Bette Ridgeway
Over the past five decades, how has your approach to your signature pouring technique evolved?
Can you describe any significant shifts or milestones in your artistic process during this time?
The shift to pouring paint on canvas began in 1979 which seems like a lifetime ago. After meeting with Paul Jenkins in his studio at 831 Broadway in New York, I purchased some large stretched canvasses and jars of acrylic paint. He had very generously looked at my slides and recommended I eliminate subject matter and focus on pure color, light and space.
I mention Paul’s address because Paul told me he had rented this spacious, light-filled loft in 1963 from Willem de Kooning. The studio became a magnet for artists and dignitaries alike. Jenkins gave a party for France’s first lady, Danielle Mitterrand which was attended by Paloma Picasso, Robert Motherwell, and Berenice Abbott. The 1978 film, An Unmarried Woman was filmed in Jenkins’ studio and the actor, Alan Bates studied Jenkins’ technique for his character. The historical significance of this magnificent space was not lost on me.
Well, honestly, I was pretty cocky then. Surely I could do this. Easy. When I look back, my naivete is astonishing! After a year of disasters, I realized that I needed to use unstretched, primed cotton canvases and attach them to various supports and create a pathway for the paint to flow.
Fast forward to now, it is enlightening to look back and observe how my technique and relationship to the paint has evolved. Early on, my instinct was to use primary colors and to copy the master. Nearly every student does this. It’s pretty normal. Then, we wake up and say, “I need to develop my own artistic vocabulary. Experts would point out that my work was “derivative” which really opened my eyes. My goal was to use the basic pouring technique and create distinctive compositions and colorways that would be my very own. During the Covid lockdown I became aware that, indeed, my work had evolved to a point that was satisfying to me and to my galleries and collectors. Historians and gallerists can now say that my work has been influenced by Jenkins, but that it has come into its own…after 45 years!
This is validated in a critical review by Dr. Salvatore Russo, a noted curator and editor in Rome. He wrote, “The artist succeeds in the difficult task of communicating what appears unknown. Painting that is influenced by Jenkins, without however being a faithful copy. Unlike the American Master's painting, Bette's has a more harmonious structure, and the color is balanced differently, in order to create a very intimate relationship between the viewer and the work of art”.
You've spent considerable time immersed in various cultures around the world. How have these experiences influenced the colors, forms, and overall themes in your artwork?
As humans, we are enriched by spending quality time inside cultures that are not our own. When we study other cultures we see that perceptions are not universal. How we connect to our environment is often dictated by the landscape. The sky. The mountains. The sea. The rugged terrain or the plains. Since I study color, I’m aware that it is influenced by our perceptions along with altitude and humidity. The clarity of the sky in my beautiful Santa Fe, New Mexico where the altitude is 8,000 feet is very different than the sky above Washington, DC.
Being deeply immersed in the colors and diversity of Madagascar, Chile and Australia expanded my relationship to my technique and the nuance of the application of color to canvas. For example, the humidity in Africa influences the drying time of the paint, and the depth of layer upon layer of rich, juicy pigments. Sometimes thin and transparent; sometimes thick and succulent. How the acrylics interrelate and mix on the canvas varies greatly in different environments.
Paul Jenkins was a pivotal figure in your artistic development. Can you share how his mentorship influenced your decision to focus on color, space, and time rather than traditional subject matter? Aside from Paul Jenkins, have there been other significant influences on your work, either from the art world or outside it?
Jenkin’s advice was more than pivotal. It was life-changing. My little watercolors, although competent, bore no relationship to me. I’ve come to realize that artists, true artists, paint who they are. For example, I can say that Pollock’s splashy drip paintings depicted his personality. He was known to have a wild, fanatical and extreme personality. Uncontrolled. This shows in his work. His genius was in developing his drip style to the most exquisite large-format work of his generation. In contrast, look at the paintings of Helen Frankenthaler. When Jackson Pollock first exhibited some of his paintings in 1951, they exerted a great influence on Frankenthaler. Their scale, free graphic rhythms, and color impressed her strongly; but above all she was struck by Pollock's method of dripping paint directly onto the raw canvas, emphasizing both the flatness of the painting and the physical actuality of the support.
Carrying this technique further, Frankenthaler thinned her pigment with large amounts of turpentine so that they soak directly through the unprimed cloth and stained it. The resultant image no longer lies on top of the picture plane but is embedded within; the transparent mat colors of varying intensity modulate from light to dark without creating any illusion that they exist in a space other than that of the woven textural surface. Frankenthaler also adopted Pollock's practice of painting with the canvas stretched out on the floor, allowing the artist to be "in" the picture, work from all four sides, and produce an image seen from above.
In the early 1960s Frankenthaler switched from oils to acrylics, with which she could achieve a watercolor effect by thinning the paint even further; creating a radiance and rich color that glows from within. I believe that Frankenthaler’s personality was reflected in her work, which evolved beautifully over her six-decade career.
What are some of the most challenging aspects of working with gravity as your medium? How do you control and manipulate this force to achieve your desired results?
Control is the key word here. Pouring acrylic is impossible to control, so under the best of circumstances, we work with the flow as it is happening. That’s the exciting part of this technique. We can plan, but as we throw with some velocity, we learn to let the paint dictate the way. Paint is applied in various ways from gently pouring from a plastic cup to filling a gloved hand with paint and tossing forcefully on the shaped canvas. Often I use my beloved boomerang to guide the flow and to push and pull the paint around; working a composition that is a combination of controlled and spontaneous. The boomerang can be used to reach under the canvas to lift certain passages as well. Check out the films on my YouTube channel to see how I work with the flow.
