About Pat Mahan
			Art has always been a dominant force in my life. Growing up in Nebraska I remember so well observing the color changes from the green hills in the east to the straw colored flat lands of the west. As long as I can remember, I have wanted to be a fine art painter. Discouraged from this course in my college years when art was not viewed as a “real job,” I started to study Vet Sciences.
Disheartened from this choice, I found my life in a downward spiral that would last 10 years.I look back on “The Lost Years” wondering where my art would be today if I had followed my heart’s pursuit earlier. It wasn’t until 1986 that I picked up my brushes again. I was quite surprised and excited at the results.
In 1988, I started studying painting with Nebraska artist Roberta Sward. In the 3 years that I studied with Bobby, I learned about seeing and using color like I had never known before. Being schooled herself in the styles of the Old Masters, she taught me the fundamentals of color, composition and technique that I still use today. It is quite gratifying when I learn that these are the same techniques used by some very well known artists, such as Richard Schmid, John Carlson, and Kevin MacPherson.
Though I’m a realist in my subject matter, I first look for the abstract shapes, strong contrast and color harmony when composing a painting. I want the viewer to be pulled into the scene, to smell the air, to see what is around the tree, or down the stream, or on the other side of the hill. I start each painting with a strong underpainting – often in transparent, complimentary colors. It’s those colors that give the final colors their ZING! Because of my style, it has become very flattering when my pieces are recognized even before the signature is noticed.
My husband and I moved from Nebraska to Montana in 1991. I first experienced plein air painting in 1992 in a workshop with Chris Bergeson. Plein Air has fast become another love in my life. I anticipate the warmth of the sun, the air on my skin, the buzzing of insects. Since studying with Chris, I’ve had the chance to continue with my studies with some of the best plein air painters from this area. My field sketches are often both inspiration for large pieces and continue to sell on their own. I try to complete around 100 pieces a year, and with field sketches, this isn’t very difficult.
I can’t wait to see the new pieces waiting to be released from within me as I continue to hunt for the next spot to paint, the next moment in time to capture.