the fever

Spring has arrived, resonating optimism and inspiration. April pours the bath and May soaks in it, seductive in high chroma, heady scent and song-—no wonder they call it a fever!

The painting below is a re-visit and I have also included the before. I felt there was way too much going on in before—a busy onslaught leaving no space for the eye to rest or the mind to linger. I wanted to quiet areas down but still retain that –for lack of a better phrase—‘ magic-y whirr-y’ effect—the ethereal worshippers dancing for the sky. ( you might have noticed -my imagination has no 'stop' buttons when it comes to the orchard)

May

Niagara Escarpment

oil on canvas

24x48in, 2011

available

I am much happier with the final outcome, which took very little time. It makes me wonder whether the countless hours and work that went into before factored into the seamless flourish of after... Would I have approached it differently if starting from scratch? Did I learn from both processes? Of course-every painting is it’s own-but making art is about the state of heart and mind at the time of it’s inception—the art unfolds as we do.

before

after

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Art Theft Update

‘I arrived at the gallery this morning to find a  shopping bag hanging on our
black hook outside with 5 of your little paintings in it wrapped in
plastic. An unsigned note attached…’

The above email  greeted me this morning from a gallery colleague.

For those of you that read my post about the stolen paintings—they have all been returned.

Thus is the power of social media

To my perpetrator:

I am very grateful and relieved that my blog post compelled you to follow your conscience and return these paintings. I appreciate your note of apology and am sincerely sorry for your illness. I strongly urge you to find help. Please do this not only for your sake but for the sake of others who you might be tempted to take advantage of. 

February, Remains of the Day

oil on canvas

6x6in, 2010

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Amelia

When I paint into sky it is the culmination of what was and what is to become that engages me. In all these years of sky-painting, Joni Mitchell’s words to ‘Amelia’ still resonate in my heart and mind.

March, Remains of the Day

oil/wax on canvas

18x30in, 2011

available

This is painted on a surface that was primed fairly thickly with molten beeswax and dammar resin. I smoothed it by burning in with heat, then, when cool, polished to harden it. I make my own cold wax medium to control the consistency and purity—using eco-friendly turps, beeswax, and linseed /stand oil of varying strengths. I will polish the painting when it is completely dry to give it a luminous glow and add more depth. I have a hard time photographing encaustic work or work painted with cold wax anyway, so I do it prior to this final process, trying to cut down on the ___glare! I am not too happy with the colours and digital noise on this image so looks like I will have to re-shoot regardless.

On an inspiring note I saw a red-winged blackbird today! Yay! And I’m so jazzed that we have more light in our days—things are good

*keep reading for poem and video

Art Theft

In the past six months, 5 of my paintings have been stolen from our gallery-averaging almost one every month. Even though I’ve had to resort to wiring them to the wall, my`collector`has managed to figure out a way to steal them—probably mans himself with wire cutters before visiting.

Well we know who you are Mr----who lives in a city starting with the letter B---and thanks to our new video surveillance system we will be able to prove it upon your next attempt. Since you are such a fan of my work I am going to assume you read my blog. I hope you read it because I would like you to know how hurt and disappointed I am that someone would commit such a cowardly and despicable act.

Do you somehow feel a sense of entitlement, or does it give you a sense of power knowing that you got away with it?  Either way, it is disheartening to know that my work-created honestly –is in your possession-you don’t deserve to have it.

I have included the stolen paintings below. If anyone has seen them I would be very grateful to know the details. I will happily GIVE you one of my paintings (and keep your name confidential)  if your information helps in apprehending this pusillanimous thief.

June,  oil on canvas, 6x6in, 2010, STOLEN

lions in the afternoon

March is such a changeable month! One moment there is rain and promise of spring—then gales of wind turning to ice and snow. I was looking at work from past ‘Marches’ as I was curious to compare the weather to this one. Posted below is a much warmer March and I clearly recall the day it was painted…

After a long and bleak January/ February we had a warm spell mid-March. Outdoor painters rely on the weather report as much as farmers and I was watching and waiting. Finally the day came. I selected a fairly large canvas (24x36in) for my first plein air attempt of the season-perhaps to make up for all the missed paintings due to the #@!! winter weather. On went the wellies and off I went with my three canines. After a ten minute hike I set up and started working. The painting was coming along beautifully and I was midway through when the dogs started barking. I just kept working as this is a frequent occurrence-especially in the spring with new sounds of birds and critters giving them momentum to carry on.

But the barking became rather growly and aggressive and I finally had to put my brush down and look behind into the sun to see silhouettes of- lions-quite a few-coming our way.

