Ocean Dunes - Enlargement

Ocean Dunes, 18 x 18

This is my last studio piece painted from my Long Island plein air studies... for now anyway. Being there this summer pushed me in some different (and sometimes scary) ways... all you creatives out there know what I mean. Sometimes art and fear go hand in hand. And fear can be good if it's the kind that makes you take a risk and try something new.

Morning Vapors - Enlargement

Morning Vapors, 18 x 18

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Here again, I worked from my small plein air study to paint a larger painting in the studio. Revisiting my field paintings takes me right back to the original moment in time - complete with sights and sounds. On this particular early and foggy morning, a very cute couple came speed walking past. When they saw what I was doing, they slowed down and asked if they could take a look. (Most people actually don't stop.) It was really satisfying to me when they agreed that the subject was worthy of painting. "And it's right here in front of our very eyes!" they said. As if, maybe, they were seeing it for the first time. I felt like I had done my job that day.

Dissolving to Mist - Enlargement

Dissolving to Mist, 18 x 18

This foggy peninsula, coming and going from sight in the mist, reminded me of the Brigadoon legend. Remember the old musical classic about the village in Scotland that would wake up for just one day every hundred years? At the end of the day, they would all disappear into the mist for another century. (The enchantment kept Brigadoon from being changed by a progressing world.) Okay, this homestead does have electricity and probably even wireless internet access... but still. We can pretend.
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Painted from plein air study done on Long Island - Mecox Bay.

Silent Fog - Enlargement

Silent Fog, 18 x 18

So you thought I was done with all that fog? Nope! After doing the small color studies, I returned to my plein air pieces and painted them onto larger canvases. This revisiting process allowed me to solidify in my mind how I got there and to understand it better. I also just really fell in love with the soft subtle gradations in value and couldn't leave them alone. :)

I am a little behind in posting, so this one and the next three are from a couple weeks ago. I have a show coming up on October 24 here in Austin at the Davis Gallery, so I have been busy trying to get all of that together... well, and travelling to the workshop... must slow down...

Tree & Sky Studies

Tree & Sky Studies, 6 x 8 each

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In Scott Christensen's half day workshop, we were encouraged to go out and do as many "starts" as we could. We were to focus on the elements that puzzle us: trees against sky, how the light makes some things warm and some things cool, how the values help to establish important horizontal, vertical and diagonal planes... but not worry about finished paintings.

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He pointed out that we would all become much better painters if we would stop trying to make "completed, perfect paintings" while in the field. We should be out there observing, learning and experimenting. No wonder he's so good! :) These are my three studies from that morning.

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I wish I could share every detail of my "Weekend with the Masters", but it would be way too much to talk about every demo I saw and panel discussion I heard. The teachers were gracious and engaging and there was a spirit of comraderie among all the participants. It was pretty fabulous in every way.

Rocks & Ridges

Distant Ridges, 6 x 8

Rocky Outcropping (workshop study), 8 x 6

I painted these two studies in a daylong workshop with Skip Whitcomb at Weekend with the Masters in CO. He did a fabulous demo for us in which he also shared bits of his outlook and philosophy. One of the participants got it right when she dubbed him a "cowboy poet".
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Skip's focus was to get us to really "see" and celebrate the large abstract patterns in nature. He encouraged us to step back and observe the dramatic shapes created by light and shadow crossing the forms in the land. His sketchbook is full of expressive thumbnail drawings that simplify everything into shapes and values. The above studies were my response to his challenge. (I confess, there was a third one that didn't make the cut!) :)

Mountain Road Studies

Mountain Road Study 1, 12 x 9

using Diazonine Purple, Thalo Green and Cadmium Orange

When I last posted, I was in Colorado Springs at the Weekend with the Masters Workshop. I am home now, and finally got some pictures taken...

