Mogadore Reservoir

Mogadore Reservoir watercolor 21 x 13.5 is our local retreat into nature. We have hiked its trails, kayaked the waters, observed the wildlife, photographed its wonders and collected its rosehips for the past 40 years. It is dear to us. Every now and again, I paint landscape. While not my favorite subject, I give it my all. Perhaps the vastness of all of that organic substance is too confusing for me. I dislike using masking fluid, as well as painted individual leaves. In short, many watercolor landscapes have far too much hard edge for my liking. My process is a more overall chaotic treatment siphoned into a bit of detail. I liken it to an accordion as it expands and retracts. So...my work was cut out for me. All efforts at producing the texture of leaves in the foreground ran amuk in the darkness of the shadows....and the itty-bitty-ness of it all bothered my aesthetic. A few leaves, the hangers-on, were painted in quick strokes. The overall feel is exactly the way I feel as we enter the autumn woods, however.

My Porch

My Porch watercolor 20 x 12 Autumn is such a naturally beautiful time of year....and my heart quickens as I approach the side door of our farmhouse. Pumpkins are stunning to me....large and round and ORANGE. This work was painted from reference photos shot at a time of day where the sun played with the objects on the porch. And, yet, there is a sinister quality to this time of year with shortening days and the falling of leaves. No one did pumpkins more soulfully than Andrew Wyeth, in my opinion. The climate of his work is positively haunting. My watercolor style, too, is a bit heavier than some....perhaps that is because I am also an oil painter. I also take "heavier" watercolors more seriously....they have, to me, a more thoughtful, more layered quality that packs a punch that can be read from a distance. (Sometimes, I wish to be a lighter painter, but, I am not). The shadow area in this work was ever so important with a few hues underneath the final dark blue-green wash. The support beam on the porch is not upright and suggests, to me, my approach up the stairs. And, of course, it follows that my notion of life, in general, is more complex, more serious, weightier. And, so.....this is my porch.

Essential Lotto

Essential Lotto...ARtGraf graphite block on paper...30 x 16 Ideas come in fits and spurts. During my many walks each week doing a loop around the central area of our small township, I took note of the people going in and out the door of Circle K.....and caused me to wonder just what was essential enough to dawn and mask and shop at a convenience store....gas? made-to-go sandwiches and hotdogs? and, yes....LOTTO. A dream of winnings that might be the way out for many folks of the apathy and distress that seem to hover over this period in time. So....surrepticiously, I shot many photos of these customers as they entered and departed. The plan was to create a series of figurative works describing what each of these individuals considered to be essential. The woman in this work was not young....it took her many minutes to unfold from her car and conduct her business. The door itself was not easy for her to maneuver. Several minutes later, she emerged with a long string of lotto tickets. Ah...THE DREAM. I am quite happy with this work. I hope she scratches off a winning number. I wish her hope.

The Yellow Sofa

The Yellow Sofa ArtGraf graphite block 36 x 29

Our mornings begin with reading. The simple shapes and backlighting of this scene were too much to pass up. Photo references were shot and I relished the opportunity to experiment more with ArtGraf graphite blocks. This medium is DENSE...and then some. My previous attempts were far too dark, far too opaque and I yearned for more of a continuum from softly rendered to opaque and dense. I find that these are unlike any other drawing mediums...adding water makes them even more dense. It really did take a while to find my footing....and some semblance of a comfort zone. While most mediums thin out and become more transparent with the addition of water, these graphite blocks are the exception. I quickly became more judicious about crossing the surface with a wide brush loaded with water. This work was done on 140# hot press watercolor paper. I like the final result, which has a bit of everything, yet reads boldly from a distance. I am not sure that I would use this medium on a subject with a softer inclination. And, typically, true to me, I seem to yearn for that which I do not have.....my next work will be a more softly rendered one using softer drawing tools.....conte crayon, charcoal or pastel.

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.

Gal from Maine

Gal from Maine   watercolor/cold wax/wood cradle    11 x 14 x .75

                           

When our son's family comes to visit, they bring along their two delightful Maine Coon cats.  These felines are gentle giants...fluffy, snuggly and easy to get along with.  One of their endearing quirks is that they love to drink from bathroom sink faucets and cozy up in the bathroom sinks....lucky for us that we have two side-by-side sinks to accommodate them!

