Koi

Koi   oil/wood panel   18 x 24 x 1.5

Paintings of Koi fish are not unusual.  In fact, a couple of artists are known for their large eloquent studies of their color and movement.  But my reason for painting this work was strictly sentimental.  This celebrates our son and daughter-in-law earlier in their relationship. 

Resolution of this work came very very slowly...partly because I worked on a gessoed wood panel, which is not my norm.  This surface responds completely differently to stroke-making, causing a bit of tension on my part.  And, I suppose, partially because there is a bit of a story here.  Most of my figures are "lost in space", allowing me to meander between the figure and the ground, eliminating much along the way.  But here, in this instance, when telling a story, the pieces must in more in tact.  I am satisfied.

Ancestry

Union   watercolor    20 x 11

Having your DNA tested seems to be the thing these days.  My results did not yield any surprises from that which I suspected.  There is a bit of an excitement, however, in the discovery of a linkage, a past history, often disrupted by modern life and especially by the immigration of our relatives to these United States, where family tree lineage often comes to a screeching halt.  As a result of this renewed interested, we sifted through old photos to see what we actually had.

Vintage photos are wonderful to use as painting references!  The photos can be interpreted without fear of achieving exact likenesses or making Aunt Maude look 10 pounds too heavy.  I like to use them monochromatically as a study of value.  By subtracting color from the mix, one is able to fully understand the great power of value in description. 

The photo of the valiant soldier at the right was labelled on the back as "Pas Eisenhour",  from my husband's family, who fought for the Union in the Civil War from Lebanon, Pennsylvania.

Three Lads

Three Lads   conte/charcoal/relief ink on paper   19 x 14

was inspired in part by a vintage photograph in our family archives which features my father-in-law Luther and two companions on a boat ride on the Hudson River sometime in the 30's.  By subtracting detail and color, the three gestural shapes are emphasized and empowered.  White values start at the top and work their way down.  Just the opposite with the darks.  Ties were printed on later using relief ink, erasers and tracing paper templates.

This drawing was begun in a workshop "Using Value to Punctuate and Strengthen Drawings and Paintings".  I joyfully finished it at home.

In retrospect....

Melon Sill   watercolor   6.75 x 12

things often appear differently.  Sometimes paintings that we adore don't seem so noteworthy.  And, just as often, the reverse is true...paintings that we feel ho-hum about take on a fresh look.  We may even say to ourselves, "hey, that isn't so bad after all".  It's true.  In viewing "Melon Sill", I feel that I really like this painting after all.  And I think I know why.  In most of my work, I strive for strong value contrasts....these provide drama and the ability to read a painting from a distance.  But what about those often understated and underused mid-values?  In the ever-present light of summer, aren't lighter values appropriate and appealing?  And....shouldn't we consider the use of value to be an important ingredient in the story we are telling?

Note to myself:  Always consider value to be maneuverable.....adjustable....to support the visual story.  And, don't neglect the mid-tones....they are beautiful in a different way.

Between Drawing and Painting

Twosome   watercolor   14 x 10

I have found that many people who sign up for painting classes want to skip the drawing part. Too bad. Most of the errors that occur during painting are the result of drawing errors. I guess that drawing doesn't seem as fun.....what with no colors to choose from and no medium. I don't feel that way at all, as both drawing and painting involve visual problem solving....I am indeed in love with the process. It is THE TIME SPENT IN CREATING that spins my fan. There is always a half-step, a compromise, so to speak, between the two. Painting with one color allows the artist to experience the medium and solve value problems, without the extremely complex notion of color. After all, it really is value that tells the tale. I have found that the browns work extremely well as their built-in value property is quite dark, thereby having the capabilities of spanning the entire value scale. Not only that, it is pure unadulterated fun. Try it.....you'll like it.