A Hole in Rodanthe

 

A Hole in Rodanthe   watercolor   29 x 20 

It was November...a short trip to the Outer Banks where we stayed in a little house to soak up the wildness that this part of the country offered to us.  It was so momentous to me as our youngest son met up with us there...many beach-combing hikes, many great meals, some entertaining card games.  And THE WIND...OH, THE WIND.  

The ocean had offered up twigs, branches, and many many conch shells, each showing the wear of the tides.  It was impossible not to feel amazingly primitive...so opposed to the sequestered lives we live daily.  

In this work, my challenge was to merge the figure with the seaside.  While working, I was able to relive the experience.

I am satisfied.

Thursday Night Painting Class

Patty   watercolor   14.5 x 7

It seems that most of the artists in my classes like to try their hand at painting the human figure, which is fine by me, as it is my favorite subject!  I have read somewhere that an artist, by nature, is either a line-person or a mass-person.  While I am not sure if that is true, it can then follow that a line person probably prefers a fine tool and drawing, while a mass-person is well suited for the use of larger, more inaccurate tools, such as a large brush which is good for painterly paintings.  My goal for the class was for the painters to be able to "see" only the masses of lights and darks and midtones, avoiding then, the description of the eyes-nose-mouth-legs-arms-fingers syndrome which can lead to disappointment and more child-like rendering.  The week before the session, I set up a strong light situation in a darkened part of the room to photograph the artists as they entered.  That week, I cropped and altered the photos to promote my goal.  They were then printed on the grayscale setting.  I also offered the suggestion of painting upside down.  While there were a couple of takers, most preferred their reference rightside-up.  I believe that in this way, we can see that a likeness is more dependent on shape, than on detail.

My subject is Patty, a retired art teacher, and a strong painter.  I like the result. 

Norma

Norma   watercolor and thread   16 x 6

is another steadfast watercolorist from our Monday evening class.  She has the distinct advantage of seeing simple shapes without cumbersome detail.  She also creates lovely travel journals with small watercolor sketches in whatever surroundings she finds herself on travels with her partner David. 

In this exercise, photos were shot (by me) of each artist the week before.  Photocopies of all were laid face-down on the table.  We all drew one as we entered.  So....our paintings were done on-the-spur, as it were.  The goal:  to try to be able to see only valued shapes and masses without our left-brain, naming-brain getting in the way with messages such as "This is a hand... 4 fingers and a thumb....better paint small....better get it right".  We painted monochromatically using a brown pigment of choice.

My only issue was the paper being too short for the perfect frame that I had on hand.  The solution:  I painted a strip with cad red and stitched it on by hand using gold thread.

Make new friends, but keep the old.
One is silver, the other gold.

Here's to Norma!

Farmer Brown

Farmer Brown   mixed on paper   26.75 x 12

was an experimental work....then aren't they all?  The reference was an old family photo.  I have always been taking with white shirts and, in this case, on watercolor paper, the shirt, with very little description, is the cherished white of the paper.  I have been so very interested of late in simple shapes, so that the pants, shoes and hat are flatly rendered.  Details, which  support the three-dimensional aspect, have been used sparingly in order to achieve a greater simplicity.  The ground was achieved by printing with relief ink onto the surface and scraped upwards while still tacky.  Mediums used:  pastel, conte, watercolor and relief ink.  It took all of that to achieve the feel that I was after. 

Memory

Memory (K and S)   oil on canvas   9 x 12 x .5

provides sweetness as we age. The birth of a child is monumental.  And the birth of a granddaughter is right up there as well.  Sometimes the responsibilities are trying.  Time alters situations as quickly they occur.  The heaviness of responsibility turns to the sweetness of memory.  Ah....it seems like just yesterday.

Here's to a new generation of Hutchinsons.  Welcome little S.  We adore you.

Nude Leaning

Nude Leaning   watercolor/mixed   12.25 x 9.5

We hired a life model a couple of weeks ago for class painting.  My painting was fairly regular in its description...but the work lacked pizazz.  First I experimented with painting a loose, mid-value background.  Still pleasing.  Still boring.  I wanted texture to oppose the smoothness of the model's skin.  I wanted opacity to oppose the transparency of the figure.  After cutting a template to cover the figure, I used relief ink to print onto the background area.  The small dots were actually happy accidents....bits of dried ink that stuck to block and prevented total coverage.  What a hoot!

