Coming home

The southern Montana landscape at dusk.

I've been gone.  Since the news of a family members' death, I have been gone both physically and mentally.  My husband, kids and I drove 2,800 miles last week for both sides of the family, for both sad and joyous reasons.  The funeral in California, and a reunion in Montana.  A blessing to be with them all.   Since my return to the studio, I now want to clear out all the stuff around me.  I want to quit waiting for "this" or "that" to happen.  Like getting the cobwebs removed in my surroundings and life.  I don't want to wait anymore. Observation:  Each one of us manages death differently from the next. 

During our long drive through the West, I took several snapshots of the local scenery, both landscape and city scenes.  I brought my plein air supplies only to be left in the car.  That's ok, because I've got my trusty camera always on hand.  Above is one of many interesting light and cloud formations I saw as we were heading north in Montana.  There seems to be a repetition of shapes in both the clouds and the hills.  When I was young, I thought that our giant God walked in the clouds.  I reasoned how he was to stand on the tops of the clouds without falling through.

I gave my first lesson with my new student.  She is a joyous person and so excited to learn.  We only spent one hour, but it was fun.  There is much to share with her and am lucky to have this outlet.  The secret is, I will be learning more from her than she from me!  But in different ways.  She will learn how to paint with pastels, and I will learn how to walk the talk.  I'm back home and life is good.

News from the studio

My messy studio

It's been awhile since I last posted and wanted to take record of what's been going on.  

First of all, I took on my first student.  We are to begin next week....cramped in my small studio.  I made up a simple supply list and we will begin on the basics of pastel and then go from there.  My student already has a great foundation for drawing so the hardest part is already been accomplished.  We are both rather giddy over this new endeavor.  However, I will need to postpone due to a family tragedy.  More on that later....

Anyway, I sold two pieces this week which made things a bit better. I packed and shipped "City Drama" to San Diego, CA.  It was to be shipped without the frame, so I built a box of sorts with scrap wood from Home Depot.  I had them cut the scrap to size and all that for about 50 cents! Can't beat that! The other painting "Where the Koi Go" went home without it's frame too.  Can you say "naked" paintings"?  Yup, no frame. But that's ok, because that way they get the frame of their choice, and I get to keep the existing frame for a new piece.

So, here is the story...

A family member took their own life.  I can't imagine why so.  Still grappling with the whole thing, left only to wonder "WHY?" 

This leaves me feeling angry, confused and exhausted from all the questions.  We can only sort out what we may think the why is...but the reality is we don't know what goes on inside another's thoughts. Hug your family...tell them you love them.  Even if.

That's all I have to say on that.

Portland Plein Air & Studio Painters

Here is a quick slide show of work from the Portland Plein Air & Studio Painters group. This creative group is currently showing at the Doll Gardner Gallery, in Portland, OR. for the summer months. More info is provided in the sidebar to you right in the "Upcoming Events" section.

Contemplating Gold, 24x24

"Contemplating Gold"  24 x 24"  Pastel on sanded paper

I've been working on this for about a month and after many incidental distractions, I came back to it with fresh eyes.  This is another addition to my "Variations on a Scene" series of the family farm.  Again, the point of view is the same direction, but a bit closer and another time of day and season. Moody?  Warm?  Yeah.  This time, I didn't take photos of the stages on this one, but I did take a video.  I'm hoping to post that some time in the future.  This one took a while longer because there has been a lot going on in my home.  With the kids getting ready for the end of the school year, there have been ooodles of end of year programs and tournaments.  I'm loving this stage with my kids...they are my fuel for art.  When I come down from parenting, I go to my art with fresh eyes and high motivation to make another.  I'm loving the journey!

Clover and Vineyard

"Field of Rubies"  9 x 12" Pastel on sanded paper

The weather has been incredible these past weeks in the Northwest. I was able to go out twice last week with my painting buddie Gretha. There is never enough time to paint it all, and the landscapes out in the rural areas are just spectacular this time of year!  Some of the farmers have planted transition crops of red clover to nourish the soil. There are patches of it all down the Sunset Corridor (aka Hwy 26). This clover peaks in color in the morning and then the intensity dulls by mid-day.  The sound of the bees working on the clover makes me feel intoxicated. And the hot sun on my skin...I'm feeling like summer is almost here!  

"Vineyard Poppies"  9 x 12"  Pastel on sanded paper

This vineyard was located in Forest Grove.  I think it was Tualatin Valley Estates.  I'm not even sure just how we got there.  We followed the hills looking for red clover, but this was too beautiful to pass up. Gretha and I stayed for about 2 hours, some of that time was spent figuring out our pochade boxes.   Again, I felt rusty, but not for long.

