This is the season when galleries everywhere feature small, affordable art for the Christmas season. Not only is art a unique gift but it’s value cannot be googled and it is really easy to wrap! Win, win, win…. Two of these are just 5×5 with a painted 1.5″ cradle and the floral field is still accessible at 10 x 10
This 16 x 20 Winterscape is on the large side for me. Soon I’ll be working on a series of small pieces for my gallery’s November and December shows. I worked on this one for about a week and made steady progress but now I think it is time to make a few other paintings while I mull over what is needed to tweak this to completion. The best thing about painting snow is avoiding white It is so much fun to load the image with blues, grays, greens, pinks, umbers and gold and still have the illusion of white snow!
This month I have strayed a bit from my usual small format panels and completed an 18 x 24 landscape which I then highlighted with some careful scribbling in graphite. Normally, I continue my image…
This month I have strayed a bit from my usual small format panels and completed an 18 x 24 landscape which I then highlighted with some careful scribbling in graphite. Normally, I continue my images on the top and sides of my panels and coat the images in resin. This time, my plan is to frame. Because I am concerned that a resin coating might fight the effect of the frame, I am deciding to leave this one au naturale
Next, I went back into small format for a little landscape which I think prefer to show unframed. Still I don’t think I can resist a shiny coating on this one. It will pop.
Hard to believe spring has turned to summer. Shows are coming on fast so I’m doing my best to carve out time to make more new work. These are two of four new pieces that I will begin pouring resin in a day or two. All four are small format, with the largest being the 10 x 10 local landscape and the smallest a little 4 x 6 French landscape rendering. Right now there is an 18 x 24 starkly white wood panel calling my name.
The time it takes me to finish a painting varies greatly. It is important for me to know at the end of any given painting session, whether I have made real progress and what my next priorities are moving forward. When I was working on my last figurative painting, “Dana”(see my last blog post) I began the practice of taking a photo at the end of each session which includes a marker noting the date. This not only helps me avoid the frustration that I inevitably feel while my ultimate vision is still far down the road, but also allows me to set up a palette of acrylics that targets the aspect of the image that I need to work on next. Why didn’t I think of this sooner?
This week, I’ve switched back and forth between two projects that represent the yin and yang of my artistic impulses. The portrait of my niece, Dana has kept me fixated on the most minor tone changes and drawing details that tease but will never satisfy my puzzle-craving nature. For respite, I dove into this larger but much more freeing landscape. The portrait is a little 9 x 12 number that has tested my vision and minusule brush control and has absorbed a large part of many days while the larger 12 x 16 landscape called for larger brushes bolder gambles. I’ll wait another day to decide what changes remain and when I will relieve myself the temptation to go back in by pouring the final resin coating on each. Whatever happens, it has been fun!
This is the second in a series of paintings inspired by our recent trip to Martinique. The photo upon which this is based was taken at le Diamant beach early in the day while the beach was still deserted.
With winter coming on, I thought it would be nice to head to the tropics, at least in spirit. The upshot is a series of undersea creature paintings. Here are three of eight the largest being 6 x 12. They are part of my experiment with dark to light compositions.
I wanted to try my hand at some more minimalist landscapes. As this one developed I used the same palette of blues, greens and white to form the sky and water but used tapping strokes in the sky in a kind of modified scrumble I hadn’t done before. Them I mirrored the colors with straight up and down stokes smoothed out and blended using a touch of water instead of the mere pressure that formed the sky. Once sky and water were in place adding the tree line and reflections was easy. I finished the land line with a few touches of gold and red.