Experimentation doesn't always work out well.  But it always provides a thrill!

Bus Stop

Bus Stop   watercolor   27 x 19

"Bus Stop" was painted in class from a model who happened to be the daughter of one of the participating artists...I provided the fur coat for the session.  The pose, the glance, the hands encased in a muff-like position came from my own experiences in waiting for the bus on a cold, possibly rainy, winter's day.  I have always enjoyed this painting, despite its many drips and raw passages for the simple reason that it conveys my message without being over-painted.  And that, to which all watercolorists will attest, is the supreme hazard and downfall of many a painting.  Restraint.  Simplicity. Sometimes we need to be reminded of our goals.  Reminded.  And re-reminded.

Posse

Posse   oil on canvas   20 x 20 x 1.5

The thrill for me is figurative painting.  Despite the fact that less personal (?) subject matter such as landscape and still life are more frequent sellers, I will stick to my guns...no pun intended.  My quest, most recently, is to explore archetypal moments, those scenes and memories that transcend generational gaps.  This, of course, is subjective..  As the mother of three sons, I just couldn't resist revisiting and reviving this vintage photograph of my husband, his brother and an unknown friend.  Little boys are superheroes.  They are policemen...and firefighters...and ghost-busters.  Wielding pretend swords, badges, karate chops and ghost-busting juice gives them power and helps them to feel not-so-small. This is my take on an age-old scenario from the life of little boys....posse.

Bride...searching for the unconventional

Bride (J)   oil on canvas   48 x 24 x 1.5

J. is an unconventional bride.  We recently celebrated her marriage to a dear dear friend.  She has great spirit and a no-nonsense attitude about her.  I snapped a photo of her at her bridal shower.  This work is the result.  I guess it is a tribute to the unconventional in all of us.

Boston Couple

Boston Couple   watercolor/mixed on paper   13 x 18

Boston Couple was painted, in all seriousness, as a not-serious bit of play.  I needed a topic for class and pulled up some reference photos taken in Boston on the Common.  A brilliant May morning.  I was not inspired by the work and that is probably why I was able to experiment with the forms...nothing there was sacred to me.  No connection.  In fact, I was annoyed that this fellow was spending this glorious day on the phone.  (personal gripe)  My original plan was a not-so-solid description with the figures blending into the ground.  When that process became less than desirable, I changed the game plan.  The figure was then worked back and forth in a figure 8 pattern as a singular shape.  Details were muffled and then muffled again.  The background was subsequently painted in opaque gouache. I have to say that this work pleases me somewhat, despite the lack of personal connection.  Perhaps that is why I felt free enough to experiment.  The preciousness is gone.  That pleases me.

Finery

Finery   watercolor/gouache   26 x 18

Without a doubt, Easter is a day of finery.  People, as well as furry things, don their splendor as they emerge from winter hibernation.  Even the gold finches are on display as their feathers turn from yellow to yellower.  Brightness.  Light.  My quest in my work is that of the common human experience.  For this work, I used a family photograph from the 1950's.  My color inspiration was emerald green, which I might call viridian in the paint world.  A detailed sketch prefaced the work.  As the painting progressed, that bright green just seemed too out-of-place and subsequently morphed into softer, more muted hues in order to show off the pure, albeit sparse, used in the eggs and basket area.  The use of gouache softens and adds a milky quality to the pigment.  Pure white paper remains at the bottom and works its way up to the top, within the Easter bonnets.

I took this work to critique this past week.  We were to self-critique.  While on most paintings, I have areas of concern, on this one, I did not.  It progressed totally according to the plan.  One artist questioned the pure white at the bottom.  Another questioned the dark strokes between the feet in the sock area.  While I always consider the concerns of other artists, these two remarks were unfounded, I think.  The feet need a horizontal for the feet to be grounded, as well as to provide an entry for the movement of the whites.  The dark strokes in the sock area are not precise, to be sure.  But more precision here would, in my opinion, be out of sync with the broadly painted, and somewhat imprecisely rendered, shapes in the rest of the work.  Good comments.  But I will not heed them this time.

Happy Easter.  Enjoy your finery.