Keeping it simple

 Keeping it simple...in a complicated world 

No doubt we are living in very challenging times.  Global warming, cultural division, instant communication, space flights, war, and Covid...and that's just the tip of the iceberg!  Iceberg? Ack!  

Coming from the 60's generation, it would seem we had it tough.  It was rare to have a private phone line, a color television, and fast-food meals. It was not convenient, yes, but it was simple.  While I was raised in poverty for a short time with my unstable Mother, I saw and experienced a LOT of things that have informed my perceptions of the world around me. We got along with very little and struggled. Yet the distractions were few.  Looking back, it really wasn't bad, but that's hindsight.  Having had success and failure in many forms changes our perceptions of life.  The struggle is good, but not fun. We learn from it all and hope for better each time around.

Recently, I recorded a few instructional videos and an online appearance on repurposing pastels The experiences were very challenging and tested my will.  My personal expectations were high and I felt confident.  I am still wondering what the final result will be from it all.  Will it have been worth my time?  Will it inform and inspire others?  Most likely. But who knows.  I allow my hopes to not be crushed if all fails, and I understand that I have no control over much if anything in this world. What works best is living simply and being responsible with choices.  It's like that even more so in the year 2022.  

 If you could change one thing in our world today, what would that be?

Life's Not An Act!

 A Show-Stopping . . .

. . . Year  

(recap from Jan 2021)
 

Well, my friends,  If you were to find one WORD that would define 2020, what would it be?

At the beginning of each new year, I take some time out to write down a list of goals I'd like to attain. Sadly, I had never looked at my 2020 goal list again.  As I am writing this, I just pulled out my list of goals for the first time since I wrote it and I'm surprised at how lofty they were. I almost want to say they were unattainable but were more like a misguided thought.  At this point I realized, I just need to be grateful I have one life to live.  If you could rerun what went right, what might that be?  I would imagine it must have been pretty much an individual activity?  Like throwing a temper tantrum or running in circles?  HA!  How about learning how to ZOOM or facetime?  For the most part, accumulated show cancellations were what slowed me down. Waaa a a  a  y  down.

On a brighter note, last year provided me a lot of time to think, learn, and reassess just what is important. I am so grateful for my husband and all my children...including a new kitten.  I had time to really focus on my personal health, yet exercise evaded me. Motivation slipped a bit, but so did the days of my life.  So, what day is it anyway?  We all endured 2020 together, and I am happy to turn over in bed and wake up.  So what one word would you call 2020?  For me, it was "Suspend"  Life is not a soap opera, nor does it offer a "re-run" or a "fast-forward" button. So let's take it easy on ourselves.  One. Day. At. A. Time.

An Artist's Voice Is Not Heard

 An Artist's Voice Is Not Heard

Grandpa's Barn, Creswell, OR.  Demolished c..2010

 

I'm hoping all is well with you and are getting through your summer unaffected by all the bad news out there. It's been so difficult to find positive in our world, and as an artist, I feel a deep responsibility to bring some beauty into your life.  You see, it's more of a calling and I must do what I am destined to do.  So hand over the reins for a minute and hear me out, OK? 

So over the past ten months, give or take, I have been feeling something brewing in my artwork that was not apparent to me until last week.  As the paintbrush was burning up the easel, my work began to steer towards barns and rural life.  Simple subjects. Things that I could relate to on a deeper level.  And through discussion and feedback from my collectors and artist peers, there seems to be a common thread that is felt in my most recent work:  

Nostalgia  
Fond melancholy
Calm
Hope
Resolve

and all those feelings have been sensed in paint?

WOAH!  It is more apparent to me just how my deep feelings translate over to the canvas. So it isn't COVID or riots?  Well, I know those feelings of injustice and tragedy are pouring out in oil just the same. But now more than ever I realize the apparent visual communication I have been whipping up is coming out in ways I had never imagined.  It's a SENSE of calm I get when I paint.  My main catalyst?  The sale of my family's 100-year-old farm and a deep regret that I could not take the farm onto my own to cherish, nurture, and allow to blossom.  The change of hands had to happen at some time I suppose,  and so I express my feelings through creating with pigments. 

