Here is another landscape detail from our alley. This is not our own gas meter; it is one from a few houses down that was looking particularly fetching on the day. It reminded me of one of the Imperial war machines from the Star Wars movies, and I liked the contrast between the clunky machinery and the tangle of green at the base.
Giardino Segreto – Watercolor, 10×8 – NFS
In the month of February I will be in a group show with many of my sketching buddies. It’s being held at the TVAA gallery, 700 N. Pearl, in Dallas. If you happen to be in the area, I would love to see you at the reception on Feb. 3, 2-4.
All of the pieces I will be showing are scenes or details from my neighborhood. Nothing is more than three miles from my house, and most of the subjects were found when I was walking the dog…so they are very close to home.
This watercolor is one of them. I loved the way the prickly pear on this house’s front step melted into the shadows, and the way the shadows of the corner, overhang, and hedge all merged to form one shape.
Invito – 8×8 inch watercolor – NFS
Last blog post I was planning a personal 30×30 challenge and here are the results. The intent was to experiment with watermedia every day, and I did a little of that, but mostly I ended up with studies for things I intend to paint again in a more considered way – those are the suburban landscapes.
The ones that are more experimental are numbers 11, 12, 15, 16, 17, and 19. There is a lot to consider in them about what worked, what didn’t, and why. Experiments are heaps of fun because they are done purely for the experience. If they end up being worth presentation, that is a rare bonus. Usually they suffer from “too muchness”. Too bright, too design-y, too incoherent, too unresolved. However, they are excellent dress rehearsals for do-overs that can take me in a bit of a different direction.
I always struggle with color because I always seem to end up going overboard even though I want to keep the color subtle. #18 and #23 are the closest to the way I want to use color right now. I’m glad that a few got close to the mark!
Number 10 has about the right amount of looseness. That is another difficult target.
There were a couple of do-overs within the 30 because I just couldn’t walk away from a motif when I missed the mark. And the one figure piece because that was the only watermedia I had worked on that day. It was included even though it didn’t really fit with the rest. Even the food court still life has more in common with the landscapes than the figure.
Putting them all together like this really helps in evaluating the individual pieces. I have got to get a wall in the studio fixed up soon so that I can view things side by side in real life!
Tomorrow I am going to start another 30 paintings in 30 days challenge. I’ve played along on a couple of these in the past, when another artist has announced a challenge and invited other people to participate. They were both really good experiences that advanced my work, and I’m glad I did them. The last one was in November of 2016, so it was almost a year ago.
So lately I have been in a bit of a rut and thought I would give myself a personal challenge. The parameters are pretty broad – the paintings just need to be watermedia. Watercolor, gouache, acrylic, ink, mixed media, whatever.
To get a little jump start, I’ve prepared some paper and panel supports. I really like starting with a surface that already has some color or marks on it for several reasons:
…I paint more loosely than when I start with a pristine white surface. This is probably related to the blank page paralysis that many people experience.
…a base tone with some texture to it gives me something to react to.
…colored paper for midtones with dark and white chalks is a classic drawing technique and a way of thinking that helps me organize my compositions.
I’m excited to get started. I have some new materials and heaps of ideas to try during the 30 days.
Thanks to curator Henry Biber for including three of my paintings in the current exhibit at the TVAA gallery, From the Mundane to the Specific. From his prospectus:
” Make the revisioning of commonplace objects worthy of display on a wall or a pedestal. A broken pot, worn old boots, antique dinnerware, the frayed arm of a chair, or a rusty part of a disassembled yard tool for example, can transform into something at home in a sphere beyond the ordinary. “
TVAA Downtown Gallery
Plaza of the Americas – Suite G-207
700 N Pearl,
Dallas, Texas 75201
Keiko Tanabe is our juror this year, and I am so pleased that she selected New Moon to be part of the show. View all the work at the Eisemann Center in Richardson, August 30 – September 30. The reception is September 24th from 4 – 6, and I would be happy to see you there.
Juror Kelly E. Mara has invited two of my portraits to be included in her upcoming show, “I Am Woman, Hear Me Roar”. I was unsure about submitting these, because both women are roaring quietly. But both of them are showing strength, in my opinion. I titled the watercolor on the left She Persisted and the oil on the right Sure in Silence. The show will hang for the month of August in the TVAA’s Plaza of the Americas gallery, 700 N. Pearl, Suite G-207. Reception is August 6 from 2-4.
Friday nights I almost always attend a figure drawing/painting session. Both of these portraits were done during one of those get togethers.
Last November I did a daily plein air project, going to the Arboretum every day. One day the place was full of containers of the most brilliant chrysanthemums. This piece captures some of that clear autumn light and the fiery color of the flowers. It is painted in gouache, which is a kind of opaque watercolor and a favorite medium of mine. The completed painting was waxed for protection, which means that this gouache can be framed without glass like an oil or acrylic painting.
Fall Chrysanthemums – 5×7 inch gouache on panel, $105 plus $10 shipping and handling.
Available for sale through my Daily Paintworks gallery – click here to purchase.
This is another of the little waterfalls surrounded by Japanese maples in the Dallas Arboretum. The trees have started their springtime explosion of color while the sky and background still have their moody and somber winter look. This is an optimistic painting of renewal.
Garden Falls – 6×6 inch oil on panel, $108 plus $10 shipping and handling
Available for purchase through my Daily Paintworks gallery.
In the Dallas Arboretum there is a stream that runs downhill amid a little forest of Japanese maples, with many little drop offs where the water falls. The “spring” in the title of this painting doesn’t refer to a spring of water, but to the season when this was painted – some vibrant green water plants had made their appearance, but the maples are still wearing the greys and browns of winter.
Garden Spring – 8×6 inch oil on panel $144 plus $10 shipping and handling.
Available to purchase from my Daily Paintworks gallery.