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Thursday, December 20th, 2012
Zinnias, 18H x 24W inches graphite on paper.
Using an eraser just as much as the graphite, the composition is roughed in to fill the page. Smudging creates dark tones – some are removed with different sized erasers, and some areas are detailed. Initial plans were to create a drawing with about 4 inches of grey tones bleeding into a colorful central square to be drawn and painted with watercolor pencils, similar to Chrysanthemums, with borders more defined, but I like this one without colors. Plans always need to change according to what the results are dictating.
Fields of Flax – Rowley, Alberta Canada
Monday, November 12th, 2012
Fields of Flax, Rowley, Alberta Canada, 12H x 16W inches watercolors on paperpreliminary study for larger acrylics painting
Missing routine
Thursday, October 11th, 2012
The Campsite, 24 x 30 inches watercolors on 140 lb cold pressed premium
I finally brought my watercolor paints back from my son’s place in Canada, where I left them so they wouldn’t freeze on the 5-day drive back west last November. Driving again, I’ve just returned from this year’s visit, when I gave my grandson a one-of-a-kind fabric book hand-made for his first birthday, Colors for Cameron. I plan to make him something special every year.
So, with a couple of new brushes and 12 x 16″ paper block, and now with the rainy season upon us back in Oregon, I look forward to establishing a routine of painting again. Invigorated by a summer full of gardening and flowers, the stunning scenery across America this time of year, plus reviewing archives of work I haven’t seen for ages, I’m all set to splash out some new watercolors. Our Portland house is a renovator’s dream/nightmare!, and we’re not out of the woods yet. Attempting to focus more on art than house, smaller paintings are more manageable and less of a production than my typically large canvas paintings…however, I’m curious to experiment and see how watercolors behave on primed canvas at some point!
Stars in the Sweetgum
Thursday, June 28th, 2012
Stars in the Sweetgum, 12H x 9W inches charcoal and colored pencils on paper, preliminary study for a larger painting of the Sweetgum tree in our side yard.
Portraying darkness is an excellent way to study color. Inspired by travels on clear nights when speeding by tree silhouettes, there’s an illusion that horizon is absent, and the stars are in the trees. I often marvel how dark skies can still be so colorful, ranging from rich teals, purples, sometimes shades of red and orange.
Framing on Northern Delights 02 update
Tuesday, December 14th, 2010
Northern Delights 02, 24H x 36W inches acrylics on canvas, adhered to a 36H x 48W x 1D inches canvas. Mask/resist medium was used to maintain white spaces and pure colors in both sections.
The central painting was started in 2006, and the framing was resolved today – a perfect example where some paintings just need to hang around for a while before they are well and truly finished. The scene of the central painting is extended onto the larger canvas, initially intended to have the same style. However, after stopping for a coffee break then coming back with fresh eyes, I actually like the clash of styles. I always say that art is the best place to exhibit any rebellious tendencies! Besides, formal frames can sometimes cut off the energy of a composition too abruptly. Every painting does not need a frame, but finishing the edges should always be considered.
Mary Ann Pel’s Bench
Wednesday, October 20th, 2010
Mary Ann’s Bench, 11 x 14 inches graphite on paper
Illustration of a bench dedicated to a client’s sister by the staff at the University Arboretum, Madison, Wisconsin
Morning Light – commission for a second version
Wednesday, September 8th, 2010
Above: Sept. 12th detail
Morning Light 02, above: upper detail of 60H x 40W x 3D inches acrylics on canvas in progress, commissioned work (NFS)
Phase 01, 03 and 07 show various changes and adjustments made as I attempt to paint Morning Light 02 as close as possible to the original version. As this is a unique individual painting in its own right, copying is not the goal. As work progresses, the most important thing is to find the same light and ethereal qualities as in the first version.
Summer travels
Friday, August 13th, 2010
When I’m back in Dallas blogging regularly again, these photos will be posted on the photography website. An unplanned extra trip from Alberta to Ottawa; in Ontario a second time, means I won’t be back until the first week of Sept. Here are a few photos I took on the shores of Lake Superior just east of Wawa, ON.
On exhibit
Friday, July 9th, 2010
On exhibit at Oxide Gallery, Denton, TX are: Milkweed Melody, 27H x 33W inches framed Oil Pastels on WC paper, has brassy-gold frame painted with an extension of the drawing. Bonsai Garden, 12 x 15 inches graphite on paper, and Lilacs, 36 x 24 x 2 inches acrylics on canvas, gallery wrapped sides painted, narrow frame, which can be displayed horizontally or vertically.
Stars and Fireflies
Sunday, June 27th, 2010
Home from Singapore for a few days, and having to go north to pack up the Dancing With Trees exhibition, I drove up to Ontario first so I could see my sons in Canada before Christmas. At night in the fields and trees from Tennessee to Michigan there are stars and fireflies in the trees – so magical! Until I can express it in paint, here is a quick photoshop impression.
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