Illusions of depth

Lavender Cascade

Pastel, 18X24

Yes, an underpainting serves as a fundamental purpose, to set the values, and overall color, tone and temperature of a painting. Used beyond the rudiment purpose, underpainting can enhance the energy and interest in a painting, creating a layered effect and the illusion of depth and volume.

Over the past year, I have been exploring the possibilities of underpainting in watercolor and applying it to pastel landscapes...some small, others much larger as this one is. The tone, value, and color are established in watercolor, allowing for the watercolor to do what it does best...create a wonderful mingle of little explosive color blossoms. Then, pastel is applied, allowing for some of the subtle watercolor creation to show through, enhancing the illusion of air and space.

I will have 10 or so of these pastel landscapes on exhibit at Kybecca September 1st through October 31st.

painting again

Finally...seeing again through 'painter' eyes.

Pastel 18X24

View from the island

As often as I can, I walk the path that leads from the neighborhood stables to a little island park nearby. The path encircles the island...and along the path...I see green, blanketing the water, the trees...everything.

From the island, I can see the bridge connecting and the mass of trees...a seamless transition from one land to another...through the island foliage and the haze of green, I see the path clearly...leading me to this point.

View from the Island

Pastel on Ampersand Pastelbord

9x12

Painting as I want

'One day seven years ago, I found myself saying to myself- I can't live where I want to- I can't go where I want to- I can't do what I want to- I can't even say what I want to...I decided I was a very stupid fool not to at least paint as I wanted to...as it seemed to be the only thing I could do that didn't concern anybody but myself...'

Georgia O'Keefe, 1923

Hillside Bouquet

Pastel on Ampersand Pastelbord, 16x20

...painted as I wanted to

...with energy, fullness of color, and an unusual perspective...of one of my favorite places.

On exhibit March 4th-28th as one of the "staff's favorite picks" in the gallery at Liberty Town Arts

Aquabord Surface testing

To my complete enjoyment, this month I have had the opportunity to "test" the new aquabord surface produced by Ampersand Art. (Thank you Andrea and Elaine!) For me...joy in painting not only comes from the art of creating, but also from the science and products used and explored.

Painting is much more than simply using some random pigments and applying them to a surface. The 'scientist' in me spends a great deal of energy...and enthusiasm...in choosing pigments...those properties and qualities that will not only lend themselves to a harmonious palette, but also enhance the longevity of the painting. I apply similar considerations when choosing a painting surface. 'Knowing' your paints, brushes, surfaces all enhance the integrity of the process...and I believe, the integrity of what is produced.

Blind Date

Watercolor on Ampersand Aquabord

For the past 2-3 years, almost exclusively, I have preferred the textured clay surface produced by Ampersand. Below are a few of the elements and findings in "testing" the new surface along with my favorite characteristics of the surface.

Surface Properties:

Durable and reliable support…with beautiful texture effects as a result of air bubbles trapped in the surface that are released with water.

Stands up well to graphite and erasing without noticeable surface damage. Graphite erases more easily and more completely on newer surface. Pencil mark remains visible and clear when wet

The ‘white’ of the surface I would describe as a neutral or subdued white (almost warm) Ivory color when compared to a standard white… that lends itself well to complement pigments/ pleasing color. Similar in color to most ‘rough’ or cold pressed heavy weight watercolor papers, particularly Arches. Coarse and assertive, somewhat ‘gritty’ texture.

Paint went on smooth with even drying of flat and graded washes, resulting in less backruns and blossoming.

Even when saturated, backruns and blossoming were minimal.

Pigments (even staining pigments) lifted cleanly. I would need to test using heavier glazes to compare lift ability.

Pigments maintained their color and intensity…and compared to paper the intensity, value, and chroma are enhanced on this surface.

More "testing" to come...and the excitement of a new and improved surface...

Ambiguity

Beginning the new year, my satisfaction has waned with the ultra-real paintings...those in which all the information is given. Where else in life is all the information detailed perfectly in order for you to exactly see the situation, draw the right conclusions and make the right decisions, and predict the future responses?...almost never...Similarly to the ambiguity in life situations and the excitement of not always knowing the outcome, curiosity and intrigue is created through an abstract arrangement of elements...visual elements in a painting that allow for exploration and personal interpretation.

For me, however, there is a point where patience is lost to the vague ambiguity, as is the case with completely abstracted paintings. Visually, I prefer some representation, allowing for degrees of abstraction in shape, color and edges. I need a few answers, some plan...some information...but not everything.

