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Wednesday, September 25, 2013

Large::Small; Horizontal::Vertical ON WORKING METHODS

Petite Zinnias  oil on canvas   12 x 4 x 1.5
For quite a while now, I have intended to write about my working methods...not that they are good for anyone else but me, but I have a desire to share them in the hopes that others just might them useful.  Making art is ongoing.  Working on one project at a time forces that project into preciousness and can lead to focusing on the finish rather than the process.  (It's like putting all of your eggs in one basket) There are usually 3 or more paintings in my rotation.  There may be days between passes on a particular work.  I find that this method allows me a consideration of each that is not possible in a more finish-driven environment.  Some paintings lag behind others, and usually rightfully so....they have further to go in their resolution.  Some works are taken out of the rotation temporarily until I feel a renewed interest. Oils need to be rubbed with medium before starting in days later.  Watercolors sprayed lightly in order to avoid the tightness that results from working on dry paper.  It is indeed difficult to enter into the rhythm of a work at a later date, but I believe that the benefits of consideration are well worth this difficulty.

Likewise, I like to vary the format of a work....horizontal one work and vertical another.  Standard rectangles seem boring to me for the most part.  And then there is scale.  Working on a large project with large brushes and big sweeping strokes might then be followed with a smaller, tighter work.  Oil paintings are countered with watercolors and drawings.  All of this variation keeps me interested.  It keeps me feeling enthusiastic about the problems to solve.  To some, I might be dancing all over the boards.  But to me, the novelty of this way of working keeps me fresh, alive, interested.

What's up for today?  Tackling a square work...........life is good.


Thursday, September 19, 2013

The Crayola Girls

The Crayola Girls   oil on canvas   40 x 30 x 1.25

has been included in the second annual Akron Art Prize exhibition and competition.  I am thrilled to have my work included in this group of over 100 artists of amazing ability and variety.  The works are exhibited at several locations in Akron:


- Summit Artspace (140 E. Market Street) - this is where you will find The Crayola Girls

- Zeber Martell (43 Furnace Street)

- Akron Glass Works (106 N. Main Street)

- We Gallery (20 N. Hight Street)

There is a mixer at Summit Artspace this Friday, September 27 from 5:30-7:30 pm  where the housed exhibit can be seen.  Other galleries and exhibitions will be opening, including one at The Box featuring work by friend and colleague
 Ted Lawson.  There will be wine, light refreshments and good company.  Hope to see you there.

Of course, this is a vote-for-me kind of exhibition that seems to be today's rage.  I have a difficult time with all of this me-me-me stuff.  After all, each and every artist wishes to be the winner.  Honestly, I have the same wish.  But I am truly content to be among this very fine group.

"The Crayola Girls" was inspired by a vintage photograph of my Grandma Daisy, her mother and her sister.  The photographs at that time (early 20th century) were grim, grim, grim.  Dark clothing....no smiles...all about serious.  My goal in this work was to add a bit of impish joy to the feel...to break the surface a bit.  I am pleased with the result.

Sunday, September 15, 2013

Someone moved the finish line!


Actually, there is no finish line, no line of demarcation that signals the end of the race, the end of the painting.  Woe is me.  We artists always sense that the finish is near but that is as far as it goes.  We always think that one more correction, one more interesting passage might just take the work to outstanding.  With watercolor, especially, one of the major fears is to take that work a step too far, creating murkiness and destroying the complex patterns of transparency that one has taken so much time and effort to create.  And yes, we all know that adding just one more passage can set up an entire series of needed changes in order to bring the rest of the work "up" to the change. Yes, woe is me.  I actually know of a very fine regional artist, an older gentleman, who is notorious for adding a stroke of two decades after the first ones were laid in.  That enables him to enter exhibits where there is an age limit on the work.  But I think that there is more than trickery at hand here.  Sometimes, we just don't know when the work is done....I try my best to take completion very seriously, as, more often than not, I am displeased when I take my hand to a work at a later date, with a completely different palette and a completely changed frame of mind and emotional status.  "Strings" hung on my wall for over a year and a half.  Nagging thoughts of violet entered my brain at every glance.  After the year's drying time, I procrastinated on the varnishing time and time again.....I suppose I was building up bravery.  A couple of weeks ago, I let 'er rip.  In a sudden decision I pulled the work down and applied the violet before my left brain had time to disagree.  These photos record the change.  I am completely satisfied. 

I believe that I have crossed the finish line..........not in record time however.

Wednesday, September 11, 2013

Hey Kids....Let's have a show!

Boston Beat   oil/canvas   40 x 30 x 1.5
Spanky of "Our Gang" fame was never short on enthusiasm!  "Our Gang" of artists at Group Ten Gallery in Kent, Ohio shares these jazzed-up feelings.

What:  Grand Opening  Group Ten Gallery

When:  Friday, September 13, 5-9 pm

Where:  138 Burbick Way (in Acorn Alley)

Please visit website or call 330.678.7890 for further information.

Monday, September 2, 2013

Brown....

Julie   conte crayon and pastel on toned paper   17.5 x 10
has always been my least favorite color.  This time of year, even though summer still reigns, we are seeing bits of the yellow and orange that precede the brown.  I think that I have been over-browned.  Our old farmhouse had exposed beams of brown.  All woodwork in the living area was painted brown, including wainscoting. It took us over 20 years to work up the courage to paint over all of the brown.  The lightness that exudes from the Scandinavian palette we selected has definitely put us all in better moods.

However.....there is one exception that keeps brown in my vocabulary.  Portraits that result from the use of the great variety of earthtones are among my favorites.  The warmth of these tones softens a face and warms the soul.  (Those same works rendering in black charcoal lack that warmth but make up for it, in my opinion, by their great power) Ochre.  Umber.  Sienna.  Yes.