So please take a minute to visit both my "Landscapes" and "Plein Air" pages on my website.  Please let me know what you feel when you look at my barns. Is it nostalgia? Or perhaps you might sense a resolve in my work? For me, I believe that the artists' voice is not heard, but felt... and I feel hope.

Keeping It Light . . .

  

Keeping It Light . . .

. . . in Uncertain Times
 

I sure hope all is well with you during these uncertain times. I'm doing my best to stay vertical under all the circumstances thrown at me. Sometimes I could compare each day to a dartboard game, and then when I go out painting, the world becomes a beautiful place to just be. So when life's situations get a little out of bounds, ever more than now, I just gotta make a little fun!  We've all heard that laughter is the best medicine, and honestly, I am sort of a fan of this humorous drug. I love how my heart and body feel after a great laugh, giggle, or simply a smile. If I could find ways to make someone smile, game on!  I have often been caught finding humor during inappropriate times, smuggling my laugh into my bent elbow to keep from exploding at some personally embarrassing situation. 

So welcome to my world!  While out painting on site, I can be found wearing a hat to protect my face from the glaring sunshine. One of my favorite head coverings is my painting visor, above. It packs up nicely into a roll, it is lightweight, and it's designed to allow some extra shade simply by pulling my hair over the brim. I have often been told that I look like the "FRAGILE' leg lampshade" from the movie A Christmas Story, or perhaps I remind others of the character "Cousin IT" from the 60's era Adams Family Tv show. Regardless of the similarities, it serves me and my humor well.  and I kinda like my "do" being out of my way and off of my neck on hot days...
So go ahead and laugh! You'll feel better ... and in these uncertain times, it's free!

Moving along...    

Finding Grace...amidst the chaos

 

(At the MET in NYC)

 

Life as we know it sure has taken us for a loop or two. I don't know about you, but I am beginning to sense that we are living in the midst of a paradigm shift. How we communicate, shop, move about, learn, and conduct social gatherings has suddenly been realigned.  I want to know if you have had to conduct a video phone call...in your jammies?  Or been shopping for that needed necessity, but too nervous to enter into a grocery store so you just do without?  What about those loved ones who are, or have suffered from illness?  I'm sure you know what I mean.  Drive-up pharmacies, facial masks, drive-thru coffee shop kiosks, binging on news headlines, and online shopping are now taking a front seat. As for me and my creative family of artist friends, we have had to cancel all art gatherings, gallery events, and classes have had to be re-imagined...OVERNIGHT!  BAM!  ZOOM!

Let's count the benefits of a solitary, home-bound life:  families engaging in conversation at the dinner table over a creatively home-constructed mash-like concoction of leftovers. Thoughtful conversations with loved ones, a closer, more united humanity, and honoring life with the help of heroic medical professionals. I imagine we are getting to know each other on a deeper level. Our weaknesses and strengths are exposed by this current reality, making us all take a second look at what life just is. Our environment is cleaner without all the consumption of fuel, with clear skies and fresh rain. I sure hope you can see some of the good in all of this.  As for my creative life? I am working with more intention and giving deeper thought to what and why I paint...in the peace and safety of my solitary studio.

By the way... in the above image of the large painting, I see a reflection of a tree trunk upon the surface of a body of water with large, pale koi fish, and leaves suspended upon the surface. What might you see in the above piece of art?

interview with Pratique des Arts

The Fall Line   24x24" Pastel

A few months ago, I was approached by author Stephanie Portal of a French publication Pratique des Arts.  She had attended the International Association of Pastel Societies last June and saw my work and was curious if I would share some information about my pastel work for her audience.  I am thrilled to be a conduit for the European's to see inside It helps me to find words for my work, and I am hoping your readers will gain a better understanding of my work. Please be aware that I am answering your questions predominantly for studio work, but I do provide some of my plein air techniques in the city…a very challenging, yet exciting place to paint.

