I told someone soon after I graduated from UT that I wouldn't move from Knoxville until the Metro Pulse featured me in some form.

Here is the link to my Metro Pulse interview from last year.

I guess I can move now.

Beth Meadows, Metro Pulse Triage Artist Sept. 16-Oct. 14
By Travis Gray
Posted September 15, 2010 at 9:52 a.m.

Why did you start painting?

As a kid, I had an overactive imagination and could play for hours in my backyard or attic without getting bored. I was also extremely shy. When I drew, I made up things I wished existed, underground worlds, even food packaging logos. It all may have been a way for me to express things I couldn’t verbally. I can’t remember a time I didn’t draw.

What kind of ideas inspire you to paint them?

Driving at night, good music, beautiful old buildings, Super Mario Brothers 3, and humorous things people say. These things combined with faint memories of childhood inspire most of my work.

How much does folk art play into your work?

I think about folk art only as much as people tell me my work reminds them of folk art. My style of painting is mostly influenced by children’s books, to be honest. In the end, both have a simplicity of color and shape to which I’m drawn.

On your website (bethmeadows.com) you can really see you growing more confident with what you’re doing year by year. What do you think you’ll be making next year?

There’s a series of paintings I am about to work on that may take me until next year to complete. Most will be set at night, somber, funny, and full of particular colors set against black and dark blue. I also want to paint people again, and for some reason, white animals.

I’ll Kill You With My Bear Hands is one of my favorites. What’s the story on that one?

I’m fascinated by the dynamic nature of words and how changing one word of such a harsh phrase completely changes it. I suppose the painting is funny, but what makes it for me is its title.

The MetroGnome painting you made, of him riding on a sleigh, is pretty great. Don’t you just love Metro Pulse?

Yes, almost as much as I do the MetroGnome.

Upon googling myself today, I found this link.

My painting Pool at Night was accepted into the juried exhibition Arts in the Airport at McGhee Tyson Airport in Knoxville, TN. The exhibit ran from April 23 - October 15, 2010. To see the other work accepted, go here.

Pool at Night, acrylic on canvas

I'd like to invite anyone reading this to my art opening this Friday March 4, 2011 at Rala, 323 Union Avenue. Rala is located in between Reruns, on the southeast corner of Market Square, and Gay Street. The opening is from 5 to 9pm. I will be there from 6 to 9.

I made this collection of work specifically with Rala in mind. It is art for the home, small, made from salvage. There will even be a small table on display, built by Knox Janowick, refinished by yours truly, designed by both of us.

Everything will be for sale, and whoever buys supports:

• me, the artist
• Rala, the great shop that supports artists and does the selling so we don't have to
• Knox Heritage, the non-profit I sell architectural salvage for

Hope to see you then!!

If you can't come Friday, you will have a chance to see my work through the end of March, and then whatever is left through the end of April.




















Table made using architectural salvage. Built by Knox Janowick, finished by Beth Meadows


I'd like to live beneath the dirt acrylic on salvaged wood






















Preserves No. 21 on wood arcylic on salvaged wood




















Laurel Theater salvaged tin and glass, graphite, marker, colored pencil on paper, wood



Dinner Party, photograph in salvaged window

I just returned from DC where I spent the last three days. There's lots to say about it; I loved the city and I love the people with which I was able to see the city. The things to take in are endless. I'll have to go back, and thanks to Megabus, it's highly likely it will be sooner rather than later.

In the meantime, I talked my friend Jeff, who lives there, into getting out and doing more while he lives there, to honor those who are not as privileged (me). I inspired him so much so, he started a blog, in which he makes me sound really nice.

Anyway, this post documents some of the paintings I liked the most during the trip. I've never considered taking photos in an art museum before, mostly because I think it's tacky, but I finally embraced it this time around because I'm tired of forgetting the artwork I've seen. It really is a great way to document and remember the work I think is compelling. Unfortunately I got a little carried away and took photos of work that was  off limits.  I finally got caught attempting to take a photo of a ginormous painting of LL Cool J, which was pretty embarrassing and, let's face it, tacky.

So in no particular order, here is some of the work I liked. Some have the reason below. Others, you'll just have to guess why.



A version of this painting lived in my head before I saw it. I have had plans of making one so similar, only the buck would be white. I'll still probably make it.



I learned I am enamored with painted wood carvings. There were lots in the folk section of the Portrait Gallery. I'm dreaming of going to the mountains to find a teacher.





Mary Cassatt by Degas: I enjoy seeing artists paint other artists or famous friends. Cassatt hated this painting, which I also enjoy.



All of Queen Elizabeth's accessories and ruffles float on top of the painting. It is bizarre and wonderful.



Shahn: I wasn't supposed to take a photo of this (whoops) but like the simplicity and how Shahn decided to add text and sign his name.



I like the creepiness of this because it's probably not supposed to be that creepy.



The dark behind the red and white, and the fleshy, melancholic girl.



Capturing transparency typically baffles me.



In some regard, I think Hopper and I make similar paintings, of course, I in a less wonderful manner. Or maybe it is that I just want to make paintings like Hopper....



I like when Picasso's work doesn't look so Picasso.



This interior scene shows red walls, the ceiling in the distance, a cluttered desk, and a bearded man holding a cat. What is there not to like?



The different markings in this painting are incredible. I'd die to make a painting in such a manner. (Is this Degas? I can't remember)





Klimt



Probably my favorite, which pleasantly surprised me.



The texture and the edges and the white





Thiebaud: Even better in real life. Looks like he painted it like one would decorate a cake. Delicious.



Rothko: Color fields

Calder: The shadow is a constantly moving drawing





















Toulouse Lautrec - the looseness of the background.































































Van Gogh- I know it's cliche, but I love him. I also love that he painted this baby using a green palette, which is typically used to depict absinthe consumption.

If an artist tells you they like making commissioned pieces, they need money, and they are lying.

The problem with commissions is that they turn making art into making money, which can be depressing for the creatively inclined. Obviously, most artists would rather a buyer be interested in what they have already made than making something with perimeters from someone else.

A commission also means pleasing the buyer during the art-making process, but we (artists) are plagued by the fact that we're on a different wavelength than others. We've embraced that we're off beat, and trying to please a normal person with enough money to commission a painting can be overwhelming.

I know I like this penguin riding a shark in the middle of a field, but will they?

This is why I never went into graphic design. Yes, it might have meant worrying less about finances, but it would have also meant being a slave to the client over and over again. Not to mention I'm technologically stunted.

















The Eaton's Home
acrylic on artist panel
18 x 24"
2010

Of course, after all this complaining, I have to say I'm incredibly thankful for the commissions that have come my way. My last commissioned painting of 2010 was how I bought my family's Christmas presents, after all, and I couldn't be happier with the outcome or the reaction I received from it.

It was a painting of my friends' home in North Knoxville, a Birthday/ Christmas surprise from Lesley Eaton (of Peppered Paper) to her husband Laurence.

And so I've found a commission I like: painting people's historic homes. For one, working from a photograph is less stressful because it's straightforward; there's no risk of putting something in that they won't like. Two: I know they like my style going into it, so I can relax about making it my own. Three: It's exciting to be a part of making something that is so personal to a family, and in the Eaton's case, even more so because this is their first home which I know they've put a lot of work into. Four: I like knowing I'm documenting an old structure. I see it as a way to preserve heritage.

***

And just to clarify. Yes! I would love to do a commissioned painting for you, as long as you like penguins riding sharks in fields.