Cynthia Mosser

Here is a quick tour of my art studio. 

Being vulnerable in regard to my art and life is something that feels new for me. When I say vulnerable, I mean allowing others to see who I truly am. I often hide behind a wardrobe of black. Don't smile always. In the art world, it isn't cool to be vulnerable (read: weak). Ultimately, I haven't shared who I truly am out of fear of shame. My new goal in life is to share myself. Share my fears, and let that be OK. Be authentic. So my new way of being is to allow others to see that my raison d'etre is all about PLAY and FUN. Play and fun are what fuels me and my art, and makes both better. Additionally, each week I am going to share something that makes me afraid. This week's topic is rejection. Rejection is what keeps me stuck and not moving forward in my business. It paralyzes me at times. It is as if I am controlling the outcome before I even try. So I am going to move through my fear and try, even if it is uncomfortable.

How I Got into Art Doing art has always been something I've wanted to do, especially as a child. I was good at it in grade school and often won the carnival poster contests. Later on in high school, I was a photographer, but never thought I could make a living from it -- even in college I felt that way. The event that pushed me further into art was simply the knowledge that I didn't want to do anything else. I simply made a decision, and that was when I was 25. From that point on, I went to art school at Pratt Insitute. I started practicing art on a more regular level when I moved to Prague, CZ right after art school (1998).  You can see what I do at cynthiamosser.com

This Makes Me Happy I live for moments like this: seeing a new building in Portland, OR with an exciting exterior. The building is called the Fair-Haired Dumbbell, and it is an office building with a mural by LA artist, James Jean. Every 10-15 years, the building owners are thinking about changing the mural. I love it for its playfulness and color.  bizjournal

NEW WEBSITE I am thrilled to announce my partnership with ArtStorefronts.com. Now buyers can purchase cards and reproductions directly from my website: cynthiamosser.com Additionally, buyers can see how the piece would look on their wall based on size and the type of room. It's a great feature. Check it out: cynthiamosser.com

ArtChat Northwest: MATT COSBY My second ArtChat Northwest interviewee is artist/painter, MATT COSBY (mattcosbyart.com). Listen in, and hear his thoughts about trinkets, his love for oil paint, movement and color. (14:11min)  ArtChat Northwest is a podcast about artists living and working in the Pacific Northwest.

ArtChat Northwest: SHARON BRONZAN My second ArtChat Northwest interviewee is artist/painter, SHARON BRONZAN. Listen in, and hear her thoughts about the desert, trees, gouache paint, and superstition. (24:24min)  Sharon Bronzan is an artist/painter, and a longtime Oregon resident whose work evokes myth, folklore, and religious iconography. Her paintings often tell a story through the use of the portrait. Sharon received her MFA from the University of Oregon, taught for 27 years at Portland Community College in the Art Department (Sylvania campus), and is currently represented by the Augen Gallery in Portland, Oregon.

ArtChat Northwest: DAVID SCHELL I would like to introduce my first podcast called ArtChat Northwest. My first interviewee is artist/painter, DAVID SCHELL (davidscottschell.com). Listen in, and hear his influences, ideas, and thoughts about painting. (19:47min)

The Seattle Art Fair this year was quite inspiring. My favorite pieces were: The necklace below by Jean-Michel Othoneil (Galerie Perrotin) The swirling wall sculpture by Linda Fleming (Robischon Gallery), and  Amy Ellingson's (Robischon Gallery) encaustic painting.

It took a month, and the painting is finished. It fits really well into the collector's home. Amazingly, it matches the wall!

June 2017. I am back in the studio painting a new work. The background line work has been done.  Now the actual painting begins. Because I use such  a small brush, it feels like needlework. Slow and steady.

Occasionally I'll run into color that hits me over the head. Target's children's section is a great source of bright color, even in winter! This is why I use bright color in my paintings:I love the visual stimulation, and my misty, often gray environment (Portland/Vancouver) can get a bit dull. It's like a breath of fresh air! Image source: cynthiamosser

I am thrilled to show new and existing paintings at the Art Institute of Portland's POCKET GALLERY  during the month of April 2017. Location: 1122 NW Davis Street. Portland, OR 97209 First Thursday Reception 4/6 • 5-8PM Exhibition runs Monday April 3 - Tuesday May 2 • 8am-8pm Learn more about my work at:  cynthiamosser.com ABOUT CYNTHIA The work of painter, Cynthia Mosser, has been exhibited in solo and group exhibitions in the United States and abroad, which includes the Czech Republic and Hungary. Her work has been critically reviewed in ARTnews Magazine, Willamette Week Newspaper, and featured in  PortlandMonthlyMag.com Cynthia received a B.A. in Art History from Whitman College in Walla Walla, Washington and attended Pratt Institute in  Brooklyn, New York. She is represented by the Augen Gallery in Portland, Oregon. Image:  Sprightly , 2017 Gouache on Museum Board 6 x 4.5 in

As goofy as this button is, this the way I live my life. The intention is for MAX FUN, so my art reflects my experiences. View some fun art at: cynthiamosser.com Image inspiration: Carmen Farmer

What is Gouache Paint? Many would like to know... I use water-based gouache paint exclusively in many of my paintings , and love the density and color. So what exactly is gouache paint?  Pronounced /gw'osh/, the word's origin comes from the Italian word "gouazzo", which means dampness or puddle or mud. It was originally used in fresco paintings during the Renaissance . It is a matte, opaque medium with gum arabic added for flow. (Gum arabic is a natural gum from the acacia tree.) The matte factor comes from the addition of chalk. If you look at New Yorker Magazine covers, often the illustrator uses gouache because it does not shine when reproduced. Compared to watercolor, gouache has a higher pigment load (quantity), which makes it richer in color. With watercolor one can see the "white" of the paper below; whereas with gouache one cannot. This allows an artist to work starting with dark paint at the bottom layer, then lighter colors/values at the