Art and Life

I am considering a number of titles that seem fitting for this painting: wild perseverance, solidarity, resolve, fortitude... Just as a subject for a painting is chosen from moments in my immediate world, so is the interpretation- of challenges, triumphs, struggles, and lessons- some stated, some silent. Art does not happen independent from life.
Did you know- a little sunflower trivia? Wild sunflower seeds are adapted for living and can remain viable for as long as 10 years. Sunflowers are also eager to cross species and form hybrids. A bee transferring pollen from one species of sunflower to another could be unwittingly creating a new hybrid by swapping genes. Forming these unions is how sunflowers can spread and thrive in extreme environments, like salt marshes and sand dunes. Ornamental and industrial breeders take advantage of this pliant attitude to create new colors, sizes, oil content and seed size. A domestic sunflower is also known to sometimes bend to make contact with its own pollen, where it self-pollinates.

Sunflowers on Clayboard, In Progress 6

I have most of the background done. As I go, I will work around the painting and sharpen or soften the edges of each pedal, leaf, or stem. This step seems trivial, but really adds to the over-all overlapping effect. When I have worked through the entire painting, I will look again at the flower faces and pedals (my areas of interest) and add any details, shadows, or another glaze of pigment to further define the form and give the illusion of volume.

Sunflowers on Clayboard, In Progress 5

I have started painting in the background for the sunflowers. My intention...a background that would provide a deep value contrast in relation to the high-key value of the flowers. And though I would like to say I intended to paint in the circular form in the background and the indication of a hedge line, sometimes a painting will take on it's own intentions. I just applied the paint, tilted the board and facilitated the movement of water. The forms developed, pigments separated, all on their own. Sometimes I like the effects best when they aren't created using a brush. Much of the painting is done this way, by tilting the board and letting the water move the paint versus using the paintbrush. I guess, after all, this is a watercolor.

Sunflowers on Clayboard, In Progress 4

For this painting (and the others in my clayboard series), I have chosen analogous or expanded analogous color schemes. Analogous colors, those next to each other on the color wheel, are often found in nature (one of nature's serene elements of design) and create visual harmony in a painting.

Sunflowers on Clayboard, In Progress 3

Thankfully, the lighting was much better for this photograph compared to the last image. Today I worked in the faces; painting wet-into-wet, beginning with yellows, Quin Sienna, adding Brown Madder, Winsor Green, and Alizarin. I am getting much more efficient in applying paint. Typically, I would have to apply 3-6 layers of paint for darker values. Painting on clayboard helps. The surface tends to hold the darks better than paper. But also applying the right pigments at the right time with the right consistency makes a big difference. Next, I will work through the leaves. (I just noticed a small bug captured in the photograph. Anyone else see him? He is real, not painted. I guess he likes the flowers also.)

More Sunflowers on Clayboard, In Progress

It was difficult to be inside the studio painting today. Today was one of the first warm and sunny days of spring. But I guess if I had to be inside painting, it was good to paint the sun into the flowers. I am so happy with how this one is going so far. The yellows (Hansa, New Gamboge, Quin Gold) and Quin Sienna are really working well together. I think after so many sunflowers, I have found the right combination of warm and cool yellows. So, how long is this taking me to complete? It is taking me about 6 hours per flower (just for my first step, Argh). Why so long? I am working each pedal or pedal section at a time. The clay in each pedal area is wet before the paint is applied. I lift the board and rotate it to allow the paint to mix (I just don't get the same subtle effects if I use a brush to mix paint). Once a pedal is painted, I have to wait for the water and paint to settle before I can paint and mingle the pigments for the next section. Also, as I go, I will correct any inconsistencies in the line drawing. Or add what lines and details are needed to make the drawing work. This step in the painting will take the longest, but I think it is worth the work. Love this one so far.

Feeling Yellow

A new start on sunflowers.
I have been waiting over 6 months to paint these flowers. My wonderful studio-mate, Mirinda Reynolds, brought these into our studio at Liberty Town last October (I think). The sun through the window caught them just right. I have been thinking of how to paint them ever since. Now is the time to recreate them in watercolor. I have painted over 25 sunflower paintings, each series unique in color choices and techniques in painting. This one will no doubt take on it's own personality as well. And though I have a plan in mind, I am eager to see how it will develop. I find comfort in being so familiar with this subject.

Life Unfolding

Life Unfolding
22X30
Watercolor on Claybord

And since so many of you have asked; it is a sunflower.

"I found I could say things more with color and shapes that I couldn't say any other way- things I didn't have words for."
Georgia O'Keeffe

Life Unfolding, Almost done

Now for the leaves...