What do you like about painting cityscapes? What sparked your interest in this theme?
My first spark of inspiration was lit when I saw a painting created by American artist Ken Auster on the cover of an art magazine. It excited me to see everyday scenes uncommonly celebrated as a subject worth painting. Why not... I asked myself, could I take a closer look at my own city? Could I see the beauty in such an unconventional place? Could I recreate a sense of everyday life with bustling modes of transportation and people making their way through town interesting? My most favorite city scenes are accessorized with signage and lights.  I often describe the illuminated lights as a candy Lollipop!

What are your favorites places to paint and why?
My favorite city to paint is Portland, OR, where I currently live. It has beautiful contrasts with cool and warm colors and a rail system, taxis, and many pedestrians. But wherever I am traveling, I am always on the lookout for the new subject matter. Having said that, I really like painting from a pedestrian point of view. As I walk along the streets of my own city, I look for the energy and movement of cars and pedestrians that will never present themselves in that moment and arrangement again.

Why is pastel the medium of choice for this theme? Do you sometimes use another medium (oil?) and how do they compare?
I choose pastel for my city scenes because I love the layering of color and how it allows me to emote solid shapes with color strokes. There is a beautiful thing happening when there are strong heavy marks and light feathery marks that adds excitement to my cityscapes. I do use oils for cityscapes, but it is not my preferred medium. It takes time to mix oil color, but with pastels, there is a spontaneity that matches the energy of the city.

What challenges do you encounter when painting streets from life (compared to quiet country views)?
(atmosphere, busyness, noises, choice of spots)
Do you work or finish your paintings in-studio and why?
Painting en plein air poses many challenges in the city. I have reported that the scene is more challenging to select due to its’ location, pedestrian traffic, and safety than painting it.  The noise of the city does not bother me, but sometimes there might be an occasional observer. This can create many pleasant and unpleasant situations. Having said that, I prefer to paint my larger urbanscapes in the studio because I can take my time reacting to my feelings than my speed.

Evening Errands 24x24" Pastel

What do you look for in a cityscape? What makes an interesting scene?
I look for composition and energy first.  For me, an interesting scene must have transit, lights, and then signage.  People are wonderful extras, but not always necessary.

What makes a good composition? What elements do you keep/erase? 
In the city, I often find good composition when viewed from crossing the middle of a street surrounded by tall buildings.  This provides a "U" composition, however, I love creating a fulcrum that is predominantly dark with a small area of light.  This can be found deep within an area of buildings with a small area of sky lighting the scene.

I don't like the sight of trashcans, so I choose to eliminate them. I am careful to choose elements that support the feeling of energy. It could be a specific rail or shuttle, or perhaps people rushing off to work.

How important is the light? What are the best times (of the day, of the year) to paint the city?
I love painting any scene in the early or later hours of the day because it provides a light that has more drama and provides an interesting mood, dramatic shadows, and tonal qualities to an otherwise gray scene. The fall season is also a favorite time of year to paint because it has more color and weather variations.

How do you decide color harmony? Do you pay attention to complementary and analogous colors? Do you have favorite color combinations?  
I love using a complementary or split complementary palette. I am open to what colors are most dominant in a scene and then play with that. However, I love painting orange or blue scenes the most.

You also like night scenes. Why and how do you work on them ? Are they specific difficulties with them?
I love creating night scenes because they offer mood without much detail. Also, there is less to see in the dark, and the street lights are what excite me the most. Like I shared before, "they" are the lollipops!

Evening Errands  24x24" Pastel

But when it comes to painting nocturnes en plein air, that offers many challenges. Losing your equipment is easy when there is a limited light source. Also, colors are nearly lost, so I use a clip-on lamp attached to my palette so that I can see the colors. Upon returning to a day-lit location the finished paintings are often more intense than intended. Oftentimes the pieces could be either exciting or disappointing, depending on how you look at it.  As for safety, I recommend painting with a partner so that there are two sets of senses to hear and see potentially dangerous predicaments.

