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Johns and Jackson Pollock and their giant canvases), so nobody wanted to talk about or teach traditional painting. “It was tough in the ’80s,” Doyle says. “I knew I wanted to do plein air, but my professors said no—we’re done with that. But for me, if there isn’t beauty—if it doesn’t speak to your soul—it’s not art.”

Now that plein air has proven to be one of history’s most significant art movements, Doyle is enjoying the fruits of her indefatigable labor. Apart from innate talent and 60 years of honing her skills, part of the artist’s work is capturing moments— sometimes milliseconds—that make us feel joy and awe. With just oil and canvas, Doyle captures grand finales of light before the sun sinks below the horizon, the thunder of crashing waves and the feel of breezy days when clouds skate across blue skies. In her pond, marsh and woodland scenes, we can experience the glory of solitude in nature and the majesty of the natural world. Remarkably, Doyle doesn’t often paint from photographs; she paints from a sort of quantum memory.

“There is no way you can paint from photographs and understand what you’re looking at,” she says. “The eye is too complex. I’ve been doing this for 60 years, and I’m just beginning to understand it. What I’ve learned is that everything has energy and a frequency. When I immerse myself in an environment, it’s certainly not about me, but it’s clear that I’m a conduit taking those frequencies and translating them into color notes. Then, when someone looks at the canvas, they feel that. Paintings are living entities; you can keep returning to them and learning new things.”

Doyle spends a significant amount of time searching for places that resonate with her and are different than what other plein air painters are attracted to. She’ll take as many as three or four canvases with her, sometimes as large as 3-by-4 feet, and work on them simultaneously over a period of time, working on layer after layer. “The thing I keep coming back to is, are you painting what you think is there, or are you painting what is there?” she explains. “You can edit so the composition works, but there has to be a veracity to the space.”

The artist has had gallery representation in the past, but she finds she prefers to represent herself at shows such as the Litchfield Art Festival, the Georgetown Boat Show, Brookgreen Gardens Art Festival and the Murrells Inlet Festival of Arts and

Crafts. She’s also happy to bring a selection of paintings to clients’ homes, and all of her work is available on her website.

“I love talking to my clients and getting to know them,” Doyle says. “I want them to get to know the artist. You don’t get that experience with a gallery. I like to watch people relax as they look at my work; it creates a moment for them, an experience. We’re so busy we don’t have time to be in nature the way we want to. It’s a humbling experience when one of my paintings touches someone. I know the power of what we do as artists can heal people.” *

Robin Howard is a freelance writer in Charleston. See more of her work at robinhowardwrites.com.

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