Sixty Pairs of Eyes

Terry and Dan...a sketch

Last evening was our club's monthly critique. It is probably our most popular monthly meeting as everyone brings works that are currently in progress or, sometimes, finished. What a stimulating event it is! Our leader last evening was Terry Richard who goes about the task in an efficient way and seems to zero in on areas that are not working in short order. He was assisted by Dan Lindner who plays "gopher" by putting all of the paintings up for viewing. It is such a treat to be entertained with colors, shapes and movement. Some of us also use the time to our advantage by sketching while we are sitting. My brain is always overstimulated by this event, but in a most pleasant way. Judy Gaiser's blue heron and Ann Ferguson Kah's Arizona tree were standouts. My painting-in-progress received some helpful notes. Sixty pairs of eyes are better than one.

Tired

Tired Official...a sketch

The quality of the sun is changing - it is late February. I am reminded now of the beginning of track season, which was a staple in our household. Many of my sketches are of the athletes and fans who populate these events. Today I remind myself of "Tired Official". I wonder why I blog....I started when "The Art Calendar" highly recommended it as a way to increase an artist's presence on the web. And I did it grudgingly. Some folks think that blogging is an egotistical thing to do, although I never thought of along those lines, as I really enjoy the "Robert Genn twice weekly" blog that I follow. Sometimes it speaks to me, and sometimes it doesn't. Those I don't have to read. The real benefit, I have found, is the self-validation of problem-solving that occurs each day on my canvas and in my life. When I take the time to summarize my findings, I help myself to learn and grow. I will be a forever-student. I am not certain how beneficial this blog is to any others. In fact, sometimes it just makes me tired.

Hands Down

Hands Detail - Paint Dancer

Why do we painters freeze up when it comes to hands? It could be because they are so complex, what with all of those joints and digits. Someone in the Saturday workshop asked me about hands and expressed how overwhelming they are! Part of the problem, I think, lies in the interference of our naming brain - the left brain. It is the part of our brain that organizes, categorizes and names. When our L-brain takes hold of the notion of "hand", it helps us to recall the 6-year-old notions of hands, all far to difficult to reproduce....it also recalls all of the times we have attempted and failed. In my opinion, we would benefit from the shift to the art-friendly R-brain, where the visual language exists only as visual....the hand becomes terrain, shades, lines and masses. Hands, for me, take a back seat to the overall rhythm of the picture, which is my goal. If it helps to support the movement, I count it in. The gesture of the hand is more important than any of the pieces/parts. Then, as I distill and simplify, only important parts of the hands are described, as supporting actors, so to speak. All artists are different, dependent on their personal aesthetic choices. Just yesterday, I perused some paintings by Daniel Greene....the hands are exquisite, in all of their veiny detail. He has determined what works for him, and I for me. The Art Spirit by Robert Henri is my art-bible.

Grocery List - Standing on the Shoulders of Giants

It is inevitable. Each time I pull into my driveway from the grocery store, my subconscious brain seems to recall an item that I have forgotten. Funny how that works. The Saturday figure drawing workshop at Summit Artspace took me by surprise. I had pictured a small intimate gathering. The crowd was considerably larger and, in my anxiety ridden reaction, I forgot to mention several things....the most important being the artists who have influenced my work. The first artist I studied in detail was Andrew Wyeth....not a surprise. His moody works reflected my inner workings. My favorite impressionist is Edouard Manet. I have several favorite contemporary painters: Burton Silverman.....power beyond words. Alex Powers, primarily watercolor, from whom I discovered the marvelous principle of shared shapes. Alex Someone-or-other, a Russian painter who lived and showed in San Francisco and was the recipient of one of the Vodka promotionals. He seems to have dropped off the radar. I was inspired by his layering and distressing of the paint surface. The emotional content of Alice Neel. The push and pull of Hans Hoffman....I love his abstractions as much as his realism. Zhoaming Wu's work spins my fan. You can see some of his drawings at: http://www.lilipubsorders.com/prodinfo.asp?number=9787806748220
His charcoal portraits are soft and say so very much. His process reflects my own. And my newest favorite is Alex Kanevsky....love his paint quality and his subject matter. His work can be seen at:
http://www.somepaintings.net/ And, of course, it goes without saying that I am always influenced by the wonderful artists who live and work around me. Whoa...........I just noticed something. I seem to enjoy the work of artists named Alex.

Drawing

Marcie...a sketch

Drawing is just about the most fun that is possible for me! Love it, love it, love it. It is also provides the necessary drafting skill that underlies paintings. Tomorrow, Saturday, I will be leading a mini-workshop at Summit Artspace in Akron in collaboration with the "Women's Work" exhibit. It is from 1-3 pm and we will be drawing from a live model. Our goal will be drawing like a painter, rather than a drawer.....we will avoid defining lines as long as possible and will concentrate, instead, on mass. ( I am picturing a vague ultrasound image here) And.........BTW, our model Marcie is the star of an Agatha Christie play at Coachhouse Theatre that just opened............"Appointment with Death". She is so very good at being so very nasty. There are so many wonderful things to do in the Akron area.....hope to see you there.