Untitled (for now), Pastel on Ampersand Pastelbord, 16x20

And so, I find myself drawn to these pastel landscapes, responding to the watercolor foundation; those accidents that occur naturally when water and pigment react to the dry, pumiced surface of clay. Subjects still 'representative' but not quite fully developed, interpreted...standing just outside the rows of vines...seeing the vines, but not every leaf...appreciating the balance between the order and disorder of things...given just enough information to draw my own conclusions.

Goodbye colors of fall

Goodbye to fall...warm greens, golds, reds replaced with cool whites, blues, and browns...always in transition...and colors that reflect the transitions in life.

Colors of fall

Pastel on Ampersand Pastelbord

9x12

Blessings of joy, peace...and warmth...this holiday season!

Watercolor Workshop: The Planning Phase

Switching gears from pastel, my focus this week has been on preparations for the upcoming "Intermediate Watercolor Workshop". Having taught many workshops over the past few years, the topic for this class is design and composition, featuring simple still-life subjects and cast shadows. Though I realize, pigeons represent more of an un-still life subject. However, the principles still apply for the purposes of this class.

The challenge...finding a unique, unusual perspective of the subject, possibly even abstracted, considering composition design structures, interesting value shapes, positive and negative space shapes.

One method I use for doing this is to simplify the reference, focusing on the areas that draw my attention, catch my eye, or trigger an emotion. I will often squint my eyes to minimize the shapes so I can see the simplified values and shapes...walk around the subject, using a viewfinder or camera to crop the image...and the finally, sketch various compositions.

These small sketches will serve as "tests" for the design and composition. Here I am considering how I will you break up the space, what is the most interesting and pleasing arrangement or perspective of the positive and negative shapes, am I going to use a design structure for my composition, how does the light move across the forms, etc.

The "test" is where most of the decision making gets done...if something doesn't work...no worries...I'm not committed or married to the composition...just trying it out.Workshop participants are welcome to work through a few of these sketches prior to class. We will spend a good part of the morning looking at your subjects, finding interesting compositions and considering design elements. Below are a few other examples of subjects that work well for this challenge or follow the link to see some examples from a similar class earlier in the year.

And for those of you in class who just love to paint florals (as I do)...another example.

Happy Planning!

Less Blogging, More Painting

Closing out the Thanksgiving week, I am reminded that 'Thanksgiving' is not just a holiday...but thanks giving is a state of mind that should be carried with us every day. I am thankful for many things this week...most notably, my friends and family who uplift and enrich my life.

Serendipity

9X12

Pastel on Ampersand Pastelbord

'Tis the season for small works... perfect for me, stripped down to the essentials of time, no time for large works, delay, analysis, procrastination...self doubt...only time for the fervor of work, and creative energy. In this fervor, I am finding a flow and rhythm in landscapes (that until now, I have unintentionally avoided), responding to the watercolor underpainting with a deeper sense of expression and intimacy... and with an efficiency that comes from the pressure imposed by time.

A few of these landscapes will be on display for the "Small Works" exhibit opening

Friday Dec 6th at Liberty Town Arts in Fredericksburg.

Paintings will also be on exhibit in December...

The Workhouse Arts Center at Lorton

Merger of Art and Design: MAD Artist! Designer's Choice Exhibit

Nov 22nd-Jan 4th

as well as

The Fredericksburg Center for the Creative Arts

Small Wonders National Juried Exhibition

Dec 6th- Jan 28th

Happy Thanks Giving today and every day!

Southwest Art Top 50 Finalist

Secret Places

Watercolor on Aquabord, 22x30

As an ode to my southern Texas roots, I entered this painting in a juried competition with Southwest Art, entitled "21 over 31" for their November magazine issue. Though the scene for this painting came from a small Virginia town, the image seems to transcend location, recalling those places in so many small towns...that draw in curiosity and the potential of undiscovered treasures.

Among the company of over 3000 entries, "Secret Places," didn't quite make the "21", but was selected as one of the top 50 finalist. To see the winners and some amazing "runner-ups," visit their website.

And finally...after many trips here and there around Virginia, "Secret Places" is "home", on exhibit in my studio at Liberty Town. If you are in the downtown Fredericksburg area, stop by and check it out.

Poetic energy of underpainting

In pastel, my comfort in painting leans toward what I would term "ultra-realism" . I typically work spatially completing section by section, piecing together lines and shapes, that when completed, works as a whole.

