W. Douglas Waterfield • Artist’s Statement - January, 2010

My career in the arts has been as varied as my tastes in music.  Over the years I have experimented with a vast number of media and styles.  I have lately settled into representational oil painting.  As far as media, I like oil because of its forgiveness.  If one changes one’s mind, or has a new idea, one can easily paint over areas that have been sitting for a while. The way oil lends itself to blending is also without equal. 

With regard to style, I have chosen to paint representationally because it’s challenging, and more universally appealing.  Focusing on portraits, landscapes and still-life paintings, I hope to continue to refine my abilities within this fickle medium.  As far as using oil, my goal is to create a loosely painted, somewhat expressive work of art that is universally accessible.  I want to create art that is as aesthetically pleasing as possible.  Plus, I like the smell.

Lately, I have been experimenting with leaving portions of the canvas unfinished.  Particularly in portraiture, I like the idea of the portrait sort of emerging from an unfinished, chaotic mélange.  I think the painterly quality of my canvases also adds an element of energy and spontaneity that is unique to painting.  In choosing to leave bolder, expressive marks, the viewer is allowed to see some of the painting process.  It seems that most people don’t really understand painting, or what goes into creating a work of art.  If I can reveal just a bit of the process, maybe art won’t seem so nebulous and distant.  Especially here in the South, there is not a widespread appreciation of the arts, so if revealing a bit of the process of art making functions as a way to combat that, then that is a good thing.

It has been said that painting is dead.  I say that painting is more alive than ever.  With the advent of such a multitude of digital recording devices and cameras, the handmade work of art is fast becoming an endangered species – particularly classical painting and sculpture.  Anyone can take a snapshot with a digital camera, but it takes the skill of an artist to create a painting – and even to take a good photograph for that matter.  This is another reason I seem drawn toward representational painting.  It’s a dwindling venue when a good many artists want to be conceptually aloof and angst-ridden.  However, if the public does not understand one’s art, or find it irrelevant, then how valuable is it really?  I’m all for being challenging and engaging and encouraging the viewers to think, but not at the price of alienating the audience. A painting should also be a respite from the troubles of everyday life, like a vodka martini and a Dean Martin album.

My goal of making an appealing picture comes from our troubled state of affairs as a society.  There is enough ugliness and horror in the world without my adding to it.  I am reminded of William Morris and the Arts and Crafts movement, and I share their aims.  So much mass-produced, ugly, consumer fodder is made now.  This has created an innate craving among people to see a return to fine craftsmanship and beauty.  There is a special warmth and appeal to things made by hand.  They have a higher value to people.  Art is a prime example of such a thing.

In keeping with my career as an educator, I have a goal of making art that is reachable and understandable by others.  Making art satisfies me, but making art that can be considered beautiful and approachable is even more gratifying.

Professional Memberships

Member, Arkansas Artist's Registry

Member, College Art Association

Member, Association of Art Historians

Member, Archeological Institute of America

Board Member, Magnolia Arts

Member, South Arkansas Arts Center

Chairman, Magnolia Murals