I was honored to be invited to participate in the exhibition “View from the Art Village 50-Year Retrospective” at the Beatrice M. Haggerty Gallery. The show was curated by Nancy Cohen Israel and celebrates 50 years of the Braniff Graduate School at the University of Dallas. I received my graduate degrees at UD and am thankful for the program as well as the opportunity to exhibit there again after all these years.
I’ll be showing this little acrylic piece.
Snow White – 4.5 x 7 inches, acrylic on paper
This is closer to my current usual subject matter: typical suburban landscapes. I noticed this birdhouse with the winter tree branch pattern when walking the dog early one morning. At that time the house was empty.
I like my results when I come at shapes kind of sideways, either by removing paint or by negative painting, rather than painting them directly. In both cases, forms are revealed incidentally when the shapes around them are defined. In this painting, it’s the empty space of the sky holes that received the heaviest application of paint. It may not show well in the photo, but in real life it’s the abstract empty spaces that seem to advance.
Vacation Home – 8×8 inches, acrylic and oil on panel.
Another one of the little landscapes. This is another of those “spontaneous” landscapes. I kind of think the spontenaity is in the way the paints arrange themselves, not in me. I can’t help but see things I recognize in the shapes the water and paint make.
In the Shade – 6×6 inches, acrylic and oil. $108 plus $10 shipping and handling.
Available to buy through my Daily Paintworks shop.
Lately I have been working on some little landscapes using acrylic and water soluble oils. They really are little – this one is only 5×7 inches. Acrylic is great for establishing a base painting with lots of watery flow. Then a layer of the oil was sloshed on and the painting completed by wiping out, scratching, or stippling away the paint from the lighter areas.
This particular one is what I have seen called a “spontaneous” landscape. Developing it was a lot like seeing castles and animals in clouds – the way the paint settled and arranged itself suggested the landscape forms. So the scene does not exactly exist anywhere but is certainly based on my experience of walking along dirt roads when the grass is crispy and dry, as it so often is in the middle of our country.
Dry Grass – 5×7 inches, acrylic and oil – SOLD
I loved the geometric shapes of the buildings, the tangle of shadows, and the way the utility lines broke up the intensely colored sky. This alley in Kilgore, Texas clearly needed to be painted.
Kilgore Alley – 6×6 oil on canvas panel – SOLD
In early summer, everything is green, green green. As summer begins to move towards autumn, there is more variety in the grasses and leaves as they begin to fade to tired grays, mauves, and tans. Over at the Cedar Hill State Park, where I found this scene, there are also many white and yellow wildflowers in the fall.
High Summer – 6×6 inch oil on panel, $60 plus shipping
Watercolor is the perfect medium for a series of paintings that has been percolating for a few years now. The subject matter is tree trunks, and how they show or heal over damage from insects, parasites, chainsaws, and so on.
A title for this series is giving me a little trouble. “Scars” is too full of drama for something that is a plain fact of life. There’s an appeal to “beauty marks”, but that’s too sentimental. Until I come up with something better, they can go by the title of “trunks”.
I enjoy doing these little studies I call Arrangements. They share the close, almost scientific observation with the botanical paintings. Additionally, they reflect the human impulse to arrange and classify objects, to line them up for counting.
This little study is done in watercolor enhanced with carbon pencil.