I had a half-day workshop with Kevin Macpherson (not enough time with such a master but oh, so instructive). He gave us an assignment to paint the landscape using only three colors - Cadmium Orange, Diazonine Purple and Thalo Green (plus white). We were to mix these colors to find the best representative hues and values for our subjects. Removing the obvious colors from our palettes forced us to "see" the relative values and to be creative with assigning color to shapes.

We were also invited to try a second one - this time using only yellow ochre, burnt sienna and black (plus white). Same idea, remove color dependence and just see everything as value tones. It was hard and really stretching!

Mountain Road Study 2, 8 x 6

using Yellow Ochre, Burnt Sienna and Black

A huge highlight of the week was meeting up with blogging friend, Pam Holnback and having a fabulous grand finale dinner in her home! Isn't that the greatest? I love it when the world gets smaller. Thanks again, Pam!

Foggy Treetops

Foggy Treetops, 7 x 5

This is the last of four color studies in which I took two colors, mixed them for a variety of muted neutrals, and added white for value shifts. In this piece I used red and green (yes, Christmas Red and Green.) What I enjoyed most about these little experiments was discovering many ways to say "grey day", without using the obvious black and white.

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Note from Colorado: Workshops, demos and panel discussions have been unbelievably fabulous; and each day is jam-packed. Best of all, there is a wonderful spirit of generosity and support both from instructors and other students.

Foggy Dunes

Foggy Dunes, 7 x 5, SOLD

This is my third study in finding color-based neutrals. For this piece I used combinations of indigo and yellow plus white to establish a range of foggy grays. This excercise was really helpful before embarking on some larger fog and mist paintings! Can we ever experiment enough?

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Personal side note: I am now off at a four day workshop with some incredible painters in Colorado Springs! Kevin Macpherson, Scott Christensen, Skip Whitcomb... I am pinching myself. It's like being at the most fun camp. I always loved camp. :)

Foggy Field

Foggy Field, 7 x 5

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This is the second of four small "color studies" I did to experiment with muted, foggy tones. As explained in my last post, for these experiments I limited myself to two colors (plus white), and mixed them together to find interesting greyish blends. In this one, I used green and violet. (Okay technically, both of those colors were mixed first out of primaries, but I limited myself from that point on.)

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Foggy Road

Foggy Road, 5 x 7

Fog... love it. My next four posts will be some small fog "color" studies (done in my studio). I know that sounds like an oxymoron, but here's the deal... while I was painting fog in the field, I was painting fast & fursiously and found the foggy greys through intuition. Back in my studio, I have attempted to discover greys in a more intentional way. These next studies were basically painted in two colors plus white - mixing them to find some rather delicious greys. This one was painted with mixtures of orange and blue.

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Morning Vapors

Morning Vapors (study), 9 x 12

Old Town Road, Southampton

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This is the last of my Long Island plein air paintings. I'm always sad when I know I am out painting in a place for the last time. I felt like I was just starting to "get it" and then it was time to go home. SO, don't be surprised when you see some of these images again. I have been revisiting the fog and the mist and the vapors in my studio ever since I got back. It's like finishing a thought - you're kind of stuck until you get it all out! :)

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Painting friends - Is anyone going to the "Weekend with the Masters" in Colorado Springs next week? I will be there and think it would be fun to try and meet up. Let me know.

Dissolving to MIst

Dissolving to Mist (study), 12 x 12

Mecox Bay, Southampton

More fog - I had great fun with this particular weather pattern! Beginning this painting, I made mental notes about the reflections, the values, and the mist, thinking that the sun would come out and change everything. Instead the mist got thicker and by the time I finished, I couldn't see any of it any more! Painting outside - always a surprise.

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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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. :)

Golden Eve

Golden Eve, 12 x 24 diptych

Next week, I will paint a larger version of Golden Eve. Working smaller first helps me get the shapes, color and general direction in place before I commit to a bigger canvas. I was talking with my great painting pal, Julie Davis, about how this process can feel repetitive at times. In practice, I find that the scale differential usually changes things so much that the larger painting is a completely new challenge. It's really useful work out, or at least consider, some of the elements ahead of time. I don't always do it, but it can be a very helpful discipline.

