Monthly Archives: January 2015
This is a tough piece for me since this is really out of my comfort zone. I rarely set out to portray anything unless it is in fairly exacting detail. So, there is a side that wants to obliterate the facial features and make this strictly an abstract. Or, commit to all of the available detail-except in this case, there is none.
There is also a new oil, and I have no idea where this one might go yet.
But, I see a head-and that’s how the one above started. This canvas I treated with a surface, which might make it a greater challenge-or might make it easier to make it “mine”.
So, please feel free to follow the progress of these two works. I will try to make updates as I work on them.
So, on this idea of working all of the media I ever have, exploring reaching new peaks, etc. I also understand how we have caves. These are places we are afraid of.
Personally, I am exposing light into those places for myself now and saying, “Really?”
The “Mind Canyons” show what I know, what I have become, where I am as an artist.
And, I am sticking my tongue out here, too!! I am on the rim, not in the bottom of that canyon. There are those that will also need to be ascended, but maybe they are a safe place to be. Might need a Topo there, too.
Today was to be all about art. We were predicted to get 4″-8″ of snow, a perfect excuse to get into the paint.
I have two canvases midway, and I had several challenges to fulfill. I can safely say the canvases are now too wet to continue on and the challenges are completed. A personal goal was also met today by exceeding prior views for my post in one day-and the day is not over.
For most of the morning, I seemed to be able to do no wrong. The right materials and the right colors seemed to just find my fingers!
My good friend, Jeannie Griffin-Peterka is really a presence in this piece. Her work and mine are aligned, but her palette is more controlled and subdued, and she blocks her composition differently.
Here is one finished last night that did not get photographed until this morning, which explains quite visually the difference in palette, though mine is usually has more white than this. I love my color!
I am having way too much experimental fun with literally painting with pastels. This paper was soaked a few times and the marks that are visible were made with a palette knife. Thanks again to my friend, Erika Carty who added more colors to my palette of pastels the other night.
Where I am not maybe channeling other artists, I am comparing my thought processes, and art processes to reaching peaks. I have a real love for hiking, seeing vistas from a different perspective, and looking down at what I have just accomplished or overcome.
So, this is a sampling…I am posting more.
A note about the way I work: every day, if possible. When I can’t there seems to be this deluge of artistic energy that is apparent on the week-end.
I accepted every “challenge” I got, from creating a piece a day for 30 days to a piece a day for five, and for a reason. They have forced me to think beyond the three-week long oil on canvas and even the small watercolors, since I really am striving to incorporate as much as I know in the 2-D world into single pieces. This is giving me an excuse to brush up on many mediums that I haven’t touched in a long time, and make them work in ways that I haven’t used them yet.
Erika Carty came to our Artshare meeting last night bearing gifts. The pastels she had included colors I don’t have and since I am starting to use them in my watercolors…I also have to give an acknowledgement to Mell Bosch who suggested using chalk pastels like I do oil pastels with my water-based paint. I took those pastels and played with them, only including Sharpie markers. I wet the paper first. And, there is no watercolor paint in this piece.
So, as I continue to work these challenges, this is a piece that I may not have ever produced otherwise! Thanks for this challenge!
All artists know days like I had today-the opposite of the “the blank canvas freeze” or “no inspiration” deal. I just needed to paint, glue, draw, cut, whatever it took. Oh, yeah, and write, which is part of it for me.
Beth Wittenberg was also being channeled here I’m sure. Silly crazy creature sticking it’s tongue out-she has created a few creatures who catch flies with their tongues!
The frenzy actually started last night but without my Frog tape, which seemed to have gone MIA, I didn’t want to start wetting paper. So, I did some oil pastel work, and called it a night. The tape turned up this morning in an odd place…
And, since I was feeling like well, what the hell, let’s just play…
I prepped another canvas earlier, so I am off to jump on that.