Accommodation

An Accommodating Curve   watercolor/gouache   27 x 14

I am happy with my role as an artist. I am also happy to be woman. One of the qualities associated with yin is the notion of flexibility. That opposes rigidity, to be sure. Because a woman's life is composed of so much rigidity with so many details to tend to and so much nurturing to provide, I think that women who release themselves in creative endeavors are able to relinquish control and discover a complete freedom. Those artists who I admire (many of them men) have been able to marry the yin with the yang....the freedom with the control....and the traditional with the modern. These are the artists who continually question and search. (as opposed to rigid artists who seem to know all of the answers). Right now, I visualize sea grasses bending in the wind....flexible and strong.

More joy....another perfect triangle

Night Music   oil/canvas   40 x 30 x 1.5

I have always envied concert musicians. They make beautiful music together and seem to enjoy being a part of a greater music machine. Being a small part of something greater.....ah, yes. And the bonus part is that no one is singling you out. You can remain invisible. I have performance anxiety and ended up not wanting to play the piano anymore for that reason. I have always wanted to play saxophone or guitar. Visual artists, on the other hand, enjoy working alone. They like to work and problem-solve by themselves.....and without the scrutiny of others. The judging can be done later.....without the physical presence of the artist.

Head:Hands:Heart

Oboe   oil/canvas   48 x 24

The triangle is a perfect compositional shape to me. That includes most musicians, who have a wonderfully intimate relationship with their instruments. Head...hands....tool. What could be better? As I profess to be a musician groupie anyways, painting them gives me great joy, perhaps the same kind of joy they feel when they are making music. "Oboe" was painted a few years back. At that time, my subject played the oboe at the high school level. She is currently taking a masters degree in the instrument. Her seriousness was early apparent. To me, she and her instrument share a common beauty.

Taking Stock

Chameleon   oil/canvas   20 x 16

The "Winter Blues" exhibit at Second April Galerie in Canton features a marvelous sculptural piece called "Taking Stock". Hit me like a brick. It seems that many artists do self-portraits every now and then.....I do. It helps up to take stock, to see ourselves and our place in the world, to think about our shortcomings and our neuroses and how to deal with them. Every vacation photo was the same....tanned smiling faces.....all except mine. Mine was a sunburned red smiling face. I was perpetually teased and singled out. Yuck. Several years ago, during a snowstorm, I pulled my easel up to the large windows, used a mirror and painted myself with the swirling whiteness behind me. My skin looks dark in comparison. I struggle and it shows. Honesty. I don't tan....I deal with it.

White Shirt and Tie

White Shirt and Tie   watercolor   8.5 x 6.5

As I look over the images of my many paintings, I am drawn to some in particular. Painting from a live model can provide the ultimate of human experiences....a true communion with another individual. Robert reminded me of an era gone by, the era of my parents. Great dignity. Work Ethic. A White Shirt and Tie. Years later, Robert's wife Violet called and had saved up enough money to buy the painting. When I delivered it, I was treated to their life experience.....gardens and plantings inside and out, each with a story. In fact, Robert had written a book about his gardening and the trusty spade that he had used throughout the years. When I look at the image today, I realize that I gained so much from the painting (verb) of Robert. Dignity.

Failure to plan ahea

d. OK. Guilty as charged. While I preach, preach, preach to painting students to draw and plan ahead of time, I sometimes forge ahead with little to go on other than my desire. Whoa. My typical shortcoming is drawing too large. My subject matter seems to grow with each stroke. I can't tell you how many feet and heads I have cut off. Sometimes the result is charming. Mostly not. I have learned to compensate by drawing a box inside of the canvas edges which I pretend to make into my real boundaries. When I forego this important step, the result is disaster. My husband, the counselor, says that test results on children reveal this to be a lack of impulse control. Again, guilty as charged. All of the details in my life revolve around more time to paint. When I am finally planted in front of the easel, my excitement is boundless........and I throw caution to the wind. Yesterday's session ended up in a complete wipeover. Three days of painting lost.....along with sheets and sheets of paper toweling and beaucoup de paint. While I tried the bandaging the painting with color upon color, I realized that no magic color could cover up the bloated drawing underneath. What a horrible feeling. I wiped out.

