Brushstrokes are the Words of the Artist

By: LR Fisler

While studying art, art history, and continuing my art journey, I have had many opportunities to find inspiration in many places, as long as I keep my eyes, heart, and soul open. To keep yourself open, you must discover many instruments that spark intrigue and exploration. These times can introduce us to muses or mentors who will lead us to bigger and better things. This interview with George Gallo is one of those times.

From the discussion of modernism and representational art, to the information shared about his movie “Local Color”, to his coaching about getting yourself (your ego) out of the way so that the creation “comes from something bigger than you”,  George shares his most personal feelings with us.   Summarizing George’s views would not do him as much justice as sitting down and listening to this very entertaining interview would. 

George discusses how to see as an artist. He explains how the design of the painting is the most important step in the process and how seeing in shapes instead of objects (like a tree, bridge, or cloud) makes all the difference between a great painting and a failure. He provides insight on actually looking and thinking while you are painting. His life experiences provided an interesting perspective not only into his journey but also into his artistic life.

He shares that he has been lucky to be able to paint what he wants to paint because his livelihood is his writing.  He paints for the love of painting.  However, this conversation has some great insight, a theme we’ve heard from our previous guests.  Paint what you love to paint, and your love and emotions will shine through in your painting.

George has participated in all four years of Weekend with the Master Conference and Workshops.  Each year his participation has increased: a great testament to his knowledge, experience, and willingness to give it his all.  George pours his heart and soul into his art.  This is so evident and, thankfully, infectious!

If George could instill one thing in his students, it would be to plan what you want to paint before laying down the first color note.  “Can you imagine going to shoot a movie and not having any idea about what it is?  Of course not! That’s insane!”  George remarks.  George, a director, speaks from experience.  You are the director of your painting, and you place all the actors (elements) on the stage (canvas), and “The brushstrokes are the words of the artist”.   “I work all this out in my brain in advance and then I go to work.”    From that point, he takes us through the steps of painting what you see and not paint an object, in this interview, it happens to be mountains and oranges.  “You want to hold your viewer’s eye as long as possible.”  He goes on to say, “Poorly designed paintings just will not hold your viewer’s interest. This is not as hard as you think it is.  It is just that you are not thinking straight, and you’re not looking at your subject the way an artist looks at their subject.  An artist looks at a mountain and says, ‘That’s a shape. What color is that shape? What kind of edge does that shape have? What value is that shape?  Is it warm or cool?”

I hope you take time to listen to this interview because George’s enthusiasm can inspire you and reinforce many elements that we may be taking for granted or may even be missing. We were very fortunate and thankful to have conducted this interview with this very busy, highly sought-after writer, director, and artist. Please feel free to share this interview with your friends and artists. You won’t regret it!

 You can find that interview by clicking here.