http://www.outdoorpainter.com / August-September 2019 47
(LEFT)GoldenLightofLuffenholtz No. 1 , 2019, oil, 60 x 36 in., private collection, pleinair•(RIGHT) Golden Light of Luffenholtz No. 2 , 2019, oil, 60 x 36 in.,
private collection, plein air
“PrettyquicklyI foundthatschoolgot
inthewayofmypainting,andI wasalready
farbehindinmycareeras anartist.I knew
whatit wouldtakeandI knewI’dhavetodo
it fulltimeif it wasgoingtobea profession,
soI droppedoutofschool.TodayI constantly
thinkabouthowtomarketmypaintingsand
supportmyfamilydoingit.I havetwokids
anda wife;I havetobesuccessfulinthis.I
have to be selling at least a painting a month.”
SETTINGUPTOPAINTBIG
Thebackof Jensen’sFordF-150“lookslike
a painttubegraveyard,”andthechallengeof
paintingonbigcanvasespullsJensen’sentire
bodyintotheprocess.“WhenI’mlookingfor
a scene,I’mreallylooking—crouchingdown
toviewdifferentangles,lookinglow,sitting
ona bucketfora differentview,”hesays.“My
brainandhandnowworkwithmywholebody.
I’m on my knee. I’m standing up. I find it’s nothealthyformetoworkonthesamesizecanvas
allthetime.Myrealgoalis togrowas anartist,
andI don’tfeellikeI candothatif I paintthe
samesize.It’sa rushtostandtherepaintinga
9-footcanvas.Peoplearewatching,andthe
excitementshowsinthebrushwork.”
Locationis criticalwhendealingwithsuch
a largeformat.Jensensayshesometimesfinds
himselfdrivingaroundforhourslookingfora
paint spot. The opportunities shrink a bit when