#20for20 Artist Spotlight: Pamela Bury
Artist Pamela Bury came into the #20for20ArtChallenge with clear goals around materials. And while she had huge gains there, perhaps the genius of her approach is how she approached her 20.
You did your daily work in about 20 minutes. Why did you decide to approach the Challenge that way time wise?
I initially felt drawn to this 20-minute Challenge as an exercise to break down my intense need for perfection. In my early years, I was taught to copy an image exactly. Still to this day, I find it difficult to simplify my process and photorealism roots. It was important to me to be able to set down my brush when — or very close to — the timer going off.
Did you do your 20 all at once or did you break your time up into even smaller chunks?
I broke down my 20 minutes into four, five-minute chunks.
I discovered that I’d spend too much time in one area and then run out of time to move around the canvas as anticipated.
In addition to segmenting the time, I knew before I began painting how many regions were represented in the painting (background, foreground, middle ground, more detailed trees, rocks or water). I would predetermine what I’d do in each chunk of time.
Also, because my paint remained wet on the canvas, I had to consider not painting in consecutive areas. And I’d always have an eye on the timer to save one final minute for some quick highlights or other important details.
What were the challenges but also what were the benefits of working just 20 minutes a day? [Keeping the time to 20ish minutes.]
My biggest challenge was needing to be okay with stopping when the timer went off. That’s probably why I manipulated the timer into chunks, so I could plan out how to finish each canvas as much as possible.
The biggest benefit of the time constraints is that they really help me to knock back all that perfectionism. I was able to mix some unexpectedly vibrant colors that may have been a bit brighter or more saturated than the reference image, and I’d lean into that.
The Challenge gave me the permission to not go back to that canvas. The Challenge was a beneficial learning exercise to use going forward.
How did you approach the materials side of things? How did you decide what to use each day?
Since moving to Colorado, I’d been wanting to try plein air painting, the practice of painting outdoors to capture the essence of a landscape through color, light and movement.
After meeting up with a local group and researching materials, I knew my usual acrylics would dry too quickly in an outdoor environment. So I purchased a small set of Golden Open acrylics that have a longer working time reminiscent of oils.
My intent with this Challenge was to familiarize myself with these paints and become comfortable with the equipment I’d be using outdoors. I used only my plein air equipment including the Open paints, 6x6” canvas panels supported by a portable easel box mounted onto an old tripod.
For days 1-6, I used a Sta-wet palette, a damp paper and sponge system intended to keep paints fresh longer. However, I found that in my home studio, the Open paints absorbed too much moisture and couldn’t be applied opaquely, so I transitioned to palette paper in my easel box for the remaining days. This solution resulted in a more comfortable, consistent feel to those of my usual acrylics, despite the longer dry time.
Did you prep materials before? If yes, how much of a help was that and why?
Yes, I always began with a color wash on my 6x6” canvas panel, usually a goldish or burnt sienna tone to warm up the painting. Starting on a white canvas can be very intimidating, plus I like it when the underpainting pops through.
I’d do a rough sketch in chalk or permanent marker. I’d squeeze out my paint and mix the predominant colors. I try not to use black out of the tube, so I always mix a dark value. Then I’d closely look at the regions in the image to determine what sections I’d do in each five-minute increment. This was so helpful for me to manage my time. If needed, I’d wash out brushes or squeeze more paint before resetting the timer.
How did you decide what to paint each day? What about that way of working worked well and why?
The beauty of the Challenge is that we are provided with the reference images, or we may choose our own visuals. One of the barriers for me with painting is getting lost in finding images. I’ve spent countless hours trying to find the perfect image to paint, so it’s particularly refreshing to know what we will paint each day in the challenge.
I also love following along with the other artists participating to see how they approached the subject matter with their own interpretations and styles.
Since I chose to paint in a square format, I’d often crop into the image in a way that seemed balanced to my eye. Only once did I not wish to paint the reference image, so I used a floral image I’d photographed years ago.
What were you hoping to explore in the Challenge? Why those goals?