Dancing Shoes

Dancing Shoes   watercolor   9.5 x 14

I believe in the adage "Dance like no one's watching". Likewise, "Paint like no one's watching". What a wonderful way to spice up the day! "The Winter Blues" exhibit opens this Friday at Second April Galerie in Canton, Ohio. I liken this place to the Moulin Rouge....well, at least for me. It is full of colors, activities, live music, great food and good vibes. The opening, which is free and open to the public is from 5 - 9 pm. Over 40 artists will be exhibiting! Don't be surprised if you find yourself dancing.

hundreds, thousands, millions of choices

Blink....pen and ink

Making art of any kind requires lots and lots of aesthetic choices. The more we work in the same manner, in the same medium(s), the easier the choices become. We know instinctively which decisions will result in the effects we desire, probably because we have made incorrect choices in the past. Recently, I was asked to design a tattoo. Line art, using pens and ink, isn't something I spend much time doing. I worked and reworked the design, searching for the best possible line work. Is it too realistic? Is it too stylized? Do the straight lines have a communion with the organic ones? Are the darks balanced? Whoa..............a whole new series of problems, albeit good ones, to solve. "Blink" is the result.

Fox Fur

Bus Stop   watercolor   20 x 13

Drawing different textures is a wonderful way for we artists to learn about the nature of things. This time of year we have lots of wooly hats, scarves and gloves, as well as fur collars to whet our visual appetites. An artist once told me that in a college drawing class, they were asked to put piles of flour, sugar and salt on individual sheets of paper and to draw them...........wow, what a challenge! Such minute differences in weight, bulk and texture! This exercise is definitely on my "to do" list!

Don't Give Up the Ship Painting

Rachel   oil/canvas   20 x 10 x .5

It is very difficult when to quit a painting. I really do believe in carrying a painting as far as it will take you. I consider that to be a commitment to the work. The result has swung both ways for me. "Rachel" started with promise but was a rocky road to travel. I started with a failed painting that had been covered over with lots of paint and texture. The speed bump that jarred me initially was the placement on the canvas....I worked and reworked the idea. Such a simple beautiful figure that I had done so many times before, and more successfully! I finally reached the point where the drawing was secure and I could be creative with the paint, which is what I live for. Small painting.....hours and hours of work. My New Year's resolution this year is to turn out fewer paintings, but to let none be released that I am not completely satisfied with, at least momentarily. I believe that my work on Rachel was rewarded.

Snowed In

Snowflake

Another Snowflake

Nothing is more exciting to me than being snowed in. I am one of those closet winter-lovers who is energized by the white stuff. Winter provides an inversion, an introspection, an aloneness that my being craves. Things are bare bones......landscapes, needs, entertainment, thoughts, ........
Fewer activities, fewer diversions, fewer noises, fewer phone calls...................wonderful. For me, this season allows for a merging of my thoughts and my artistic desires. Sketching becomes a true pleasure as individuals blend with hoodies, hats and coats. I love articulating their need for warmth.
Let it snow.............................

SNOW DAY!!!!!!!

Snow Day...a sketch

At our house, nothing was ever more welcome than a snow day! Status Interruptus. Negative Space waiting to be filled. Unplanned fun. I have such fond memories of those days. After the news that our school would be closed, the boys often went back to sleep. It was then that I moved in for some uninterrupted sketching. The faces melding with the bed covers, the blankets and the snow. Today in Northeast Ohio, we are in the midst of a blizzard....a snow day to be certain, although the boys are all living on their own. I still feel the twinges of unexpected pleasures as the day unfolds in a way that not anticipated.

Love

I have heard it said that an artist creates out of passion, of love or of anger. I think that I have painted from both ends of the spectrum, but mostly a deep, deep LOVE for which there are no words. This Christmas, I gave each of my 3 sons a portrait of himself. I wanted to give a gift from my heart at this point in their younger adult lives and at this point in my life and career. I call the format "Jailhouse Portraits" as each work shows the face from three viewpoints. This whole notion was stimulated by trips to the post office long ago, where bulletin boards were emblazoned with images of criminals. Anyone that studies a human face will understand that the face changes from minute to minute and individuals reflect many many looks all in the course of an hour......fun.....left, right and center.....I LOVE YOU.

Silver Lining

Folk Art Star   linoleum print 6 x 6

I think that artists are quite good at delayed judgment, realizing that the notion of pure good/pure bad is a false one, and that all creative endeavors lie somewhere in that indefinable "gray area". Sometimes we are unable to confirm an opinion for quite a while. Sometimes there is a silver lining where we find that we actually love that we had originally shunned. Two years ago, I offered a summertime class where we utilized reduction printing to create holiday cards. The papers, inks and ideas abounded in diversity. I was the only one to use an oil-based ink as well as the heavy paper Lenox. I wanted to cut out my prints and use them as ornament-type greetings. After all of the labor, I was distressed about the heaviness of my prints.......the ink seemed to have too much texture and the design that I had made seemed too complex. They were stored away for 2 years. I recently opened the box and found that my opinion had changed to supreme delight as I cut out the shapes! The heavy ink seemed to have melded into the paper and was actually perfect for my ornament idea. The feel is almost like a heavy cloth. What an amazing surprise! Let that be a lesson..................don't be too quick to judge!