Life Unfolding, In Progress 3

I have the first layer completed for the pedals and leaves. Usually, I would paint another layer of midtone glazes. However, working on the claybord, I have been able to achieve greater variety in values and intensity in just one step. I am happy with how the shapes and form are developing. So next, I will paint the darker midvalues and darker darks together. Many watercolor artists will apply many (maybe even 50 or more) glazes (layers) to achieve subtle changes in value and to achieve value contrast. My goal is to achieve the right value and intensity with as few layers and brushstrokes (economy of brushwork) as possible to avoid making "mud" and "overworking" the painting; especially if I am using heavier, more opaque pigments (such as the yellows). I prefer the purity of colors with minimal glazing, usually only 3 to 5 layers for the darkest areas.

Life Unfolding, In Progress 2

Good to have a little time to paint again.

Life Unfolding, In Progress

Slow-going. I am very happy with how the light and midvalues have developed in the pedals. Next, I will start the lighter tones on the leaves.

Life Unfolding

Sometimes I will know the title of a painting before I begin. Other times, I wait to see what develops in the painting. Here, I knew just how this image would translate into a painting and gave it a name before I started. I will have to see if the painting has the same plan.

Another on Clayboard

I am beginning a new watercolor painted on Ampersand Aquabord, 22X30. I am challenged by the size and stiffness of the board and the weight of the wood cradle (probably about 10-15 pounds). My process in watercolor painting involves many isolated areas of wet-into-wet painting. I wet the area, mingle in paint, lift and tilt (the challenge) to allow the water to mix the paint. One area must be dry before starting another to prevent blossoms and backruns and to maintain the integrity of the whites. I have started only the first layer of lightest yellows, choosing a cool yellow (Hansa) and warm yellow (New Gamboge). I will then repeat this step throughout the painting for midtone yellows. Though somewhat labor-intensive, I do love the process and the surface.

Sunflower, Untitled

Sunflower, Untitled (for now)
12X12
Watercolor on Claybord

Sometimes a painting will just take on a life of it's own. I think that is what happened with this one. I had not really intended for this to be such a low-key, dark painting. But this flower seemed to have a different agenda, pulling in and holding onto dark, mysterious places.

The most beautiful thing we can experience is the mysterious. It is the source of all true art and all science. He to whom this emotion is a stranger, who can no longer pause to wonder and stand rapt in awe, is as good as dead: his eyes are closed.
~Albert Einstein ~

Succulent, In Progress 2

I am taking a break from the holiday "bustle" to post the progress on my most recent sunflower. I am working on the painting in a spare bedroom that I have converted to a studio room at home. Even during busy days, I try to take a few minutes out of the day to paint. I leave the painting all set up ready to go in the "painting" room, and work on a few pedals at time; until the family calls. I cherish those too few moments to myself to become absorbed in creativity.

Sunflower on Claybord, in Progress

I have sketched the drawing for my next watercolor. I start with a detailed drawing on paper, where I consider the proportions and details that may be included in the final painting. I like to do the drawing on paper first, so I can work out all the drawing issues (which often means, erasing and redrawing sections) without damaging the surface of the painting paper. I will then transfer the drawing to my painting surface.

I started laying in color wet-into-wet, beginning with the background sections and the face of the flower. Once the painting is finished, you will only see hints of the diffuse underpainting color. When I plan a painting, I like to have a place for the viewer's eyes to rest in the painting, usually that place is a section of underpainting that I leave peeking through.

Next I paint each pedal wet-into-wet developing the form and turn of the pedals. With claybord, using wet-into-wet creates wonderful blossoms as the water dries. As much as you can control water, I try to plan these into the shape.

New Paintings up for Auction

I have decided to try something new in my studio (No3) at Liberty Town Arts. I am putting two of my newest paintings up for silent auction December 4th to December 5th (First Friday). This is a great opportunity to potentially purchase a new work for much less than the exhibit price. If you are unable to visit my studio on First Friday, you are welcome to email your bid.

Starting bid $95, or you can Buy-it-Now for $250.

Standing Tall, Watercolor, 16X20 Framed, Image size 8X10, Sold
Liberty, Watercolor, 16X20 Framed, Image Size 8X10, Sold

Both paintings are framed with a contemporary black wood frame and double thickness white mat. The sunflower I used as a reference for the paintings was growing outside at Liberty Town (planted by Aline). The compliments of the purple paint on the building and yellows in the flower were stunning. I chose to use the same palette in the paintings with varing intensity and demonstrated the painting in my watercolor workshop this October.

I will notify the winner (if not present) by email or phone on December 6th and the paintings can be picked up anytime at the end of auction.

Happy Bidding!

On Exhibit at the Torpedo Factory

These three paintings will be on exhibit and for sale at the Torpedo Factory Art Center, Target Gallery in Alexandria, Virginia, December 11, 2008 to January 11, 2009.

The exhibit is titled "5X5(5)" and all the artwork on display fits into these dimensions. The juror, Elaine Levin, reviewed over 650 national and international entries, choosing 250 works for the show.

An Artist's Reception will be held December 11th from 6-8PM.

Sunflower Demonstrations

I have put in the background and will continue to adjust the value relationships between the sunflower face and background. I have painted additional glazes of quin.gold plus magenta on behind pedals and begun to add more hard edge details and shadows to the forward pedals.