All is Calm????? All is Bright!!!!!

Bat Marian

Bat Marian   watercolor   13.5 x 10

is the result of a life painting situation.  Marian and I were seated across from each other, both wearing masks.  Painting from life increases speed in decision making which results, I think, in a more spontaneous painting.  These works are often quite different from a more thoughtful approach, where sketches and decision-making are more prolonged and labored over.

Thinking sculpturally is a great advantage here where a knowledge of how a light source affects the landscape of a face helps it to read three-dimensionally.  Without this knowledge, which I like to call "understanding the nature of things", any work from life without a particular light source can become flattened.  Likewise working with a photo source.

Marian's mask was cast from metal....quite unusual.  I am pleased with this work.  I feel that it captures many of the effects which I constantly pursue.

Harvest Chair

Harvest Chair   watercolor   20 x 13

combines all of my seemingly necessary elements to portray both the beauty and the mystery of the approach of autumn and, subsequently, winter.  I feel the change of seasons in every bone, the rhythms of which are so necessary to my well-being.  The items:  my antique turquoise green chair, chippy with old paint and covered in decals; a vine wreath formed from our own vines and, of course, pumpkins, whose shape, color and flavor so appeal to me.  The problematic crux in such a work is to suggest the encroaching darkness by eliminating the lighter, fun-filled colors of a summer work.  I was desirous of an entwining dark and light pattern that seems almost unachievable.

I am somewhat satisfied.

Birdman - L

Birdman - L   oil/canvas   14 x 11

is a small oil painting done on site with a young dancer posing in a highly feathered costume.  I should say done...and redone...and redone.  While I did achieve a likeness at the session, I wanted to give more dominance to the headdress.  The background  was worked darker and darker to heighten, I believe, the sense of drama necessary to the subject.  My reference photo was over-flooded with light, so I decided to just go with it.  The goal was to sublimate the the facial features (a finely chiseled young male visage), thereby, throwing attention back to headdress.  I believe that I took this painting as far as it would go.

My recollection of the model was his discomfort from the overheating that it caused...imagine a hot summer day wearing a bird costume.....and more difficult yet....imagine dancing in it!

Nightshade

Nightshade   conte crayon   19.5 x 12.5

is a drawing done with conte crayon on an unknown kind of paper from my storage box.  I am trying to remember to label all of my papers, but am not always good at it.  As previously written, these sessions with the young dancers from Ballet Excel Ohio have provided the opportunity for me to break out of my usual routines with some experimentation...for me, having a few unknowns pushes my boundaries and provides stimulation in my R-brain.  The lighting, the pose, and yes, the model herself in her ability to relate to the artists provide variables to which we must adjust.  I look for lights that lead into each other in a sort of pattern.  Likewise with the darker shapes.  I like spontaneity as well as its polar opposite, deliberate refinement.  This particular drawing works for me.

The costume for this young dancer is that of a nightshade, a dark dancer that is a kind of minion for the queen, as I was told...a nightshade plant being that which is poisonous.

Darks.  Lights.  Makes for a good drawing.

Tutu

Tutu   watercolor pencil and walnut ink   19.75 x 12

The collaboration between Cuyahoga Valley Art Center and Ballet Excel Ohio has provided live models in the way of young dancers once a week for some time now.  I eagerly look forward to each session.  This series has provided the opportunity for experimentation...to use some of the forgotten drawing tools in my art box. 

I started with a half-sheet of Strathmore Aquarius II watercolor paper.  This sheet has many uses in that it is partially synthetic, thin and will not buckle.  During the entire 2 1/2 session, I used Derwent watercolor sketching pencils in light wash, medium and dark, alternating drawing with broad washes of water during the breaks.  At home, some washes of walnut ink completed the work.  For me, the challenge involved the pushing and pulling of strokes to reveal what is more important to the pose; and, conversely the less important. For this reason, I have always had such a difficulty with chairs and stools, as I realize the importance of having a support for the pose, yet despise the weight given to it.

This model wore the traditional tutu, hence the title.  I am pleased.

Tiny Dancer

Little Mermaid   charcoal, conte and gold leaf on toned paper   21.5 x 14

It has been so much fun to paint and draw from a live model again!  Due to the fine efforts of Cuyahoga Valley Art Center Center's new director Danielle Dieterich, young dancers from Ballet Excel OhioExcel Ohio have been modelling each Tuesday evening and will continue for some time.  We artists, mostly older, are treated to the movements and costumes of these young dancers. 

"Little Mermaid" was drawn in charcoal and conte crayon on a toned paper.  Gold leaf pieces were added later.  I had actually hoped for more covering on its application, but due to the fact that the adhesive was mostly dried up, and the high humidity, a more mottled effect was the result.  But I am happy. 