How do you proceed? (sketch, blocking in, layers, highlights)
How important is the drawing?
First, I begin to select a color theme and work up my sketch onto my sanded paper with a pastel pencil.  I adjust the composition and drawing by taking a photo of it and then reducing it on my smartphone screen to clearly see the basic elements of the composition. 

What about the underpainting?
Once I have made drawing corrections, I begin on an underpainting of either a thin acrylic wash or thin veils of oil. I often switch it up a bit with laying in pastel and then wet it down with turpentine. This is the fun part because often the painting will create an entirely new direction.  I love the adventure of all the directions a piece will take in the process.

Do you use different textures of pastels and if yes, how do you make use of them
I love using softer pastels than harder ones, and I prefer using my own selection of colors produced by Jack Richeson because they are consistent in texture.  I will use a harder pastel to lay in my sketch and use the softer pastels for the build-up of layers and mark-making.

How do you capture the atmosphere, the energy of the city? (color harmony, mark making)
The atmosphere is created by thin layers of color, much like the fog is to the sky. Mark making is the most effective way to create energy in a cityscape. It is felt upon application, and it is felt when looking at it.

What did you learn from painting this theme? What do you aim to achieve in the future?
I learned that I need to crop in the scene more often and look for the basic shapes rather than observing every overwhelming detail. This has made my growth and enjoyment so enriching.

Do you have 5/10 advice/tips/golden rules to paint cityscapes or to paint in the street?

Expect the unexpected
Always choose safety first
Find the vanishing point and layout the horizon.
Paint what will most likely move first. Cars, trucks, food cart, the light source.
Keep it simple
Be aware of your tripod legs impeding foot traffic
Be aware of your time
Take small breaks to rest your legs and look around your surroundings as they are constantly changing.
Don’t engage with unstable people
Be flexible. You may have to move while in the middle of creating your masterpiece.

What material do you use (you can mention brands): paper, pastels, accessories, fixative?
What is your outdoor material?
I use Uart 280 grit paper
Jack Richeson Brenda Boylan Plein Air and Starter Kits, Terry Ludwig pastels, Sennellier pastels
a small t-square to get angles straight
Gamsol or denatured alcohol for my wash
Foam brush to wipe away build-up or to make corrections
masking tape to mount work to the palette and also to create a dust bin below my paper.
Soft cotton rag for wiping my hands
Portable moist wipes for cleaning my hands
Non-latex gloves to protect my hands
Tripod with a ball adaptor, and a pastel box that is custom made by Open Box M.
I do not use fixative.  I finish my paintings by covering with a sheet of glassine atop my finished painting. I then buff the glassine into the pastel surface by pressing with the palm of my hand and smoothing out the entire surface. This helps knit the pastel into the tooth of the Uart paper

Your Hidden Gifts... or Art they?

When I was a littler kid, I was usually found quietly entertaining myself by making something with my hands, and pestering or instigating trouble with my sister. My wild side provided endless curiosity to make things; whether with crayon, pencil, paint, clay, wire, tissue paper, gum wrappers, mud, food...you name it. Sometimes the result was a mess!  Making something out of nothing was pretty much a self-driven therapy. I often thank the heavens I'm not crazy...or am I?  So to all of you creative souls out there, I'm sending you suggestions for a year filled with curiously fun adventures, creative opportunities, artistic possibilities, and hopefully some new art supplies that will keep on giving for years to come...

Advanced Pastel Class  $330/$390 
1/15/19 - 3/5/19

This Advanced Pastel class is an 8-week series that will cover the finer points of pastel painting and beyond, with the still life as our subject. Designed for the artists who have a solid understanding of pastel painting. Artists will have the choice of painting a still life that is composed and worked on each week over a series of sessions, OR, from a new still life composition each week. The artist must have knowledge of painting vernacular and skills based upon previous lessons, experience and instructor approval.  

