This is a corner of one of the adobe farmhouses that are still standing (more or less) in Big Bend National Park. It’s the first in a projected series that has as it’s theme the contrast between the right angles and geometry of man-made structures and the shapes of the surrounding landscape. A right angle, regardless of how eroded it is, makes me think of the person who must have made it, and what it might have been like to be that person in that place. As I envision the series, they will all be based on historic structures in Big Bend.
Adobe Corner – 14 x 11 inches, watercolor on gessoed paper, $308.00
Another piece is headed for a very good home. This one is probably the most Wyeth-like of any of the little suburban landscapes, and is a particular favorite of mine.
Fontaine Verte, 8×8 inch acrylic – SOLD
This is another in a series of dogwalk landscapes. You can see a nine patch quilt pattern from underlying layers in some areas.
Little Shrine – 10 x 10 inches, acrylic on panel.
Shoo Fly – 9×12 inch acrylic on panel
This piece continues the series of houses in my neighborhood, ones I see every day walking the dog. This one happens to be right across the street from my front door. I embedded a patchwork quilt pattern in the early layers of this one, a reference to the kind of home life that might have been anticipated by any of the people that have ever lived in the house. Shoo Fly is the name of the patchwork pattern.
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!
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.