Green Scene, 6x6

"Green Scene"  6x6"  Pastel on sanded paper

Here is a small study that I did just for fun.  I was thinking 'green' here, and so it is!  I kind of like what's happening between the trees and sky.  Like the last bit of light of the day coming through, without the warmth of a sunset.

A Sense of Place, PPASP Juried Group Show

"Seeking Andrew" by Katherin van Schoonhoven

Inviting all art enthusiasts to a really great show of Plein Air and Alla Prima work by Portland Plein Air and Studio Painters Group.  Art consisting exclusively of first-hand observation either in nature or in the studio are sure to "WOW" the admirer.  

Exhibit dates:  June 7~August 29, 2009

Artist Reception:  Sunday June 7 at Noon~2pm

Doll Gardner Gallery

8470 SW Oleson Road, Portland OR

503/246-3351

Autumn Song, 6x6

"Autumn Song"  6x6"  Pastel on sanded paper

This past week I was getting art ready for a show and found that a piece that was submitted had never been recorded in my inventory of art.  How could I miss this one!  So I had to take it out of the frame, scan it in, price and re-frame it.  Shortly after scanning it into my computer, my "painting buddy"  Rosie, whom I say affectionately, sat right on top of my painting!  All she wanted was some attention...well she got it!  I gingerly picked her up and brushed the loose pastel pigment off of her fur and then inspected the art.  A few smears and smudges, but not too bad of a mess.  I was able to repair the damage easily, but it's not the same.  So, here is my new piece, painted in the fall of last year...and it is now officially in my inventory.  I'm considering getting one of those programs for artists that help track their artwork.  Gosh that darned kitty!  Do you have a painting buddy?

Cherry Bowl, 6x6

"Cherry Bowl"  6x6"  Pastel on sanded paper

Since I got that notice of acceptance into the Local 14 show, I've been focusing on getting a series of fruit still-life paintings done.  I've painted this cute little one before and to be honest with you, I spent more time on it this second time around noticing things that previously went unnoticed.  I think this comes with most anything in life.  I just may have been more ready to take in more information this time around, or possibly wasn't willing to see it clearly last time. Have you ever listened to an inspirational tape and then listened to it a month later only to get something new from it?  I was told that as we grow in maturity, or shall I say at different times in our lives, we are more receptive to certain ideas or concepts than at other times.  Am I more willing to listen instead of just hear?  Am I willing to see more than before?  I guess and guess again.

Being Sour Has it's Benefits, 6x6

"Being Sour Has it's Benefits"  6x6"  Pastel on sanded paper

This makes me smile!  It seemed like such a hard subject to paint, so I took my reference photo (from Wetcanvas' Reference Image Library) and hung it upside down along with my painting.  This forced me to "see" what it really is...a big mess of bold color and shapes!  It didn't take as much time to create as I thought it would.  Hope you enjoy this little bit of sunshine.

Duet, 6x6

Duet, 6x6"  Pastel on sanded paper

I've been side stepping my farm series this week, taking a quick break with this small still life piece of pears.  I'm actually preparing for the Local 14 show where I will be showing several still life paintings of fruit.  Even though the show won't be until October, I still like to be ready to "hang" well before the installation.  This one is a bit interesting because the variety of textures/techniques used to make the different surfaces.  The resource photo comes from the Reference Image Library on WetCanvas.

Harvest Glow... revisited

"Harvest Glow"  24 x 24"  Pastel on sanded paper

Gosh, I just seem to be fighting with myself about this piece!  It was the sky that bothered me. Like one of those thistles that gets stuck in your sock when trampling in a field!  Yuck!

I sat with it for awhile after the first post...waiting to figure out the answer.  And sure enough, the skies cleared here in Oregon enough for me to study them as a passenger in the car.  I'm often looking at the scenery when I'm driving and have come to the realization that I'm better off a passenger.  Anyway, I digress.  Here I've lightened up the higher clouds.  They were too orange last time around.  So, I had to wash off what I previously painted. I went outdoors and took the garden hose and washed the entire upper portion off!  It's hard to let go of all that precious pigment, but for what it's worth, the painting means more to me.  As the pigment washed away, I saw the original underpainting that had stained the Wallis paper.  This is my blueprint.  After it dried, I took it inside and started in on it again with more courage.  I tried to keep it simple and to not noodle with, keeping it fresh.  Hoping it worked!   Comments welcomed.

