Happy Birthday Karen!!!!

Happy Birthday to you,...

Karen, Hope you had a great day and an even better year!

I was intrigue to try to paint the thing we don't bother to see and pull out the interesting. I think I should have added cars in the background to complete the statement but I was having fun with the weeds and track. I forgot about the cars until I looked at this the next day.

Palette knife with oils on linen mounted on museum board. 8x10.

The Palette and Chisel Art Academy and Gallery will host it's annual studio clean out sale tomorrow (Saturday Nov. 21 11am-4pm). All art is $300. and less. Karen Phipps and I both have some paintings in this one day show. It's a fun salon style exhibition and a nice fundraiser for one of America's oldest non-profit art organizations.

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."

"Blaze" 48"x36" Oil on Linen

"Blaze" is the latest in this on-going series inspired by my neighbors Sugar Maples. I'm playing with abstraction and expressionism and realism and color and edges, all the usual stuff on my list of important art issues. But this series is large scale (large for me anyways) and the work is all palette knife. I can't quite get that intense redorangeyellowish hue found on this amazing tree. I like the physical exertion necessary when working large. It's a nice change from my 6x8s.

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.

"The Soloist" 24"x24" oil on linen

Back in September 21 I posted some of the things I think about while painting. Actually, I wrote that around my studio I have these yellow post-ums with reminders. Since then some of you have shared yours with me which has been so great and hope more of you will do so as well. So here are a few more of mine little notes. Many are not original ideas but taken from art books and artists.
*SIMPLIFY (I tend to noodle and dabble)
*create simple flat masses
*shadows first, they hold down the lights
*background, is used to create the halftones
*a brush stroke has a beginning and an end

"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.

"Tea with Lemon" www.hong-sammons.com

Lately I've retreated into my studio more than plein air painting because I've been thinking about, in paint as well as in my head, about some of my notes posted around my studio. One thing milling about is what makes art good. There are so many many different ideas on this subject I would love to hear your thoughts.

I find still life's a great opportunity to pursue some of these qualities which define art for me in undisturbed solitude. For this set up, I was really trying to push creating form from shadow and light but also some of the impressionists ideas of color patches. (6"x12" oil on linen)

"Pub Stop" 8"x6" oil painting

This is one of my favorite pub corners in Bucktown because it looks more like an old fashion corner shop. Maybe it was at one point in time. Can you believe I forgot to put in the type on the front sign?

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

"Adornments 2009" exhibition and sale

20"x16" oil on gallery-wrapped linen

10"x20" oil on gallery-wrapped linen

8"x8" oil on gallery-wrapped linen

"Adornments 2009" is an exhibition of diverse original arts. The opening is this Friday night in downtown Hinsdale. If you're in the neighborhood I hope you can pop by. These are three paintings which I have hanging for the show at a reduced rate since the proceeds support the Hinsdale Art Center.

I have recently started teaching at this art center and am absolutely loving my time there. The staff is supportive, knowledgeable, and so friendly.

Andersonville Arts

Friday night the Plein Air Painters of Chicago had an opening with over 35 paintings of Andersonville, a Chicago neighborhood. The Edgewater Historical Society asked our plein air group to show our paintings. This unique neighborhood was originally mostly Swedish. I have participated in this exhibition for the past few years and yet continually make paintings at this particular intersection. I find each corner so unique in nature and story so that it's been a constant source of information. To date, I've made six paintings of this area and have discovered I'm not yet finished. Today I'm showing just a few of my thoughts and impressions of my corner. Each painting is 12"x9" Oil on Linen and is for sale. Proceeds go to support the Edgewater Historical Society.

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

another animal painting

If the heading doesn't make sense to you, "another animal painting," please read yesterday's blog.

Last night I jumped outside to tackle The Beast, cityscape's once again. Wow, what a totally different feel you get painting in the dark. The dark rather insulates you from the craziness and tones down the city clatter. I wish I had more time to resolve more issues in this piece but mostly I just wanted to blop in some temperature notes. Now I can't wait to get back outside and do more night paintings. (used a book lite to illuminate my canvas and palette.) 12"x9" oil on linen

"Filtered Lights"

60"x36"

Oil on Linen

Here's my shameless plug for the art competition http://www.artprize.org/ which opens on Wed. It's quite unique in that it is a peoples choice award only art competition. So please, go to the website (under search type my name or title of my painting) or openings and look for my painting. I'll be in Grand Rapids, MI this coming weekend to do the meet and greet thing.

This painting was created in my studio and is the direct result from numerous plein air paintings of my neighborhood's sugar maples. I used a bakers spatula and palette knife.

A different kind of animal

This morning was my second attempt to paint in a section of Bucktown called six corners. This is the loudest place I've ever tried to paint. I can not express strongly enough just how loud painting at this intersection. I spent half the time with my fingers in my ears because the sirens combined with motor vehicles, subway and general hustle of a day sounds hurt my head. After a second attempt, I realize this animal had me and I didn't care. Time to pack up and find another location to paint. Someday I'll be back but not until I'm better equip to mentally and artistically handle "the animal."

p.s. I called it "the animal" because Karen Phipps best put her finger on the situation. We were discussing what went wrong and what went right and why it was a tough experience. Wisely she said, "Cityscapes are a different animal."

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???