winter plein air & random show images

This week I have been working in the studio -still drawing - but I needed to get out and paint from direct observation. For the last month I have worked in either encaustic or dry media and have been craving the sensation of painting with oil- in it's fluidity, immediacy and movement. So I packed up my gear and set off late afternoon when the light was interesting, but didn't venture far from the studio. I wasn't sure how the weather would hold and in feeling so rusty only brought one small canvas. (which is NOT what I tell my students-always have at least two surfaces, no matter what!)

This painting is merely a study-an exercise. It was good to be back out there-felt like home-which I was, I suppose.

February (study), Niagara escarpment, oil on panel, 8x10in, available

Below are some random images from the exhibition 'This land is OUR Land: the Greenbelt Dichotomy

As usual I forgot to take pictures at the opening, but it was packed and a LOT of fun! Thanks to all who came out-your continued support is deeply appreciated.

Planting by the moon, encaustic on panel, 10x10in, 2012

Fallow, encaustic and aluminum on panel, 12x40in, 2012

Greenbelt Dichotomy

Tired Eskar, installation by Jefferson Cambel Cooper, portraits by Michelle Teitsma

greenbelt dichotomy close up 2012

Almanac Moons

May, Supply & Demand

Oil on canvas

30x36in
Collection of J & K Barrett

Statement

‘Niagara’s very limited fruit lands are the best in North America, and they are much threatened by development despite the Greenbelt protections. Fruit farmers are aging and are increasingly under huge financial pressures, and neither their farm expertise nor the land can be replaced elsewhere. And, crucially, if the government is not prepared to save this unique part of the Provincial Greenbelt through a substantive investment in the land and the farmers, through payments for easements, we will be left not too far in the future, with a “token” fruit belt having blossoms but no real farmers on the land. In fact the very success of the Greenbelt will be totally undermined, as after all, if the government cannot save the best lands in Canada what other part of the Greenbelt can they protect for farming and for feeding Ontarians?’

Val O’Donnell, President,

The Preservation of Agricultural Lands Society (PALS)

She loved a November Sky

The image below was made as respite from the paintings I am working on for the February show, although I may include it as it relates to the theme.

Initially I wanted to explore the field, as I love the way is sits this time of year. The dormancy and texture put me in mind of a tapestry, and the particles lifted and swept by the wind remind me yet again that nature is never still-minute microcosms playing in the air.

But when I got into the painting the sky seemed to take over and I let it. My Mother, who passed away less than a year ago, loved the yellows in a grey November sky. I remember our November walks and country drives-pulling over to the side of the road to marvel at the simple splendour of a November Sky.

As I’ve mentioned before, I often like to paint on top of older paintings and that’s exactly what I did here as I thought it might add to the texture of the field. There was a lot of red in the under-painting which I think added to the depth in the land portion. I did, however, prime the sky portion with aluminum and am happy I did as the greys and lighter hues retained their clarity more so I think than had I not used it. I did get carried away though-when the painting was very wet I gently dispersed some fine aluminum powder throughout the sky as well as in the field-in hopes of emulating the wee field particles caught in the shifting light. It did work-depending on how the light hits it there is a subtle trick of the eye quality-a bit of movement.

November(She loved a November Sky)

Niagara Escarpment

oil & aluminum on canvas

30x30in, 2011

Unfortunately because of the aluminum’s reflective qualities, it makes it REALLY difficult to photograph. In the actual painting, the tones and value shifts in the sky are closer-the top left more subdued and even and the willow tree on the lower left horizon line much lighter/brighter. I will let the whole painting dry and re-shoot.

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