“Over time, I've realized that seeking out a striking light effect is more important than simply choosing a scene that looks attractive at first glance.”

Artist Elizabeth Garat creates impressionist paintings of landscapes and seascapes that reflect scenes from her travels and her deep connection to nature. Raised between California and Colorado, she spent her formative years outdoors—exploring her grandfather’s sheep ranch, walking along the beaches with her grandmother, and discovering California Impressionism in the galleries of Laguna Beach. Elizabeth works from a bright studio converted from her home’s detached garage, complete with barn wood walls, a skylight, and a Dutch door that lets the air in. When not making art, she enjoys watching movies and going for hikes. 

In this interview, Elizabeth talks about her journey as a plein air artist, and how nature and light inspire her works.

Tell us about yourself.

I live in a 1937 cottage and have an 18’x 18’ attached studio with a skylight. The name of my art studio, Rose’Neath, was inspired by my great-grandfather’s home in southern California. Oswald Robertson emigrated from Edinburgh, Scotland, to Southern California in 1905 and named his residence Roseneath.

Though I’ve lived in Memphis for over twenty years, I grew up in the western United States- first on my Grandfather’s ranch in southern California, subsequently in the Rocky Mountains of Colorado. As a child, I spent a lot of time outdoors playing under big skies and noticing the magical effects of light in nature— especially during the golden hour. In the quiet space of my room, I liked to immerse myself in drawing. These early activities led to my engagement in the two kinds of painting I practice today: plein air and studio.

What are your special interests?

Gardens and gardening—another kind of palette. I come from a long line of gardeners. I am interested in and support the rewilding movement.

What are you most proud of—whether in art or another part of your life?

I am proud of my participation in several key exhibitions that have broadened the reach of my work and affirmed its recognition within the art community. At Forte Sangallo in Civita Castellana, Italy, my artwork got featured in “Con gli occhi degli artisti stranieri” (“Through Foreign Eyes”). This exhibition brought together artists from various countries to share their interpretations of the city and its landscape. My work was also selected for the Annual Delta Exhibition at the Arkansas Museum of Fine Arts for two consecutive years, a juried show that highlights outstanding contemporary art from the southeastern United States. Additionally, I was honored to be part of Water Works II, an international juried exhibition in Ojai, California. These experiences have reinforced my dedication to my artistic practice and enabled me to connect with diverse audiences.

Do you have any studio rituals that help you get into a creative flow?

I have the best energy in the morning. I work best if I prepare for the following day’s painting session by tidying up at the end of the day. I clean my glass palette and my brushes, and I organize my paint tubes. At the beginning of the next work session, I often light a candle or burn piñon incense, then put on music or an audiobook. Doing these things takes me out of my thinking mind into a more intuitive place. 

How do you structure your day?

When I’m working on location, I prefer to go with a colleague. We paint two sessions a day. The ideal morning session goes from about  8:00 am to 10:30 am. For an afternoon session, we like to begin painting around 3:00 pm and work until the light has changed too drastically.

Where do you find inspiration for your art?

Nature and improvisation—observations made in places of interesting shapes and color combinations. Improvisation is important so that my work doesn't become too formulaic or stale. Playing with materials yields new approaches and ideas. I work in oil and watercolor. My subject matter includes landscape, abstracted landscape, and pure abstraction. When I'm painting landscapes, I prefer to paint places I know or have been to. This gives me an emotional connection to my subject matter.

When I'm selecting subject matter,  I scout for three things: an inspiring light effect, the intersection of interesting compositional shapes, and the sensation of something stirring me. By taking my camera with me when I go for a walk, I'm ready to document an arresting moment in the landscape. Claude Monet said, "The motif is secondary; what I want to capture is what exists between the motif and myself." My goal is not to merely reproduce a scene, but to uncover how the scene makes me feel and use the tools I have as an artist; emphasis, color, brushstrokes—to bring forth that mood.

Tell us about your evolution as a plein air artist.

Years of focused training in plein air painting have been essential to my growth as a painter. Painting outdoors requires a wide range of skills to work quickly and decisively. When choosing your vantage point, you must pay attention to where the sun is and where it’s going. Plein air painting requires good compositional skills, knowledge of color theory, and the value scale to build a painting—all while racing against the changing light. Typically, you have about two hours to complete a painting before the light shifts dramatically, so you must be comfortable making swift decisions in all these areas. Plein air training and experience have made me a stronger studio painter.

Over time, I've realized that seeking out a striking light effect is more important than simply choosing a scene that looks attractive at first glance. The drama created by light brings a painting to life. I have also learned that the relationships between values—the lights and darks in a painting—are even more critical than the specific colors or pigments you use. Mastering these fundamentals has shaped my artistic evolution.

How do you decide when an artwork is finished?

I had a plein air teacher who would teasingly say, “Step away from the easel, and no one will get hurt.” He meant the painting was finished and warned not to ruin it by over-fiddling. Knowing when to stop can be difficult, so I ask whether anything isn’t working and if the piece feels unified as a whole. Sometimes a painting seems complete, only for me to see something I want to change a year later.

Is there an artwork from another artist that has had a significant impact on you?

My favorite painting at the Dixon Gallery and Gardens is John Singer Sargent's "Ramón Subercaseaux in a Gondola." Sargent paints the water and depicts the sunlight illuminating the canopy over the gondola lusciously.

Another is Joaqin Sorolla's painting of "The Alhambra" does that wonderful impressionistic magic trick—when you stand close you see Sorolla's quick, masterful dashes and blobs of paint, and then when you back from the painting—it becomes alive and you feel that you are in Granada, Spain with the warm sun on your skin watching ripples on the surface of the pool before you.

What’s your favorite museum?

I regularly visit art museums and galleries both for my enjoyment and to study the work of other painters. Small art museums are special. In Memphis, where I presently live, I go to every show at the Dixon Gallery and Gardens, and I usually go more than once.

When I go home to California, we always check out the current show at the nearby Santa Paula Art Museum—it’s another small art museum with well-curated shows. Every Christmas, my family and I make an annual pilgrimage to The Getty. This past year, we found ourselves lingering in a room with Joaquin Sorolla’s paintings.

What is the most interesting observation someone has made about your work?

Viewers mention experiencing a sense of peacefulness engaging with my work, and tend to notice the color palettes.

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If you enjoyed this article about Elizabeth Garat's life and artwork, we recommend reading our interview with Vic Roschkov and his realistic watercolor paintings.