The greatest challenge in rendering animals is to get the feel of the fur without getting too detailed, as detail takes away from the coat as a whole.  These cats have a tortoise appearance, with many layers of color rolled into one.  I began with some warm washes and tried to sublimate the fur to the form of the animal.  Cooler and neutral layers were placed on top.  Initially, I started to put in the actual spigot and handles, but that was much too much detail for my liking.  They disappeared into the dark background.

I like the feel of this work.  I also like the placement of the whites, which were toned down a bit at the end.

Most of all, I love these cats!

Jeanne's Peaches Plus One

                                                    

Jeanne's Peaches Plus One   watercolor/cold wax/wood   14 x 11 x .75         

Wow...this new blogger is a bit tough to figure out and, quite frankly, I just hate the time that it takes to figure it out!

The challenge with this work was to paint something in a jar....this situation causes the subject to receive light in a more diffused way...shapes merge and separate with less distinction.  It is a terrific lesson in painting what you see, rather than what you know to be true.  In this case, I chose a GIANT jar of peaches given to us last Christmas.  Because it is so very lovely, I cannot bear the thought of actually using it!  

And....this work was fixed with cold wax and fixed permanently to a wood cradle...an exciting frameless option for watercolor paintings.

                                                         

Farming

Farming   watercolor   19 x 11

is a difficult endeavor, although it holds a rather romantic notion in our minds...one of simplicity and honesty, I think. 

My goal in painting this work was to focus on a foreground of semi-nothingness, a quilt work patterning where values and color tonalities have minimal variation.  And, I realize that this challenge may have been far more easily accomplished in oil than watercolor.  For the reference photo, I pulled off of a major highway and hiked to the edge of a local farm.  The terrain was horribly uneven and difficult to maneuver.  I chose a spot leading up to the farm that best seemed to illustrate my goal.  The sky was minimalized.  The buildings were done in just a few strokes.  Most of the work was, of course, in the foreground, where I attempted to achieve chaos and uncertainty.  I am satisfied with this attempt, although I found myself yearning for more opacity, as transparent watercolor has a limited range of workability.

All in all, I feel that this work totally exemplifies the difficulties of farming.

Steeple

Steeple   watercolor   20 x 12 

During the virus shut-down, my walking path is fairly regular...a small loop around the small community where we live.  Steeples have always intrigued me...this one just atop an abandoned medical building.  While not particularly engaging, it still represents, to me, an uplifting, a reaching toward the optimistic, the infinite. 

Originally, the background colors were very bright, leaning the work more toward the typical watercolor painting.  I could not resist the urge to pair the transparent with the opaque, so a wash of Chinese White was applied to the background, quieting the sky and moving the structure to the forefront.  I am not quite sure I am happy with this decision, but the sky area is now more akin with what we experience here in northeast Ohio.  I definitely have an allergy to happy happy skies. 

Over the years, I have also some to dislike, in my own work, the more primary application of paint to replicate shingles and bricks. So, in this case, the end of an eraser was dipped into a giant puddle of paint, creating a more secondary, chaotic and imperfect application. 

I am pleased with this more interpretive consideration of the subject.

Garden Phlox

Garden Phlox   watercolor   10 x 10

What watercolor class would be complete without a floral study?  ....which I consider to be among the most difficult of subjects, due to the fact that there is an overwhelming amount of information that must be sifted and sorted.

But I also believe that there must be a why...the reason why this particular bloom, among so very many, was selected as a subject.  For me, this painting was color-driven.  As I pass by it beside our porch, I am momentarily stunned by its color, the mysterious product of nature.  The overall atmosphere is so much more important to me than perfect leaves, perfect blossoms, perfect stems.

The greatest challenge in this one was the middle circle, the missing area that contains information on a plane that is further back than the outer rim of blossoms. The background wash was extended into this inner circle and the information only suggested.  And, of course, I added my signature brown to neutralize the sweetness of the so much pure color.  I also like the stem which has been skewed from the vertical.

I am pleased.

Fruits of the Summer...I just couldn't stop!