Satin Slopes, 24 x 24

"Satin Slopes" 24 x 24"  Pastel on sanded paper

After creating the study of Satin Slopes, I challenged myself to paint it in a larger format.  Painting larger by any means can be difficult when coming from such a small study, as I have found here.  It seems to take on a whole other life of its' own.  Kind of like re-telling a story and hoping for the same punch, or "effect" as previously hoped.  This can pose a problem for artists who are working on commissions after presenting a study before moving onto the larger, final piece.

I was never good at telling stories.  Telling a story and remembering the punch line was for others of greater articulation!  Especially when it comes to jokes.  Have you ever tried to describe something difficult and failed, leaving your friends wondering what planet you came from?  The look of confusion often is the result I get.  So, I often resort to drawing it out on a napkin...communicating visually is much more my style.  And then that is when they understand what I'm trying to say!  

"Satin Slopes" is a piece that draws from my imagination and the California hills in the early Spring.  In real life, these hills are so satiny, green and just beautiful under the sun.  The green lasts for only a few days before the sun transforms it to the gold that the state is well known for.  Here are the stages from which I created this piece.

Here is the underpainting.  This time around, I covered the entire mounted paper with a bright pastel.  Then, with a paintbrush and turpenoid, I melted the pastel with the wet paintbrush into the sanded paper leaving no specks of white peeking through.  This warm underpainting hopefully holds the piece together.

The next step is to get color down on the entire piece, blocking in the color to get the initial composition down.  It is applied lightly, only to set the scene.

Defining the distance first, I work on the clouds and most distant hills.

Here I'm establishing the darker values of the trees, making sure the farthest ones are more bluer and lighter.  I also placed shadows under the trees and begin to establish the focal point of the piece.

Stepping back to review what I've done so far, I ask for a critique.  I find a few things that need work.  The shadows are too intense, so I'll need to make them more gray.  The farthest hillside is a bit darker than the ones in front making it seem more forward.  I'll need to grey that one down a bit to push it farther away.  And the first mound of green looks too perfect.  So adding a few shrubs to break up that perfect arch might do the trick as well as to help out the composition a bit.  I'm aiming for that "S" composition here, so adding a few shrubs in that arch will help to lead the eye into the piece.

Done! 

Please feel free to comment!

Local 14

"Satin Slopes" 6x6" Pastel on sanded paper.   SOLD

Things are a 'brewin in the studio lately. First, I'm so happy to announce that I was accepted as a guest into Local 14, a long standing show featuring the work of 95 women in the Oregon area. The idea of Local 14 originally came when an artist living in Lake Oswego, Janet Almy, had a broken piano and needed to earn money to repair it. So she held an art show in her home with 13 other women. The show sold out and the rest is history. Local 14 has developed into a long standing show featuring the work of women, and has been grown to a 3 day event and is often considered an art collectors yearly pilgrimage. Show dates are listed on the right in "Upcoming Events".

This new piece, "Satin Slopes" is a combination of two inspirations. I am going to break from my "Variations" series and paint this one large 24 x 24" so I have something to submit into the NPS International show. Hopefully I can paint it in time...submissions are due April 18th!

Tomorrow, I am hosting Leadership Beaverton for a studio visit. The future leaders of the Beaverton community tour different aspects of our city and I have been selected as one of the destinations for the "cultural" tour. The studio is cleaned, wiped and dusted, and the art displayed.

Painting a Series

Farmer's Palette, 6x6" Pastel on sanded paper

Have you ever gone to a museum or gallery opening and noticed how the works somehow relate to one another? This theme, or better understood as a "series" is a common way for an artist to communicate his or her idea. Painting a series of work doesn't mean you're running out of ideas to paint, but is a way to tell a story in a more intimate or deeper way. A series is like pushing an idea to further the experience till it's exhausted. Using the what, why, or where this subject was painted helps to appreciate the body of work. A series can be related in size, color, subject, or any other curious thought provoking idea, so that it can communicate in such a way that the body of work stands well together, or individually.

Some of you may recall I have been working on painting a series of landscape scenes of my family farm. I've come up with "Variations on a Scene"...how simple is that? Anyway, some of my previously posted studies have moved onto the larger sized formats.

Harvest Glow
Estuary at Dusk
Color Field

A series can sometimes take a lifetime for an artist to complete. What a feeling it must be to make that mark! Because of the nature of my life with family, it will probably take me some time to complete this series. Hopefully I won't tire of the idea before the flame goes out. Posted above is one of my 6x6" studies that may end up as a larger piece for the series. I do these "studies" first to see if it fits into the series.