Painting From Sketches

City Neighborhood sketch

Many of the artists in my classes yearn to be freer in their representational painting. Tightness feels yucky in painting as well as in life.....to me. (qualifier) In my opinion, painting from photographs offers the least amount of freedom. Painting from life is better. And painting from sketches is better yet. It is indeed a bit intimidating, but offers more creative possibilities than the latter two. I have been haunted for many years by a winter of my own inner-city Akron, Ohio. It is a scene from my childhood of the neighborhoods that populate the center of every city across our country. I have schlepped all over the city on dusky winter nights looking for the "perfect neighborhood", the one that matched all of my aesthetic requirements. There were none. I have settled for a drawing that is a composite of all that I have seen. At first, it seemed a bit intimidating working on such a large painting from such a small sketch, but has provided more excitement for me as a painter than any other work in recent history. I can't wait for session 2!

The Artistic Community

African Prince   mixed on paper   34.5 x 21

For me, the artistic community is very comforting.....like a second home. Here one encounters some wonderfully diverse people, yet those who share the bond of a life's work that is often difficult, inconstant and not-so financially sustainable. These are the people who share the appreciation for creating at any cost. And these are the people with whom I feel the most comfortable. The Summit ArtSpace gallery was buzzing last evening at the opening for "Kaleidoscope 2008", a juried exhibition made up of members from the 4 local art groups: Akron Society of Artists, Artists of Rubber City, Cuyahoga Valley Art Center and Women's Art League. This year's exhibition was juried by Craig Lucas, retired professor emeritus from Kent State University. The Gallery is open Thursday - Saturday from noon - 5 pm. Each Saturday during the exhibit, there will be free demonstrations by various artists. Such a deal!  My mixed media work "African Prince" received an honorable mention. I am proud to show alongside all of the artists in the exhibit.

Pot of Potatoes

Pot of Potatoes   watercolor   13 x 17

Sometimes life is just a pot of potatoes....common and not so extraordinary. Artists such as myself often paint ordinary objects in our daily lives, and through the work of their keen sensitivities, elevate the daily into the monumental. There are many such paintings in every exhibit. Luckily, we, as individuals, see things in our own personal and subjective ways. That is what makes for a varied and interesting existence. So..............when a judge comes to town and selects work for exhibit, he/she brings with her/him, her/his past experiences and notions of the extraordinary. It breaks my heart to see work that I consider to be wondrous excluded from the exhibit. (Competition is actually a left-brained notion to which we right-brained artists continually subject ourselves). I guess I think that in the final run, we artists have to determine for ourselves our own sense of extraordinary and hold fast to it, regardless of outside opinion. We take responsibility for our work. We are our own best critics. Hard to do. "Pot of Potatoes" was painted many years ago. I love love love it, despite the fact that it has never gotten much attention from anyone else.

Commitment

Checkerboard Band   watercolor/mixed   29 x 21

I continually hear from artists taking my classes that this painting or that will just go "into the box", never to be seen or considered again. It is indeed difficult to decide when to let go of a painting if it isn't going easily or well. But, I believe it is the transcending of these problems that just might take a work of art into something really special. Or..............not. Time spent on a work does not always equal success. In watercolor class, we attempted a set-up involving musical instruments on a full sheet. That is difficult. We spent two sessions on the set-up. That wasn't enough. We all moaned and groaned about our lack of progress. At home, I looked at the painting and felt disgusted. It unnerved me. However, one of my resolutions is to carry a work as far as I can, even though I am not getting those "happy, successful feelings" that result from the rare painting that seems to paint itself. I used block printing and watercolor pencils to take the painting into a new realm. "Checkerboard Band" is the result. I am certainly not 100% satisfied, but I did what I could. And I did honor the commitment.

Excitement comes from Rum Raisin

Before the Dance   20 x 16 x 1.5

Even though I consider art-making to be extremely hard work, it is exciting all the while. The excitement of it all is what keeps me looking forward to my next project. At the present time, there are at least 5 paintings in my head waiting to unfold. For me, excitement is at its apex when I am trying something new, some combination of materials or some technique that has not yet been tried. "Before the Dance" was painted, for the most part, from a model during our Akron Art Walk. Later, at home, I was thinking about the preparation of a dancer and the mental "play" that occurs in the dancer's mind before performing. I started to scrape through the layers of paint, simulating, for me, the spins, twirls, and dance steps of a seasoned dancer. Wow.....my adrenaline was flowing! Next time, I will paint an underpainting of a complementary hue, so that the scrape-throughs will reveal the bottom layer more clearly. Maybe I will like the more dramatic effect. Maybe sublime is better. Who knows? Will that be vanilla or rum raisin? Excitement involves a trip into the unknown.

