Sometimes you have to go for it

Working from a photograph on a chilly day I tackled a shaded hillside in northern Victoria, Australia. Mostly I was trying to catch the shade under the trees, the atmospherics of the distant hills, and to give some sense of the steep perspective as the hill falls away at the viewers feet.

At this stage, I was fairly happy but I knew that I needed to make a few adjustments. The next hill over was too brown and warm for the rest of the painting (especially in this photo). I didn't feel the shadows under the trees were strong enough. And I knew that I had chickened-out instead of including the scattered flock of sheep in the reference photograph.

So after strengthening the shadows I did a bit of research looking at how other painters have tried to show distant sheep with just a few strokes, then held my breath and went for it.

 

I'm still not thrilled with the brown hill... but the sheep seem to "work". They're small.... but they're sheep! 

This is 9" x 12" on Arches 140 lb cold press, entirely painted with an Isabey 2/0 Squirrel Quill Mop brush, except for the sheep which needed something smaller and stiff. A teeny bit of gouche for the sheep whites. This second photograph is more true to the actual color.

Boston from Buck Hill

We had a glorious warm autumn day yesterday, so I packed up the field gear into my backpack and headed off to the Blue Hills Reservation in Milton, MA. This wonderful network of trails, ponds and hills is within a half hour drive and offers surprisingly grand vistas for a spot so close to the city, so close to the coast here.

I chose Buck Hill, taking a brief but very steep and rugged leaf-covered trail straight up from Route 28. Suffice it to say I was reminded of my own sloth, lack of exercise and even mortality on the climb up. At the very least, I was rather grateful the trail wasn't any longer!

I don't have much in the way of photos here: just the painting (9 x 12) and a documentation of what I was looking toward. When I started there was still a bit of haze and/or fog hovering over the city presumably due to temperature inversions of some sort, but there wasn't a cloud in the sky. We're already a bit "past peak" for many of the fall leaves - they came and went in a hurry this year!

Optics

The difference between the way a painting looks at arm's length (the way it's made) and from across the room (the way it is often viewed) can be truly mysterious and sometimes astonishing, even to the painter.

When I stand back to look, I'm often looking for nebulous qualities. Things like "Does the painting hold up?" or "Is that detail lost?" become just as important as judgements about color, shape, composition, emphasis, and whether or not I've successfully conveyed what I set out to convey.

The recent paintings below are deliberately shown small here to give you some idea what they look like from across the room. They're all less than 9" x 12". But if you click, you'll get a better sense of how they look to me when I'm painting...

The bottom one is a first sketch attempt at depicting a complicated and colorful scen along the Charles River in Newton, Massachusetts. Lilypads, turning leaves, reflections, forest shadows... these are all significant challenges for me and up close I didn't think I was getting them down in a coherant way. But from across the room something magical happens - I had caught more than I thought!

Thank you!

Last weekend's debut showing at Jamaica Plain Open Studios was:

1. exhausting
2. fun and exciting
3. very gratifying
4. all of the above

No wrong answers there. Thank you so much to the many old friends and new who stopped by and said very gracious things about my work. Fourteen paintings woke up to find themselves in new homes on Monday, and for that I'm grateful as well as a little wistful. They may have "left the nest", but they will be missed for the joy they gave me in the making and for what they taught me.

Thanks too are due to my battery-mates at the First Baptist Church: our hostess with the mostest and a spectacular photographer Ashlee Wiest-Laird; Ginny Zanger whose monotypes set a great standard; Richard Youngstrom whose mosaic creations made for a lively presentation all weekend. The sculpture studio's terrific Polar Bears, Annie Cardinaux's wonderful patchwork landscapes and Alicia Fessenden's pottery held down the fort outside. Thanks much for the cheerful encouragement and the fine example you all set of "how it's done".

And truly: thanks are due to the frisky folks at Moo.com whose Mini Business Cards were a surefire attention grabber. In the midst of so much larger art vying for attention, something about our evolutionary biology and those cones in our eyes that give us peripheral vision made nearly every passing potential patron stop in their tracks and zoom in for a look at these things, about a third the size of a regular card:

Finally, here is a peek at a last minute effort to create some "smaller inventory" for the show. This scene is from the pond at Forest Hills Cemetery here in Jamaica Plain, not far from the final resting places of playwright Eugene O'Neill, and the poets Anne Sexton and e.e. cummings (among others)...

That half sheet of Arches was cut into nine rectangles for the show. A patron could find one they liked or build a triptych. They look great framed too:

Even the smallest painting can change the course of the future!

Jamaica Plain Open Studios 2012

This coming weekend, September 22-23 is Jamaica Plain Open Studios and marks my debut showing as a painter.

I'll be exhibiting my work at the First Baptist Church, 633 Centre Street, Jamaica Plain from 11am to 6 pm on both Saturday and Sunday.  There is art all over town, and seven of us at this location:
http://jpopenstudios.com/jamaica-plain-open-studios/love-art-see-art-meet-artists

The work I'll be showing includes these original watercolors, almost all of which will be available for purchase:



Thanks for your support,
Clay

Three, six, nine

Jamaica Plain Open Studios is rapidly approaching - my first ever art fair- and I've decided I might not have enough small, entry-level paintings to offer. So, I stretched a large half-sheet of Arches, and drew a nine-block grid on it (approximately 4.5" x 7.3" for each rectangle), and headed over to Jamaica Pond with the intention of "mass producing" nine little paintings at once. I tackled one row at a time, working in a sketchy, continuous panorama style.

I was quite pleased with the results, and tried slight variations in style for each row. But now I'm wondering if I've really produced three triptychs. Or perhaps one triptych and six little paintings? It seems every "solution" creates new "problems"!

East Boston Sojourn

After twenty four years in town I finally made it over to the shores of East Boston to take in the view and to squeeze in a painting before my true ulterior motive in going revealed itself. What a revelation!

Very pretty Piers Park is the highlight, carved out of the mostly downtrodden industrial waterfront with a view across the harbor to the Customs House downtown.

Just down the road a bit I sat down to paint this old dry dock facility and ended up with this:

A little hasty with the values, but in my defense I was distracted by the sound (and smell) of the Manly Sea Eagles vs. Canterbury Bulldogs rugby match blasting out of the East Boston Shipyard location of KO Pies, the newest outpost of our local piece of Australia. Sam, the owner, and the boys were enthusiastically enjoying the match, and it was nice to see another of the Aussie Pies signs I brought him put to good use over the pie case. And... since it was one of the last truly hot days of the year, I needed a thirst quencher to go with my Classic beef pie and sausage roll...

Nothing could be much finer than this. The sausage rolls seem improved from my very first visit, but I think I'm now acclimated to the braised lamb shank pies I usually order, and missed it a bit!