June gone so soon

"What is one to say about June, the time of perfect young summer, the fulfilment of the promise of the earlier months, and with as yet no sign to remind one that its fresh young beauty will ever fade." ~ Gertrude Jekyl

June 1, encaustic etc on panel, 7x14in, 2013, sold

June 2, encaustic etc on panel, 8x11in, 2013

 Started in May, finished in June, encaustic etc on panel, 6x18in, 2013

land mark, line & Solstice

Mark-making and line are ideas fresh from heart and mind. Tentative to begin with, then gaining momentum as faith and curiosity intervene- everything begins with line. Years ago my mediums of choice were charcoal and soft pastel. I slowly veered away but drawing is making its way back into my artistic sensibility.

Solstice (voices of the air), June, oil/coldwax on canvas, 40x40in, 2013, available

This painting  commenced with an acrylic ink under-painting. I then worked over it with oil and a thin application of cold wax. I wanted the painting to set up fairly quickly so I could build the sky but also needed some impasto in order to go back in and cut down again with thin solvent. 





The bottom of the work was drawn with charcoal, and I applied solvent (lots!) to saturate and move the pigment around. This process was repeated several times, with thin wax/oil added to the final layers. I then drew/wrote with charcoal–all rendered while the painting was wet.

*Summer Solstice is a significant day of the year for me. It has been an annual  tradition  to respond, document and pay homage-and this June marks year ten!

trees and time

I guess that my inner soul is nourished by the trees. I think most of us, if we let ourselves, feel this energy. We are all drawn to trees. They are magic, powerful, calming, useful. Birds are messengers and can’t survive without the trees. Neither can we.

 Voices of the Air, oil/cold wax on canvas, 30x36in, 2013, available

 I didn’t want to rush this painting. Yet I didn’t want it to be contrived or tight. Self discipline is integral in making art hence studio works evolve differently then plein air. Time is on your side in the studio-so I make the most of it. When rendering larger works I want to relish in everything I don’t have time for outdoors.

I still want to bring in the intuitive responsive play. Just as there is push-pull in a work of art, there is continuous push-pull in the making of it-at least for me. 

I started this painting last month and only worked on it once or twice a week. Besides wanting passages to dry I also wanted to approach each session with objectivity and a fresh mind open to possibilities at the start of each session. I do think it is easier to give up or change course when there has been time away from the work. In the last leg of the painting I was able to think more about the final strokes than the amount actually laid down. That’s the lovely thing about time.

close to the edge

Studio works of the orchard series are making slow but satisfying progress in preparation for the upcoming show at Earls Court Gallery.

I did get out for some respite –perched on the porch amidst fragrant June flowers whilst brush followed cloud. 

We have had some near-storms and lots of rain-a recipe for wondrous June skies!

 June, remains of the day, oil on canvas, plein air,  9x12in 2013, available

 

    "The wind shows us how close to the edge we are."-  Joan Didion