Camden artist/illustrator Jonathan Carlson spent most of Monday, June 16, before an easel on Limerock Street in Camden. His focus: A modest old farmhouse that lay across a short expanse of green grass, lupine and wild iris. Beyond, rose Mt. Megunticook. But, it wasn't backdrop that drew his eye; rather, it was the full bloom of pink rhododendron framing the rear door of the house that compelled him to stop and paint a landscape. I stopped and asked him about his art.

1) Why the rhododendron?

I live just down the street, and see that rhododendron every day. It was at it's peak of bloom this day, and it offered a great color opportunity in combination with the white farmhouse with one side brightly lit, and the other side in shadow with lots of reflected color.

2) What kind of paints are you using?

I am painting in oils on a panel that I had prepared.

3) What will you do with the painting?

 Most of the paintings I view as exercises, but when I can get enough of the stronger work together I hope to eventually have a show and sell it. It's not unusual for me to spend several hours painting, and then go home and wipe out the painting, and reuse the panel or canvas later for another effort.

4) What do you like about painting?

I really enjoy how engrossing it is to paint. It can be highly intellectual and deeply meditative at the same time. It works all parts of the brain, and there's also a physical component. I enjoy spending several hours outside, closely observing all the changing elements, and being absorbed in the dialog that takes place (usually silently) between myself, the painting, and the scene around me.

5) How is it different from illustrating for work?

I often tell people that when I'm out painting, it feels almost like I'm going through sort of a detox process from Illustrating. The biggest difference to me between the two, is that an Illustration, from the very beginning is setting out to solve a problem. Usually someone else's problem. It has to fulfill a multitude of requirements, and be a certain size, and it generally has to look like many things I've done previously, because after all, that's what the client has seen before, and that's what they want more of. It's a very process-oriented march toward somewhat of a pre-established conclusion.

By the time I've completed an illustration, I've often sketched it and redrawn it and inked it about five or 10 times over. Then the "final" Illustration is done, but in actuality, that's not really the final at all. The final is ultimately the printed piece as it appears in a magazine, or newspaper, or advertisement, etc.... And sometimes it's placed in a layout which doesn't feature it well, or crops it strangely, or maybe the printing is bad and the colors all got skewed one way or another.

The difference then with painting, is that while I generally have an idea about what I want to represent in a painting, it can evolve organically from there. There's no conference call that takes place, and no art directors or editors, it's just me and the work, and I'm free to make decisions at any stage, and the painting itself begins to tell me what it wants. I might end up with something completely different from what I set out to do, but that's OK.

See more of Jonathan’s work at www.rappart.com.

6) What would you tell young artists who want to make art their profession?

I guess I would suggest that they try to adhere to what is personal and meaningful to them. If you set out to try and concoct some form of work  strictly out of being derivative, or trying to shape it based on your ideas of what you think will be most marketable, then you will probably not go very far, and will ultimately find it to be an empty pursuit.

7) Which artists and art work do you find inspirational?

I find inspiration in the work of artists of all disciplines, including musicians. As far as painters go, a few of my perennial favorites include: John Singer Sargent, Edward Hopper, Fairfield Porter, Degas, Matisse, Rockwell Kent, Edouard Vuillard.

Editorial Director Lynda Clancy can be reached at lyndaclancy@penbaypilot.com; 207-706-6657