Having won numerous prestigious awards, including the Leonardo daVinci International Prize and the Michelangelo International Prize, what do these accolades mean to you personally and professionally?
These recent awards mean a lot to me and to my career. When curators and jurors validate my work in this way, it adds to the importance of my painting and my place in history. Thereby creating my legacy and the "story" that will be passed through galleries, museums, critics, collectors, and curators worldwide. Every artist’s work tells a story, my life tells the same story. Over the decades I have learned how different my technique is and how many thousands of hours it has taken to master. I am invested in my life’s work. I’m not sitting comfortably in front of an easel using brushes. No, this work is very physical and messy, and has been labeled “action painting” for good reason.
You've mentioned that "color is my subject and my muse." Can you elaborate on this philosophy? How do you choose your color palette, and what role does it play in conveying the emotions or ideas you wish to express?
Color has been the centerpiece of my artistic journey. Every color has a frequency, like music. These frequencies/vibrations affect us differently. Red is the equivalent of middle “C.” People react differently to each vibration. In my paintings, those that are in greens and blues create a warm, relaxed state, while those with black, celery green and gold create a more energetic reaction. My favorite quote on color:
“Color is the keyboard, the eyes are the harmonies, the soul is the piano with many strings. The artist is the hand that plays, touching one key or another, to cause vibrations in the soul.” Wassily Kandinsky
You are now in your sixth decade of painting, a remarkable milestone that speaks to both your passion and dedication to your craft. Could you share what key lessons and insights you've gleaned from your long and illustrious career? Additionally, how has your personal philosophy on life influenced your approach to art?
This question made me think deeply. As I mentioned above, artists paint who they are. I have come to see that since my “dance” with cancer in 2010, my philosophy of life has changed dramatically. I am now in the “flow”, meaning that I don’t fuss over the small things. I am in the flow of life with all its challenges and rewards. I have no interest in following rules, making political statements or fighting the winds of life. My work and my life are one big happy expression of being. I find gratitude in every minute. I live in the uncertainty. I live in the moment.
Lessons? There are too many to list, but I feel strongly that in order to succeed in any pursuit, we learn from the failures, the mistakes and the downright messes. We don’t learn from our success. We ask, “What are the lessons,” from each bad painting, each bad decision and go from there. We learn. We learn that we are here to learn. How lucky is that?
Could you walk us through a typical day in your studio? How do you begin a new piece, and how do you know when it is complete?
I must say there is no typical day! I do try to meditate for a few minutes before walking into that creative space. I meditate to allow an empty space through which a painting can come into being. The studio is all white. Pristine. Clerestory windows allow for maximum natural light. Heavenly. Canvas is draped. Music is chosen. Colors are mixed and voila…there we go. Another day of complete freedom. I am in love with the movement in my work, sometimes kinetic and full of emotion, sometimes bold and masterful, sometimes languid and tentative.
The painting tells me when it is complete; when there is nothing left to say. It tells me the title too…if I am listening.
Maintaining robust relationships with art galleries and collectors has been a cornerstone of your successful career. Can you share insights on how you've cultivated these partnerships over the years? Additionally, what strategies have you found most effective for engaging new collectors and galleries interested in your work?
My experience as a former gallery owner has given me a real advantage. I see the relationship between the gallery owner and the artist similar to a marriage. When everything works it is beautiful and when there are issues, they need to be addressed. If the problem cannot be resolved, move on painlessly and quickly. I am fortunate to be in a dozen of the best galleries in the US. I deliver the best work I can produce. They know their clientele and how to sell. When I agree to do commissions, I follow the guidelines, stay on budget and deliver in a timely way. One of my most interesting commissions was for a superyacht. This was through a big design company in London. I had to sign a non-disclosure agreement, so cannot post the work on my website or on social media. A shame…it was really good!
As for collectors, that is the most rewarding aspect of my career. Collectors quickly become friends. It’s true. There are numerous ways to engage new collectors and galleries. They are outlined in my book, “Talent is Just the Beginning – an Artists Guide to Marketing in the 21st Century” which is still a best seller on Amazon. When I was a young, aspiring artist, there was nothing out there. No guidelines on how to approach a gallery, how to cultivate clients or how to get press. Now, thankfully, there is a lot of help for artists.
When I do a marketing workshop, I open with the question, “What is your most valuable asset?” Artists respond with things like, my talent, my creativity, my imagination. No. That’s not it. Your biggest asset is your name. Think about it. If I say Pollack, you know, in your mind what his work looks like. If I say Picasso, the same. Develop a unique style. Make your name prominent and go from there. Use the internet. Build a fabulous website with only your best work. Facebook and Instagram are windows to the world for artists. Use them well.
My sincerest advice to young artists is to just follow your intuition; manage your career as a business. Get help when you need it and invest in yourself.
Looking forward, what are some themes or techniques you are eager to explore in your future work? Are there any upcoming exhibitions or projects you are particularly excited about?
This year I am focusing on the work. Fewer shows. More painting time. How far can I take this crazy pouring and exploring? I’m constantly amazed by how my process is unfolding naturally. No pushing. No demands. Just get in the bloody studio and let go.
My big goal now is to create a masterpiece. Yes. It is time. Maybe 2024 is the magical year for that. Stay tuned.