“Enjoy visually, expand mentally, and sense deeply.”
From 2005 to 2010, Timbrook created twenty-one abstract drawing compositions in black ink pen on paper. The eight inch by eleven and a half inch series, named Densities, became part of a member group art exhibition at the Manatee Arts Center. She exhibited them also in two other alternative spaces in the Bradenton area.
In the late 80s, her studio in Maryland, had included a school desk, an Ott Light Lamp, and a few art supplies. She had been writing for the children’s literature market, and had decided to illustrate her stories in colored pencils. With each illustration requiring forty or more hours to finish, Timbrook decided to pursue other art venues, which lead to painting with acrylics, a faster and less tedious technique.
But before all of those adult-art-related episodes, back to childhood days, Timbrook remarks, “My first memories of drawing, or coloring, or painting, go back to the early 50s: A hot summer day, on the back porch, sitting at a child’s table, an eight-year old girl carefully colors with crayons. And nothing else mattered…”
Timbrook defines her technique as works-in-progress that she continually tweaks. When the tweaking does not need anything else, she finishes details of the painting and readies it for the art market.
Timbrook is a current member of the International Society of Acrylic Painters.
“My creativity “clock” starts ticking when I switch from physical tasks to imagining what colors and shapes I might paint on that next blank canvas. Sometimes, resorting first to a few sketchy pencil designs works. Other times, I paint one main abstract shape and go from there, that method being the emotional drive not a logical one. The fact that I can pause anywhere in that process— for an hour, or a day—and return to the piece, most often with the same desire and passion, baffles, yet, excites me at the same time.
All throughout my life, I learned art skills and techniques from a number of art teachers, my high school ones more so than from the others. In the late 80s, a professional college instructor and children’s book illustrator mentored me for several years. I improved in the basic concept of Subject-Capturing; however, I discovered that even more important was this: instead of only subject-capturing, is Capturing the Subject, and that would make the painting breathe. My aim is to provide others with an art “take-away,” a sense of curiosity, or satisfaction, or hopefully, love. If so, then art and I come full circle.”
Cover Image: Oceans Apart I