7-week Pastel FUNdamentals and More  $290/350
3/19/19 - 4/30/19

In this course we will cover everything pastel that is 'chalk full' of information with plenty of time to practice and finesse your newfound knowledge. We will build upon your skill, understanding, and confidence in the medium through a progression of exercises on the many aspects of pastels.  We will be breaking down the values of pastels, exploring the facets of mark-making, discovering your style with pastels, under-painting techniques, and more. This is a great course for those who wish to discover the medium, learn about pastel on a broader level, or for those who wish to push their pastel work to the next level.  Perfect for Beginner to Intermediate levels.

Wishing you a wonderful, adventurous 2019

Brenda

5 Simple Tips for Plein Air Painting

 

“Sun Day Off,” oil, 11 x 14 inches

No-fear plein air painting requires a little planning, a healthy dose of respect for nature and a keen sense of humor. With my five simple tips for painting en plein air, you’ll be able to hit the ground running and make the most of your experience.

1. Practice setting up your easel a few times before your first outing. Navigating an umbrella can be a humorous endeavor for others to observe, so practice where and how to hook it up to avoid frustration and wasted time.
2. Your first mark should be the horizon line. This grounds your painting and immediately navigates the space.
3. When dressing, think thin-to-thick. Wear layers of clothing to avoid colder-than-expected or steaming hot conditions.
4. Be courteous and respectful with nature and your fellow painters while out painting. In that way, painting outdoors is a little like camping. If you are in a very wild area, expect natural things to happen. Bug bites, wildlife, unexpected weather conditions, or a potential angry farmer, as well as the best painting subject matter, are all part of the plein air experience. Leave no trace behind.
5. Have a sense of humor at the easel. This keeps things simple and not overworked — not to mention, the “fun factor” is definitely increased.

Roadmap for a Successful Painting.

Amidst the Lines (36x48" oil on gallery wrapped canvas)

Do you have paintings that have taken several different directions during it's creation? It can be frustrating and is a similar to getting lost in a new city without a map, or worse, getting a flat tire on a freeway.  Well, that is what happens when a plan is not in place before putting paint onto your canvas or paper.

What do I mean by a "plan"?

Roadmap:  Have a compositional sketch or two to see if the elements have a flow, or movement that keeps the viewer in and exploring your painting.  Try out a your plan with a vertical, horizontal or square shape for starts.

Horizontal composition

Vertical composition

 Square composition

City Limits:  Decode your scene with a three or four value structure to keep things general. There is no room for detail, so keep it simple. This is a basic necessity for any painting, much like a map has city limits or borders. use felt markers of 3 or 4 values to keep it simple.

Red Lights:  Where will your focal point be located? Use complimentary colors, detail, high contrast, letters and numbers, and faces or people to attract the eye to stop and take a closer look.

Notes on where the focal point will be with supporting detail to guide the viewers eyes around and throughout the piece.  The road and skyline areas offer light values with little detail, providing a large resting spot.

Rest Stops:  Use negative space to allow the viewer's eyes to rest through the painting. Sometimes pieces have too much detail all over the entire piece, creating a noisy, busy piece that can't stop honking.

Road Conditions:  Decide on a color theme. This creates a mood and gives life to a overcast day or light-filled landscape. Ask yourself "What color is today?" Is it overall a warm sunny day filled with Cad Yellow, or a cool wintry day filled with Ultramarine Blue? Asking these questions help you to zone into a color theme.

I sure hope you liked all my urban inspired descriptions to help you navigate the necessary points for a successful painting journey.

