I'm unloading a bunch of paintings that ive had in my studio for quite some time. its time to organize and I just don't have room to keep them around any more, as much as I'd like to. they were studies for much larger paintings. if youre interested email me at email@example.com and put the title of the painting in the subject line. free shipping on this one.
these two are catching up at their favorite restaurant. I love the color harmonies of orangish reds against the blues!
if you'd like to purchase email me for price and availability
this one was started outside and finished in the studio. when I set up on the street in Charleston I got the drawing done and then the clouds came and blocked out the sun. luckily, my friend (and awesome Charleston painter) hilarie lambert had a photo reference of something sorta close, so I finished it from that. like all the drawing and all the temperature shifts in this one.
Just agreed to be part of Elizabeth City NC's Splash Event the week of Nov. 2-9. i'll be one of the artists in residence and will be doing private lessons in the Elizabeth City area that week. so if you're from the Tidewater Virginia area, Outerbanks of NC, or close to E.C. and want to take some plein air lessons from me in this beautiful waterfront town, and hang out with an assortment of artists from all over the place, email me or call 919-920-9718 and let me get you on the calendar.
take a few hours, half a day, or several half days. $35 per hour (less for half day).
i'll also have paintings for sale on display all thru the week. Looking forward to this event and seeing the whole EC crowd!
heres a shot of my 30x40 on the beauport easel in ocracoke. what you see is the setup on the second day with the underpainting on the canvas from day one. unfortunately the clouds got in the way for day two. so I had to paint from memory. I stuck with the strong, direct sunlite I saw the first day. luckily I had tons of painting done and was able to finish it. that's joanne geiselle setting up her easel across the street.
Now available at Down Creek Gallery on Ocracoke Island NC
This one really shows the new direction my painting has been evolving to in the last six or seven months. everybody is starting to say they see a big shift taking place.
I'm becoming less and less enthralled with copying what I'm actually seeing. these days I seem to want to put my own twist on what I'm seeing and I love pushing around the more saturated color. That's what inspired me to paint this scene. the contrast between the flaming yellow orange fall grass and the deep blues of the water and sky, as well as the red roof of the building in the distance.
was able to stop painting when I needed to, to give me the raw energy in the strokes that I wish I had in all my big stuff.
Thanks to all my friends that showed up in Ocracoke to paint for the week. they were: Sue Morris, Dan Nelson, Joanne Geisel, Fen Rascoe, and Scott Boyle. You made me laugh, contemplate a lot of things, and really inspired me creatively. It was great fun hanging out with you all, making paintings!
a 22x28 painting on the easel on the waterfront of Ocracoke Island NC. The block-ins with acrylic continue, allowing me to use giant chip brushes to lay in big color notes on these bigger canvases. then I put the oil paint over it that to "tweak" it to the right color, temperature, value, and saturation. The trick is leaving some of the original right out of the tube acrylic, showing in key spots to energize the passage. Still experimenting and pushing myself to see what i can get away with. I like my migration towards more saturated color and looser edges with very accurate drawing. its a journey not a destination thankfully. all I know is it gives me something to wake up in the morning for.
My buddy Dan Nelson and I had such a ball painting together for a week in June that we decided to do it again and make the group larger. so I rented a house on Ocracoke Island for a week and we split it with four more painting friends. Great comraderie eating, painting, co-miserating and then on the other hand saying how blessed we are to make paintings and have people buy them. IMHO the best affirmation I know of for our craft!
I'll be posting all along my progress this week.
Below is a newly completed 16x20 from the Ocracoke waterfront
Don't forget Art of the Carolina's is coming up in november. Dan and I both teach for this annual art supply/workshop convention. Folks come from all over the country to attend and it's well worth coming to Raleigh for if you want to paint better. You can google it to find out whats being taught and the other details.
this painting is headed to my new gallery in maine. email me if you'd like to get it first!
A plein air piece from my recent trip to Mount Desert Island, Maine.
this one was fun playing with all the rock shadow colors and trying to catch that glint that happens on the water really late in the afternoon. really like the distant land mass with the sailboat leaning into the wind too.
What do you do when you just don't feel like painting? I don't know about you, but I just don't. I used to feel guilty and think, 'man, this is your job, you gotta work'. But as I've been doing this eight years now fulltime, I've learned to listen to what my body, mind, and creative spirit are trying to tell me. Thus the lack of posts here on my blog.
The trip to Maine and Cape Cod seemed like a grueling pace, with a lot of pressure to perform and I think that's the reason for the burnout I experienced when I got back to NC, a few weeks ago. It's been a crazy paced year and I was running on fumes!