The magic in these fields and orchards is that one can usually be alone. I do have a friend that lives on the other end and like me, she runs her dogs here —but even then it is rarely at the same time-and they are dogs, not lions. As the lions approached I recognized my friend behind them with her 3 dogs and another acquaintance who breeds horses-and, as it turns out, lion-dogs. The official name for these lion-dogs are ‘Leonbergers’ and I don’t need to describe them as I already have- they look like- lions-but gentler and fluffier. Gentle or not they terrified my dogs who in turn ran to me for protection—thus knocking me down as well as my painting, brushes, easel-everything- smack into the dense wet spring muck. By now I was surrounded by eleven dogs and two humans who impressively managed to hold their laughter long enough to help me up. After the herd dispersed I wiped out my painting and started again.

March, Thaw

oil on canvas

24x36in, 2009

sold

In making this painting I was taken by the anticipation of a new season shared by all- birds/bees and creatures great and small - as well as the greening of renewed grasses mingled with the dried and dormant. I wanted the painting to convey growth through staccato brushwork and I exaggerated colour/movement in passages to denote a nudge for spring to hurry up and get here.

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Spring, Summer workshops

Upcoming Workshops

I am now taking registration for Spring and Summer workshops to be held here in Niagara Wine Country.

3-day workshop dates and information are listed below. Along with instruction these extended workshops include complimentary evening wine and bonfire to relax after a day of painting..

As well, I will be holding a 1-day workshop to paint the May Orchards, which will be in full bloom (we hope). I only have a few openings left so please contact me soon if you’d like to join us.
This workshop also includes an orchard picnic lunch and complimentary glass of Niagara Wine.

All workshops include demonstrations and emphasis is on observation, composition, value, brushwork/ paint application, colour/simplified palette and individual interpretation. Media is in oil or acrylic and class size is limited, allowing for personal guidance and direction. Participants are responsible for their own materials and a list will be provided upon registration. If you are travelling I can also provide your materials for an additional fee.

If you are coming from out of town I can recommend some lovely and reasonably priced B&BS and inns set amongst our world renowned wineries. Alternately and pending availability I have comfortable lodging here that can accommodate an artist and partner or two singles sharing the room. Just contact me and I will send info.

"I love your painting Mecca. What a place!" Dora Keogh

review

This painting was rendered quite a few years ago, but it is still one of my favourites. I have mentioned the importance ( for me at least and in sharing with my students) of reviewing early work to assess how it relates to current work. I find when I do this it is an honest-albeit tough-way to distill what I find relevant and why.

March, Niagara Escarpment

oil/wax on panel

12x12in, 2007

sold

This painting was rendered on location. I prepared my canvas with encaustic medium (beeswax/dammar resin ) in the studio before heading out. I smoothed the surface by burning in with heat, then painted on site using oil pigment and cold wax medium. Back in the studio I gave it a very very light burn-in (fusing with heat) and let thicker passages dry. I might start doing this again –preparing my panels with encaustic medium-as I like the way it feels when I brush paint onto the surface- as well it seems to give it another dimension and adds to the ' feel' and mood of place that I wanted to convey .

below another from the same series

April, Niagara Escarpment

oil/wax on panel

16x20in, 2007

sold

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We ARE Nature

'We often forget that We ARE Nature. Nature is not separate from us. So when we say we have lost our connection with Nature, we’ve lost our connection with ourselves.'

I have been revisiting the work of Environmental Artist Andy Goldsworthy.

http://www.goldsworthy.cc.gla.ac.uk/

• "I find some of my new works disturbing, just as I find nature as a whole disturbing. The landscape is often perceived as pastoral, pretty, beautiful – something to be enjoyed as a backdrop to your weekend before going back to the nitty-gritty of urban life. But anybody who works the land knows it's not like that. Nature can be harsh – difficult and brutal, as well as beautiful. You couldn't walk five minutes from here without coming across something that is dead or decaying." 

 "One of the beauties of art is that it reflects an artist's entire life. What I've learned over the past 30 years is really beginning to inform what I make. I hope that process continues until I die." 

*keep reading for video

passage

I haven’t much felt like painting since my Mom’s passing. I found it hard enough even to go for a walk never mind pick up a paint brush. But yesterday late afternoon I made myself go out. To get to the field I walk through a narrow hilly path, surrounded by old fruit trees, maple, elm and sumac as well as wild brambly growth. This kind of terrain attracts birds of all sorts and in the spring especially it is something to behold.

It was unusually warm, the snow was melting and the air had that fresh earthy smell usually associated with spring. In the distance a grouping of elms were black with grackles. I find it so interesting to watch flocks of birds gather as well as lift off and fly—especially before a storm. It seems so beautifully orchestrated, as if there is a bird conductor, cuing them as to when to lift off and where to make their beautiful waves in the sky and then where to land.