Carry on,
~B

Clip of the Crop 11x14

Clip of the Crop

(11x14" oil on linen)

Being out in the sunshine painting a beautiful scene with bold color like this makes for a fulfilling day. This piece was created with an accompanying 3-part video short in order to share with you an inside look at my process. Jane Bell Meyer of The Mission Gallery has conceptualized the idea of presenting several plein air artists painting for three days in a row.  It's quite a kick to see how each artist conveys what they see, where they are, and how they communicate it in paint. 

Here is my very attempt at trying to tape myself at the easel, not very easy and not an Oscar winning moment either, but you get the gist.  Enjoy!

Watch HERE.

An Evening of Art

Afternoon Adagio, 20x16"

It is with great anticipation that I post this new piece "Afternoon Adagio. You see, I will be sending this piece off to Atlanta for the Olmsted Plein Air Invitational. It is a rather new event located in Atlanta, GA. and boasts a large following in a very short period. I will be 1 of thirty plein air artists that will gather from across the US to paint for Olmsted, and as part of the event we are required to send in a piece for the Collector's Preview Gallery. I am so excited to be a part of it! Since the weather has brought us snow I kept inside my studio and created something warm and summery.

The Collector's Preview Exhibit will be at The Booth Wester Museum in the Bergman Gallery, during the month of March, 2017.

Advanced Pastel Class Offered

Many have asked if I would teach an advanced series of classes on pastel at the Oregon Society of Artists. Plans have been set for a 7 week series offered in the Fall on Tuesday mornings that offers a different approach to pastels focusing on the medium and all it's unique properties. Here are the details:

7-week Advanced Pastel Class

$325.00

Workshop Dates: 9/22/2015 - 11/10/2015

Location: Oregon Society of Artists

2185 SW Park Place

Portland Oregon 97205

United States

http://oregonsocietyofartists.com

This 7-week series will cover the finer points of pastel painting, including making hand rolled pastels, sanded boards, self portraiture, still life, plein air, and the ever popular timed starts. This series will be offered once a year for 7 consecutive weeks with the exception of October 20th due to instructor absence. The student must display the knowledge and skills based upon previous lessons, experience and instructor approval.  This is a great course for those who wish to push the medium on a broader level,  who have taken my course in prior workshop settings, and wish to continue their education with me.

Session:  7 weeks

Where:  Oregon Society of Artists, downstairs studio.

Dates: Tuesdays, Sept 22 - Nov 1o, 2015   NO CLASS on Oct 20th.

Time: 9:00 am - 12:00 pm

Cost: $325 (includes $35 year membership to OSA) $290 for OSA Members

Easels provided unless you wish to bring your own portable easel.

Student to teacher ratio: 1: 9

You will need to bring your own supplies. (supply list below)

You MUST be a member of the Oregon Society of Artists to take advantage of this opportunity. Membership is $35. and is added into the class fee, giving you all membership benefits. If you are already a OSA member, then the fee will be $290 for the 7 weeks.

Download Registration Form HERE

Download Supply List HERE

Thanks and hope to see a few of you joining in with me on this wonderful adventure!

~ Brenda

A First Friday showing...

For all you Portland area art lovers and friends of the arts, I wish to share with you an event on this First Friday of March. It will be a warmer than usual kind of night, no doubt, to be out so I'm inviting you to come out to enjoy an intimate showing of work at Gideon St. Studios for the evening.

Here are the details:

Friday March 6th, 2015
5:00-8:30 pm

Gideon Street Studios
1212 SE Gideon Street
Portland, OR
Mapquest:  http://mapq.st/1BFWv5P

Hope to see you there!
~Brenda

Opening Nov 1st ~ The Verdant Valley

I'm having a show.

A visual journey of pastel and oil.

Plein air and studio pieces

of the Willamette's verdant valley.

~Brenda

www.brendaboylan.com

www.artelementsgallery.com/

What Pastels Do You Use?

