Though the genre of landscape painting is a traditional genre, my landscape painting does not repeat what has gone on before--rather, the rich history of landscape painting inspires me to create a new direction in landscape painting. My unique direction in landscape painting incorproates not only a format that emphasizes the way we perceive with two eyes it also conveys, through my understanding of nature, the feeling of the quality of the atmospheric air, the spontaneous fleeting experience of being in nature, and a connection to a sense of place. My understanding of a place is through paint. For most my painting life, I have been satisfied with the discovery through color relationships in paint, but now am driven to convey more in my paintings of man's relationship to nature and the spiritual connection that comes from that connection.
I have been painting for over thirty-five years and though home is Stevens Point, Wisconsin, where I have taught at the university since 1987, I have traveled extensively challenging myself with drastically new landscapes to paint. Through the U.S. National Park I have bene honored with more selected artist-in-residencies than any other artist, and have painted from Hawaii to Alaska through the park system. I have also painted in Icleland, Costa Rica, France Scotland, Ireland, England, and Italy.
Painting on location in scenic and challenging locations is essential to my artistic sensibilities for a number of reason including experiencing the elements. I find working in nature a spiritually renewing and rewarding venture.
She has come late to assemblage art in her life (after turning 50). She admits there is something quite theraputic cutting off doll heads and slapping found objects together with epoxy clay. The hunt of the objects is equally enjoyable. Perhaps it was a mid-life crisis that turned her onto an assemblage artist, but she has a community of friends in southwestern Wisconsin (Mineral Point and the former Valleyridge) or taking a class with Michael DeMeng and laughing with others over the never-ending creativity that comes with assemblage art.
Bywaters switches back and forth between acrylics and oils. But generally finds herself in the studio with the acrylics and oils on location. Her large (8 feet) size figurative works are done in acrylics. Trained at a time when acrylics were not taken seriously, she was pleasantly surprised to discover the professional grade acrylics (especially Golden Acrylics fluids).
"With the figurative works, my challenge is to paint my richer understanding of the world, I want to convey the humanity of the world and the interwoven connections nature has with man. Certainly the nude is expressing the vulnerability of life in my art works. I enjoy the immediate layering of paint and will do numerous layers as needed for a painting."
Bywaters uses PanPastel and charcoal pencils in her drawings, typically on a gray paper (brand: Cranford). Having studied with David Kassan for a month in Belgium, his effect on her realistic drawings are obvious. She also has continued her studies in her 50's at the London Atelier of Representational Art (LARA) in England one summer.