We recently connected with Eli Cedrone and have shared our conversation below.
Eli, so good to have you with us today. We’ve always been impressed with folks who have a very clear sense of purpose and so maybe we can jump right in and talk about how you found your purpose?
I’ve always been influenced by the power of images to express ideas and emotions. I saw the world in terms of a visual language and drawing was something I did quite naturally from a very young age. I’ve never doubted for a moment that I would pursue a life in the arts. However, when I went to art school it was difficult to find instruction in traditional methods of painting. I pressed on as I wove my way through the world of commercial art, first as a designer then as an illustrator until I found my way back to painting full time.
Finding your creative purpose requires a journey of self-discovery. It involves taking a risk and following your bliss while. exploring your passions, strengths, values. It’s our individual experiences which shape our unique artistic voice. Becoming your true potential is pretty rare in society. I was fortunate to find mentors along the way who helped me see the world artistically; abstractly, simply. I sought out instruction from painters I admired and once I began to understand what painting was all about it created in me a passion to learn more.
It’s been said that fear is the thief of dreams. The fear of being uncomfortable is a very palpable thing. But my fear of failure is overshadowed by the realization that painting is a gift, we have to make the most of it and not waste a moment. Dharma is one of the most important words in the Hindu and Buddhist religions. Narrowly defined it means “your spiritual duty,” or “your place in the universe.”
For me, the joys of travel and painting are an act of self-actualization. Through my workshops, I’ve managed to combine both with the joy of teaching others to paint. The most satisfying thing about teaching is that I get to help people step outside of their comfort zones and stray from their intellectual neighborhoods long enough to learn something new. The art of observation is key in my teaching. As artists we’re meant to be astute documentarians of the world around us. Not in the mindless copying in mosaic of all we see – but a fresh vision uniquely our own. My goal as a painter is descriptive precision balanced with an immediacy of expression. Ultimately my concerns are with the qualities of light captured with paint.”
Thanks for sharing that. So, before we get any further into our conversation, can you tell our readers a bit about yourself and what you’re working on?
I grew up in the Boston area with its rich history of traditional painting as exemplified by the Boston School of Art. I was fortunate to have wonderful museums such at the MFA and the Isabella Stewart Gardner museum just minutes away. A major influence was that of John Singer Sargent and the Russian impressionist as well as Joaquin Sorrolla, Anders Zorn and Antonio Mancini.
I attended the School of Art & Design, Suffolk University in Boston and later studied art in Florence, Italy which provided an academic foundation. I began my professional career in 1980 at Saatchi & Saatchi, Bermuda. I moved to Laguna Beach, CA and loved working as an editorial designer and illustrator from 1986-1996. All the while taking the odd painting class and it was at this time that I became aware of the plein air movement which was experiencing a renewal through organizations such as the Laguna Plein Air Painters and the California Art Club.
After my daughter Olivia was born, my husband and I moved back to Boston and I renewed my studies at the school of the Museum of Fine Art and the Academy of Realist Painting. It was during this period when I began painting full-time and my work was being noticed and I was represented by a number of galleries, from Boston to California and Charleston.
At present I teach at Masterworks Museum of Art, Bermuda and conduct painting workshops all over the world. I’m preparing for a solo show of my work in Bermuda and invite readers to peruse the entire show on my website at by visiting: https://www.elicedrone.com/event/139353/pop-up-show. My upcoming workshops are also listed on my site. I’ll be teaching in Florida in December and in Portugal and Cape Cod next summer.
If you had to pick three qualities that are most important to develop, which three would you say matter most?
On our journey to become better painters we often copy the work of others. As I mentioned earlier, having the works of the great masters at my disposal was invaluable. I was able to paint at the MFA directly from the original. This is great practice as students but at some point it’s necessary to experience firsthand our own truth.
The word ‘truth’ is often used in the discussion of painting. It speaks of the creative process as a soulful act. Direct observation from nature helps to avoid assumptions about color. A variety of color lives in the landscape, with its dramatic scenery and the ever-changing light. The overall color harmony is achieved through being sensitive to the quality of the light.
The power of seeing the world in the most truthful of ways requires extraordinary intuition, an insight into subjects which are dark to ordinary vision. Creativity is about engaging with the world and awakening an emotion in ourselves and in the minds of others. Art is a universal language and it is so because it’s the expression of the feelings of all men.
People often say to me “painting must be very relaxing.” And my response is always – if you’re relaxed then you’re doing it wrong. Painting is problem solving on a visual level and not a mindless escape. It takes a highly evolved, series of mental maneuvers to create a great work. That being said, believing that every painting you make must be absolutely perfect is an unrealistic goal. You’re never going to achieve it, so you become too scared to even try. Instead of aiming for perfection, strive for every painting to teach you something and learn from your mistakes.
My advice for young artists… take a leap of faith, choose the road less travelled and let the universe direct you with a trust in the knowledge that your not in the drivers seat as much as we’d like to believe.
Thanks so much for sharing all these insights with us today. Before we go, is there a book that’s played in important role in your development?
Without a doubt the book that was most influential in my understanding of the fundamentals of painting is Alla Prima, Everything I Know About Painting, by the modern master, Richard Schmid.
When I moved back to Boston in 1996, I was very fortunate to have been drawn into the world of Schmid’s studio which was located in Putney, Vermont. This beautiful little town is about 3 hours from where I lived. I would make the trek often in order to watch a master at work. Richard would often paint the portrait in the barn or other times the landscape, always sharing his knowledge freely. It was a magical experience!
The biggest takeaway from this was understanding that painting is a craft. Much like learning to play an instrument, learning to paint requires practice and a basic knowledge of the fundamentals. The first challenge is to break down the psychological barrier that you must be born with the ability to draw or paint. First of all, talent is a myth. We aren’t born with talent, we develop skills over time through learning and practice. Deliberate practice produces a natural tendency. Love what you do and even on the worst days, try to remember that you need be able to stand being bad to paint anything good.
There are so many nuggets of wisdom found in Schmid’s book. What really opened my eyes is the importance of painting from life and that anything under the sun is beautiful if we know how to see properly. When I paint all of my senses are involved but learning to “see” is a skill one must develop. I often tell my students, we’re not painting objects, we are painting the effect of light on objects. It’s essential to simplify what’s before us into abstract patterns of light and shadow, before creating the illusion of reality.
The immediacy of painting from nature is inspiring but the idea must be firmly planted in one’s mind. I often write down what the painting is about and make small, value studies. More complex ideas require a lot of sketches and evolve over time. My idea is based on the vision of what’s before me or the mood I’m trying to create. The flow of light through a room, abstract shapes, texture and paint handling all come into play.
There are many ways to begin a painting: usually the subject will suggest the best course of action. A line and mass block-in works well for large simple shapes, whereas a gestural approach may work well for the figure. The Impressionistic Block-In is a good approach for lots of small shapes as in a forest of dappled light. I don’t rely on formula because the best way to communicate my message to the viewer is to to be sensitive and open to the subject. I spend a lot of time with preliminary thumbnails until I nail down the composition and values. Satisfaction comes from communicating effectively with others but a lot of what I do is purely for my own pleasure.
Contact Info:
- Website: https://www.elicedrone.com
- Instagram: https://www.instagram.com/elicedronefineart/
- Facebook: https://www.facebook.com/elicedronefineart
Image Credits
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