Muncy
Art Gallery presents ...
...
David Seybold
Painter
Lewisburg, PA
Muncy Historical Society hosted artist David Seybold's
25th anniversary exhibition, a retrospective of his painting
career, at the Muncy Museum of History in November 2007.
Hundreds of the artist's friends and patrons attended the
event.
Seybold, a Lewisburg artist, selected artwork and originals
in the exhibit that he completed since first picking up
the brush in 1981. The artist explained the history and
evolution pertaining to each piece of artwork to visitors,
with an emphasis on his early years: 1981-1987.
The show included many new limited edition prints, including
his special 25th anniversary limited edition print for Christmas
2006.
Highlights of Seybold’s career such as high school
and college projects, sketch books, photo albums, scrapbooks
of biographical information, and photos of a majority of
his complete works completed the exhibit. In an interview
below, the artist speaks about his career and influences.
| David Seybold
I’m often asked, “How did you end up in
Lewisburg?”
I never know whether to give the short version or
the long version.
I was born in Dunkirk, NY, Dec. 29, 1968. I attended
a Catholic grade school, 1-8. In 1980, I was 11 years
old and in fifth grade when my dad died. In 1981,
I discovered a box of paints in the house left over
from a painting class that my mother had taken when
she was in college. This is where my painting career
started and I produced my first oil painting in the
fall of 1981. I had found my therapy that would become
my destiny.
I attended Dunkirk High School and my high school
art teacher was Robert Rayl. He was a graduate of
Edinboro University of Pa. Since he recognized my
talent, he thought I should also attend Edinboro.
I graduated from high school in 1987 and that fall
I attended Edinboro University as a freshman. Bob
Rayl died that September from lung cancer. I was his
last art student, having attended summer sessions
with him.
Prior to 1989, Grandma Pagett had given me $3,000,
which I put in the bank. It would eventually become
the $3,000 that changed my life.
In 1989, I had the opportunity to attend an educational
trip to Oxford with Edinboro University. My mother
suggested that this would be the time to put that
money to good use. It sure came in handy as I followed
through and proceeded to venture on this trip to England.
While our university group explored England, I met
Trish. She was from Montgomery. By the time we returned
back to the U.S., we became close friends back at
Edinboro. She learned of my painting interests. I
started going home with her on the weekends. She introduced
me to this area, central Pa., a place I now call home.
Trish wanted to get my work into some galleries
so I could sell some paintings in this area. Her first
call came to me in 1991 while I was on a three-week
painting workshop with an Edinboro University art
group down on Wallops Island (Virginia). She had secured
a contract with the Strawbridge Art Gallery in Muncy
Valley.
Our second find, we found together. A drive to Lewisburg
proved very productive as the Open Door Art Gallery
loved my paintings. They started selling them right
away. It was at this time that I first learned that
an artist named David Armstrong lived in this area.
I knew he was a famous Mill Pond artist at the time
and I couldn’t believe that I was this close
to where he lived.
Between 1991 and 1999, I had gone back and forth between
living in Dunkirk, NY, and Montgomery, Pa.
In 1994, two employees and a customer of the Open
Door Art Gallery in Lewisburg had decided to form
a publishing company and publish my work. The result
was TOP Publishing Company, Inc. They represented
me for eight years, from 1994 to 2002.
In 1999, I had to make my move. I purchased a house
on Beck Street in Lewisburg and fell in love with
it the first day I saw it. I now enjoy it as a home
and a studio.
In 2002, I signed a contract with a new publishing
company called Susquehanna Editions. This year, 2006,
marks the 25th anniversary since I started painting,
when I first picked up the brush way back in 1981.
I have never put it down and I never will.
Describe your artistic experience:
In 1981, I discovered a box of oil paints in the attic.
I was 12 at the time. The paints were left over from
a painting class that my mom had taken when she was
in college. I’m most thankful that this box
of paints was never thrown away. I was granted permission
to start using them right away, and I sure did.
he results of my first oil painting and the beginnings
of my career will be on display at this exhibit. This
first painting being described as 12x16 oil on canvas
board, will be displayed along with numerous subsequent
works. There will be an emphasis on the early years
at this exhibit.
Who are your artistic influences?
It was during my high school years that I started
doing outdoor art exhibits. There were two other artists
that I admired and they became inspiration for my
work. They were Ann Klaus and Merrill Coffin. Learning
that no artist is without the influence of a predecessor,
I closely followed their work and careers. I was now
on my way to a career of my own as an artist.