Pictured here is a full box of Terry Ludwig Vibrants (front and center), The Most Requested Violets (bottom center)  and a small glimpse of my pastel box at hand (upper left)

Often while I am out painting with my pastels, or while teaching a pastel workshop I am asked the question of what brand I prefer.  I have tried perhaps a dozen brands and have honed into my favorites, although with the popularity of this medium there are bound to be many more brands being created over time. I think brand selection, hardness to softness has a lot to do with one's personal style of working and mark-making. For me, I prefer the softer pastels for my technique because I have grown accustomed to their characteristics. Perhaps I am missing the boat on this one, but others like using the harder pastels for the preliminary stage of underpainting, blocking in, or setting values. For me, I just use a dispersed pigment of Createx, or perhaps I will use a quick, thin block-in of pastel and wash it down with OMS or Turpenoid. 

It only goes without saying that experience and experimentation are key to one's own personal style. Over time, I have gravitated to Terry Ludwig Pastels as my all time favorite brand. Let me mention that I am not getting paid to write this up, or getting any sort of kudos for mentioning this brand, as I am only giving my opinion here. The square shape is perfect for the way I work, often because they have a flat side for filling in color. Also these square shaped pastels have sharp, crisp corners that allow for more detailed line work for tree trunks, or other skinny marks. They are versatile as well as soft, but not too buttery, as well as the pigmentation is rich. There are a few other pastels that I prefer over others, but just as long as they are in the "soft" category of all things pastel. That would be the Unison and then the Sennelier brands. When students sign up for my workshops, I provide a supply list and offer up some pastel brands that will give the student a great start on working in pastel. It's when a student decides on getting a "student grade" of pastel, then they become frustrated with it's limitations. Trust me when I say that higher quality pastels will be more money, but you will get farther faster with them too. So give yourself permission and get the quality you deserve.

So before you sign off, I have to shout out a bit of shameless self-promotion here. If you have always wanted to get yourself off to a great start with pastels, or wish to gain more in-depth knowledge of the medium along with practical techniques and exercises, I have put together two pastel workshops in March and in May that are now on the calendar HERE. Hope you can come join me.

All for now,

B

Workshop in May set!

It's not often that I teach a workshop because of my crazy and whacky schedule, but when I do I hope to offer a jam-packed, info-infused workshop experience. Listed on my website are two upcoming pastel workshops for the Spring season geared for the beginner to intermediate pastelist.  Pastel Punch! and Pastels Inside & Out offer about the same type of information, but the Inside & Out workshop offers a day of painting outdoors as well as everything possible about pastels, including a bit on properly framing this dusty medium. I love sharing what I know and what I have learned over the years as an artist...it's when we give our society that spirit of artistic resonance and continuity.  So if you have the desire, come sign up for one of these info packed sessions as I offer only a couple each year.  Oh, and I almost forgot! You can learn a lot about pastel painting at the Plein Air Convention and Expo in Monterey, CA this April.  There will be several sessions presented by world class pastelists such as Clark Mitchell, Jan Mcgraw-Teubner, Richard McKinley, Urania Christy Tarbet, and Lorenzo Chavez to name a few and as well, I have been asked to demonstrate a 1 hour pastel session on the Demo Stage (April 8th)

"Asilomar Overlook" 8x10" Pastel

Pastel Punch!  $325.00  March 22-24 in Springfield, OR
Pastels Inside & Out   $300.00   May 2-4th in St Johns, Portland, OR.

Opening at Attic Gallery, Feb 5 and 6th

The past month I have painted A LOT for some upcoming shows!  I will be having 2 openings of this month and am thrilled to present my newest gallery, Attic Gallery, to my growing list of venues. Here is the flyer for the Attic Gallery on Feb 5 and 6th.

I am so proud to formally unveil twelve of my urban inspired plein air works in oil at Attic Gallery for the month of February. These pieces were all completed on location as I observed the city in it's parts as the urban landscape continues to draw my attention. I will also be including 5 larger studio pieces in pastel to make this show complete.

