In the beginning, my love of black and white photography motivated my use of graphite pencils. I’ve always wanted to introduce color to my work but never encountered the catalyst that would propel me to learn a new medium. That all changed when I hiked the Appalachian Trail from Georgia to Maine. Some aspects of the trail are difficult to convey, such as the early morning rays of sunlight streaming through the trees, without the vivid colors of nature’s canvas. It was time to make a change as I picked up my first soft pastel.
The Mountain’s Good Tidings, pastel, 16 x 24" (40 x 60 cm) What do fall leaves, green pastures as far as the eye can see, blue skies with white-capped clouds and purple mountains provide, besides happy cows? They provide the setting for the perfect painting. Throw in the setting sun peeking around the corner, and one has the making of a masterpiece. Mountains have long been a favorite painting subject because of their dramatic appearance. Given a particular time of day, night, or even season, the mountains come off as a living, breathing entity with clouds that surround and engulf them, enticing us to reveal more.
I quickly fell in love with the looseness and spontaneity of this new medium. My pencil work is very rigid and exacting, almost photorealistic. Pastels were freeing and allowed me to bring movement, life and texture to each piece. If finer detail is needed, I’ll break out the pastel pencils. Charcoal is also incredibly versatile for strengthening edges, darkening values or even as an underpainting.
Desert Rays, pastel, 16 x 30" (40 x 76 cm) Many a time, a sunset goes unseen. We’re either too busy driving or just too busy to notice God’s attempt to reward us for the passing day and to give us hope for the next. In this scene, the sky has erupted into a magnificent symphony of colors. I wanted to capture that magic in this piece.
Needle Falls On The French Broad, pastel, 16 x 20" (40 x 50 cm) The adrenaline rush, the thrill, the fear of capsizing, all neatly packaged and presented in a five-second run over this class 4 waterfall. From the safety of a calm cove just feet away and against the thunderous roar of water, I had the opportunity to survey what we had just negotiated. The setting was a multitude of contrasting elements that included life and death, sun and shadow, turbulence and calm. Every aspect of this euphoric experience made an argument for a painting that showcased movement, color, texture and emotions.
Without formal training, I place no restrictions on my methods. I’m all about trial and error. If something’s not working, I’ll start over or try something completely different by introducing a new medium to the mix, such as acrylic paint, ink, alcohol or whatever is available. There are no rules. My goal is to transport the viewer to the trail or out in the field, so they might experience the joy it brings. —
Morning Rush Hour, pastel, 11 x 14" (27 x 35 cm) Five to six months out of the year, a through-hikers job on the Appalachian Trail is to commute from point A to point B. Phone service is limited, so there are no distractions. No traffic is present to impede progress. There are no car horns, only the birds singing or the leaves rustling in the trees as a breeze passes. Often, the rising sun and the warmth that follows welcome you and persuade you to continue. As the saying goes, “Even a bad day on the AT is better than a good day at the office.”
About the Artist
Mike Wurman
Soon after moving to Asheville, North Carolina, to pursue a career as a pencil artist, Mike Wurman developed an overwhelming uncertainty in his abilities as an artist and individual. His passion for creating had vanished, so he packed up his pencils and resigned from drawing.
In 2014, a hike across the summit of a bald mountain called Max Patch reignited the flame to create as he encountered the iconic Appalachian Trail. Immediately he was overcome with the desire to draw once again. However, it wasn’t going to be as easy as picking up a pencil. The trail itself was also calling him to make the 2,200-mile pilgrimage from Georgia to Maine. Two months later, with no backpacking experience, carrying two sketchbooks and an assortment of pencils, he left from Springer Mountain, Georgia, and headed north.
His journey on the trail not only strengthened his belief in himself but also gifted him with an undying love for nature that he’s eager to share with others. Wurman continues to work in pencil, but he quickly learned it was time to branch out of the black-and white-world of graphite and truly convey the vivid imagery he experienced on the trail each day, so he taught himself the colorful medium of pastel.
Contact at
asketchandaprayer@gmail.com
www.asketchandaprayer.com