So I just worked on my steel drum music and did email stuff, lining up next years workshops. And what about the guilt about not painting. Too satisfied with the knowledge that when I get the itch to paint again, (and I can feel it coming) I'll be rested and happy to create again. Thankfully, guilt doesn't factor into the equation any more.
Did this one after class one day, up in Maine, a few weeks ago. The light's gorgeous at this time of the day. Long shadows, boats and water, and the front side of the building started to light up. what's not to like?
if youre on Facebook (and who's not these days) drop me a friend request. seems I'm on there a lot more than I thought I'd be, posting new paintings. workshop postings, and other good stuff.
here's a pic of Ineka hard at work. the scenery on Mt. Desert Island is phenomenal. Beautiful harbors and evergreens. Docks and tidal marshes with huge tidal shifts in the 10-13 foot range empty out and fill coves quickly. the colors in august when I held the workshop were super clear unless there was some fog in the morning. It'll usually burn off by 10 or so if there is some around. I don't particularly like to paint foggy scenes. Too monochromatic for my tastes.
Monhegan Island is the next workshop on tap for Maine and it'll be August 2015.
Looking forward to painting in Cuba in December and if you'd like to go, there's a spot or two left, but you'd have to get on the stick. Copies of passports need to be mailed and received in a week or so. Cost is about $4000 for everything. email me if you'd like to go. Guaranteed trip full of memories, this one!
Just finished up a weeklong plein air workshop teaching on Mt. Desert Island (Bar Harbor) in northern Maine.
Had a wonderful group of artists stoked on learning and painting.
We painted idyllic Maine harbors full of lobster boats moored near sailboats and yachts. I love the evergreens (firs I think) and rocky coast here.
A ships captain from Massachusetts at the turn of the century, after sailing to Maine for months on end wrote in a letter to his wife, "put a bucket of sand at the head of my grave. Ive seen enough stones for eternity".
My next foray to Maine will be for my Monhegan Island Mentoring workshop next August (the last week).
In that workshop we paint, paint, paint and hang out talking art for hours. Its limited to prior students of mine that are experienced painting outside. There are two critique sessions per day and I give lots of career advice, too. The class is nice and small (6 or 7) for lots of personal attention. If you think you'd be interested let me know ( firstname.lastname@example.org ). Only a seat or two left.
Well its official. I'll be painting and teaching in Havana, Cuba this coming December. We'll be taking folks who would like to paint with me as well as visiting Cuban artist's studios as part of an official "People to People Cultural Exchange".
I've wanted to paint Cuba since I started going to Key West in the winter. Just this past winter, Gallery on Greene had many of Cuba's top artists come to Key West for a very successful exhibit. At nearly the same time, the Cuban National Museum was exhibiting Cuban American Mario Sanchez's work. Something that doesn't happen every day, I might add. Sanchez lived and painted in Key West for most of his life and is considered the preeminent Cuban American folk artist.
While you're in Cuba you could spend most of the day painting and/or visiting the working art studios of some of Cuba's top artists.
The trip is planned for December 7th-12th. This is a once in a lifetime experience and promises to be full of painting and people to people exchange with Cuban artists. If you'd like to join me please email Karen Wray at Gallery on Greene, for the details. Their email address is: email@example.com. Don't delay if you want to go, since December is right around the corner and the trip is already starting to fill. Spaces are limited. Deposits are currently being taken, with final payments due by September 16th!
The new and revised Wish You Were Here. I lightened (and warmed with yellow ochre and orange) the sky and water, added sparks of pure color sparodically and warmed the light side of the trees and grass. this is truer to my concept of the painting which by the way looks very little like the photo reference. to see that scroll down a few posts.
this ones headed to Atelier Gallery in Charleston.
You can still bid on this 16x20 silent auction piece I painted a few years ago. its been leaning on my studio wall too long. I want somebody to take it home. any reasonable bid accepted. Shipping is $15. email me your bid before midnite Saturday. NOTE: no NC, SC, Key West or Cape Cod folks please.
above is what I'm using for reference for this painting. it was a plein air study from last year on the cape.
today I started playing with an acrylic underpainting with cape cod underpainting colors, to speed up the painting process. I don't really like having to wait for two days to start putting down the topcoat so I'm using an acrylic underpainting like Dan Nelson uses. I was painting the sides of my gallery wrapped canvases with acrylic all week, and liked it because it dried so fast, so I thought this might speed things up in the studio, production-wise. whats nice is I will go back in in a few minutes and darken and and/or add rich color on top of this without having to wait till tomorrow. one thing I see I need to darken is the tree to the left behind the buildings. right now its to light in value and too red (warm), Its the value of white in shadow like the buildings to the left. NOT good! Good thing is i'll be able to fix that and it'll be dry in minutes and I'll be able to paint green on it tonite with oil.