Cherries   watercolor/cold wax on wood cradle   8 x 8 x .75

Plums   watercolor/cold wax on wood cradle   8 x 8 x .75

Watermelon   watercolor/cold wax on wood cradle   8 x 10 x 1.5

Grapes   watercikir/cold wax on wood cradle   98 x 8 x .75

Fruits of the Summer and Parlor Tricks

I am not really into parlor tricks, or "special effects" in painting.....as I value solid painting skills and solid brushwork...at least that is my aim.  Sure, I have used wadded up plastic wrap to create texture and rely regularly on spritzing for its subtle effects.  But I have to draw the line at sponged trees.  In fact, being a watercolor purist nagged at me for years before I succumbed to being "allowed" to add Chinese white or gouache for more opacity.  I am more forgiving these days.  My notion of what makes for good artwork has expanded considerably.

These small fruit paintings were adhered to wood cradles with acrylic matte medium and glazed on top with cold wax.  The resultant effects were quite exciting to me, as a painter who always matted and framed watercolors.  (increasing their size substantially)  I worked in brighter colors and simpler shapes.  The results are richer, more compact.  I feel that they pack more of a punch, being similar to small oil paintings which I usually work on a gallery wrap canvas.  Very exciting.

Do watercolors always have to be matted and framed?  I think not.  And I am anxious to try some larger works using this method.

Granny Smith and Lime   watercolor/cold wax on wood cradle   8 x 8 x .75

Lemon   watercolor/cold wax on wood cradle   8 x 8 x .75

Grapefruit   watercolor/cold wax on wood cradle   8 x 8 x .75

Waiting For a Friend

There were two major opportunities in this little scenario that gave me pause.

The first....a black-lit situation.  These have always made me uncomfortable, as I am a value painter who relishes the shifts of light over the terrain of the human face.  With the light coming from behind, the value play, while atmospheric, is so limited.  In these cases, it seems to me, the silhouette, the profile becomes more important...harder edges result.  So....this case allowed for some practice in this situation.  I find it less interesting, but still enjoyable.

The second....waiting.  I have heard it said that real life is what happens when one is waiting for something more exciting to come along.  This young woman, intent on her phone, was seemingly waiting for cues from "the somewhere else" to amuse and entertain her.  Being a person who immensely enjoys the free play of my own mind, I find this alternative both alien and unsatisfactory.  Being alone provides me with so much pleasure!  People with cell phones are never alone...how sad?

Too Complicated

I have dozens of sketchbooks.  And, since our current sense of time and scheduling has been seriously challenged, I have found myself meandering through these small journals that have taken me on many journeys throughout the years.  They are diaries to me.  And....I have found that my freshest and most appealing observations have been found on these small pages.  They have seen me through vacations with family and friends, through the births of grandchildren and to emergency and waiting rooms at various hospitals. The sketches are often unfinished and imperfect, yet somehow hit the mark.

This is one of my favorites:  an 87 year old woman in the waiting room of a knee surgeon who kept saying to her companion (over and over again):  ..."and that's another example of how things are too complicated these days".
The year:  2012.

She had no idea.

Bowl of Cherries

Bowl of Cherries   watercolor   10 x 14

was an "in search of" painting for me.  The previous two works were experimental, with an attempt at channeling the processes of two of my hero watercolorists.  Both were on the minus side of satisfactory...perfectly presentable, but not me.  While I did manage to stretch my boundaries, and to understand other ways of interpretation, I longed to be in my own skin.  Just as in life, it seems to take only a short road trip to appreciate the comforts of home.

The set up was lit.  The subject drawn and mostly understood.  All of the qualities that I most value seemed to come together.  The background was originally a watery beautifully-painted blue.  But as I am also an oil painter, and because I highly value the richness of dark values, another wash was added....and I was happy as a clam.  Imperfect edges.  Lost and found qualities.  The subtle description of the woven cloth. Drippy paint.

I was happy to be home.

Hopeful

Hopeful   watercolor/pencil   16 x 10.5

Each Spring we anticipate the arrival of bluebirds who fill our box with a nest and small blue eggs.  They face many hazards:  late Spring freezing, parasites and house wren assassins who pierce their tiny eggs.  It becomes a real-life drama in our own back yard.  Will they fledge?  We are always HOPEFUL.