To masque or not to masque

Dancing Shoes   watercolor   9.5 x 13

Watercolor is a wonderful medium. Most watercolorists feel a sense of satisfaction when they "savor the whites", i.e. preserve white areas of the paper that sparkle. Wow....that is so much easier said than done! I gave up using masking fluid (a.k.a. liquid frisket) years ago as the process was messy, awkward and left behind the most awkward shapes. It was done with a paint brush coated with soap which ended up ruined. This year I rediscovered masque....in the form of the Masquepen, which has a needle-like dispenser, making the process more agreeable. The dots on "Dancing Shoes" were formed with this magical substance that is fed onto the paper like glue, left to dry, then subsequently peeled off. Even though I am not a great fan of masking fluid, I have changed my attitude about it....we artists need all the help we can get!

Validation

Soul Man   china marker on paper   12.5 x 9.5

All artists want validation outside of themselves. I guess that is natural. We want to know that there are others who appreciate our efforts. Myself, I love errant strokes, errant lines that show the searching, the desires of the artist. Erasers should be banned...........artists spend too much time self-doubting and looking for the "perfect stroke" or the "perfect line". I am guilty of this myself from time to time. I would like all strokes and all lines to be perfect....i.e. perfect for the expression of the individual artist. China markers are perfect for this task, as they have a soft dark waxy nature that cannot be erased. They literally glide across the paper. Like it or not, all strokes are on the paper. All lines are there as well. Even the imperfect ones. Oh happy day! The art of the individual. "Soul Man" was done with a china marker................

Ebb and Flow - Riffe Gallery Columbus

Young Man d'apres Matrix   watercolor   20 x 12

Like it or not, the ebb and flow is a part of life. There are periods of great productivity and those of repose. You see, I always wish to be at the easel - all the time, every day. However, autumn is a time that requires more domestic work, in the yard, preparing the home for winter, etc. We also had a wonderful trip to see our sons in San Francisco. Needless to say, I am itching to paint! However, the flow is always there even if I am not physically standing at the easel. I just found out that my painting "Young Man d'apres Matrix" received the Frank J. Bockhoff Memorial Award at "Watercolor Ohio 2008". This annual exhibit sponsored by The Ohio Watercolor Society just opened at the Riffe Gallery (The Ohio Arts Council Gallery) located in downtown Columbus, Ohio. There is a multitude of wonderful paintings and visual stimulation! Please visit Riffe Gallery for directions and hours. It is a wonderful way to spend the day.

Fresh & Spooky

Shocking   mixed on paper   34.5 x 22

I usually paint what I want to.........that's part of the freedom catch in being an artist....and....that is what separates fine art from commercial ventures where everything is dictated to you with the mass market in mind. Trust me on this. But earlier this year a call came out from Summit Artspace, our community gallery, for the "Fresh and Spooky" show juried by extremely creative and whacky teacher and artist Mark Soppeland. I love Halloween. I love spooky movies. And, I love candy corn. So I went about creating a piece specifically for this show in the hopes that my work would get in. The "Fresh & Spooky" show is on exhibit from October 3 - November 8 at Summit Artspace in Akron. I can hardly wait to attend the opening this Friday, as artists of all kinds were dragging in artwork of all kinds at the take-in. "Shocking" is my effort.

A Painting a Day keeps Trepidation Away

Cored Apple   watercolor   10 x 7

No one would expect a champion diver to score a perfect 10 without warming up. No one would expect 3-point shots from a basketball player who didn't practice daily. So it is with painting. Each fresh white sheet of watercolor paper and each spanking clean canvas is a source of anxiety until an artist can get into his personal flow. It seems that beginning strokes are often awkward and either under-or-over-stated. That is what happens to me. We recently began a new watercolor class. Each artist was given an apple to cut in her own personal way......then the paintings began. For some who don't paint often, the task is daunting. It is even difficult for those who do. There is an entire world in an apple........millions of possibilities and millions of creative decisions to be made. I loved everyone's efforts. "Cored Apple" is mine.

Painting by Seasons

Red Gold   oil/canvas   6 x 6 x 1.5

I live and love in the Midwest.....our lives are marked by seasons......just about an even fourth of the year for each. I dress, cook and paint seasonally, and my feelings change as the temperatures and landscapes change. I always look forward to the next, but not without bittersweet feelings for the waning. Our garden has provided so much enjoyment this summer, color-wise, taste-wise and entertainment-wise. (watching the chipmunks eating cherry tomatoes right on the vine). The season for tomatoes is nearly complete....they are no longer coming in faster than we can use them and they have now taken on more preciousness. They are now like red gold.