Ebb and Flow

Ebb and Flow, 30 x 24

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I wonder at the variation in the natural world - the tide, the sky, the light. Everything is constantly changing but there is a definite rhythm to it all.

Storm Overhead

Storm Overhead, 36 x 36

We are in a severe drought here in Texas this summer, so storms are just something we dream about... or go on vacations to experience! This is a larger version of the plein air study I painted in Georgia last month. I love the anticipation of a good, hard rain; I especially enjoyed the drama of the darkened sky and watching the light break through in the distance.

Morning Gilds the Sky

Morning Gilds the Sky, 36 x 36

This larger work is taken from a plein air study I did in Georgia. I was completely taken with these slightly silhouetted trees against the beautiful mottled sky. Revisiting it was just as fun as being there the first time!

On a personal note, I spent long days in the studio this week, painting larger work and framing. The big canvases are harder to photograph, especially when wet, so I was able to post until now. I hate being MIA, but sometimes one flow interrupts another. (And usually it's best to go with the flow...)

Commission Studies

Mountain Meadow Study 1, 6 x 8

Mountain Meadow Study 2, 6 x 8

These two small studies were the first step in my recent commission process. I used them to show how placement of the horizon line would impact the overall "feeling" of the scene and then, of course, to choose. With the horizon line placed low, the painting is all about the big sky and vastness of the land; placed high, the painting is all about the closeness of the field grasses. It's a very slight shift that results in a significantly different perspective. (BTW, there is no right answer here, it's just personal preference. My client and I both preferred the top one. See Saturday's post for final commission painting.)

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Mountain Meadow

Mountain Meadow - Montana, 16 x 20

This is a commission piece I just finished. I don't do many of these and it always fills me with a small degree of fear. (Painting for someone else is just different than painting for yourself!) My number one rule is that I have to have been to the place. My number two rule is that I have painted there and know something about the color and light. Then I try and combine my client's ideas with my own experience to come up with something that connects.

Here is the progression from left (the scene we started with) to right (the scene with alterations/final painting). Each painting informed the next as I "pushed" the composition. The last one seemed to best capture the wide open places and big skies of Montana; the foreground trees providing an important sense of scale. Many thanks to my new friend and patron, D.K., for giving me great artistic freedom and for removing the fear!!

Mountain Meadow - composition progression

On another note, I want to thank Barbara Muir for awarding me the Bella Sinclair Award for "Friendship, Sisterhood, Sharing and Caring." I am so thrilled and honored by getting it from her - SHE is the ultimate sister and friend of sharing and caring! In blog-award tradition, I get to pass this on to other blog sisters who have also been very encouraging to me: Carol Schiff, Catherine Jeffrey, Jala Pfaff, Janelle Goodwin, Karen Phipps, Marion Fortunati, Nancy Hartley, Pam Holnback, Rahina Qh, and my own real-life sister Erin Kleider.

Sunlit Pueblo

Sunlit Pueblo, 12 x 12

On Sunday, Plein Air Austin members gathered to install our plein air exhibit. It was very exciting to see it all come together. We have 37 artists exhibiting and over 110 paintings on display! If you are in town, please join us at our reception this Thursday...

In the Plein Air Tradition: Painting on Location
Corridor of Arts - 700 Lavaca (on the lower level)
Opening Reception - Thursday, July 16, 5-7pm
(Free parking in garage across street, enter on Guadalupe)

My paintings Blue Barn, Honeymoon Cactus, Upper Falls, Sunlit Pueblo will be on display. All are 12 x 12.

Pool House Morning

Pool House Morning, 12 x 12

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Saturday morning our painting group met up Deep Eddy Pool, another favorite Austin haunt in the summer. This is actually the pool house entrance - I just couldn't get past the fabulous morning shadows on the building. Swimming here after painting was a great reward; AND they sell tasty Mango Jim Jims at the snack bar (kind of like shaved ice). So good and so summer!