Friday, February 23, 2018

"Ghost Moon" (16x20) o/p

I will have 3 paintings ( including the one above) exhibited for sale at the Briscoe Museum's "Night of Artists" opening March 23rd in San Antonio, Texas. This is my first time being invited to take part in the event which showcases many of the top western artists in the country -- the exhibition runs thru May 6th, 2018. See link for details~

Saturday, February 17, 2018

 Levels and Degrees (24x24) SOLD

This painting just sold at Maxwell Alexander Gallery... It is based on several sketches made last year in Southern Utah, and designed for the upcoming "Cumulus" group show at the gallery in Los Angeles~
(Frame by Mayen Olson)
















Thursday, January 4, 2018

LA ART SHOW

 "Available Space" (16x20) oil on linen SOLD

I am excited to be starting off the new year with the LA Art Show opening at the Los Angeles Convention Center on Wednesday, January 10th running thru Sunday the 14th. This painting, "Available Space" (16x20) and another, "Autumnwood" (30x40) will be featured at the Maxwell Alexander Gallery booth # 824.


(pencil sketch)

If you are unable to make it to this venue, I will also be having a solo show at the Maxwell Alexander Gallery this spring; details to come...











Thursday, December 21, 2017

Night of Artists at the Briscoe Museum

"Whitewall Canyon" (12x12) o/p

This painting will be one of three to show at the 2018 Night of Artists at the Briscoe Museum in San Antonio, TX in March. It will have a nice, hand-carved 22k gold frame by Mayen Olson Framers, and I am thrilled to be invited to show with so many great western artists! 





 




Friday, December 15, 2017

"Autumnwood"

"Autumnwood" (30x40) o/c

This painting will be exhibited (along with another, smaller piece) in the Maxwell Alexander Gallery booth at the 2018 LA Art Show, Los Angeles Convention Center, January 10-14.

This piece was a composite of references from field paintings, plein air sketchbook drawings and photos. I wanted a subtle "period" feel with the girls dress and hat, but for that to play second fiddle to the surrounding landscape. I spent some time this fall in Northern California (before the fires started) and did quite a few studies of dying trees, dead leaves and grass, combined with the late-day sunset where everything is in much more harmony palette-wise than any other time or season. 

The light source is weaker then, so I was mindful to keep the value range between light and shadow much narrower. I also chose the direction of light so that the ground shadows would direct the eye to the horse and rider yet without any direct sunlight on her face. This helps keep the composition working as a whole, integrating the landscape without over-emphasizing an obvious focal point...

The feeling I wanted was a 'contemplative pause'...the falling leaves and overall palette suggest not only a change in season, but perhaps a pivotal time in the young woman's life; a last ride on a favorite horse, or a farewell to a familiar place...whatever the situation, she has paused to consider it. 

Being in my fifties, I pause a lot more than I used to, season-to-season appreciating the beauty around me while contemplating the best use of whatever time I may have left...hopefully many more seasons and thoughtful autumns to come!























Thursday, November 30, 2017

Commission:

 (Untitled) Final Drawing 6x8"

I was recently commissioned to do a 36x48" southwest desert scene painting for a public space in Oklahoma city... Not exactly mid-western fare landscape-wise, but the client's vision for the space required some "western" atmosphere, and of course this is a subject I can really get into~


I first did about 10 thumbnail sketches based on my plein air paintings and sketchbook doodles from a trip to southern Utah and Maynard Dixon's homestead/studio last year...




  
After reviewing the pencils and using examples from previous paintings on my website and social media, we agreed upon an amalgamation of several of my thumbnail roughs into the final design (at the top of the page)...

 

Here are the final canvas stained and ready to paint (background) and a 16x20 "test" painting (with altered composition) under way to make sure I've got my colour palette working...
 

So far I've done about a dozen drawings and 4 colour studies in various sizes...you never can do too much homework before undertaking an important commission!











Saturday, November 25, 2017

THANKFUL!

 "Fertile Valley" (9x12) o/l

Thank you to my collectors and Maxwell Alexander Gallery yesterday for giving homes to these 3 paintings at the their Black Friday sale -- all 3 sold in the first hour!


 "Autumn Song" (9x12) o/l

These miniatures were done specifically for the sale, but also serve duel purpose in functioning as studies for larger paintings in progress~



"Desert Run" (9x12) o/l

VERY thankful this holiday season for the privilege to do this for a living, and for the support of my family, my galleries and all who find my work worthy to own -- Happy Thanksgiving everyone!









Monday, November 20, 2017

Is it done yet?

 "When Work Is Done" (20x24) o/l

This new piece, "When Work Is Done" will be featured in March at the 2018 Night Of Artists at the Briscoe Museum in San Antonio, Texas.  

When I was invited a few months ago I began this painting, and since it was the first finished of three that I will send, I had extra time to scrutinize it. I painted it rather quickly and tried to not finesse it to keep it's freshness, but after looking at it off and on I've noticed things that needed changing... Its always nice to have a period of time to consider work before it goes out the door as often the little nuances that need to be added, deleted or corrected are not immediately obvious...


(Original background colour)

For instance, I realized I wanted more colour harmony between the background wall, the porch floor and the guitar -- this necessitated bending the wall colour toward a much warmer tone by scumbling over it with some of the peach tones I used in other areas, while not completely obliterating the green underneath. I also loosened up some of the shadow edges, and added some fall leaves to give it  extra depth as well as a few more colour notes to key the whole palette together.

One of the reasons I don't particularly care for alla prima paintings (single session painting) is that fact that I always want to go back in (or over) areas of a composition later to create a better outcome; this is partly due to the effects I prefer that cannot be accomplished wet-into-wet. Working into wet paint of course affords immediate gratification with blending, etc., but there are textures that can only be achieved when the initial foundation layer is at least tacky on the surface. More time between sessions on a painting also lends sufficient time to contemplate the work thus far, and decide if it is indeed time to stop or not. 

As a famous artist once said,  "A painting is never finished, just abandoned"....of course as painters our goal is to abandon them at the optimum time~