I also became interested in wildlife art and met
Robert Bateman, a Canadian artist very popular in
the U.S. I followed his career and work very closely.
It inspired me to keep going on my own paintings.
They were the only three artists that I met that had
lasting influence on me.
What do you hope to accomplish?
I feel that I have already met a lot of my goals as
an artist. I’m doing something that I have always
wanted to do, and that is to make a living as an artist.
I have sold-out editions on the market adding to my
credibility and seriousness as an artist.
It’s difficult to decide where I want my career
to go from here, or what I want to do with it. I have
to decide on my comfort zone and satisfaction factor
versus realistic future goals and dreams.
What is your philosophy?
Never stop believing in yourself; you’re only
going to be as good as you want to be.
Pick and choose carefully who you want to listen
to, including listening to yourself. It’s impossible
to listen to everybody telling you what to do and
listening to what they have to say. You will never
please everyone. There will always be opposition to
what you say and do. Follow what’s in your heart
and, in the end, you will have more people on your
side than against you. There is great satisfaction
in the pursuit of a worthy dream and goal.
What types of tools do you use?
I work in oils. I work on gesso-prepared watercolor
paper, Masonite board, and rarely canvas. I prefer
the paper, then Masonite.
Which painting do you consider your best
work?
My best work is this year’s 25th anniversary
print, which is also my Christmas print. I’ve
been saving myself for this piece, as I had planned
on producing such as significant painting for quite
a few years. This painting is a 24x36 Masonite, titled,
“Colonial Dreams” and took 15 months to
complete. I will expect this to be my best work for
quite some time. Major pieces require much discipline
and energy.
In the future, I’m not sure I will even try
to beat out “Colonial Dreams.” I’m
not sure I want to beat it. It will just have to come
naturally in time, in my own artistic process.
Is there a painting you wish you could have done
better?
If I don’t like a painting, it gets burned.
What is your artistic process?
All of my paintings are planned on the paper or Masonite
they are created on. A pencil-work foundation is set
before I begin the painting process. It’s hard
to imagine building or creating anything without first
having a foundation. The least successful paintings
have either a weak foundation or no foundation. In
my process, I have to have something that I can build
on. |
Artist
David Seybold at work in his studio
"Colonial
Dreams" 2006 Christmas Print
(click on image for larger example)
"Country
Store Memories"
Limited Edition for Muncy Historical Society
(click on image for larger example)
"Cabin
Quilt Study," original oil
(click on image for larger example)
"Holly
Spirit" (unfinished)
(click on image for larger example)
"Cabin
Herbs Study," original oil
(click on image for larger example)
"Springhouse
Look-Out"
(click on image for larger example)
"Jack's
Last Light"
(click on image for larger example)
David
Seybold demonstrates Colonial
open-hearth techniques at the Warrior Run
Fort Freeland Heritage Festival in October 2006 |
Each piece requires multiple layers. I let each layer dry
before proceeding with the next. This can make the evolution
of each painting very time consuming.
Thus, it makes sense to have several paintings going at
the same time, all in various stages of progress. Right
now, I have three dozen originals in all sorts of evolutionary
stages. Some are just about complete and awaiting a signature,
while others show only pencil work and outlines. It’s
always like this around my studio.
Do you paint often?
I prefer to paint when I’m in the mood. I can’t
always wait for lightning to strike, so sometimes I have
to force myself. Just sitting down to mix up a batch of
paint and to pick up a painting can be half the battle.
Once begun is half done. Lots of times, just forcing myself
to proceed with a painting allows everything else to fall
into place.
Do you choose subjects for your own benefit, or
for your clients?
Completing a painting does have its rewards, but I am always
able to let go. I almost never hang onto my own work. It
is always created with the idea that it will have appeal
beyond my studio.
ost of the time, it always does.
Thankfully, those who buy my work and collect it have the
same appeal and desire for subject matter that interests
me. Therefore, I have a lot in common with my customer base.
I like to think that all of my work is very much down
to earth. I don’t extend beyond my artistic comfort
zone too often.
Are there similarities between your art and anyone
else’s?
There are similarities between all artists of similar genre.
