January 16, 2015
Kim English, one of the most popular instructors at the Hudson River Valley Art Workshops, will return August 2 to 8, 2015, to teach a lively ‘Capturing the Moment in Oil’ Workshop, featuring the clothed figure in the landscape.
Kim is an award-winning painter, so we were interested in his views both on creating art, and instructing students.
How long have you been teaching and what got you started teaching?
I’ve been at this for over 30 years. When I was in Art School, the founder of the school, Phil Steele, asked me to help student teach. That started things for me back then.
What is your favorite part about teaching?
My favorite part of teaching is helping someone not to be afraid.
What would you tell your prospective students are three best reasons for taking a workshop?
It takes a lot of courage to take a workshop. If you can, you’ll not only meet some interesting people, but you’ll see how other people solve problems in ways that maybe you haven’t thought of yet.
Also, you might help somebody else.
But I guess the main reason would be that art can be a very solitary profession, so there’s nothing like being with a group of painters all working out problems together.
What are you currently working on in your own art?
Currently, I’ve been working with lights. We have a lot of models at our studio up here in the mountains, so we have been experimenting with different lighting situations.
Is your work represented in galleries, and if so, what hints would you give to artists looking for gallery representation?
When I have to do business with a gallery, I try not to be too sensitive. They see your work in a very different way than you do.
Do you sell your work in any online gallery?
Most of my galleries have an online presence.
What is your favorite art quote?
One of my teachers, Jim Valone, once said that he didn’t like dumb paintings. Paintings that didn’t speak.
Describe your studio.
We live up in the Colorado mountains at about 8500 feet. We have a house about a mile from where we live. That’s our studio. There are two buildings on three acres. I work in one, my wife Nura, who is a sculptor, works in the other. There is a common room that we have our painting sessions in. We invite other artists up, have a model, food and drink, and generally have a good time. We usually even get some painting done.
Name five of your “can’t do without” tools/products.
I have learned to trust my hands. What’s in them is secondary.