Jersey Shore Magazine

j e r s e y s h o r e • S P R I N G 2 0 2 3 47 several times, making sketches—light and shadow patterns and colors." With this intense connection between art and artist, Heidel has paintings that are particularly close to her heart. She says "Asbury Remembered" is one of her favorites and comments, "It fits my sentiments exactly...it's me." Presented on the following pages are just some of Theresa Troise Heidel's "Asbury Park." continued on page 48 Heidel worked with a historian to research some of the architectural ornamentation that has been lost in Asbury Park. This attention to detail was particularly important when capturing the distinctive architec- tural elements of the town. Yet the buildings that Heidel memorializes in paint mean much more to her than the details of structure and space. She strives to evoke their unique feel- ing and atmosphere in the subtleties of her watercolors. The ever-changing quality of light is a large focus of Heidel's paintings—be it the ruddy light after a rain, the blue light of winter, or the warm glow of an early sunset. She comments, "The lighting is what hits you first. When you look at something and say, 'Oh, that's beautiful,' it's usually the light. It conveys a mood and gets the mes- sage across—not just how something looks, but how it feels." But while the emotional connection undoubtedly adds a special element to her watercolors, Heidel firmly believes that one must first have a strong drawing as the painting's founda- tion. "That's really important to me. The drawing is absolutely it." In fact, when she works on location, it is the drawing—not the painting—that takes the longest time to complete. In these cases, Heidel works from life, but backs up the studies with close-up photos. "I also return to the spot Opposite page: "Asbury Remembered," 18" x 24", watercolor and gouache, 1990 Right: "Winged Seahorse, Convention Hall," 11" x 15", watercolor, 2000 Below: "The Swan, Asbury Park," 30" x 40", watercolor and gouache, 1995

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