Having Fun

Chocolate Cupcake   watercolor   7 x 5

Making art is lots of work. Painting is making some kind of order out of lots of chaos...a visual problem-solving that doesn't seem to get any easier. Then there is the hauling-factor....hauling supplies to painting class....hauling paints and canvasses to paint with others....hauling paintings to shows and to shippers. Work, for sure. My colleague and friend Susan, who also teaches art, shared a book with me about Wayne Thiebaud. He had fun! He made lots of paintings about lots of foods which he infused with fun. Paintings about shoes....more fun. The book, which was written for children, had many more pictures and less verbal history and justification. Right up my alley. To make it short and sweet, I was inspired by Wayne Thiebaud and his fun philosophy. "Chocolate Cupcake" is the result.

Over-ornamentation

Expectant   mixed on paper   34.5 x 21

I once read a while back that over-ornamentation results in the killing of the art form. I believe that is true. The further one moves away from the simplicity of "the thing", the further one moves away from its spirit, its soul. At the beginning of the summer, I started adding simple patterning via reduction prints to some large charcoal drawings. It excited me beyond belief. Each one became more and more complex. That wasn't my goal. It just happened. By the end of the summer, I had completed 6 drawings using that method. I used it up. I was spent. " Expectant" is one of the last ones. Back to painting now.....and to simplification of form and ground.

Neutrals or not

Concepcion Likes Vivid Colors   mixed on paper   35.5 x 22

As a younger painter, I learned about the value of neutrals in painting.....they allow the brighter, more pure colors to work their magic when placed side-to-side. I have always loved neutrals myself....they are quieter and less demanding. Nothing pleases me more than a color which must be described as blueish-orangeish-purpleish. But we all know that art is subjective and nothing is less solid than the rules. Concepcion is an artist that has painted in my classes for years. Whenever I lectured on and on about the values of neutrals, she would reluctantly give it a try. Then, she would confirm that she much preferred vivid colors. It simply is not in her genetic makeup to love neutrals. She wears colorful clothing and carries wildly beautiful bags. I, on the other hand, am a walking neutral, blending in with my surroundings. It makes me happier. This summer I had the opportunity to draw Concepcion in a native Mexican dress.

zen mind...beginners mind

Turnabout Carducci   watercolor/gouache   20.5 x 26

It is difficult to enter into a beginners mind when painting is what you do daily. What a paradox it all is! You spend hours and hours solving complex visual problems. It should then follow that painting would become easier and problems would be resolved more quickly.....more "quality works" would result...right? WRONG. In looking back over my many paintings, there are a few that have a certain something, a "je ne sais quois", that make them appealing, holding up to the years of work and accumulation of knowledge and rules. "Turnabout Carducci" is such a painting. It was painted in 1999. It is a painting of my friend and colleague, Judith B. Carducci, who is usually the one doing the painting rather than the posing. "Turnabout Carducci" is in the permanent collection of The Ohio Watercolor Society. The permanent collection of the OWS will be on exhibit November 7 from 6-8pm in collaboration with "Watercolor Ohio 2008". The collection will be shown at Fort Hayes Arts & Academic High School, Shot Tower, 546 Jack Gibbs Boulevard in Columbus.

Stand up for Painting

Mitzi   oil/canvas   14 x 11 x 1.5

I paint alongside some wonderful painters! We share the passion of choosing to spend our time with brushes, paints, papers and canvasses, all of which give us joy beyond measure. I listen to some mighty loud music as I paint and I am certain that there is some foot-tapping involved as I have been asked to stop bouncing on the floor.....I finished a few minutes early last Saturday night at the Akron Art Walk, and happened to observe my friend (and amazing painter) Mitzi Lai in action. Her stance is like that of a fencer, one foot in front of the other. Her brush is poised at-the-ready. Her concentration seems to gather up and when she hits critical mass, she takes a stab at the canvas. It was wonderfully revealing, and marvelously intense! I love that girl's style! I believe that sitting while painting creates a more passive work. Standing, on the the other hand, or foot as it may be, gives one a full range of motion.......Carry on, Mitzi! You inspire me.

Inspiration

Saturday Night's All Right   oil/canvas   16 x 20 x 1.5

Every now and then, I view the work of an artist that literally gives me goosebumps......Alex Kanevsky. His style gives me inspiration and direction...........we agree on on so many things, especially the prioritizing of the movement of the figure. However, he goes for the universal in figure painting, with little detail and color on the faces of his models. I have always, purposefully, chosen to describe the specific, with an intended leap on the part of the viewer to find the universal. I think that I will explore Kanevsky's philosophy and see where it takes me. "Saturday Night's All Right" was painted from a model during our monthly artwalk in Akron, Ohio. It took round about 5 hours to finish. It has just been accepted into "Sensory Feast", an exhibition at 2nd April Galerie in Canton. Opening is September 19............it is a wonderful and magical gallery..........come on along.