Challenging myself for a looser interpretation (as I often see a landscape), I wanted, instead, to respond to the poetry of the underpainting, the poetry of shapes and mingled color. I began on white (which I almost never do) ampersand pastelbord that can handle alot of water, pigment, and pastel. Considering the harmony color, temperature, and with the goal of creating luminous contrasts of blue and gold, I began to add color...no worries about mess, details or representation, simply looking for a response to the energy of the landscape.

The watercolor "underpainting"

As a watercolorist, I found myself tempted to approach this underpainting as I would a finished watercolor, working light to dark, wet-into-wet, glazing layers...but then this will be a pastel, on pastelbord. The underpainting will only serve to create a base (mostly covered with pastel) of warmth and value and give direction to the pastel that will come later... hopefully a loosely interpreted poetic landscape.

The "later"... untitled

Pastel on Ampersand Pastelbord

9X12

Featured at Lorton Arts

Orchestrating lines, positioning, contrast of imagery, harmony of values, color intensity, analyzing compositional placement...I must be painting...

...Well not quite...today the show went up at Lorton Arts and will be on exhibit through Nov 7th.

I am amazed at all the factors involved in hanging a show (though I have done quite a few now), and how painful the process can be. Placement of paintings on a wall is an "art" in itself, one which I struggle with for every show. The most valuable lesson learned from today...never underestimate the value of help, everyone has a different "eye" and process for installation. Thank you Bonnie and Kathleen! I couldn't have done it without you.

Exhibiting Oct 4th-Nov 7th

Workhouse Arts Center

Gallery 16

Opening Reception

Saturday, Oct 9th, 6-9p

9601 Ox Road

Lorton Arts, Lorton, VA

www.workhousearts.org

703-495-0001

The curious world of Iris

There have been many "starts and stops" to this painting over the past few months. Each time returning to work, I find myself re-evaluating my intention..what is it I see here?...what is it about this painting that keeps me returning? After all, a new day, brings new perspective (both in life and in art)...new interpretations, new insights.

So I have to ask myself...can my intention be the same each time I return..what I see in the image be the same...when I have changed from day to day? I don't believe it can..exactly; the mood, aesthetic, and way of seeing have changed. I notice these subtle difference in the way I have approached different areas each time following a pause in work. The challenge is in finding harmony among the various "intentions" within the painting and exploring the curiosity that attracted me in the beginning.

So, what is the intention here? Of course, most will see "flowers"; the iris a symbol for hope, faith and wisdom. But today I see energy, curious wonder in the flow of line, lost and found shapes, and the statement of color.

The curious world of Iris

Pastel on Ampersand Pastelbord, 16X20

On Exhibit October 4th-November 8th

@

The Workhouse Arts Center, Gallery 16

Lorton Arts Foundation

Life has taken hold

Has it really been 3 weeks since my last post? Graduate school, coordinating preschool and elementary school schedules, children's social calendar, responsibilities at work, at home, etc, etc. have consumed my time... (sigh) leaving little room for conceptualizing art and painting...and therefore, little time or fuel for blogging.

Struggling for balance, I find myself retreating from the unnecessary... "stuff" that I often feel compelled to do relating to art... the exhibits, juried competitions, gallery responsibilities...and even teaching and blogging. Allowing time for the doing...allowing myself the time to clear the chatter in my mind and paint. Art is good for that, not only in the doing, but also the viewing...quieting chatter...calming the spirit.

This is a painting in progress I began a few weeks ago. Pastel (18X24) on an Ampersand Pastelbord. Most pastelist will agree I have an odd method for approaching the painting...to compartmentalize and work a section to completion. Having never taken a pastel class, this process feels natural for me. Much of my work is grounded in realism and therefore, requires a degree of spatial believability. That is...for me to create the feeling of perspective necessary to make this object (a stem) appear in front of that object (a blossoming bud for example), I must work that shape in the order as it occurs in space (from back to front). Since I have tested the composition and design as either a thumbnail value study (or after so many, in my mind), I have a mental picture of what the completed painting needs to be, the placement of lines, shapes, values to make the painting work and maintain a sense of harmony. For me, pastel is a precise medium, every stroke deliberately placed. If I have plan and know where I am going from the beginning, I can work one shape at a time. Sure, I probably don't have to work each shape to completion...but I just can't help myself...each shape is beautiful in itself.

Vacation sketching

I envy the nature of children. Four strangers on a tire swing, one mission...to go higher. No awkward introductions, no discussion of terms, no fear of being hurt. Simple business...get on, push and pull together, enjoy the ride.

Perfect Strangers from my watercolor sketchbook.