This pose, subtle yet powerful, is, I believe the result of a strong core and a slight curving of the small of the back.  I appreciate the strength and willpower of this young dancer!

The Beach

is a place of ultimate relaxation for most...where schedules, compulsions and vanities melt away.  Such a vacation was ours to be had this year.  And, in the small square of condos where we stayed, I viewed at least three people taking up brushes, paints and sketchpads in search of the creativity that such freedom provides.  And, while making art is my profession, I don't aim my sites all that high at the beach.  Sand is everywhere, making its way into paint wells and brushes and eyes.  The light is all-too-pervasive, offering little in the way of contrast.  Values are skewed....when extreme light becomes the norm.  And the subject matter becomes a bit too sweet.

But what the beach does provide is the sense of playful painting, of painting without consequences.  I usually bring only a watercolor block and some pan colors, all in a small format.

These are my more successful results from this year's bunch.  There were others...not so successful.

But who cares?  I am on vacation.

Winter Mime

Winter Mime  oil   48 x 30 x 1.5

The date:  January, 2017 about 6 pm
The place:  The Short North; High Street; Columbus, Ohio
The temperature:  hovering around 1 degree F

As we exited a trendy restaurant where we had supped with our son and family, we turned right to head to our car, while they turned left.  Just ahead of us, performing in the frigid conditions, was a mime, an extraordinary mime.  He nodded in agreement at my request to photograph, while we were both amused and amazed at his skill.

This work is just one of what I hope will become a series dedicated to these wordless actors created from the many reference photos taken that day.

BTW....would anyone know who this is?

Mary Jo

Mary Jo   oil on canvas   20 x 16 x 1.5

is a portrait done as a demonstration at Cuyahoga Valley Art Center.  Mary Jo is a vibrant and enlightened artist from our watercolor class.  I would guess that 90% of the work on this was done that evening...the strokes were accurate (!  always happy when that happens)  Some fine tuning, smoothing, and detail work was added later.

I am pleased with the degree of rendering and completeness as well as the color palette.  I feel that it is a good likeness.  This image was sent to her upon completion and she replied that it had the look of a watercolor.

I am also very very pleased when a work has the feel of both of these disparate mediums....as I feel that each one informs the other.  I am thrilled by the possibilities of each.

Honeydew

Honeydew   oil on canvas   9 x 12 x .5

melon was the subject...a new variety...with bright yellow skin...and every bit as delicious.  The pocket of seeds and membrane in the center was extremely important as I tried to replicate the rhythm of their placement, as well as the darks and lights, without too much detail, without describing each and every seed.  The background ratio was greatly reduced in order to bring the melon up close and personal.

The seed problem was handled to my satisfaction, and the color harmony pleased me as well.

Rest Notes

There is the music score...and then there are the spaces between the notes, the counter spaces, that define the piece every bit as much.  That which is played...and that which is not. 

We were recently treated to a visit from our California dear ones.  As we wanted to make this visit extra special, we participated in so many varied activities.  Our grandson is only six, so we also varied the tempo of our daily doings to include some rest time....mostly to watch shows or movies.  To me, this down time is invaluable.  I enjoyed this down time by opening my book and observing my loved ones as they relax....a pleasure. As we don't see them as often, my sketchbook acts as a bit of a diary, a photo album, of this special time. 

Truly my pleasure.

Gouache Redux

OH-585 S   watercolor and gouache   8 x 21

Many years ago I created several works in watercolor using a white gouache base that has been left to dry.  The colors become milky.  Pigment moves around, as this gouache layer acts somewhat as a gesso underpainting.  Whites can be retrieved, up to a point.  The delightful surprise this time around was that the resulting strokes left their own marks, leaving the work much more interpretive. I was less impatient to achieve reality.  I chose a simple layout with simple shapes.  The brush barely touched the surface.  Pie crust.  Darks are understated. 

This method provided the perfect atmosphere for a scene spotted on a beautiful spring day on OH 585-S while on a road trip to Wooster.

The brighter blue passages tickle my fancy.  I am pleased.

The Red Bucket...Switching it Up

The Red Bucket   watercolor on Khadi   15 x 29

I would have to say that 140# cold press watercolor paper is the "go to" paper for watercolorists.  We get very content and familiar with Fabriano Artistico and Strathmore Artistico.  They do, after all, have many endearing qualities:  liftability; ease of moving the paint around, a perfect amount of sizing and a predictable softness. Vanilla ice cream.