Sliding Back Into Watercolors

Red Bud   watercolor   13.5 x 10

is a daunting task.  This painting was one of the first watercolors of the season.  As I have little patience for perfectly arranged bouquets, I stuck some red bud branches into a jar, along with some vinca vine for interest. Floral paintings can easily become a story about the vase, which doesn't do much for me.  Simple stories do. The palette was limited.  Detail was kept to a minimum.  Both sides of the paper were lightly misted with water, as the transition from wet to dryer is one that both appeals and excites. The bottom background shape was painted with a light wash from the mixing well of the palette, combining all of the previously used colors to create a harmonic neutral.  And, of course, brown (a reddish tone) in the top background.  I have found that I like to offset the sweet floral hues with an earthy brown which, for me, keeps the floral paintings from reading too sweetly.

After years and years of painting both from life, and from reference photos out of necessity, I have found that I much prefer the imperfect boldness that occurs when I paint from life. 

I am still trying to define what, for me, makes a good painting.  It is always so elusive.

I am ready to  move one.

Boys and Creeks

Boys and Creeks  oil/canvas   30 x 20 c 1.5

My husband loves poking around in creeks.  Our three sons loved poking around in creeks.  And now, our grandchildren are following suit.  There is an exciting world living just beneath the surface.....crawdads, fossils, and interesting rocks and minerals beckon.  Wet feet?  No worries.  Dirty hands?  A momentary inconvenience.  Muddy boots?  They can be cleaned.

During the virus, our family has kept in touch more than ever as we share photos from across the country.  Seeing these daily activities, as well as coping activities, has provided us with such pleasure.  From the seaside beaches of California to the shallows of Ohio's rivers and streams, we are united in the passion of exploration. 

This painting was referenced from such a photo. I am in awe of their resilience and their spirit. 

Orange E

Orange E   charcoal/watercolor   13.5 x 11

is our wonderful 7-year-old grandson, whose snaggle-tooth grin could not be ignored.  This drawing is, and was intended to be soft.  It is rendered in charcoal on Rives BFK, a highly-rated paper, usually used for printmaking.  It's soft surface and weight was perfect for this project.  At the end, I decided to use watercolor for his sweatshirt, as E.'s favorite color is orange, which he frequently wears.

In terms of photo references, I will admit that the lighting was not perfect, as the photo was taken during a Facetime chat...an amazing process, that I could never have dreamed to be possible.  We take what we can get these days.  Of course, for a dramatic rendering, where shadows and lights create a more interesting patterning on the face, a studio set-up with lighting and a more considered picture-taking process would have possible. 

I believe that, in this case, the softer presentation of everyday lighting worked out well.

And....btw....those baby-teeth-hangers-on have now been replaced with some emerging larger pearly-whites.  I love this age.  Enthusiasm.  A lightness of spirit.  Hope.

Harbinger

Harbinger   waterclor   6 x 9

is a perfect description for the robin, whose presence marks the onset of warmer weather.  This small work is another warm-up to reacquaint myself with the watercolor medium.  As I painted this small wonder, I cam to realize how very round they are!

This was an additional challenge for me, as I am more comfortable with large brushes than small, large formats than small.  And...retaining the "whites" is always the greatest challenge!

I am pleased.

Switching Gears

Fistful   watercolor   6 x 9

from oils to watercolors.  Where I live, in Ohio, the year is divided into four distinct seasons...weather-wise, food-wise, and attitude.  This I love.  Because my painting loves are equally divided between oils and watercolors, I switch up mediums seasonally.  I have tried to do both simultaneously and it just doesn't work....for me.  Different feels, different clean ups, different approaches.  Too confusing.

Enter Spring.....I decided to do just a couple of small ditties to whet my watercolor appetite and to rid myself of the fear of the white paper.  No formal set-ups....just a fistful of blooms from our yard.  I was so happy to be painting this work and opposed the transparent pigments of the blooms with a more opaque handling of the background....just chalky like I like it.  Fistful. 

The Paper at the Back of the Closet

Kick   mixed/paper   27.5 x 18

was given to me many years back.  Forgotten. What is it?  Giant roll.  Heavy heavy.  A bit of texture.  Feels like watercolor paper.  No label.

And so, given our current circumstances, I decided to give it a try. What was meant to be a tender charcoal drawing morphed into the unintended...strong, aggressive.  No pigment could be moved around.  The blending stump was useless.  Watercolor stayed put and immediately sunk in.  No ability to wipe off splatters.

I must say that in the past, I have been quite excited and stimulated by the feel of a new ground as it allows for a bit of chaos, providing a novel experience.  In fact, I have prided myself on this flexibility.  But here I reached my limit.  The struggle was almost unbearable. 