Uniquely Fredericksburg

Sweaty palms, heart pounding, nervous conversation...what is this, the first day of high school? Not quite, though the symptoms feel the same...just another drop-off for a juried competition, Uniquely Fredericksburg, a biennial art show celebrating the unique Fredericksburg experience.

Carl's Ice Cream (an iconic stop in Fredericksburg for over 50 years) has been masterfully painted countless times. It is probably the most painted recognizable image in Fredericksburg. They are open February through the heat of summer serving frozen custard to a line of visitors that often wraps around the parking lot. Who doesn't love a good frozen custard (aka: ice cream to the non-locals)?

Anyway, my goal was to present Carl's in a way no one had done it before...something more than a perfect portrait or whimsical, predictable building-scape (is that the right word?). Below is one of my favorite images (my in-laws), though maybe some would consider, less than flattering. I, however, love the casual, yet attentive attitude of the participants that so fits the personality and eccentricity of the residents and tourists in Fredericksburg.

I will be the first to admit I am not a "portrait" painter, just as I am not a "water-in-glass-vase" painter. I am, however, a shape and value painter in search of an unique, simplified perspective, whose subject this time happens to be people. This painting pulls together what I love most in watercolor...textures, blooms and glazes that create shapes of varied values and color mingling; shapes that alone would appear abstract, but when viewed together add up to a realistic (or should I say representational) image. I have heard from jurors that sometimes their decisions will vary depending on their breakfast. I hope this juror has a bland, boring breakfast...leaving her wanting for something more...maybe a curious painting of Carl's "thugs".

Afternoon Thugs

Watercolor on Ampersand Aquabord

16x20

Uniquely Fredericksburg

Opening Reception and Awards

Today!

(August 5th, 5-7p)

CRRL Headquarters Library

1201 Caroline St, Fredericksburg

On the Line

On the Line

Watercolor on Aquabord, 18x22

On exhibit at Kybecca through August

I often struggle with my apparent lack of cohesion among various painting. I have quite a randomness in interest, style, approach to painting in both watercolor and pastel. But lately, I have been searching for common ground... something to grasp as a cohesive style...and then I realized...maybe style, approach and subject aren't the common factors. My main concerns, regardless of subject, are always composition, value, and contrast. Contrast creates emphasis and interest. In particular, contrasting and exaggerating value develops drama through depth and gets the viewer's attention. The search continues...

Exhibiting Art at Kybecca

Recently, I was invited to exhibit artwork at one of my favorite "wine and tapas" bar in Fredericksburg...for July and August. The artist initially scheduled for this time was not going to be able to show, so the owner was looking for someone to fill in. Did I mention I had 4 days notice? Following my initial reaction..."No way...can I come up with a collection of artwork to fill the space (20 or so paintings) on such short notice"...I came to my senses, did a reconnaissance (a word from my previous life) of the space and an inventory of paintings and their locations...and accepted.

My realization...doing a "short notice" show is the best way to have one...no fuss, no pre-show stress to produce work, no nervous anticipation building up to the opening reception. I simply hang and show my work, as is.

And so, I will have 23 paintings on exhibit at Kybecca, including 5 new works on aquabord, until September.

Exhibit July 12th through August 2010

400 William St

Fredericksburg, Va

kybeccawinebar.com

If you are in the downtown Fredericksburg area over the next couple of months, I invite you to stop by Kybecca for great wine and tapas, and to view art.

Even Traffic...

...can be beautiful (thank you Stephanie).

I am amazed how we can experience the same moments day in, day out and not really "see" them...their simple beauty. Sometimes as artists, we spend so much energy searching for that "beautiful" composition, subject, landscape...and then sometimes (as is most often the case for me)...it finds us.

"The landscape listens and we hear it call our name."

Emily Dickinson

Simplifying Mass Shapes

Before focussing on the details and extra "stuff" in a painting, I first try to focus on the mass shapes and values...the simple [or not so simple] elements that make up the structure of the composition. As noted from my previous post, I have divided my landscape into 3 mass shapes of light (sky), middle (foreground pavement), and dark (mid-ground treeline) value. Breaking down the scene into abstract shapes, I am assigning color to those mass value shapes, disregarding (attempting to anyway) the smaller value and color accents.

These value masses, serve as a reference to relate other values in the painting. Now I can expand on the mass shapes, adding subtle value, color, and temperature accents. Supporting the value structure (and perspective) identified in my thumbnail sketch, will enhance the paintings overall "readability."

"The most important ally in the study of painting is the art of thinking."

Edgar Payne's Composition of Outdoor Painting