(Image: "Blue Mirage Opening" by Scott Baltz)

Scott Baltz is a Mount Desert Island artist whose work has been widely exhibited throughout Maine and in the Eastern part of the United States. His education includes attending the University of Delaware where he studied Life Science, and Colorado Mountain College where his emphasis was on photography. Scott has been published and has received awards for both photography as well as painting, and has work in various private and public collections.

On the subject of his artistic process, Scott says, “At the core of my work is an intense interest in the energy and movement of the landscape. My paintings evolve from intimate experiences, filtered by the passage of time and memory. The process begins with rough pencil sketches done on location. These images are the foundation in formulating an idea for a painting to be executed in the studio setting. Many weeks, months or years may pass until I return to the memory of a particular experience as sparked by the sketches. Color decisions are made during the painting process. Although I envision a final image in my minds eye before the painting begins, this image may alter during the creative process. It is this process that continues to sustain and challenge my energies.”

When did you first realize that you were going to be an artist and when did you first start making art?
During my early twenties I began experimenting with photography through a part time job at a small town newspaper. It was during that time I decided to head to Colorado to study photography. It has only been in the past 2 years that I identify with being an artist, despite my initial pursuits some 25 years ago and working full time for the last 12 years.

Who or what inspires you?
I am inspired by transition in the landscape. I am also inspired by the creativity and imagination of painters before my time, especially the early American Modernists, German Expressionists and Canadian Group of Seven.

(Image: "Pink Pool" by Scott Baltz)

Is (was) anyone else in your family in the arts?
My aunt's sister in law was a painter of the Pennsylvania countryside where I was raised. I remember looking at her paintings while visiting my aunt's home as a child with a certain sort of awe.

Are you self-trained or did you go to art school?
I am self-trained as a painter, but I did attended school for one year to study photography. My education really began following that year, when I purchased a 4x5 camera which I attribute to the training of my eye. The camera forced to me to take time to see. Everyday in the studio is a continuation of the learning process.

Is the process of creating your art long or short?
My process is one of long time. Most times I sit with an idea for at least a few months or much longer until I execute the idea in the studio. I store ideas and then return to the idea when triggered by a new experience in nature.

Tell us something about your work.
As I mentioned, I am intrigued by transition in the landscape, especially drawn to shifting light. Creating imagery which speaks of an internalized energy is of great interest, often using color as symbol. Relating the essence of experience and place is at the core of my visual interpretation and intent. I am also very interested in the physical nature of the painted surface, finding beauty in the way paint sits on top of paint. Over the past decade, I have been working almost exclusively in oil.

Do you have a subject matter that defines you as an artist?
I am definitely a painter of the landscape, particularly fascinated with mountain shapes, cloud formations and transient light.

(Image: "Sea Side Solitude" by Scott Baltz)

What makes you stay with a particular subject matter? Why are you drawn to it?
It is within nature I feel most connected. Since I was a child, I seemed to have been intensely drawn to the natural world. It is where I have always felt most at ease. Light, seasons, weather patterns constantly transform the landscape providing new visual opportunities.

How do you stay motivated?
I just keep working. Like all things, ups and downs in one's creativity occur. When I am in the flow, I go with it and just keep working, becoming very protective of my work space and time. When I am less motivated, I trust the motivation will return. In these times, I may work on preparing panels or some sort of busy work in the studio. This seems to build a momentum as I think about the possibilities. I do feel an awareness of the preciousness of time is one of the greatest of motivators.

What have you been working on lately? Are you experimenting with anything new?
Presently, I am working on a final design project for a federal public art project. I have been experimenting with cold wax as an additive to my oil paints; this process began some two years ago.

Has your medium changed from when you first became an artist?
My medium has changed a great deal. Initially, I worked with a 4x5 large format field camera, followed by watercolor for several years, some pastels and presently with oil. I have also experimented with egg tempera as an under painting for oils. Each change in medium seems to have marked an evolution in my growth.

(Image: "Somewhere Between Tide and Time" by Scott Baltz)

What advice would you give to an artist just starting out?
Follow your inner voice, be genuine and understand one grows into an artist after much time, commitment and challenge.

What kind of comment do you despise the most when overheard at one of your openings?
This is a difficult question since I am not fond of openings, usually focusing on how soon I can make an exit. I tend to tune things out, but I do recall one time when a person said...."I could do that." I introduced myself and told them, "you probably could, but it took me 9 years to see it."

What kind of comment pleases you the most when overheard at one of your openings?
I enjoy when someone simply says...."thank you for sharing your work."

How have you handled the business side of being an artist?
Ten years ago, I decided to open my studio to the public. For the most part, I represent myself. I enjoy the personal interaction as people come to the studio to view work. This happens during the summer months, which then affords me the opportunity to work uninterrupted the remainder of the year.

Do you have any outside interests other than art?
I have many interests which include a number of physical activities including biking, hiking, swimming, and skiing depending on the season. I often get most of my ideas while participating in these activities. I have been an avid fisherman since childhood, and two years ago I took up fly fishing which has me hooked. I also greatly enjoy literature and film.

(Image: "Three Windows" by Scott Baltz)

Are you disciplined about your creative process (in other words, do you treat the process like a job, where you keep particular hours in the studio), or are you more spontaneous?
I absolutely treat my work as a job, developing a routine which I will follow most of the year. Summer is my business season resulting in a less structured creative time. I recall reading a quote by Milton Avery, where he mentioned, "this is my work, no different than the shoemaker down the road." These are words I live by...this is my work.

How would your life change if you were no longer allowed to create art?
This is not an idea I would even want to entertain....unimaginable.

What's the best part of being a full time, working artist?
The pure joy I experience in the studio when fully absorbed.

What's the worst part of being a full time, working artist?
Taking care of financial responsibilities.

Do you have any upcoming shows?
Not at the moment, although I have an image which was recently selected by the U.S. National Parks Service for a web exhibit titled, "Though Your Eyes". The exhibit features the work of past artists-in-residence with the national park.

Where can we find your work?
At my studio on Mount Desert and online at www.rscottbaltz.com. Also at The Asticou Connection in Town Hill, Maine.

- Brenda Bonneville, editor

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