Nevertheless, I took the work to finish. While I am pleased with the result, I am not anticipating using it again. 

Lesson to be learned:  label all papers when you can. I believe that it was unsized. 

Flight of Fancy

Ascension   oil/canvas   24 x 48 x 1.5

This painting, is, was a flight of fancy for me.  While based in reality (the reference photos were shot at the parade in University Circle  Cleveland several years back), its intention is simply "upwards".  During this weird time period of sickness and fear, I needed this flight of fancy to maintain equilibrium, a return to a positive outlook when faced with so much turmoil and distress.

Actually, my brain takes MANY flights of fancy each day.  I am not sure if this happens to anyone else, or to everyone.  But I can say for certain, that these little mind travels are imperative to my emotional well being.  It is only when my mind is otherwise occupied with sociability and tasks that life becomes, well, dull and static. 

And, as sychronicity would have it, I am currently reading my first ever surrealistic work, Nadja by Andre Breton.  He questions whether or not we are defined by the lives we lead on a daily basis OR by the surprises, the flights of fancy, that we take.

And, so it is that this work is a bit of, I believe, surrealism on my part.  My flight of fancy.

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.

Kids

Kids   oil/canvas   30 x 40 x 1.5

ARE THE BEST!   This painting was a joy to paint....from reference photos taken at a birthday celebration at COSI in Columbus shortly before Ohio's shelter-in-place began. Out of the many shots taken, this one in particular revealed the many personalities and energies of these kids...the bashful, the giddy, the superheroes. 

My goals were threefold:  to let the individual personalities express themselves; to sublimate the "likenesses" so that the group gesture would shine through; and to emphasize the counter-spaces between the figures to enhance the interconnectedness of the positives and negatives.

I am supremely happy with the outcome....makes me wish I were a kid again!

Bouquet Without Stems

Bouquet Without Stems   oil/canvas   12 x 12 x 1.5

was not a planned project.  Sometime in March, I started seeing lots of primrose plants in the stores.  Primroses are on my list of "poorly painted subjects from the past" that, eventually, I have plans to attempt again....along with swans and pumpkins.  And so, I laid a plan.  On the way to class, I stopped to pick up a primrose plant...three stores later, I was still being told that they had all died.  And so I ended up with one of those fairly nondescript bouquets that is a mix of lovely separates with no particular theme.  Attempts to put this bunch in any vase at the art center created a leaning, skinny bouquet with no rhythm.    Considering all of my options, I chose to paint each of the kinds separately on a flat two-dimensional, tile-like plane.

No stems.

This Little Piggy

This Little Piggy   oil/canvas   12 x 16 x .5

Small children and baby animals are sure-fire subjects for a painting.  Who does't love 'em?  One of the hazards, in my view, is the overly-saccharine quality that can spoil the serious thoughtfulness of a work.  Another, in the case of a pig, is its overall round and fairly uninteresting shape.  I recall here, my first few paintings that included pumpkins and the difficulties I had in the rendering of such large, round shapes.  For me, for my own sense of "correctness", that shape must be broken up in some way.  The outside-in::inside-out principle  must be put to use here.....for me....so that I can feel satisfied upon completion.....the pig likeness and the overall design of the picture plane are both important to me.

Rachel

Rachel   oil/canvas   16 x 12 x .5

is a budding artist in my evening oil class.  Our challenge was to pose for the camera in winter gear....the point was "to look cold".  At that point in February,  we really didn't have to try that hard, I might add.  I printed the photos (in gray scale) at home, laid them face-down on the table, where each artist selected another's portrait to paint. 

I have taken a liking to toning my canvas well ahead of time in a color that complements and supplements the overall palette.  My toned canvas was a turquoise-y blue.  This cool tone was selected in order to counter the warmer flesh tones which would lie on top.  This blue can be seen on the hat, on the face, in the hair and on the shoulder areas.  For me, it adds a bit of excitement, a bit of chaos, to what might become a too-tightly-rendered portrait.  It seems that we all have a more difficult time with "looseness" in a portrait situation, especially when likeness is a goal. 

I hope that Rachel is pleased.....because I am!

