I am passionate about inspiring artists! I look forward to helping you develop your skills and discover your true artistic voice. I have taught and mentored many students throughout the years and draw on my training as a life coach to facilitate my workshops.
I work in several mediums and love the possibilities of mixing them up. In my art practice, playing, experimentation, and taking risks are important aspects. I work intuitively with most of my imagery coming from my imagination. I am a process painter which means I am not concerned about the results but rather engage with the journey. I use many unorthodox tools to create my paintings – key cards, skewers, forks, insulation pipe, and corks to name a few.
Through demonstrations, critiques, and assignments you will gain confidence and the skills needed to create unique works of art.
As your mentor, I will help you advance your skills, work on your mindset, and guide you on your journey!
Patt’s EXPERTISE
Listed below are this Mentor’s specialty skills. Join this group if you want to grow in these areas.
Specialty: ✔ Technique
Technical:
Z
Composition & Color
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Studio Setup for Art Production
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Providing Art Critiques
Marketing:
Z
Website Design
Business:
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Pricing Artwork
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Approaching Galleries
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Life Coaching
“Mastrius is a perfect balance of accountability, community and fun. It feels like family. Family that makes you a better you.” ~ Elizabeth, Emerging Artist
JOIN NOW
select your mentorship group
If the group you’re interested in has a waitlist, you have the option to join another group to get started. When your group opens we can transfer you over.
Aspiring
Mentorship Membership
$ USD64/Month
Next session: May 21, 2024
On the 3rd Tuesday of every month 5:00 PM – 7:00 PM MDT Tue
Not your timezone? Click below
MORE ABOUT THE ARTIST
In 2003 I took a week-long workshop with renowned experimental artist Maxine Masterfield that changed my life. Maxine was the person who gave me permission to play. With her experimental approach she provided a safe environment that encouraged students to try unorthodox tools and supplies. Maxine challenged us to experiment and grow. She taught us to work on several pieces at a time – a “conveyor belt” so no piece got too precious. This approach transformed my way of thinking. The freedom of allowing myself to experiment was all that was needed to set me on a new path.
Before I start my painting I gather all the tools I want to work with and select my palette. I use many unconventional painting tools found in my kitchen, the hardware store or my husband’s shop! Putting myself in a “container” and not having too many choices at hand helps with the cohesiveness of my work. I may have a vague idea before I start adding colours, shapes, doodles and marks to the canvas. These become the understory and are a common thread in my work. It is when I step back and look at the fun I have had that the images start to appear. It might be buildings, figures or landscapes. Sometimes it is an emotion like rhythm. Nothing is precious; only part of the process. At this point I sketch what I see on the painting with white chalk. I start to enhance the shapes by adding more transparent colours to let the understory show through and opaque colours to calm some areas down. I make further adjustments that solidify the composition – I may add texture, collage elements or photo transfer to the piece. Often I add line work or handwritten words into my piece – I do this with dry media. It is the process of adding and subtracting that brings my work to completion. When I am nearing the finish line I slow down and really listen to the painting. I often take an image and use Photoshop to try some things before committing on the painting. I rely heavily on my intuition to guide me through the process and to do this I paint alone, often meditating before I start and listening to music that inspires me. I know the piece is finished when it feels complete. If I look at it and something is feeling out of balance or not quite right I listen to my inner voice to consider what I could do to correct it. To avoid overworking it I hang it in my house where I can look at it over several days before making my final corrections.
