"Jazz Note in the Limelight"

About two years ago I started a series of expressively free flowing figure paintings. Posted today is from my series called "Jazz Note." This series is both plein air and studio paintings. They began because of my interest in the effect of artificial and colored lights.

This painting was created in my studio from one of my favorite models. She has a vivacious personality and a willow thin pixie like figure. She loves to bring a variety of costumes and "interesting" music for posing. I let her have free-rein once I turn on the spotlight(s). Her body language language reminds me of musical notes on a page.

"Jazz Note in the Limelight" oil on linen $995.(framed) will be shown at City Art Gallery, NC.

oil sketch

12"x9" Oil on linen mounted on hardboard

This is an oil sketch I did for my class to demonstrate a way to begin using a more alla prima method. I didn't intend on finishing it but now that I see it posted I think I will. I'd like to play up the contrast between the onion skin and the smooth metal surface.

Today is the opening for the Palos Plein Air exhibition at the McCord Gallery in Palos Heights, IL. So if you're in the area, hope you can stop by - www.mccordgallery.org. They will be showing three of my plein air paintings painted in different Palos forest preserves.

"Thing Finding"

So maybe I can't blame it on the canvas totally. I think in the end besides fighting the cotton duck (see post Oct. 10. 09) my design a.k.a concept, a.k.a composition wasn't strong enough. No problem, back to the drawing board or rather, easel.

16"x20" oil on horrible to paint on acrylic primed cotton duck

blame it on the canvas

I've been working on four larger still lifes (16x20) and a large studio landscape (60x50.) It would probably have been more prudent had I finished one thought before beginning another but after seeing Michael Van Zeyl demonstrate several different block-in methods I just had to try them all, at once it seems. Today I'm showing two in progress. The first is almost finished. The one with the horse should be done but I'm faulting the canvas. Normally I paint on Claussens #13 double oil primed linen which I love. The paint flows off the brush with a nice light touch and lays where and how you want it too. The piece with the red horse is on cotton duck. YUCK, YUCK, YUCK!!! I felt like I was painting on blacktop. Like a stubborn child I fought with it all day. I think with the effort I spent trying to make this canvas respond the way I expect from Claussens, I could have nearly finished the painting.

on another topic,

The ArtPrize competition in Grand Rapids, MI was a wonderful and fun experience. Apparently 17,000 artists entered with 1100 acceptances. The art and styles and how art is defined varied greatly from tradition figure paintings, landscapes, photography, sculpture etc to very funky - bike converted into a port -0-potty. All attendees can vote on their favorite piece. The openings were very well attended. I stood near my painting for five hours constantly meeting and greeting people. I would definitely like to be part of this exhibition again.

"Black Plums"

I have post-ums all over my studio with scribbled reminders. Thought I'd share a few of my favorites. Most are from various art teachers and art friends from the past ten years.

*Paint the light and shadow

*See it, mix it, put it down

*Color temperature is relative to other colors

*A painting always has movement, find it

*Open edges continue, hard edges stop

*Simplify everything into shapes and value

*step back and observe

*fewer values=greater impact

There's so much to think about when your painting. It's nice getting lost in all that.

8"x8" oil on gallery-wrapped linen

8"x8" untitled oil painting

After watching Michael Van Zeyl demonstrate four different still life block-in ideas I was excited to make a new still life painting myself. Michael is an amazing artist and a wonderful teacher. I recommend that you check out his art.

Painting in my studio is such a different experience from plein air painting. There are no distracting city sounds or people stopping to admire or harass you as you paint. But I work from life and today used natural light so I still had that pressure of a limited amount of time to paint. My focus was on the shadow and light, so hard and so challenging.

I think this will be one for the "Adornments Show", a fundraiser for the Hinsdale Art Center in Illinois.

"Pond Gazing" (Caldwell Lily Pond, Chicago)

Caldwell Lily Pond is another favorite retreats of mine, not just for painting but for day dreaming too. The textures in this smaller city lily garden always change and the sounds of the city itself is greatly muffled by the thick grasses, shrubs and trees. So this morning I headed here to paint and also, to embarrass myself. I'd been painting about an hour totally focused on my work and enjoying the secluded little nuck I had planted my easel when I heard a group of people approaching, loudly. It was so out of place because people always are so quiet when wandering through these paths. Of course they parked themselves as close to me as possible all the while talking excitedly. Before I knew or even thought about it I "shhhhed" them all in this awful snake-like sound. I was immediately ashamed and apologetic but one can't take back a shhhh. It's just out there. Fortunately after a quiet moment they started to laugh and apologise back and so, all ended well. But I'm still really embarrassed that I did that. They were just so happy and excited to be there together in this beautiful place.

As for the painting, the lily pads are almost all gone. Some remain in almost a skeleton form floating on the surface. But I felt the colors were more varied than in the summer when the lily pads are dark greens and cover the water almost totally. This one is larger, 8"x10." Also painted on oil primed linen mounted on board and created with a palette knife.

Anyone else willing to share an embarrassing plein air moment???

"Tranquillity" (Savanna Oaks Forest Preserve)

Yesterday morning I had planned on returning to the city to finish a street scene but I woke to a beautiful misty fog. So I switched gears mentally and ran to a neighboring forest preserve. I was anxious the fog would burn away before I had a chance to paint. Well, the whole experience was soothing to the soul. I didn't see anyone or hear any traffic and even though the fog was quickly disappearing, within the woods it lay heavy enough for me to paint.
So I like this painting but maybe because I so enjoyed the whole process. I like it because I feel I captured a tranquil mystery that is present with mist as well as a sense of depth to draw you into the painting. 6"x8" oil on linen mounted on board. Once again painted with my favorite palette knife. ($145.)