Les Pieds

Les Pieds     pastel/mixed   28 x 21

is a work completed as a result of our Tuesday evening sessions of live modeling featuring the young ballet dancers of Ballet Excel Ohio.  I use these sessions as experimentation....as a springboard to hatch new ideas...new forms of visual expression.  The model typically performs a series of limited-time poses before settling into a pose for the rest of the evening.  I used two of these quick poses along with the longer one on one sheet of paper using pastel.

At home, I worked on these three drawings to attempt to create a unified whole...washes of water were added to create softer edges where needed.  Then, using a combination of linoleum blocks, one uncut and one a pre-cut design, to print on top using relief ink.  I used cut pieces of tracing paper on top of the shapes I wished to retain in order to block the printing.  The final pass was spent in trying to merge both the drawing and the printing processes...searching for a bit of balance.

By enunciating the feet and diminishing the facial features, the attention was shifted to the feet.  (hopefully).  I am satisfied.  In fact, I am pleased.

Uniqke

Uniqke   watercolor and pencil   20.5 x 13.5

Each and every session of life-drawing and painting involving the young dancers as models has been a one-of-a-kind experience.  The relationship between artist and model is an intimate one, even  during the 2-3 hours that we spend together.  Each dancer's personality is revealed in subtle ways, along with her individual talents.

This young dancer oozed grace from every pore in her being.  She had a sunshine personality and a quiet stance.  She took the most simple of poses and turned it into an extreme experience for me.  I believe that this simple watercolor and pencil drawing echoed her personality.  No drama.  No excess.  Simply beautiful.

It was a rewarding experience for me.

ONE-OF-A-KIND.

Suddenly

Suddenly   watercolor and gouache   28 x 18

the falling sun came through the October skies, making the treeline sparkle like jewels.  This grand finale occurred just a half mile away from our home upon return from a week-long road trip to St. Louis.  I am just grateful that I was paying attention!

I am convinced that looking up and looking down should be added to our visual repertoires....looking straight ahead can be limiting.

There is no way to replicate the sparkling jewel tones I witnessed that day, at least for me.   But I tried, once again finding a perfect use for the handmade florescent watercolors made at Case for Making in San Francisco!

What a rush!

Grace is Her Middle Name

Grace is Her Middle Name   Artgraf used as watercolor   13 x 10.5

Each Tuesday evening at Cuyahoga Valley Art Center we artists are treated to a live model session by the young dancers at Ballet Excel Ohio.  I use these sessions to play with my materials and to experiment.  On this particular evening, I used the ArtGraf Tailor Shape  by Viarco which are blocks of pressed pigment that can be used for drawing or painting, when a brush dipped in water is applied.  They are thick.  They are chunky.  They are opaque. And they are strong.  Hence, a chunkier work of art can be expected.  This work was done on 140# Fabriano Artistico hot press watercolor paper.

As the light on the model washed out subtler nuances of value, I chose to go with a simple 3-value work, with the white of the paper in a dominant role.....I honestly had a difficult time pushing the pigment around.  But I am satisfied, as this experiment resulted in a stronger work....stronger, albeit, than I am used to.

I admire these young dancers and look forward to their production of "Snow Queen" in March.

Personhood

She Dreams of Flight   oil/canvas   30 x 20 x 1.5 

She Dreams of Flight oil/canvas 30 x 20 x 1.5 This painting was accomplished with a photo reference, one of many I shot a few years ago at the University Circle parade in Cleveland, Ohio. The parade is unparalleled...a spectacle of joy! This little girl wore a pair of dollar store wings....Actually, a few years ago, I purchased a pair myself, as their magic awoke the aspiring little girl in me. Because I had only a rear view, I was able to paint an idea, without conforming to the notion of likeness. I saw the universal in her, the desires of each person to fly, to become, to attain, irregardless of cultural restrictions. I became that little girl. I wish her only happiness and joy.

Scary

Sisters in Spirit   watercolor   21.5 x 13

means so many things to so many people.  In fact, I think that our notion of what is scary is being constantly pushed to the extreme these days. 

In this painting, I chose to depict two seemingly innocent young girls in sweet patterned dresses, each wearing Halloween heads.  That, in and of itself, is a bit disturbing.  Things are not as they "should be".  I decided to push the envelope by scewing their bodies slightly off the vertical.  Diagonal placement leaves the viewer a bit disoriented....will they tip over?  will they rock towards the vertical.  In addition, the figures and the background were merged in a sameness that, in my opinion, adds a bit of other-worldliness to the presentation.