What happens when we switch it up?  I like to say that changing one of your variables (paper, paint or brushes) is like the adjustments one must make while driving in various weather conditions...somehow we learn to maneuver around, hopefully with ease.  "The Red Bucket" is now my 4th or 5th painting on Khadi paper, a handmade, mouldmade, acid free  paper from India that is said to be made from recycled tee shirts.  At this time, I think that I am able to generalize the directions of works painted on Khadi:  1) the paint cannot be pushed around quite as readily, as it quickly sinks into the fibers 2) as a result of #1, the objects have harder edges than most of my work 3) the colors are stonger....I find that I am applying more layers than usual 4)  the paint can be lifted, somewhat, but with greater and greater difficulty 5)  the texture and vibrancy of these works is what make them stand out.  A completely different experience....fun to be had!  Rum raisin.

Hyper Peppers

Hyper Peppers   watercolor   8 x 8.5

to be continued...

Winter Mime   oil/canvas   48 x 30 x 1.5

John A......taking the scenic route

John A.    watercolor/gouache    20 x 12

Not all works are completed in due time.  This one, along with another, was tucked away in a corner during the winter holidays.  The first, of a Victorian home in Columbus, was quite a disaster.  After spending another session on it, the work was relegated to the burn pile.  John offered more possibilities.

John posed for our watercolor class a few sessions ago.  It was attacked quickly, yet lightly.  Upon review, I discovered that the front arm took too much attention away from the face, so I began moving pieces and parts, blocks of color around.  As you can see, I am no slave to reality, and quite enjoy shifting focus and values to further my goal.  Background areas were painted, then washed off in my laundry tub to soften and blend.  (Note:  washed off, letting only water hit the surface....not scrubbed off) Eventually, I brushed and squeezed on a blue gouache mix left over from another project.  My heart went pitter pat.  I realized that I had come as close as possible to the version that pleased me.  Granted, I never start out to take the long way around to anything(the scenic route), but meandering can be beautiful as well as teaching us a few things along the way.

I am pleased.

Pink Tulips

Pink Tulips   watercolor on Khadi   13 x 13

underwent quite a journey in its making.  My original idea was to keep all values lighter with the wish that the overall atmosphere would be one of light.  However, I DID NOT HAVE TIME TO DO A DRAWING....BIG MISTAKE.  The tulips were complete and played with strokes of blue violet and an off-white-warm.  The painting was matted and framed.  As I passed by the work over the weekend, I felt the repeated strong urge to make the work mine, to utilize the strong value interludes that make a work more powerful and more visible from a distance.  In addition, I felt that the work was just too greeting-card-like...with a lightness and airiness that made it seem too fluff.  So, the background was washed down and the idea of a raisin and mahogany-colored background seemed to lead the way.  I began a series of thin washes over the next couple of days, each layer leading the way to the color that was in my head...more warm, more brown, more pink, etc. Finally, the implication of a vase shape was pulled down with my sponge. 

The end result is a far cry from my original idea....a bit more formal than my usual, but more becoming, I think, to the lush pink tulips.  I had been wanting to try this layering of washes for years.  This painting provided the opportunity to give it a try.  This is a technique used by watercolor artist Catherine Anderson whose work I explored many years ago. Nothing ventured.  Nothing gained.

Bunny Girl

Bunny Girl   Watercolor   13 x 8

is a keeper.  Painted many years ago, it contains the essence of what I am still striving to achieve today.  It is, to me, a great example of "zen mind, beginner's mind", i.e. having a mind that is open to countless possibilities.  Experience in painting provides an ever expanding repertoire of techniques and ways to achieve works with more impact due to greater familiarity with effective design.  Rules.  Rules.  And more rules.  All of these rules can cause too much L-brain thinking and deliberation...and self-doubt. 

For me, "Bunny Girl" has a lovely effortless quality. 

I yearn to retrieve the child artist within.

At times.

Me, Myself and I

Me, Myself and I   watercolor   15 x 12.5

Every now and again it is, I believe, healthy to look inwards.  I believe that, over the years, I have painted about 5 self-portraits.  There is a bit of discomfort inherent in this undertaking, if one is honest.  Sweetness must be discarded, along with the multitude of masks we wear throughout the goings-on of life.  Am I the person I want and yearn to be?  We have the option to continually strive at our own notion of "goodness" and "correctness".  More than once I have heard feedback on my selfies that I didn't do myself justice...what does that mean?  Too many wrinkles?  Skin that is not smooth enough?

I am reminded of the words of Kirk Mangus who often thought about aesthetic judgment.  He said, "Beauty is a figment of the imagination.  It is also completely controlled by prejudices.".  Soetsu Yanagi, a potter and founder of mingei, the Japanese folk craft movement, expressed similar ideas born from the philosophy of Zen writes:

     A true artist is not one who chooses beauty in order to eliminate ugliness, he is not one who dwells in a world that distinguishes between the beautiful and the ugly, but rather he is one who has entered the realm where strife between the two cannot exist.

That is where I dwell...where I choose to dwell.  For me, beauty lies in the process of the work itself, how we choose to spend our hours, our days.