Blackbird Studio and Gallery is closed for the season. I have been trying to get there since Tuesday to pick up my work since the temperatures have been very frigid and tonight promises to break records. About half of the work is gone now, and I got sort of a melancholy feeling as I locked the door.
It was a good first season. We learned a lot in the process, and I am sure next year will be even better.
I am not hibernating though. I have a mega-solo scheduled for next month in Sanbornville at the Gafney Library, so having all of this work from Sole City and Blackbird home now is only a temporary phenomenon.
Can’t wait ’til Blackbird reopens and spring is here. It’s already been a weird cold, icy winter.
On to the Kittery Art Association, since I had a meeting of the Seacoast Moderns to attend there.
A drastic difference from 100 Market, not so much in quality of execution, but in depth. “Color Palette” offers a great deal of eye-candy. And, much like the “candy food group” is to the body, there is real no nutritional value to the brain in this show.
This is another venue where I am a member and regularly show, as well. I joined this art association four years ago to have an outlet, and for many of us, it does provide that in a lovely two-story building on Kittery Point. I couldn’t make the drop-off for this show, since I was hanging the Berwick Art Association show at Sole City, at the same time. There are some very technically skillful members, which was also my “draw”. And, it is not nearly as expensive to be a member as the Ogunquit Art Association or the New Hampshire Art Association-though, they look better on the resume since you are juried into them. KAA has no jury process.
Here are a few of my “picks” from “Color Palette:
As with the Gallery at 100 Market Street, the KAA shows are always very well-hung. Judith Bryant has a remarkable eye for making very diverse work, in medium, theme and quality, work together. And, she has no prior knowledge what she will have to work with until it arrives!
Not as challenging or thought-provoking as the Portsmouth show, but definitely worth the drive to Kittery Point his week-end.
The Kittery Art Association is located at 8 Coleman Avenue, Kittery Point, Maine. They are open from 12-6 on Saturdays and 12-5 on Sundays. http://www.kitteryartassociation.com
I can safely say that I saw some very high quality art today!! What a treat! And, I had “time to kill”, which as an artist means that I need to find something to draw on or, take in the answers others can give to you from their own visions. So, the perfect excuse!!
I have been meaning to get to the Gallery at 100 Market Street in Portsmouth to walk this show. I show here fairly often and the parameters of this show would have necessitated new work that I had no time to create. But, because I have a great respect for the curator and the quality of the work that she presents, I needed to make it a point to see “Guise, Garment and Textile”.
OK, I was hooked right here! The props and the photos of them on the “family” made it all too relevant. It almost felt like “Antiques Roadshow” where a participant shows up with the antique and all sorts of provenance.
David Mendelsohn is an acquaintance I very much admire, though he does push a feminist button or two with his work, when he eliminates heads and covers them with hat boxes.
Denis Perrin’s work, including “Watching for Swallows” was so historically perfect I had to wonder if he was born 150 years ago. Style, paint and application was too incredibly European Impression, almost Berthe Morisot.
The 3rd floor belongs to Caroline Rufo. This articulate abstract craftswoman reinvents the likes of Richard Diebenkorn and all other painters who have taken their compositional inspiration from aerial photography. Her titles, like “Seeking Union” also allude to architecture and building, in the emotional sense.
But, there is sometimes a sour note in a show this well executed. And, it is on the 4th floor, which tells me that it is good enough for the show, but maybe it needed to be on the 4th floor-for political reasons.
I am native American, so a piece like this entitled “The Raiding Party” was not a happy end. From purely aesthetic principles, a well-articulated and executed piece-but it smacks of knowing nothing of the Trail of Tears or any of the other atrocities that my people dealt with.
Overall, this show is one of the best that Portsmouth has offered in a long time. And, since I am very pro First Amendment, I applaud all of the work in this show, whether or not I agree with politics or philosophy, because of the quality of the execution.
The Gallery at 100 Market Street in Portsmouth is open Monday-Friday on all 4 floors. The 3rd and 4th floors are not available on the week-ends. This show runs through mid-February.