It’s the personalization of the approach that makes
it unique. Of course, my approach would be entirely different
from another artist, even though similar subjects may be
present. I’ve had to work on asking myself, “OK,
now here’s a still life I want to paint, but what
makes my approach different from the next artist?”
This is where I believe personality comes in. If personality
and uniqueness can be incorporated into your work, then
an artist is well on his way to developing a particular
style.
ersonality definitely ties into my artwork. I continue
to search various approaches and methods that are tied to
my personality. It’s a matter of searching and learning
from oneself. In this way, I’m my own best teacher,
but I’m also my worst critic. Sometimes the conflict
between both can be very irritating and demanding. But in
the end, my works grows, I grow. It’s a self-exploration
thing.
What is your motivation?
My motivation is my perfectionist tendencies. I try to contain
them within my art, but they tend to overflow. It drives
me nuts to try to get a painting just right according to
everything that I have learned so far artistically. The
continual pursuit and near accomplishment of this approach
is always on an evolutionary scale, since I never arrive
at it. Once I arrive at a certain point in my artwork, and
in life, I look ahead and see that there is always more
road to travel.
I’ve never done a perfect painting and maybe never
will. Who defines a perfect painting anyway? It’s
all a matter of interpretation. But my work keeps going
on, evolving, small changes that amount to big ones over
a lifetime. If only I could master each of those stages,
learn from it, and move on.
Motivation is always at each point on my artistic evolutionary
landscape. I like to think that each painting is a by-product
of another evolutionary step or point in my artistic career.
What gives you a sense of fulfillment?
The best sense of fulfillment is putting that signature
on a painting. It’s at its completion. It has my seal
of approval. I love finishing a painting.
How would you describe yourself?
I’ve always expected a lot from myself. I’m
not quite sure where I get it. Long ago, I remember telling
myself that I’m either going to excel in what I do
and do my best and really make something of my life, or
I’m going to go down in flames. I had to make a decision.
I was not going to settle for middle ground.
I would describe myself as definitely unique. It has never
suited me to fit in with everyone and everything. I like
to concentrate on what makes me unique and to keep building
on those qualities.
ecent and honest people will recognize this, be drawn to
it, and appreciate it.
I’m an introvert and intuitive, so it takes a while
to get to know me. After a couple glasses of wine, I loosen
up. I don’t wear my entire life on my sleeve.
When it comes to my paintings, I have an intuition that
is difficult to describe. Emotion is at the heart of everything
that I do, and it takes energy and effort to both convey
and recognize it. Where these two connect or overlap is
where I best relate to people. It is the beginning point
of both relationships and friendships.
My paintings are already within this realm of emotional
observation. So often, people and customers tell me about
how well they are able to connect with my work. If they
connect with my work, they are connecting with me.
Everyone is welcome to get to know me and my artwork a
little better. I love to share.
Besides painting, what are your interests and hobbies?
I enjoy gardening very much with herbs and perennials. I
also have an interest in water gardening and am in the process
of designing a backyard waterfall feature and stream. I
love the sound of falling water.
I also enjoy metal detecting around old farms and yards.
I love the thrill or searching and digging up old coins
or relics from the past. The older, the more exciting and
interesting.
I like open-hearth cooking. I’m an open-hearth cook
demonstrator at Warrior Run Heritage Days. I use all of
my own equipment and tools, much of it authentic. In the
winter months, I do open-hearth cooking at my house. I’m
able to prepare an entire meal this way, including doing
an herb-roasted chicken in the reflector oven, stuffing
along with cornbread, corn pudding, potatoes, apple pie
in the Dutch over and a plum pudding set afire. I enjoy
cooking and baking. I know my way around a kitchen.
I also enjoy practicing on my grand piano. I’m no
musical expert, but it’s a nice toy to have and I
enjoy the sound of a Kawai. I took lessons when I was young.
I enjoy traveling the west, states such as Wyoming, Montana,
Utah and Idaho. I go every year.
I collect primitive antiques, which sometimes make their
way into some of my paintings.
I also enjoy the occasional summer triathlon. Training
year-round keeps me in shape. It allows me to incorporate
Mr. Sticky’s into my repertoire, a place I just love
for the best sticky buns in the world. I often snack on
them between paintings.
What are your future plans?
I’ve been in Lewisburg for over seven years now and
I plan to stay here for quite some time. I’m very
happy with the home and place I have. I’ve been on
the homes tour twice. Being content and in my comfort zone
are important to me.
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