I am pleased with this work.  It is not only what we have to say, but how we say it, that makes for a more creative viewpoint.

Ballerinas Also Rest

Sequined Skirt   conte crayon/pastel   20.5 x 12

I always look forward to Tuesday evenings when Ballet Excel Ohio teams up with Cuyahoga Valley Art Center to provide young dancers with live models for the evening.  Typically the session begins with a series of 1-5 minute poses, wherein we are more likely to be treated to particular dance movements, where the body itself, as well as the negative space surrounding the body, becomes the subject.  The major shapes in the work are complex, broken up and imply the energy of the dance.  Subsequently, the model is posed in a more static restful position which she will hold, with small breaks, until the end of the session.  This is when observational skills are piqued and extended.  The major shapes are more self-enclosed, less dynamic.  This quietude leads to a completely different kind of work...one that is more of an exchange between model and artist, one that offers an emotional countenance.  These things, then, become the subject of the work.  Two completely different kinds of work.

In looking back over the past works, I see that most of my work has been a welcome exchange between the seated model and myself...a quieter, more serious kind of contemplation.

I think that when our sessions begin again in January, I will try to make more creative and dynamic works from the gesture poses.....a bit daunting....but very exciting....I love giving myself new challenges.

Pump up the Color!

Mexican Sunflowers   watercolor   13 x 10

Some would deem watercolor to be the perfect medium for floral work.  I agree that that can be true.  However, my tastes run to the richer, the meatier, the weightier.....too much lightness, for me, can not be taken seriously.  These particular flowers are Mexican sunflowers.  The seeds were sewn indoors, then later transplanted to the garden.  Late summer.....these blooms create a trellis-like entangling, about 6 feet in height.  The hummingbirds love them.  We love them.  The color is spectacular.....the most fluorescent hue imaginable!

Fluorescent?  Lucky me.  Last birthday I received some watercolor pans from Case for Making, a San Francisco-based storefront that carries handmade pigments.  The ones used here (as well as several other autumn projects):  fluorescent orange light and fluorescent flame red. 

In the working of this painting, the entangling of the blooms got to be too much, just too tedious.  That is when I used a blue-tinted gouache to separate the top.  This break almost reads as sky,  and the design benefits greatly. 

Color me fluorescently happy.

A Glimpse

Doe, A Dear

This work began as reference photo shot deep within the woods.  The animal was barely visible, his own self-protective camouflage coloring working as it should.  The background was, of course, filled with texture....leaves, leaves, branches and leaves.  What I have done here is, in my own opinion, to create a better painting than what was provided by my reference.  I know what I like....and any attempt to alter it has been discarded, repainted, and, perhaps, discarded again.  I have absolutely no interest in painting hyper-realism.  (I am probably unable to do it anyways). 

In looking at the work, and trying to understand a few of the major decisions that made this work personal, I found:

- The value of the deep woods in the background was maintained, while eliminating the texture. 

- Some shapes were simplified and made two-dimensional, to further simplify

- the largest major shape (deer torso) has been broken into, primarily because I wanted more interest     in the face and head

- and, as always, values were slightly pushed to a blackish-violet in some areas to further rhythmic        viewing and focal point description

These decisions were made intuitively....it is only when finished, that I try to understand why things happened as they did.

Although my final work reveals more than just a glimpse, I am happier.

One Day

One Day   oil/canvas   30 x 30 x 1.5

Late Summer.  A trip to our "way back" to dump garden detritus. A glance over to our out building that currently houses our wood supply for winter.  The light was spectacular!  ...it was the kind of situation that I often search for in vain.  This time it was, quite simply, happenstance. 

I have painted day lilies before.  They don't work that well singularly, but are dynamic as a group.  And, yes, each blossom blooms for only one day. 

While there were areas that offered up problems to be solved, the work was mostly simple in resolution.  My own cemented sense of design required a dark on the left edge....my preference always being to solve with value shifts.  And, yet, a heavy dark shape would have destroyed the feeling of lightness that day.  So my resolution, while a bit ambiguous, is satisfactory.  It definitely recalls the feeling that I had....that day....that hour...that moment.

