expressionist
« Previous EntriesShades of Green
Friday, April 28th, 2023
Branches ‘n’ Blossoms, (2021) 18H x 24W inches soft pastels on paper. White mat, and framed version has white 27H x 33W” wood frame with crackle finish.
Finalist in Camelback Gallery’s Shades of Green 2023 Competition and Exhibition.
Driving to the Coast
Wednesday, July 15th, 2020
Driving to the Coast, 18H x 24W inches dry pastels on paper
Summer Garden Abstract
Monday, January 20th, 2020
Summer Garden Abstract, 14H x 20W inches watercolors on 140 cold pressed. Resist medium was used to create abstract, flowering negative spaces.
Waterfall Fantasy 03
Wednesday, November 22nd, 2017
Waterfall Fantasy 03, 6H x 3W inches watercolors
Watercolors bookmarks
Monday, November 20th, 2017
Autumn Forest Scene 13, about 6H x 2W inches watercolors on 140 lb cold pressed
Autumn Forest Scene 10, about 6H x 2W inches watercolors on 140 lb cold pressed
Autumn Forest Scene 11, about 6H x 2W inches watercolors on 140 lb cold pressed
Autumn Forest Scene 12, about 6H x 2W inches watercolors on 140 lb cold pressed
Clearcut forest, Tillimook OR
Tuesday, February 28th, 2017
Clearcut 01 details, watercolors – work in progress details
Oystercatchers
Monday, February 27th, 2017
Oystercatchers, 18H x 24W inches watercolors on 140 lb cold pressed. Framed size 27H x 33W inches, white mat, white wood frame with crackle finish.
Showcased in the J. Mane Gallery’s Fins, Feathers and Fur 2020 exhibition.
This is finished, although I’d love to merge the contrasts somehow. I don’t want to mess up the implied light though, or the initial spontaneous brush strokes, like in the background waves. Every new mark at this stage makes a difference too, and in context to the whole, even small changes affect other areas that need to adjust accordingly.
Before you know it, colors mud together and beautiful open spaces disappear. I’m going to take direction from my most recent pieces, which I feel were over-worked, and quit while I’m ahead.
Challenge is exciting…particularly with watercolors. Whereas with other media mistakes can be erased or covered easily and change can occur throughout the process without much hesitation, with watercolors a person needs to know a subject well – or at least be able to fake it with confidence!
Finding a way to make each painting unique means following cues happening within the work itself. In this painting, the most remarkable thing occurred after the the first phase of production.
Because this subject was unfamiliar, I started by first penciling in the shapes, wondering what I could do to make this less boring – you know, not just be a picture of Oystercatchers. When erasing the pencil marks in order to see what the paint had established, little rolls of eraser pieces scattered here and there. Sprinkled impromptu around the birds, those tiny eraser shreds added a pronounced and unexpected zing of life to the composition. First thinking “what have I got to lose?”, the eraser-pieces were mimicked in paint around the birds. I’m tempted to make those strokes more prominent, but a small success is in order, so will use this fun technique in another painting.
Mt. Walker Rhododendrons
Friday, February 17th, 2017
Mt. Walker, WA wild Rhododendrons, 15H x 22W inches WC on 140 lb cold pressed premium. Details:
Japanese Maple
Saturday, February 11th, 2017
Japanese Maple, 20W x 15H inches watercolors on 140 lb. cold pressed premium work in progress.
Dahlias
Sunday, November 6th, 2016
Dahlias, 22H x 28W inches, modeling paste, acrylics and oil pastel on canvas board