For June 2012 we welcome a new artist to F.A.N. Gallery. Evan Harrington is a Bucks County native. He received his fine art training at various ateliers here and abroad, and is a graduate of the Pennsylvania Academy of the Fine Arts.
I wanted to find out a bit more about F.A.N.’s newest painter.
What advice has influenced you?
I am particularly interested in the advice given by musicians and athletes. They seem to experience the same situations and hurdles as a working artist, but from a different perspective. Two things stand out in my mind: practice and vision. Every time I pick up a brush or a pencil, I feel it is working towards improving my ease with the mediums. Each drawing and painting I work on, no matter how simple or complex, is working towards improving my hand-eye or hand-mind coordination. “Visual calisthenics” is what one of my friends calls it. Vision is the other major influence on my studio practice. It is important to be relaying some thought or visual idea through each piece of art. Some songwriters circle one theme their entire careers while others change it up with each piece they produce. Either way, vision is the backbone to the art I create.
Who taught you the most about art?
My father taught me how to paint and draw from an early age. My mother was instrumental in getting me to lessons and encouraging me. I had quite a few influential instructors along the way that helped me reach some of my own goals. I have always spent a good deal of time looking through books on various artists, which has expanded my knowledge and perspective of art. Of course, there is a huge component of self-discovery, which is also essential to a healthy growing artist.
Your father is an artist. Do you discuss art or your work with him? How is your work similar or different from his?
My dad, Glenn Harrington, has been working as a professional artist for over 30 years. We discuss art quite frequently. Most of the time, we bounce ideas off of each other.
It is hard for me to keep my work free and spontaneous while creating a large body of work for shows so it really helps that my father is constantly pushing me to branch out and try new ideas.
Many people do see our work as similar and some as entirely separate. I am so familiar with his work and so closely connected to mine, that I have no perspective in being able to see the differences or similarities. I rarely see him paint a still-life, and that is my main subject, so I suppose that is a considerable distinction. I can also sometimes detect our differences in brush work. One thing that I know we both share our interests in the same painters and paintings. Whenever we go to a museum or flip through a catalogue, we frequently agree on our favorite artwork.
When you are in need of inspiration are there particular things you read, listen to, or look at to fuel your work?
Every avenue of my life inspires painting. Seeing new places, meeting up with friends, a wonderful painting, all encourage me to get back to the easel. I thrive off of absorbing beauty and history while in the studio. A lot of times, this comes in the form of books. Sorolla, Degas, Kline, Sargent, Garber, and Velazquez are among my most frequently visited artists. I listen to every type of music available, it helps keep the energy and focus level up. My hobbies, which include tennis and aviation, help bring balance to my life and naturally inspire.
How did you get into aviation?
As a kid, I spent several Saturdays going to the local regional airport to watch planes depart and land with my family. Also, I was fortunate to travel a good deal when I was young, so airports have always been an exciting place for me. A year ago I went up for my first lesson and have loved it ever since. It’s a great way to get out of the studio and gain perspective. It truly feels like another world when you are 5,000 feet above the ground. I have always loved looking at maps, so the visuals of aerial perspectives fascinate me. One flight early on in my training I remember seeing New York City and Philadelphia clearly at the same time, and only 3,000 feet above the earth’s surface. This was an eye opener for me; it was probably a similar feeling for those astronauts who were able to see the earth as round for the first time.
Do you have a pilot’s license?
I do not have my license quite yet. Painting is priority, then flying. My goal is to have it done by the end of summer so I can move onto getting my instrument rating. I have quite a few friends who are pilots, so I fly with them frequently. I am unable to log flight hours with them, but I still gain the experience.
How do you hope your work will grow? Are there any other themes you wish to explore with your work?
I am not sure what direction my work will take this next year. Often I look through my latest body of work, select the pieces that I think are strongest, figure out why they are particularly successful, and then replicate those principles in my next body of work. I have practiced painting everything while I was in school and up to now, so I have prepared myself to be technically ready for whatever lies ahead. My goal is to dig deeper than the surface classifications of subject and theme and perhaps explore things like texture or pattern. The unknown is what keeps the process really exciting.