Coneflowers

Coneflowers   12 x 4 x 1.5

was intended as small between-the-lines painting...nothing serious, small in size....just an exercise.  Flowers are the perfect vehicle for such a work.  Without the seriousness of a larger or more contemplative work, I feel free to explore and try out new techniques.

In this case, this very small canvas was toned with what I would call "navy blue", a neutralized dark blue that was probably mixed with French ultramarine and burnt sienna.  The background leaves and pods are closer in value to the toned ground so they fade to the background.  The pink leaves were intentionally scraped and pulled back to allow that blue toned ground to become a major player. 

I am pleased. 

Simplicity

Bread, Wine and Turnips   oil/canvas   15 x 12 x .5

is a quality that I strive for in my work.  Actually, I think that it took me quite a long time to realize it.  Backgrounds were painted in....then painted over.  Chair legs were carefully painted in and then painted over and substituted with horizontal strokes that simply suggested a place for the model to sit.  And, now, so we have it.  So I have it...another requisite that makes my art my own. 

I have a belief that the power of the work is somehow divided between all of the objects in the plane....so, it follows, for me, that the fewer the things, the more power that each one holds.  Big and little things arranged pleasingly on the page.

The reference for this simple still life came from a series of photos taken on my patio many years back....it was a veritable feast, a banquet.  The long horizontal painting was sold, but I have so many reference photos that I can now produce several smaller works from the original, and quite painstakingly arranged, feast.  This work pleases me as it has the feel that I was going for...a few simple ingredients can make a painting that I enjoy.......and, also, I think that a few simple ingredients can produce an exquisite meal.  We live in complex times.  I crave simplicity for balance.

Rorschach

Rorschach   oil/canvas   24 x 30 x 1.5

This pair of young dancers were quite remarkable....during the warm-up poses, they assumed several premeditated poses in which their two bodies created interesting shapes and outstanding visuals.  I was truly taken with their expertise!

The most exciting part of figurative painting, to me, is the shape of the core, the limbs, and, subsequently, the diminishing of the facial features to create intriguing lines....an overall visual that is greater than the sum of the parts....gestalt!!!

This was an exciting painting to work on...I feel that it mirrors that which their young bodies were trained to do.  Thank you.

Sequins are just Gravy

INTENSITY.  I can easily recognize it.  I live it. ...and, to me, it is easily recognized in a few other individuals.  A tension in the body.  A perking up of the senses.  A refusal to take things lightly. Fire in the belly....not in each and every undertaking, but in the discipline that fuels a person's soul.

This young dancer was the epitome of intensity...of discipline.

While the sequins on her costume were fun to paint....small specks of retained white paper amidst the color to imply the multidimensional reflection of the light...sequins are just gravy here.

She could, in my opinion, be just as distinctive in a simple leotard.  INTENSITY.

Sequins Optional   watercolor   20 x 12

Wendy

Wendy   charcoal and pastel on paper   14.5 x 11

is one of the younger dancers in the troupe.  And yet, her whole being embodies extraordinary discipline.   I thorough enjoyed making this drawing!

Budded

Budded   watercolor   18.5 x 7

Our challenge was to paint a tree in its early spring budded state....not an easy task, given the small white blooms....in watercolor!  As I do not use opaque white in any form, or masking fluid, my challenge was to use brushwork to move around the work, avoiding the buds, thereby using the white of the paper for the blooms.  The tree I selected was one that I photographed while in the drive-through line at McDonald's.  The moody spring sky behind added to the immensity of the day...as well as to the immensity of the challenge.  The buds at the horizon line are mostly pure white.  Those at the top were toned to blend in with the sky.

Final word:  this is the best I could do with a difficult challenge....This small painting makes me happy.

Clownfish

Clownfish   mixed/paper   19.5 x 12

are important roles to dance in "The Little Mermaid".  And these dancers were so impressive....quite a pair.  They were both dedicated, focused and graceful to the max.  No Alphas.  Two halves::one whole. And....just as a school of fish moves instantly together, sensing the minute neuromuscular movements of the others, these two young dancers were oh-so-in-sync.  Each pose, not only portrayed each dancer to advantage, but also formed an interesting together shape.  They moved without speaking a word.

THESE DANCERS WERE AMAZING!



And...as for the highly developed sensitivity to the movements of the other....

I sometimes think that the world would be so much more pleasant if we all learned this sensitivity...we all learned to dance.

And....just maybe...we would be better drivers.