December/January 2024 Edition

Master Painters

Oil United States

Leah Gardner: Simple and sweet

I work primarily with oil paint on wood and hardboard. Because I paint a new piece nearly every day, most of my works are small (between 4 x 4" and 12 x 12") and completed alla prima in one sitting. I’m a slow worker and use tiny brushes as I work section by section, often using the same brush for an entire painting. I find that small round brushes allow me to include many details while still imparting a textured, painterly effect that I enjoy. My process is similar to filling in a coloring book. I start with a semi-detailed pencil sketch and essentially color it in with paint. I use a different limited palette for all my paintings, typically using only three or four colors, plus titanium white.

Orange Marmalade no. 2, oil on cradled wood panel, 6 x 6" (15 x 15 cm)  This is one of a few pieces I’ve done featuring Bonne Maman jams and jellies. Growing up, we always had this brand of jelly in the house, so there’s an element of comfort. I also love painting these because of the texture, translucence and saturated colors. For this one in particular, I couldn’t get enough of the way the afternoon sun shone through the jelly and almost set it on fire. I loved how it cast all the orange into the long shadow. I think this piece encompasses the vivid colors and sense of nostalgia that I strive to capture in my work.

 

Most of my paintings are done from photos I’ve taken around town or still life compositions that I’ve arranged and photographed. I gravitate toward light, saturated colors and nostalgic or comforting subject matter. Beyond that, my work runs the gamut in terms of color palette, composition and subject matter. 

Cream Soda Suckers, oil on cradled wood panel, 5 x 5” (12 x 12 cm)  I paint a lot of dumdums. They allow for so many color options and pairings in a composition, cast interesting shadows, are just a little bit translucent, and (of course) they’re nostalgic for many people, myself included. In the 18 months that I’ve been painting, I’m pretty sure I’ve painted over 30 lollipop pieces and have no plans to slow down.

 

The biggest influence when choosing subject matter is my need for variety, as I don’t like to spend more than a day focused on the same thing. Before I set up my painting materials, I spend a few minutes going through my reference photos and looking for something I haven’t painted too recently. I try to commit to a subject quickly to avoid wasting time overthinking. Then, I pull up my photo on my iPad, turn on a podcast and get lost in the process for a few hours.  —