Silent Fog

Silent Fog (study), 12 x 12

Fowler Road Beach Access, Southampton

Because of Hurricane Bill, the east coast was completely socked in with fog on several mornings I was there. The extremeness of it was so inspiring - I love the soft, unresolved edges and mysterious quietness. I drove to this beach access thinking I would actually paint on the beach, but I couldn't get past the road leading up to it.

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The afternoon before, I had done the following studies on the beach; so misty, moisty atmospheric conditions were already catching my fancy...

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Disappearing Shoreline 1 & 2, each 6 x 8

Beach Dunes at Daybreak

Beach Dunes at Daybreak (study), 12 x 12

Flying Point Road beach head, Southampton

A new day. I was up early to catch the early light and discovered this stand of pine trees silhouetted against the morning sky. It was so quiet and peaceful before all the beach lovers would arrive and settle in.

Cutting Through

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Cutting Through, 12 x 12

Off Cobb Road, Southampton

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My second painting on Long Island gave me huge problems (the light, so beautiful - so tricky.) After fighting with it for two hours I completely scraped it, which can be so very unnerving. My remedy was to find something really comfortable and just take it easy - play. (I highly recommend this.) This field offered me the familiarity I needed to settle back down and cut through the fear.

Islands in the Bay

Islands in the Bay, 9 x 12

Warner Islands, Shinnecock Bay, under the Ponquogue Bridge

I just returned from a great week of painting on Long Island where the light is a completely different than what we see here in Texas. The moisture in the marine air diffuses and alters the atmosphere; while the surrounding ocean and inland ponds create constant reflection and refraction. It all makes for a rich visual experience, especially when you are not used to it! In my next few posts I will share my efforts at capturing a bit of that special essence.


We also had a fabulous time reconnecting with dear, East coast friends! Thanks all!

Vine of Bougainvillea

Vine of Bougainvillea, 8 x 6

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I am still in New York, but headed home on Sunday. It's been a great time and I'm excited to share the work I have been doing. Photographing, formatting and posting from the road is just too hard. Meanwhile, here is another painting I emailed to myself for a "remote" post. In this small study, I was focused on the vibrant colors which are so unique to the bougainvillea plant (and which are a real challenge to mix!)

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See more Small Works

Meandering

Meandering, 30 x 40

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This painting is from last week - another large piece from my Georgia Low Country series. I just can't get enough of the waterways, marshes and dramatic skies!

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I have been on the road (CT, NYC, and now painting on Long Island) and actually emailed this to myself so that I could send it out when I got the chance. However, I am using a different computer and the colors look different on this one (a little too intense). Hopefully what you get looks like the real thing. I guess there is no way to guarentee that all of us see the same thing... color will always vary from computer to computer due to differing monitor calibrations. Too bad there is not one universal setting!

Golden Eve - large version

Golden Eve, 24 x 48 diptych (24 x 24 each)

After doing the small study for this, I decided to stick with my original instincts for color and overall treatment. The yellows and oranges convey that warm, end of day glow; and I love the cool, silhouetted shapes and creeping shadows that present themselves just as the light is dimming. That light and those shapes are what I was after in this painting.

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Side note:

"Why the diptych?" someone asked me after I posted the small one. I really do enjoy working in this format and look for opportunities to use it. For me, the fragmented nature of diptychs (or triptychs) builds in a subtle sense of stopping and re-starting; and a continuation to something beyond. The idea that the viewer can wander beyond the boundaries of the canvas and "fill in" some of the blanks gives me a great sense of collaboration. Plus, I just really like squares.

Hyde Park Bridge

Hyde Park Bridge, 12 x 9

On Saturday morning Plein Air Austin met to paint and several of us were captivated by this quaint, little bridge. There wasn't much traffic crossing over, so the whole place felt very quiet and secluded. The slow running creek below the bridge added to the peacefulness of the morning, but it is also evidence of our rain deprivation here in central Texas. The banks where I set up my easel are usually covered with water.

Radiant Fullness

Radiant Fullness, 30 x 24

On this particular afternoon everything seemed full to overflowing... the tide almost topping the marsh grass and the clouds billowing with light. Captivating moments like these practically stop me in my tracks. If I am in a car when it happens, I know it's just best to give in and pull over. :)