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— Ashley Sivertson, Sivertson Gallery manager
(Image shown above: Land Where Hummingbirds Shepherd Sleepy Stars To Nap On Fawn’s Backs, giclee print by Lori Franklin.)
Lori Franklin is a Minnesota-settled artist with Montana roots, inspired by the natural magic of Big Sky country and the Land of 10,000 Lakes. When she’s not directly observing wildlife, Lori is imagining scenes and stories from the daily life of animals—and capturing that natural wonder on her canvases.
Lori paints with acrylic or oil and delights in mixing and layering colors.
“A paintbrush in my hand feels like a conduit to the infinite. Maybe that’s how a writer feels about pen and paper, or a composer with sheet music? Opening oneself to the Divine occurs in any creative process, big or small. For me, it feels like the connection between my heart and soul becomes visible when united with my paintbrush.”
Lori lives in Duluth, Minnesota, where she works out of a cozy loft studio above her garage. She listens to classical music or birdsong through the open window while she paints. Called her “ladies in waiting,” Lori’s blank canvasses lean or hang on the walls while she ponders them in her comfortable (and official) “Pondering Chair.” The studio has a small social area for entertaining and includes a guestbook, plus a snack bar with a coffee/tea maker—and just enough clutter for her tolerance and to accommodate random visitors. “I paint on a regular basis except during gardening season or blizzards,” she notes.
We asked Lori a few questions on her creative process and how she approaches painting.
— Why are you drawn to the images you paint? Lots of artists choose nature as a theme; what is it about your style/subject that sets you apart?
LF: My paintings are a consequence of my curiosity about wildlife’s purpose. There are so many mysteries associated with animal and plant life. How do birds learn how to sing? How do fireflies synchronize their blinks? Why are there shiny gold dots on a Monarch cocoon?
The more I respectfully watch, absorb, photograph, and show a genuine interest in the well-being of the subjects, the more clues I am offered to their utterly fascinating secret language of interconnectedness.
— How would you describe your style? How is it unique to you?
LF: My style is a form of magical realism, where illustrations of symbiotic relationships found in the Natural World represent intangible concepts like hope and love. I hope my paintings invite the viewer to sit beside me and experience a moment of childlike wonder of a complex and miraculous universe.
— How important are new experiences or places to your work?
LF: Traveling always helps fill up my brain’s image cabinet, but the daily and sometimes hourly welcome bombardment of visual candy in my own backyard is more than enough to keep that cabinet well stocked. Between the absurd abundance of wildlife, a massive freshwater lake, and four clearly defined seasons, northern Minnesota is an artist’s paradise where every sunrise brings fresh stimulation and new perspective. All I have to do is open the door. Literally and figuratively.
— Where does your process of making art begin?
LF: In most cases, my process begins with immersion in nature with my camera long before I am in the studio, but once I decide on the subject, I begin with a rough sketch from a reference photo.
I tend to paint the face first because it brings life to the piece and it’s the most challenging part for me. From there, the other elements evolve according to my asking and receiving thoughts through the conduit. Some people call it intuition, or being ‘in the zone,’ but it’s more than that to me. I have learned the hard way that the conduit teacher is better than I am, so listening is beneficial. It’s probably the main reasons why I love to paint.
There are times when elements come to me in dreams, like the luna moths in the mountain lion painting (Luna Girl, shown below), but I still follow the same process in the studio. I take time with my paintings because the listening part can’t be rushed and it’s what makes each piece feel relevant to me.
I often have two or three paintings in progress simultaneously so I can switch gears if I get stuck. My intention is to continually learn and improve my work. I recognize how fortunate I am to be where I am through the encouragement and support from family, friends, galleries and collectors.
— How do you know when your artwork is finished?
LF: “Finished” is a moving target! I honestly think it’s in the eye of the beholder.
Sivertson Gallery is delighted to offer Lori Franklin’s wonder-filled art both in our Grand Marais gallery and online.
“Lori’s work is gentle, whimsical, and comforting—a great fit for nurseries and children’s rooms. The more you look, the more you notice sweet little details like a bumblebee or a perched hummingbird,” notes Sivertson Gallery’s Jessica Markusen.
You’ll find dozens of Lori’s images in a variety of sizes on our website. Customers especially enjoy her work printed on canvas. Stretched canvas prints are ready to hang directly on your wall and do not require a frame.
Posted in: Introducing