In addition to learning the properties of a new paint medium, I was hoping to explore color mixing. Painting with a limited palette of colors has been extremely educational. I was able to mix pretty much what I needed and the colors were really saturated.
I’ve restructured my days to allow more morning and late afternoon painting time. My dog still takes precedence over most of my free time. Previously, I’d paint during inconsistent hours, days or weeks. I still need to further define my schedule to accommodate a consistent painting time.
And my Thursday mornings are now exclusively dedicated to painting in plein air!
How did how you set up your Challenge help you reach these goals?
By considerably limiting the variables on materials, I had to mix my own colors daily. There’s so much benefit to understanding color theory and mixing, comprehending hue, value and saturation and all their nuances.
I’ve also had to take down and set up my plein air equipment weekly to travel with it. I recognize that I still have too much baggage, literally, when it comes to painting outdoors.
What benefits did you find working daily even if not necessarily for a long time?
With 20 minutes, there is no time to allow the mind to wander. This practice helps me to stay grounded and present. That’s a huge win! The simple act of finishing a painting also provides me a great feeling of comfort and resolution.
My color mixing skills also increased dramatically during the Challenge. Because I worked with a limited palette and didn’t have access to unlimited tubes of colors, I did so much more mixing. Because of that, I explored more and my understanding of color improved significantly over the course of the Challenge.
Any days jump out as having aha moments? Could you share what those were and why those days?
After completing the fields of Day 9 (above) and stepping back, I realized that my colors were way more saturated than the reference photo, which created some visual tension. But I liked the edgy result and kept my colors vibrant going forward.
For the landscape on Day 10 (above), I took some time to really squint and identify the shapes first, followed by the values. I was mostly able to carry this process through the remainder of the Challenge to define the space and mood.
Day 13’s blueberries (below) helped me let go of the realism while still capturing the subject matter and reflections in the silver pitcher. The quick brush strokes I achieved with this painting helped me to become more expressive.
Day 20’s seascape (below) uses subtle colors with pops of brightness. I was able to pull back on my use of amplified color to achieve better visual balance, and I successfully used the paint’s longer working time to blend the background.
So often we walk into a painting with a general goal. How did it change the experience to have a really specific goal for painting?
My very specific goal was to familiarize myself with slower-drying acrylics used along with my plein air set-up to prepare for taking my practice outdoors. I achieved my goal of better understanding the materials and equipment. I consequently was able to join up with a local plein air group, more confidently.
Having very specific and narrow constraints allowed me to focus solely on the color mixing and painting process of simply laying the paint down each day. I felt like I really got to know the paint medium.
What was the most helpful mindset for you to try and keep during the 20for20?
Adopting a daily painting practice begins with valuing consistency over perfection, something I strive to achieve on and off the canvas. Show up every day, understanding that each painting session enhances my skills and creativity while providing opportunities to deepen my artistic habits and voice.
What advice would you give to someone doing the Challenge who finds they miss a few days? Do you think it’s still worth it to jump back in? Why?
If you miss a day or more, absolutely allow yourself grace. Life is busy. Life will always be busy, and we are all just doing our best. Jump right back in, either where you left off or skip ahead to the current Challenge day.
I also find that writing about our successes and challenges is very introspective and makes us better communicators and artists. I personally love the supportive community from the Challenge participants and try to show up each day to be part of the collective. And that might just be what you need to start a daily painting habit.
What has been the biggest insight to you as an artist (or your practice) because of participating in the Challenge?
In my recent plein air experiences, I came to realize that I need to simplify my viewpoint more into forms with lights and darks and how they all juxtapose. I must slow down more and really look at my subject, see into it, take the time, and perceive the details to truly express my creativity rather than rendering a literal interpretation of what I see before me. I realize this sounds like a contradiction since the Challenge has a 20-minute recommended time limit, but slowing down and getting curious before I pick up a brush allows me to focus on self-expression.
You can learn more about Pamela Bury on Instagram at www.instagram.com/pamela_bury
To join in the next #20for20ArtChallenge, add your name to the waitlist below.