My first painting of cactus.

I never finished this painting because I kept having to scrape away my starts. My values were too dark. I was surprised at how much lighter on the gray sky I need to work. I think in the end I'm fairly happy with my value study.

Notice the blue skies. After painting in Sedona we headed to Scottsdale area, left our winter gear in the hotel and worked on painting light-filled paintings.

These foggy photos means still in Sedona. I was going to paint a vista view of this huge ridge of mountains way in the distance but the fog was rolling in too fast so I just sat munching trail mix, watching the show.

One last posting about our painting trip to Arizona. I quickly snapped this photo during a break from the rain. I love the rich warm colors. This is still Sedona. I took a zillion photos and this is probably the only one that sort of feels like being there. I'm disappointed in my photography skills. I just can't get inspired to paint from them. Oh well, guess I'll just have to sell a few more paintings so that I can go on another fact-finding trip. I would love to paint in/near the Grand Tetons. I've never been there other than in my dreams.

City Art Gallery, Greenville, North Carolina

"From Coast to Coast and in Between"
Opening January 15th.

As I said in my last post, I'm in a show which opens on Friday. So I'm continuing with a few more oil paintings from this exhibition. City Art Gallery will be highlighting over twelve of my paintings. I'll be showing with artists Tjasa Owen from San Francisco, Tim Kennedy of Indiana, and Sallie Benton from New York.
http://www.cityartgreenville.com/

"Shimmering Lights"
30"x24" oil on linen
$1900










"Suspended Animation"
24"x13" Oil $1200.

"Buddies"

12"x12" Oil $845.

Sun Catcher

Normally I don't make New Year's resolutions but this year my hope/resolution is to take a plein air trip to some place like the Grand Tetons. Along with that I hope I can continue to study with David Leffel, and two other landscape and figure artists. Ralph Oberg has been recommended as a great plein air teacher and I love his paintings so I may try to study with him. Maybe putting this in writing will help me to make these goals actually experiences. As my wise friend said, "eventually is a myth, just do it." I think that is my mantra for 2010.

This little painting was started from a quick sketch during open studio. I've been tweaking it in my studio by trying to keep with the originally idea of large masses of simple shapes and value. The lighting was wild. There was natural and spot lights which washed out most of her back and side.

8"x6" Oil on Linen

It's minus 20 degrees windchill so why am I posting a summer lighthouse scene??? It's because I love being holed up in my studio with the sounds of the winter wind and sleet hitting my window. It's so nice and cozy in my studio. As soon as I can, I hope to be back outside painting the silvery winter air but for now, I'm posting something I tried to repaint from a smaller plein air study.

Transmitted Light 12"x12" oil on linen

Now that Thanksgiving is over and thanks to my sweet mother-in-law, I've an extra 5 lbs to shed due to her amazing six homemade pies,... it is time to get back into the studio. I'm painting for a three person show which opens 2010 so my postings will be limited until I can finish a few large-scale paintings. But here is what I originally set up as a fabric study but once again realized that it's really all about value. This piece was extra tricky for me as the light flowed through the fabric in many areas as well as picked up various subtle tones from the back and foreground. I used a palette knife for most of the time but grabbed a sable brush in the end to calm down some strokes in the shadow. I think I could have used several more hours to answer more questions but I decided to stop with this one and be happy with what I learned.

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."

"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.