Lightening up...

Winter sketching kit…

Winter sketching kit…

The winter painting kit is much smaller and easier to carry than the warmer weather “haul the whole studio if you can fit it all in the back of a Mini with the back seats down” effort. At the top is a water cartridge paintbrush and Pitt indelible marker. I usually pick one paint kit - the smaller Altoids box of gouache primaries or the watercolor kit with more colors. The cut-off sock cuff slips onto the paint container and fastens down with the rubber band. On site, I pull the sock onto the wrist to serve as a “paint rag.” Completing the winter kit a 3.5x8.25” Handbook. An even more compact choice is a 4.25x3” Pentalic Travelers book, or for real winter luxury, a Handbook 7x10.25.” Everything fits in the secret phone compartment everyone has in a coat or a hip pocket. Add a headband to warm the ears, fingerless foldaway mittens and you’re all set.

Wyeth's at the PAM

WyethsPam.jpg

Three generations of Wyeth's at the Portland Art Museum. Newell Converse is hands down my favorite of the work represented in this exhibit. He apprenticed with Howard Pyle. His illustrations join many artists of that era - Maxfield Parrish who influenced Fred Machetanz, Minerva Teichert who studied with Robert Henri - in the pursuit of narrating history and their social/cultural experience. 

Stacks...

Stacks, oil, 40 x 18

Stacks, oil, 40 x 18

At school,  a professor challenged us to make a painting a day if we wanted to learn how to paint,  not a wimpy 8 x 10",  a substantial work. I wanted to finish this in a single sitting, however, the format is a bit large to tackle in one day.  Took about six hours over two days to complete this first in a new series of oil paintings, Working The River. 

The goal for the series is to lose the muscle memory of painting in oil since I was 15 and become as free with color as I feel with more recent pastel experiences. I've been tied to a traditional palette in oil and wondering why the pastels are so much brighter when I hardly pick up a brown in pastel. The goal for this series is to abandon all browns, ochres, earth siennas and umbers to create strong browns or lovely grays from clear reds, blues and  yellows.

 

Does it get better than having fun while you're working?

Photo courtesy of Carlotta Collette.

Tonight was a great evening, the opening of a wonderful show celebrating the history of Oregon City at In Bocca al Lupo Fine Art.  Six of the artists in the show, from left, Gary L. Michael, David Mayfield, Randall David Tipton, Leslie Peterson, Moi and Leland John, photo courtesy of Carlotta Collette. I had a good time hanging out with old and new friends talking shop. The mutual admiration and respect flowed freely, not to mention an abundance of good humor. Times like this I really love my job...

Collagraph...

Peeps and I had a wonderful time in Bend experimenting with encaustic collagraphs. Thanks to Ron Schultz for showing me how to use the encaustic to make a printing plate. 

Oil and pastel...

The Big Questions: Is it Finished? Does the work feel Complete? Am I quitting because I’m Tired of squinting at yellow?

Thinking about this for a show submission in June. After seeing a Picasso at the SAM where he used pastel with oil, I made an experiment and enjoy how it’s turning out. A part of me wants to hang the work upside down. The stalks are so tall, when is the last time anyone has looked down into the face of a sunflower unless it was in a vase?

Jan Zach sculpture...

 “Marching Women” an extraordinary sculpture by Jan Zach, was welcomed to it’s new home today at Clackamas Community College. Kate Simmons, Gallery Curator and sculptor in her own right, facilitated the acquisition of the piece for the campus. Olinka Broadfoot spoke about her mentor and friend, Jan Zach, and how his support furthered her career as a sculptor. 

The sculpture is constructed of multiples of like shapes. One alone is not remarkable. Together they are formidable. It’s amazing how strong we become when we link arms and encourage each other.