in 2001. He is represented in many collections across the U.S. and Europe, including those of the U.S. Consulate in Beijing, China.
Bill has maintained studios in Atlanta and recently in the Appalachian foothills of North Georgia. He and wife Pat, also an artist, live on a mountaintop overlooking the small college town of Young Harris, with an art studio in a picturesque old barn just steps from their chalet.
Bill is a member of the Blue Ridge Mountains Arts Association, The Southern Appalachian Artist Guild, and The Southeastern Pastel Society.
Medium: Pastel, gouache, oil, acrylic. If working on Strathmore 400 (a drawing paper) or Reeve's BFK (a printing paper), he applies gesso thinned to the consistency of coffee cream to both sides and an additional coat to the front side. If using Wallis (a sanded paper), he does not apply gesso. He begins each new work with a slide, a line drawing, and a value study as references. Using the line drawing as a guide, he makes a sketch on his paper with a sepia Conte pencil. He then loosely applies fluid gouache with inexpensive hardware brushes. While referring to his value study, he applies strong, uninhibited color. He emphasizes that thinning the paint, rather than adding white or yellow, works best with the pastels. Once the underpainting is completely dry, with every colour in front of him, he lays in large broken applications of color with the side of a broken pastel. Working from the background to the foreground and from dark to light, his movements are loose and his color choices intuitive and experimental. A tree in the foreground starts with Prussian blue branches and lavender foliage. He admits that accidents often lead to better and more exciting creations than do purposeful executions. Moreover, he finds his method of working to be very forgiving. He says that simply brushing away an area with a bristle brush or spraying it with a workable fixative, is all it takes to correct an area. He intentionally brings out the most of every color by placing it beside its complement, using Prussian blue in the shadows of a mountain and red-orange in its foliage. He then softens these bursts of color by going over them with a more neutral tone, but still allowing them to come through. As he approaches the foreground and areas of greater detail, his applications become linear scribbles possessing energy and movement. He then softens their edges where necessary by lightly going over them with a harder pastel (for example, NuPastel over Rembrandt).
Subjects: Landscape, Figurative.
Style: Representational. Loose and painterly. See method above.
Gallery: Currently in Galleries
Image View: Thumbnails open in new page and are “zoomed”. You can then follow in sequence. Information on size and medium is generally given. Expectation is 11 x 15 ins. 1024 x 737, 1.1 MB.