St. Louis Show

I'm in the middle of trying to pack my compact car with +30 paintings. I've come to the realization that I just can't take some of my favorites because they're TO BIG!!! I love to paint large and use a huge bakers spatula because I feel like I've physically stepped into the creating process. This series of 11"x14" will be the bulk of my newest for this St. Louis show and with luck I'll be able to tuck some 40"x30" along.

"Everyone Needs Roots"

I've been experiment with non-traditional Susan compositions. This is the first one I felt happy with so much so I'm willing to blog it. Normally, I don't crop in my still lifes. This whole idea of cropping is really a "shake-up" for my world of paint - I know I'm pathetic. And!,... look at all that negative space. I'm still using my favorite painting tool = palette knife and I'm loving this 8"x8" format.

(available at http://www.susanhongsammons.etsy.com/ for $145.)

Kari (2.5 hr head study)

Last night I joined a figure class at the Palette and Chisel. Romel de la Torre is the instructor. If you're not familiar with his beautiful paintings go to http://www.romeldelatorre.com/. You will not be sorry you spent a few more minutes on your computer. I like Romel's very laid back approach to teaching. He wanders around and gives everyone a few comments but mostly he just watches our results and doesn't rush us. Most of the people have studied with him before but I'm a new-comer to his group.

I did not think I could even get a block-in finished in +2 hours. Just goes to show what can happen when I focus. But I did fail to nail my block-in more concretely/with conviction. I think had I done so I could have ended with a less "spotty" look and perhaps some decent brush strokes. My brush strokes suck, pardon my language. So I can't wait to get to open studio and work on a more confident block-in and BRUSH STROKES!!!!!!!!

just in case you haven't notice my blatant flashing banners, I started an Etsy store (Etsy is an on-line site selling handmade items only) I recently posted some 5"x7" cards inspired by my love of making quilts. I cut fabric, not paint, to create each shape. I'm also showing some smaller paintings. If you've time and need some cards, please consider mine - Thank you http://www.susanhongsammons.etsy.com/

"Mac Red"

This was a temperature study. And I took artistic license by amping up the "heat", the temperature, of "Mac Red."

8"x8" ($149.)

9"x12" oil on linen mounted on hardboard

I set up this still life with the opposite intent of the previous posting. I used dramatic lighting with definite shadow and lit areas and placed most of my objects in the light except for one apple. Also, after painting several still lifes with minimal color and in the lighter end of the gray scale, I was after a louder and more dramatic idea. Besides using the contrast of shadow and light to create my "loud-er" still life, I thought if I placed color notes which sit close together on the color wheel I'd get more zing, a "hey look at me," which is why I used my favorite piece of copper with the red delicious apples. Placing the green grapes (so hard to paint) behind was my neutral and transition into the background space.

Still looking at David Leffel, Jeff Legg, Henri Fantin-Latour, and my new addition this week - Morandi. Teaching gets me back into still life painting because it's a great way to study all those juicy art issues in the comfort of my studio. But I am missing the great outdoors particularly since we're now blanketed in heavy gray skies. Once I finish painting for my January show I'll be back to plein air painting.

16"x20" oil

Playing around with atypical lighting for me. This still life was mostly in light using lighter fabric. I'm not sure if I'm finished because I'm wondering if I compressed the values particularly in the background and tabletop drop, would it make a stronger statement??? I've been re-reading David Leffel and Gregg Kreutz books as well as looking at Henri Fantin-Latour still lifes. From them, I'm guessing the answer is "yes."

Peonys in Buds

"Peonys in Buds"
14"x11"
oil on linen

Over the weekend I was finishing several different still lifes and also repairing this painting which I liked but not quite, know what I mean? I really wanted the peonys to pop and didn't feel they were as strong in the original painting as they could be. So what I decided to do was compress the value in the background as well as go a bit darker and cooler. Also I was more decisive with the lighting on the surface which the vase sits. Now I'm happy with it. Which version do you prefer?

"Colors From the Sideboard" 11"x14"

I have several paintings halfway completed and I'm trying not to start anything new. But looking at so much wonderful art creates more ideas which I throw quickly down on canvas in hopes to complete later. Now I'm trying to slow down and smell the roses and enjoy the journey of discovery with paint. For the first time ever, I'm investigating higher keyed still life arrangements. I'm defining high-key as a narrow range of values in the higher end of the value scale.

After starting this still life I realized it really didn't fully stay with my objective which is why I set up another and another to push to high-key paintings. I'll hopefully soon finish those and post them as well. The value variation in my background is very minimal and subtle. This is also new to me but I thought worked well to pop the foreground objects.

A very challenging element was textures. I had to scrape away the porcelain many times because I wanted a distinctly different feel of smooth compared to the other objects as well as I wanted the highlights on the porcelain to cause the most attention. This is an issue I'll have to address again and hope for better success in another painting. I've taken this piece as far as I'm able.