sdrawkcab gnikniht

Organic Carrots, watercolor   10 x 17

Thinking backwards is always fun for me....it is sort of a game, and keeps my mind in a playful, nonsensical mode. Traditional watercolors are worked, usually, from light to dark. The opposite is true for working with oils. I enjoy watercolors that incorporate the full-body-ness of oils...sort of a richness with lots of darks. As a result, I have lots of failed watercolors, as it is much more difficult to change your direction once the darks are laid in. Sometimes I try to do the same subject in both mediums to see how they translate. Mostly, I find that a particular subject is better rendered in one medium or another, due to the feelings involved or the appropriateness of the mood. "Organic Carrots" is a spin-off from the "Carrots" oil painting. Why not take full benefit of the purchase of the organic carrots before they wither? Economy is also in my nature. It makes me happy.

Animation

Carrots   oil/canvas   8 x 24 x .5

I was a Disney kid.....my life full of talking trees, humanized animals and magic. (even though I never really enjoyed cartoons) As a result, I love for my still life and architectural paintings to have a life, to breathe. I really do see them as living things. Although I have never really analyzed it, I guess that this can be accomplished by using more organic lines and fewer straight ones. "Carrots" was painted right after "Beets". Painting pairs can result in works with a similar feel. I was striving for animation, but found out that color was the thing that piqued my interest here. Happens all the time. Strive for one goal and hit the finish with yet another. Fluidity is a good thing.

Paint your Vegetables

Beets   oil/canvas   8 x 24 x .5

One of the challenges that I present to myself is to paint quickly and, hopefully, passionately, using as few brush strokes as possible. That is what makes me happy. It seems that more often than not, the first way I articulate a passage is my favorite.....subsequent paint-overs may achieve more detail and more accuracy, but often fall flat in terms of energy and excitement. Vegetables offer so much as subject matter............texture, amazing color and a life-quality that somehow seems lacking in man-made objects. Of course, I am not always successful in my challenges. Some paintings seem to paint themselves, while others snail their way into being. That is the process. "Beets" was such a challenge. It was basically painted in one session, with just a few strokes added to turn up the color volume after it was dry.

Braids

African Prince   mixed on paper   43 x 29

My mind adores free-play....where one idea leads to the next leads to the next.....Such was the case when I started experimenting with the linkage of charcoal drawing to crude printmaking. Our model for one 5-hour session was a young man college-bound in the fall. He arrived impeccably dressed....new shirt, new jeans and sparkling white shoes..............my heart fell. None of those things even remotely causes my heart to pitter-pat. Now his hair, all done in corn rows, was another matter. Texturally, braids of all kinds are beautiful and common to all aspects of life...in the garden, in weaving and in hair. Braiding is not only beautiful, it is strong, a way of combining single strands into a stronger group, yet retaining flexibility. Wow....I had my hook! The charcoal drawing was done during the session. At home, I carved a braided block and finished the work with printing. Nirvana! A braiding of several art forms that I enjoy!

Airwaves

Airwaves   mixed on paper   34 x 20.5

It has become completely commonplace to see people of all ages talking on their cell phones while eating, driving, shopping and walking. I guess it stands out to me because I don't have one. Although I certainly understand the convenience of being able to reach someone, anyone, at a given moment, that fact does not outweigh my dislike for interruptions and talking on the phone in general. We had a young man who modeled for us at a studio demonstration. He sat with phone in hand....a gesture "of the times". I began to recall all of the articles I had recently read discussing the disappearance of honey bees. Several theories were being debated, one being the jamming of airwaves and the confusion of the bees resulting in an inability to return to their hives. That is alarming. The notion of such a drastic consequence to a modern convenience piqued my interest and feelings. I used charcoal to draw the young man and finished up at home using a linoleum print method to connect the two notions. I am happy with the results and the fact that I have recently seen a few honey bees in our yard.

Paying attention

Veiled   mixed on paper   19.5 x 14

I pay attention to things that thrill me. I love strong line. I love simple. I love spontaneity. I love imperfection. I love the searching. I love fabric designs and patterns, although I still love simple. I love finely detailed work, but only in certain passages. I love primitive art, although I know that is not who I am. And I love the paint quality that results only from printing, that which can never be achieved by direct painting. Up until now, I have tried to achieve the qualities that thrill me by painting only. Watercolors remained watercolors, oils/oils, and drawings/drawings. I seemed to enjoy the mixing of mediums, but felt that results were so often murky, and seemed to have lost intent. That is just my opinion, of course. Recently, I have been combining charcoal drawing and simple linoleum printmaking to create patterns, colors and textures. I love the results! I haven't experienced a thrill like this in quite a while.