This Preview or "soft opening" will be held on Wednesday, February 5th. Unfortunately, Portland's First Thursday Gallery Walk coincides with the opening of the Winter Olympics on February 6th. Attic Gallery will continue to hold it's formal opening date on "First Thursday" February 6th.  I will be at both openings from 6:00 to 8:30 pm.

Wednesday Feb 5th

Thursday Feb 6th

6:00-8:30 pm

So come on out to help me celebrate my hard work at the Preview night at Attic Gallery on Wednesday, February 5th, --- OR--- First Thursday February 6th.  Located at 206 SW 1st Ave, Portland, OR. 

Attic Gallery is conveniently located along the MAX line.

SALE SALE SALE...Ok, did I get your attention?

What better way to get one's attention but to write the word SALE! for a title!

Really now....Well, here is what's going on...

I have been thinking... since I no longer offer reproductions through my galleries, or my galleries just don't offer giclee' options, then I should somehow offer them for sale elsewhere as I have plenty of inventory, and where else but to share with my faithful blogger buddies. These classic reproductions are priced at drastically reduced prices (50%) to all my new and long time subscribers, to thank you for being such loyal bloggies. It's my gift to you! Just think, that person who has everything, will now have something unique and personal and more of everything.  So, you may be asking..."What is the catch?"

There is no catch!

  

All works are printed on Epson Velvet Cotton, a supreme paper that gives the reproductions a wonderful appearance of "pastel". All are matted in "off white" archival cotton mats and shrink wrapped for shipping. Shipping is FREE through USPS! Did I say FREE? Well, only once, but it's true, free shipping to you or to your recipient. I will be taking payment through Paypal.  Expect about a week for me to get it out the door and to your destination.

Each one is a flat $32. That's it! No shipping or handling charges, no taxes, no extra coal in your stockings...you get the idea?

First come, first served!

"Boats with Ropes"  10x8" $32   Sold

"Lavender Afternoon III"  8x10"  $32

(one more still available)

"Between Moments"   10x8"  $32.  SOLD

"Cafe' Seating"  10x8"    $32   Sold

"Watmough Bay"  10x8"    $32

"Lopez Harbor"   10x8"    $32   Sold

"Curbsides"   10x8"    $32

"Red Blueberry Rows"  10x8"   $32

"September Symphony"  10x8"    $32. SOLD

Favell Museum recap

This past weekend I zipped on down to The Favell Museum with fellow artist Michael Orwick for the opening at the Favell Art Museum's Invitational Art show. The museum's intention was to help promote the museum and it's reach to the region and beyond, broadening it's scope of art and art awareness in the area. They had invited about 30 artists from the Oregon and Northern California region to show and share their talents with the patrons of Klamath County. Some very interesting lectures were given throughout the weekend as well as a few demonstrations of the artists work.

From Which the River Flows West, 14x11" Oil

Here is my demo at the museum. Funny, I should have demonstrated pastels because that was what I had on display at the museum. Ooops! Anyway, I was prepared to paint plein air but the weather turned wet, so we moved the demonstration inside. Because of the switch, I ended up working from a black and white photo that Michael Orwick lent me.

My demonstration in the lower level to a crowd of onlookers, including a cameraman with a mic.

The museum was packed with visitors throughout the opening weekend.

My display wall. Lf to Rt: Passing Point, Rio on Soquel, Crossing the Perch, and Lily Dance, 24x24" on Wallis sanded paper.

On the evening of the opening reception all of the artists were in attendance, well, all except one. That says a lot for the museum as it does the caliber of the artists. The event was festive with music, h'our'deuvres, and many, many patrons of the arts. The artwork was displayed on both the main floor and the lower floor with panache. 

Being a pastelist, I have always wanted to attend the IAPS Convention and had often wanted to meet other pastel artists who are well known for their masterful work. Here is Dawn Emerson, PSA, and Ilene Gienger-Stanfield PSA, who were in attendance at the Favell.

Me with fellow pastel artists Dawn Emerson, and Ilene Gienger-Stanfield