I love slapping the acrylic around with huge, crappy brushes. it keeps the painting loose and I'm not "rendering" it but thinking this shape with this value and this temperature.
I use to paint acrylic underpaintings a few years back, but it dried too fast outside, so I abandoned it. now the question is will I underpaint one way big in the studio and another way small, plein air?
after much reading then and now I think the key is to paint the acrylic super thin, so its not shiny. then the oil can adhere to it fine.
Don't forget the silent auction for Overlooking the New River 16x20, is on till Saturday at midnite. Highest bid will take it no matter what that may be.
go ahead and make a bid!
remember- ONLY non NC, Key West, SC, and Cape Cod folks can participate.
these two pics are close-ups of a painting on the easel today. 90% done just wanna tweak a little after I live with em a few days.
note to self: remember how you did this cloud, sky and trees. cloud mass soft and fuzzy, nice color harmonies with the shadow side violet leaning red. shadows on trees are blues and reds with green scrubbed in to change the mass to read green. tree lights are orange with yellow green scrubbed in. skyhole- blue was scrubbed over darker pink and turquoise and light blue scrubbed into the bottom half. sweeeet.
less worries about being literal with the photo which is hard for an ex illustrator/sign painter. like the greens scrubbed over the rich blues and violets, red/violets, and letting bits of the rich color peek out.
all I'm concerned these days are the differences in the masses and less about the reference material. can feel the style shifting. there are very very few places of neutral paint tho' it reads as if there are. the eye is doing a lot of the mixing versus me doing it.
This ones been in and out of the studio for several years now and its time to do a silent auction, a very popular thing i do on here from time to time. been a while since I did a silent auction so here goes.
going to sell it to the highest bidder that sends me an email in the next week. no kidding. bidding will end next Saturday night at midnite
whats the most you wanna pay for this. send me a bid!
its 16x20 on stretched canvas
no Cape Cod, Key West, SC, or NC bids please!
shipping $20 in U.S.
Overlooking the New River-16x20
I just pulled the below painting out of the finished pile and painted some of the cape school colors back onto what I considered a dull painting. wow, I juiced it up already. more realistic stuff will go on top of it when this is dry.
this blog will be invaluable to me in the future as I'll be able to go back and look and my evolution as a painter. I can see paintings from my very beginnings and watch as my style, technique, etc. changes from year to year and concept/vision to concept/vision.
I've always been very interested in the "process" of painting. don't really care what the painting is of, as much as how I paint my vision of it. at first it was about seeing the light ont these objects in its most honest environment, which would be plein air. then it evolved into how to capture the sparkle of that impressionistic vision. now its seems to be more about painting large (either inside or out) and having fun with the shapes even at the expense of "reality". more about the surface of the canvas
ive always had a tool in my toolbox that I called "de-volving" the image, but it was a very underdeveloped muscle. in these big ones my vision is much more expressionistic and personal using the plein air study and/or photo as a launching point. so I'm strengthening this de-volving muscle lately.then once I get the feel for what I want I sling large brushes loaded with varying degrees of opacity around (thanks dan!) trying to lose lots of the forms into one another. then I think I'm trying to bring back the focal point out of that. dreaminess has, and I imagine always will, always been part of my painting equation. I go for that seconds-before-you-wake-up-from-a-dream look. just the beautiful, most important shapes, colors, and delineation.
this week ive been de-volving paintings I thought were finished. I went back into them with rich out of the tube color to bring back a lot of the snap they had on day two. the process of painting covered up the part I like the best. so I went back in and put that in. then i'll act like its day three. if I keep doing this to what I considered finished paintings, i'll have to stop posting them so soon. gotta go back and delete three of these what I thought were done deals, from the blog and replace them with the todays "finished".
a close up of adding reds and blues back into a dull painting! funny thing is I didn't think they were dull last week when I finished them!
i'll go back and get rid of about half of that red (and orange) you see in the grass. i'll keep just enough for that spark I get if I don't paint too much green on the surface or its not dry enough to cover without mixing (graying) on day three. which I invariably do tho' I don't want to. I'm beginning to see that layering over dry paint is the key to doing this. so much for all my stuff being alla prima anymore. oh well.
on the boat painting at the top of the post I added orange to the light side of the grass, pink back into the water to the left of the glare, pink in the roof, translucscent lavender into the bost and shed, and orange all the way around the edges of the shapes. i'll then go back and paint over about half of that to get rid of it where its 'obnoxious'.