Reflections

Reflection is an important task for me, in life, as well as in my art. It helps me grow. I have seen countless images where the reflection of one object is mirrored onto another....coffee pots, Christmas balls and glass store fronts. It demonstrates the complexity of a scene, where each object is affected by another. For me, that translates into a metaphor for life itself. It also demonstrates the draftsmanship skills of the artist. In one of my classes, our assignment was to place objects on a mirror. The objects melded seamlessly into their own reflections. Quite a great exercise! In fact, my picture became one big blob, as seen realistically. I had to manufacture boundaries between the object and the reflection horizontally, so that it could be read visually. Once again, I learned to challenge reality.

Group Gesture

Young Warriors   watercolor   12.5 x 17.5

I don't often paint people in a group. I guess that this is because I want to visit personal issues of my own as seen through the beautiful people that I paint. However, I became excited about this notion again when viewing the work of Alice White, the juror for "Real People" in Woodstock, Illinois. Her work is very big, very powerful. In the group setting, the individualization of the models is sublimated while the group gesture takes on a life of its own. That is not only ambitious, but difficult to do. While paying attention to the spark that White's work ignited in my interest, I am making a mental note to try it again. "Young Warriors" was done many years ago and is in the collection of the State Teachers Retirement System of Ohio.

Blank Canvas revisited

...help son with flat tire, tend to malnourished and injured stray kitten found in yard, volunteer to gallery sit at county gallery.........

Entering Shows

Fourteen   pastel/paper   23.5 x 17

Mary in Polka Dots   oil/canvas   30 x 24 x .5

It is difficult to decide which shows to enter. There are so many considerations such as: entry fee, shipping costs, distance to travel and having the appropriated formatted images, as these days, every show seems to have difficult requirements. Usually, the prize money is a consideration. Of course, there is no guarantee of winning a prize, but at least there should be the possibility of recuperating the costs of the entry. But sometimes there is an exception. Two of my works, "Fourteen" and "Mary in Polka Dots" were just shipped to Woodstock, Illinois for "Real People 2008" sponsored by The Old Court House Figurative League. This show just felt right to me. Quite simply, my goal is painting real people. Then, when I took a look at the work of juror Alice White, I was convinced. I was awed by her large canvasses that focus on huge groups of people with lots of interaction. My own work shows solitary figures. I just had a good feeling. The exhibit is August 7 - September 28 at The Old Courthouse Arts Center on Woodstock Square in Woodstock, Illinois.

Blank Canvas

A blank canvas is a horrible thing to face. The start-up is the worst....and every day that goes by without putting strokes of paint onto the canvas and into my world seems somehow void of meaning for me. My usual routine includes 4-6 hours of studio time per day. My routine has been disrupted....it happens every summer so I should expect it by now, but it still leaves me empty and frustrated. There are the 3 days preparing for the workshop, the four workshop days, the follow-up days of returning materials to their studio homes and sorting through notes, the visits with friends that have to be squeezed in before summer melts away, the studio door that needs painted, the day that was wasted on computer foul-ups, the vegetables that need to be harvested. The list goes on and on. Each day I become more grumpy and agitated. Tomorrow is the day that I hope to be back in my creative niche. Tomorrow is the day the canvas will see action. Just a few paint strokes and my world will be mine again.

Full Circle

Peggy...a gesture

For me, all of the experimentation in line, doodling, layering, smudging and smearing done in our expressive drawing workshop have the express purpose of leading me back to seeing realism in a new way. My goal is to be a "freer me".....where I can express exuberant lines and shapes without the dark cloud of correctness continually hovering above. On our last day we did a series of gesture drawings, some only 2 minutes, some 20 minutes. I saw so much beauty in the lines that all of the artists made! It is then, somewhere on the path to achieving perfection that we go astray. All this is my own opinion, of course. "Peggy gesture" is a drawing from last year's workshop. I like it very much.....perhaps because its freshness is still in tact.

Child's Play

Stand of Trees...an ink drawing

I am a firm believer in playing with art materials in order to gain a freedom of stroke and a disengagement from the perfection that will kill a work. "Stand of Trees" was done in our expressive drawing workshop. I used a tongue depressor that has been cut straight on the top and given a slight bevel in order to hold the ink. Most of the work was done with that crude tool, using it by pulling in various directions and by using a corner for the finer line work. The lighter blue color is ink that I borrowed from another artist. The bright blue sparkling touches were added by using crayon. Our goal was using direction of stroke to support the concept.

Do the Frieda Kahlo

Doodle

Another exercise that we did during the workshop was inspired by a page in Frieda Kahlo's published diary. The exercise starts with random ink spots or blobs on the paper. I consider the blobs a "given", or something to initially spice up a work and to stifle the status quo. We then connected the dots and did uninformed or free consciousness doodling in the spaces. This is a wonderful way to practice and learn all of the elements of great design without worrying so much about reality. It was such fun! One participant asked me what the point of this exercise was. I had to think a minute. Does one really need a purpose in order to play? I hope not.