When life gives you lemons, draw them, 11 x 14 inches dry pastels, graphite on paper

"When life gives you lemons, draw them". (Nikki)

"Trust your intuition, it's just like goin' fishin'; you cast your line 'til you get a bite." (Paul Simon)

Archive for April, 2006

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Goldenrod

Sunday, April 23rd, 2006


 
Goldenrod, late Summer in Southern Alberta, 14H x 11W inches oil pastels on paper
Goldenrod, late Summer in Southern Alberta, 14H x 11W inches oil pastels on paper, framed with 3 inch white double mat, brass title plate, and white wood frame with crackle finish, 26H x 22W inches total size

This piece exemplifies the individuality of each in the Paper Places series; not attempting depth or realism so much here as playing with design, contrasting colors and texture.


 

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Grand Canyon

Friday, April 21st, 2006


 
Silent Witness, Juniper at Grand Canyon, Arizona USA, 14H x 11W inches oil pastels on paper
Silent Witness, Juniper at Grand Canyon, Arizona USA, 14H x 11W inches oil pastels on paper, Paper Places series, 3 inch wide white double mat, brass title plate, 26H x 22W inch white custom wood frame with crackle finish.


 

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Arkansas July 6:45 a.m.

Tuesday, April 18th, 2006


 
Hwy 30 through Arkansas, July 6:25 a.m., 14H x 11W inches oil pastels on paper, sold

Hwy 30 through Arkansas, July 6:45 a.m.,14H x 11W inches oil pastels on paper, Paper Places series, 3 inch wide white double mat, brass title plate, 26H x 22W inch white custom wood frame with crackle finish, sold.
Driving back to Texas on our annual 2 1/2 day trip to eastern Ontario, I enjoy being on the road before sunrise. On lengthy journeys it’s best to take advantage of every splendor along the way, then the trip doesn’t seem to take so long.

Eucalyptus Tree

Sunday, April 16th, 2006


 
Eucalyptus Tree, Queensland, Australia 14 x 11 inches oil pastels on paper
Eucalyptus Tree, Queen Mary’s Falls, Queensland, Australia, 14H x 11W inches oil pastels on paper, Paper Places series, 3 inch wide white double mat, brass title plate, 26H x 22W inch white custom wood frame with crackle finish. Part of the Paper Places series, accompanied by and inspiring the following poem:

It remains

when things are gone

and people

passed and roads

and paths and places

we belong

to the Essence.

Post-dated note: This drawing earned a spot in American Art Jury’s 2007 Spring/Summer online exhibition and gallery http://www.artjury.com


 

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Galahs in Traffic, reworked

Friday, April 14th, 2006


 
Galahs in Traffic - flocks of Galahs fly in front of cars, many laying dead beside the road to the Kangaroo Island ferry, South Australia
Galahs in Traffic, 14H x 11W inches oil pastels on paper, framed with 3 inch white double mat, brass title plate, and white wood frame with crackle finish, 26H x 22W inches total size

Flocks of Galahs fly head on into cars on the highway while driving to the Kangaroo Island ferry, South Australia. A tragic phenomenon – many lay dead on the side of the road, for miles. This is a busy highway, and next to stopping, it was almost impossible to miss them.
This started out to be a drawing of the Norfolk Island Pines growing in the south-central coastal regions of Australia. It’s not unusual for me to completely re-work oil pastel drawings after a day or two of work, when they could be called finished. Sometimes after a period of study, radical changes are in order, as in this case. After two days of work, while recalling the horrifying scene that day, it was clear that the style in the first stage of the drawing was stagnant and ordinary. Adding the blurry, in-your-face Galah is much more effective. See the first version here.
 
Post-dated note: Galahs in Traffic placed in Artjury.com’s 2007 Fall/Winter Juried Online Exhibition.


 

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Galahs in Traffic, version 1

Wednesday, April 12th, 2006


 
Flock of Galahs, first stop
Galahs in Traffic, version 1 – this drawing started out to be a portrait of the Norfolk Island Pines growing in this coastal area of South Australia. Many of the oil pastel pieces in the Paper Places series have a first stage at the end of a day or two worth of work where it could be called finished, then after studying for a few days, months or even years, if it’s not dynamic enough it may need to be changed.
This is an area unlike any other, where flocks of Galahs flew directly into the traffic on the main highway leading to the Kangaroo Island ferry. Dead Galahs lay along the side of the road for miles. After two days of work and recalling the horrifying feelings of seeing all those dead birds, it’s clear that the drawing as it is in the stage above, is stagnant and kind of ordinary even though it could be called finished. The style needs reworking because of the subject matter and what takes place there every day.

Eneggma

Tuesday, April 11th, 2006


 

Eneggma 01   Eneggma 02

Eneggma 03   Eneggma 04

Eneggma, set of 4H x 4W dry pastels on paper, part of sketches prepared for “The Perfection of Small Birds” by American Poet Hannah Gerber. Frames use crackle glaze and off-white acrylics over robin-egg blue.

Dust Bath

Monday, April 10th, 2006


 
Dust Bath, 4H x 6W inches dry pastels on charcoal paper

Dust Bath, 4H x 6W inches dry pastels on charcoal paper, for Hannah Gerber’s The Perfection of Small Birds

Chickadee 02

Sunday, April 9th, 2006


 
Chickadee 02, 4H x 6W inches charcoal on paper
Chickadee 02, 4H x 6W inches charcoal on paper, another sketch for Hannah Gerber’s The Perfection of Small Birds

Chickadee 01

Saturday, April 8th, 2006


 
Chickadee 01, 8 x 10 inches charcoal on paper

Chickadee 01, 8 x 10 inches charcoal on paper, for The Perfection of Small Birds, by Poet Hannah Gerber

Hannah was only looking for cover Art, but when commissioned to do only one design a lot of preliminary sketches are presented also, partly as a way of warming up but also to give clients a selection. As a result, extras were also used on inside pages.

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