Lauren Forcella
Your style is recognized for its emotional and impressionistic qualities, often evoking both tranquility and vitality. What is this style called? And how does painting in this style fulfill you personally and contribute to your overarching mission?
If I was a writer, my style would be called magical realism. Writers know how to describe things. Painters call it contemporary impressionism. And within that genre, my style is further called “au premiere coup” or “direct painting”. This is where the artist strives to “get it right the first time”, placing each brushstroke where it is intended on the first try. For me, this directness is emotionally alive. It’s fresh and vivid. I also paint with a lot of texture and brushwork which also adds life. I’ve had people tell me my work is “psychedelic”. At first, I was shocked. Later I began to consider it a good thing: I’m painting nature as I perceive it, and it appears they have glimpsed the same in special states. That sounds hopeful.
You describe a profound bond with Earth as a central theme in your work. Could you elaborate on why representing Earth is so pivotal to your artistic expression?
I was the kid who climbed every tree and lived barefoot most of the year covered with pitch and poison oak. Mostly alone, never lonely, I was either roaming far and wide for the sheer adventure of it, climbing the most challenging trees, or resting in secret magical places that attracted me with an indescribable sensation. Six feet tall, Nordic, capable of killing with a glance, my mother battled her demons with alcohol. We’re pretty sure she was Erik the Red reincarnated. Incapable of harmonious matrimony, she was it: our rock and our recklessly rolling stone. Though I didn’t get art lessons, or any lessons, she always (frequently!) moved us, yet always with the woods right outside the door. With the woods as a steady guardian, I began experiencing nature in ways that I can only describe as supernature. Today, when I am alone in nature and can plug in, I experience an unconditional love that brings me to tears. I’ve been dedicated to working for Earth since I was 14. With the current environmental situation only getting worse, painting this wild planet so that others might love her as she deserves is a radical act for me.
Given your earlier career in geology, how does this previous career fit in with your artistic mission today?
As I’ve mentioned, I work for Earth. First it was thru geology because that’s what I knew I could do, and laughably, I thought lawmakers would care. Much later, I discovered painting and realized I had a better approach, one that isn’t vulnerable to politics. Science stimulates action and technology, whereas art stimulates soulful reflection. Both are good AND we desperately need soulful reflection to catch up with technology so that we use it appropriately. That said, knowing the history and science of this rocky fourth planet from the sun, its plate tectonics, hydrological cycle, paleontology, biological processes, astronomy, and how we fit in the cosmos, totally deepens my love and awe of Earth. I’m very grateful for this phase.
What do you mean, “Once you discovered painting…”?
Painting was a discovery, a stumble-upon. In medical terms, a sudden onset. It’s a mystery to me how I was in middle age before I realized I had this talent. I guess that’s what happens when you spend your youth running around the woods and your young adulthood sweating over publications and public hearings so you can save the planet with science. I had never picked up a brush. And when I finally did, the skills were already there. It was a truly surreal experience and I’ve been painting ever since. There is a Shout OUT! interview on my website where I tell the story if you are interested. Or on YouTube at: https://www.youtube.com/watch?v=XejqLd9CyXU
Your paintings are noted for their detailed and vibrant execution. How long does a typical painting take, and do you work on multiple pieces concurrently?
Thank you for your kind words. To be sure, nature is a maximal vibrant place! Do I work on multiple pieces at once? Nope, I’m a serial monogamist. I totally devote to the piece at hand. I find paintings have a life of their own, and being undistractedly connected with each one during this intimate creative process is where the juice is for me. Like any relationship that’s going to work out, a lot of love, listening, and seeing is involved and, yes, sometimes swearing and begging. I’ve never given up on a piece. I stay with it until we are both satisfied. Some of the more difficult “relationships” have become favorite paintings later. How long does a piece take? It mostly depends on size. For most petites, 1-3 days; Midsize, 7-10 days. For the bigger ones, 2 weeks, sometimes more. That’s painting every day, ideally 5-6 hours each day.
Are there specific colors essential to your palette, ones that you feel you couldn’t express your visions without?
It’s hard to pick a favorite, but if I had to, I’d say it’s purple, yellow, sky blue, shadow blue, hot pink, hot orange. Rock red. Oak leaf green. Hah. ALL colors make me swoon. I have an innate color sense and 28 years into painting, only this year began exploring a color wheel. (Quite fun!) But to answer your question, purple is a universal color I’d be pretty soul-crushed if I couldn’t use (like if it was forbidden, except for royalty. I always wonder if that’s why there’s almost no purple in paintings prior to the Impressionists.) Which brings up a funny story. One of my brothers pulled me aside very seriously with some business advice. That being to “drop all the purple” and I would be more successful. Wow. Multiple pulling asides ensued. Finally, one day he popped over to the studio hot with another lecture on my wayward use of purple. It was late day and shade had engulfed the downward-sloping driveway. I walked him outside. Looking at the driveway, which filled most of our frame of vision, I said, “What color is that?” He stared for a long time and was dumbfounded: “Oh, my God,” he said, “it’s lavender!”
What are the crucial characteristics of an effective and inspiring studio space?
Good light. An overhead full-spectrum LED fixture will solve this instantly. Tall ceiling, minimum height, 12 feet. A padded floor (I paint standing and barefoot). A small fridge to store pallets overnight (keeps oil paints open longer and the room doesn’t fill with vapors overnight). Good ventilation. I’m solvent-free, but with the paints alone, you still can’t have enough fresh air. For the inspiring part? Keep your eyes on the next painting coming into being. All else will fall away.
What advice do you have for art collectors or first-time buyers who are uncertain what to buy? How do you choose from so much art out there?
Is this a trick question? Of course you want to buy from me! Hah. Okay, here’s how I see it: Brain studies show that when you look at art you love, it lights up the same part of your brain as being in love. So, definitely buy art that you love. That’s number one. Your investment will double as an antidepressant. Number two, impressionistic art keeps your brain working even when you don’t know it, as it unconsciously tries to resolve parts of the painting. So, consider an impressionist painting for doubling as a very pleasant brain expander. Number three, to make a good financial investment, make sure the artist is going places so the work will appreciate. When you find all three qualities in one painting, don’t blow your chance to be smarter, richer, and in love. Buy that one!