Escaping the Office Cubicle — The Paintings of David Schatz
Office cubicles are not known for being spacious, liberating, beautiful places.
Grey, carpeted, windowless, and with walls too low for privacy, the ubiquitous modern “office” is a venue that artist David Schatz left far behind on weekends and holidays, when he explored landscapes, floral gardens, and wildlife refuges in search of meaningful images to paint.
“I try to capture the beauty of what I see outside and bring it inside,” the Portland, OR, artist explains.
“I have no agenda except for trying to find and express the beauty in this world.”
Schatz, who has been drawing and painting since high school when an aunt gave him a set of oil pastels, was told during university studies that he should find something else to do as he would never become a painter. In a characteristic combination of practicality with stubbornness, Schatz turned to circuit board design for the electronics industry as his day job, and pursued painting when he was, literally, free.
Fine Art & The Day Job
Ironically, the day job — which appears to have nothing to do with the finer nuances of fine art — benefited from Schatz’s artistic bent, requiring the sense of spatial relationship demanded by drawing and painting.
“My painting skills helped me to visualize how a circuit board would have to be arranged to fit the space available,” Schatz says.
“I got my first job in electronics because I could draw.”
One of the most challenging aspects of Schatz’s dual sets of skills — aside from the cubicle — had to do with Schatz’s coworkers because, outside of concerns to do with the job, there was nothing to talk about:
“I was surrounded by engineering geeks who had no idea of why anyone would want to paint when he could be playing computer games,” Schatz recalls.
“For my part, I had no idea why anyone would want to play computer games when he could paint.”
Schatz speaks of this situation in the past, having “escaped the cube,” as he puts it, through retirement, and is presently pursuing the full time career in art that he was earlier assured he could not have. Carrying a camera with him everywhere (“So does everyone,” he notes wryly, “with their cell phones”), Schatz captures reference photos nearby — taking advantage of Portland’s many public gardens to find floral images — as well as across the country in Florida, where he haunts wildlife refuges.
“The birds in the refuges know that they are safe, and ignore the photographers,” Schatz says. “The camera that I use has a wonderful zoom lens, and the birds do seem to be posing for us.
“There are often 5-10 photographers lined up shooting the same bird.”
But a reference photo is just that — a photo — until the artist shapes and forms it into a painting, incorporating light, shadow, atmospheric perspective, color, and that elusive sense of feeling and emotion resulting only after much careful attention from the artist’s hand and soul. The highly realistic nature of Schatz’s work commands that he work closely on a small area at a time, addressing with his brush a petal or rock until it’s precisely the way he wants it to be.
It is because of his method that Schatz prefers working with reference photos over painting in plein air.
“My passion is for nature and I will paint anything that I can photograph,” he says.
“But I am a slow painter, and anything that I choose to paint will be long gone before I get started painting!”
Schatz has sold his work throughout the Pacific Northwest, and his art has been spotlighted at watercolor society exhibits in both Texas and Louisiana. One of his works was featured on the front cover of the British edition of Best of Flower Painting, and his floral images have been published by Wild Wings, a licensing agency specializing in wildlife, Americana, and nostalgia images.
It’s all part of focusing on the natural world — flora and fauna — and bringing it, as Schatz determines, into the inside where it can be seen, appreciated, longed for, and loved. Fine art belongs everywhere including — and maybe especially — the office cubicle.
David Schatz is the Featured Pacific Northwest Artist at Wenaha Gallery from Monday, May 8 through Saturday, June 3, 2017. Schatz will be at the gallery Saturday, May 27 for a special two-person art show with Kennewick artist LuAnn Ostergaard, and both artists will be on hand to meet and greet visitors from 10:30 a.m. to 2 p.m. Free refreshments are provided.
Contact the gallery, located at 219 East Main Street, Dayton, WA, by phone at 509.382.2124 or e-mail firstname.lastname@example.org. Gallery hours are 9 a.m. to 6 p.m. from Monday through Saturday, and by appointment. Visit the Wenaha Gallery website online at www.wenaha.com.