Haystacks...and furrows

Haystacks   oil on canvas   8 x 24 x .5

Push and pull.   (Thank you Hans Hoffman)  What is there::what is not.  Relationships.

The quest in this work was the relationship between the haystacks themselves...and the furrows...a play between the cool and the warm.

While a completed snow-covered scene can be beautiful, it can tend towards sweetness and become a bit Hallmark-y.  The rural Pennsylvania scenes that feature both dead grasses along with pockets and dustings of snow a la Andrew Wyeth convey great power and mystery to me.  As an Ohioan, I will attest to the fact that most of the winter scenes depict these two polar opposites.  One of my current reads is The Poetics of Space by Gaston Bachelard, a French philosopher.  I am currently in my second go-through in order to absorb his thoughts that I have chosen to underline.  He speaks of the poet's mind which is

touched by the attraction of opposites, which lends dynamism to the great archetypes.

This canvas was toned with orange, which became the base for the furrow.  The process continued slowly, as I tippy-toed toward the amount of snow coverage that satisfied my visual.  In the earlier stages, the diagonal furrows were more dominant....which lead them into distraction.  I did not anticipate just how much energy this problem would require.  I am also reminded of a similar horizontal landscape by the late Jack Richard.....it remains in my mind to this day....it was spot on.

Most of the bales we see today are machine-made and coiled.  These stacks are the work of the Amish.

Weight...

Weight   oil on canvas   48 x 36 x 1.5

the feeling of weight...is a fairly common human experience, I would think.  For the most part, I declare myself to be an optimist, but my days are full-up and sometimes it takes only one more tiny request to set my day into a tail-spin.  While more of us than not have overcome huge obstacles to get to where we want to be, it is, for me, a matter of perpetual shifting, sifting and sorting to keep my priorities in order. 

My current read is Supernormal by Meg Jay.  As it turns out, the most accurate predictor of those with grit, with determination and resilience, is LOVE... loving relationship(s) is what truly turns the tide...gets us over the hump.  My own personal hero is LeBron James, also an Akron-ite. 

This painting was 90% complete in the winter of 2016-17.  It was then propped against the wall and approached again this winter.  After years of trying to get portrait-perfect faces, I have been experimenting, for several years now,  with subduing the faces, in order to defer to the figure, or figures, in their gestural entities, for the purpose of more accurate story-telling.

Winter is Long in Canada

Winter is Long in Canada   oil   20 x 16 x 1.5

is a work half-completed from a live session with a model.  For years and years I faithfully attended the Friday model sessions provided by my local art group Akron Society of Artists.  Gradually I became tired of the static seated poses that resulted in order to keep the model from becoming too weary...that, I understand.  Creating more lively poses from photos was more exciting to me.  But there is much to be learned from painting from life.  Recently, I had a free Friday morning and decided to return to the model.  This was to be a two-week session.  As I was not free the following week, I scurried to get correct shapes and values, as well as a sense of movement.  The painting was fine-tuned at home using photos I took during the session.

Our Canadian model was apt and professional.  I thoroughly enjoyed making this work "my own".  I am hoping to find more time for live work this coming year.

Ode to Peppermint...

Ode to Peppermint   oil   9 x 12 x .5

...is another small still life designed to help me get back into creative decision-making, color decisions, and to just "feel" the paint as the brush touches the surface.  What could be better?  The remnants of all manner of peppermint treats fit the bill!  I set up this small scenario and set to work.  As the whipping cream kept melting, I did succumb to photographing the copper mug before I ran out of cream! 

Actually, the most difficult passages were the pine branches....they are, at the same time, quite delicate, yet strong, and very very complicated.  Each stroke was just too strong, until I pulled out my rigger brush and thinned the paint substantially.

A final passage was required to strengthen the reds and whites, especially at the intersections of the two.  I am happy, as this small scene captures what I felt during this very special season.

Back in the Saddle Again

Tea and Oranges   oil   12 x 9 x .5

Oh, the altered reality of the holiday season!  The lights!  The sparkles!  The company of family members around the fire and the outdoor activities in the winter coldness!  The great food!  The special parties and events that occur only this once during the year!   I love each and every part of this season.

Enter the forgotten studio....the paint hardened on the palette....the tidied piles of creativity that lack the doing....this is scary stuff....approaching the blank canvas or paper for the first time in a while, which I liken to any activity that has gone dormant. 

I find that simple still lifes are the first step I need to take to find my strokes again....simple compositions that take little thought and household items at the ready.  The subjects for the still life are quite forgiving as regards draftsmanship.....who cares if the mug is a bit too wide?....the orange a bit smaller? 

This simple painting is my first exercise of the New Year 2018.  Happy New Year!