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I
live in rural north Texas in a restored
century-old farmhouse with three cats and
a dog. My western view is vast and a perfect
place to watch the weather come in, or view
a wonderful sunset. It is quiet here during
the day and I open my studio windows and
listen for the birds and other wildlife or live-
stock. All of these things combined inspire
me and give me fodder for my paintings.
All my life I've known I wanted to be an
artist. Both of my parents are very creative
people and although neither pursued a
career in the arts, our home always had a
creative energy. I hacked away at college
after graduating from high school, but I
partied more than painted. I returned to col-
lege in my late thirties, graduating from the
University of North Texas, School of Visual
Arts with a BFA in drawing and painting.
After graduation I still had a son to raise.
Once my son was on his way, I began paint-
ing. I would enter some juried competitions
and like everyone, received mixed responses,
but I kept painting and entering. In 2003
a piece was chosen for an important juried
competition in Dallas, Texas, and from that
exposure I was offered representation by
the sponsoring gallery. As my husband put
it...I had a job. I now "work" full time as a
painter and had my rst solo exhibition in
the summer of 2005.
I describe my style as regional surrealism.
I think my work reflects my environment,
rural north Texas, but the subject matter is
purely imagination. I take what I see--the
old houses, twisted trees, parched dirt,
and bales of hay--and use it as my visual
vocabulary. I also use these things as places
to hide secrets and Christian symbols. The
animals are often alter egos, expressing what
I can't or won't. Their treachery and survival
instincts give me plenty of mental dialogue
to spin into a painting.
I work in oil paint on smooth, ges-
soed panels. I use oil paint for a variety of
reasons--first of all is the connection to
the history of painting. All of my favorite
paintings are oil paintings. I love to see a
400-year old painting that looks like it was
created yesterday. I feel the oil paints will be
here long after I am gone.
On the technical side, I like the smooth-
ness of the oils and the way they blend on
the surface of the boards. I need the ability
to rework and change my mind as I go,
and oil paint can be lifted without chang-
ing what is painted underneath. After some
experimentation, I chose the rigid hardboard
because it allows me to paint in great detail.
I use thin coats of paint mixed with medi-
ums so the paint goes on very smooth--I
don't want any
texture to show.
I enjoy bright,
saturated colors
and rarely use
earth colors. Color
is one of the more
challenging parts
of my paintings.
I have always
responded to the
art inside church-
es, and some of
the most beauti-
ful images I have
ever seen are paintings of bloody, suffering
martyrs. Other in uences are Dr. Seuss, for
his use of imaginary space, quirky titles and
bright color palette. Medieval illustrated
manuscripts often contain small creatures
lurking around corners and I love spending
time looking at the details. I also feel myself
becoming aligned with Western artists, us-
ing the expansive landscape as a background
for small, tiny dramas.
"Under the Mushroom Clouds," Carolyn Zacharias McAdams, Oil on Panel, 24" x 24."
Carolyn Zacharias McAdams
The Land, The Animals, and The Weather Are My Muses
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