Steven Guy Bilodeau
Ohrid, Macedonia
Artist Steven Guy Bilodeau paints landscapes en plein air, often bathed in warm, soothing sunlight. He uses the alla prima technique and prefers to create his works in one session so that he can hold on to the emotional connection between himself and a piece. Originally inspired by early California painters called The Society of Six, he follows their creative philosophy of going outdoors and capturing the inspirational characters of a place. He currently lives in Ohrid, Macedonia, the largest city on Lake Ohrid—the oldest lake in Europe and a UNESCO world heritage site. His home and small studio look across the lake with a view of Albania. When he's not painting, he manages his own vacation rental property and enjoys riding his Vespa scooter around the beautiful region.
Artist Statement
For me, art is about making a profound impact on the viewer, stirring inner feelings and memories. If I can evoke emotion, then I consider my painting successful.
My fascination with plein-air painters began with the "Society of Six," which included artists like Selden Gile, William Clapp, and Louis Siegrist. As early California Impressionists, they painted alla prima, capturing the emotional essence of a scene. I found their approach appealing, and it became a model for my own work. While many plein-air artists today bring pieces back to the studio to finish, I believe the emotional connection is lost once you leave the scene. Following the true plein-air tradition, I paint from start to finish in one sitting.
Even when working from photos in the studio, I maintain the plein-air tradition, ensuring that my emotional response to the scene is genuine. I believe that if I don't feel a deep connection to a scene, it's unrealistic to expect viewers to have an emotional reaction to my painting.
My fascination with plein-air painters began with the "Society of Six," which included artists like Selden Gile, William Clapp, and Louis Siegrist. As early California Impressionists, they painted alla prima, capturing the emotional essence of a scene. I found their approach appealing, and it became a model for my own work. While many plein-air artists today bring pieces back to the studio to finish, I believe the emotional connection is lost once you leave the scene. Following the true plein-air tradition, I paint from start to finish in one sitting.
Even when working from photos in the studio, I maintain the plein-air tradition, ensuring that my emotional response to the scene is genuine. I believe that if I don't feel a deep connection to a scene, it's unrealistic to expect viewers to have an emotional reaction to my painting.
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