As I approached my path to head back I looked up in the trees and at first glance silhouetted in the branches I saw more of what I thought were grackles—but then I thought I heard the settling sounds of robin—couldn’t be –usually first sighting isn’t until late March. As I got closer and my eyes adjusted to the sun, sure enough there they were!. Three of them! As I made my way down the path towards home it felt as if they were accompanying me and by the time I got back to the house the trees were FULL. Every year I’ve lived here, families of robins have nested and brought up their young. Seeing them all together somehow reassures me that things will be okay.

A few plein air paintings done throughout the years depicting feathered friends--apologies for the bad photos....

April,Tree with Robin

acrylic on canvas

8x10in, 2009

sold

April. Little Voices in the Air

oil in canvas

16x20in, 2007

sold

winter sky (sold)

Winter skies are full of colour—or at least I see it—early pinks culminate into saturated purples at day’s end.

February, Remains of the Day

oil on canvas

30x30in, 2011

available

My Mom used to paint every day, and I now have her supplies that she can no longer use. I have deliberatly worked this with her paints and brushes—she loves a winter sky.

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bannière

A wee painting for a winter’s day..

February

oil on canvas

9x12in, 2011

available

Even a winter-lover such as I, who relishes in it's monochromatic pallet and the light's subtlety and nuances, craves a shot of colour now and then.

My neighbour likes to embellish the vineyards and yesterday I couldn’t resist the red and white icon of our ‘home and native land’.

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encaustic monotype (sold)

I painted most of the day today and although I didn’t finish, it felt good to have a chunk of time to work. 

The extra time did allow me to complete some encaustic monotypes started at last week’s workshop. I usually work in sequence so the three individual images below will be presented as a triptych—still working out ideas re how to best display them.

I will be holding an encaustic monotype workshop on Tuesday, February 22. The fluidity of molten wax and colour combined with the immediacy and diversity of monotype, a form of printmaking, will be addressed in this 1 day workshop. Incorporating drawing and stencils for image transfer, you will engage and be inspired to play with collage, resist and relief techniques. We will also address temperature, adhesion, layering, surfaces and how to make your own encaustic drawing tools. You can find out more here or just email me. 

Voices of the Air

But then there comes that moment rare

When, for no cause that I can find,

The little voices of the air

Sound above all the sea and wind. 

The sea and wind do then obey

And sighing, sighing double notes

Of double basses, content to play

A droning chord for the little throats—

The little throats that sing and rise

Up into the light with lovely ease

And a kind of magical, sweet surprise

To hear and know themselves for these— 

 For these little voices: the bee, the fly,

The leaf that taps, the pod that breaks,

The breeze on the grass-tops bending by,

The shrill quick sound that the insect makes

Katherine Mansfield

Little Voices of the Air

encaustic monotype

left: 9x12in    middle: 12x14in    right: 9x12in

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The Road Less Traveled

The Road not Taken

Two roads diverged in a yellow wood,
And sorry I could not travel both
And be one traveler, long I stood
And looked down one as far as I could
To where it bent in the undergrowth;
Then took the other, as just as fair,
And having perhaps the better claim,
Because it was grassy and wanted wear;
Though as for that the passing there
Had worn them really about the same,
And both that morning equally lay
In leaves no step had trodden black.
Oh, I kept the first for another day!
Yet knowing how way leads on to way,
I doubted if I should ever come back.
I shall be telling this with a sigh
Somewhere ages and ages hence:
Two roads diverged in a wood, and I-
I took the one less traveled by,
And that has made all the difference.

Robert Frost

January

oil on canvas

24x40in, 2011

I had posted this last night, but could not get the colours right with my program. There is a lot more purple than blue in the snow, and the yellow isn't as overwhelming. I will take a better photograph tomorrow. It amazes me one can achieve so many effects with a good image program via computer, but when it comes to translating an exact colour reading for a painting, it is a lost art to me..below is the same image but different colour settings and still doesn't come close...
*update--I re-shot/re-posted image since writing this and it now reads true)

I've wanted to paint from this location for a very long time and it is the same path, but different view and atmosphere, as 'January, remains of the day' posted on New Years. I've learned not to question inspiration, but quietly observe as paintings unfold and reveal themselves. Now looking somewhat objectively I see that painting 'home' seems to be my driving force..hmmm, maybe change is waiting and these works are letting me go and leading the way.

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Heart to Heart auction of art

I have finally finished setting up the online auction blog for our art gallery.

'Heart to Heart' is Jordan Art Gallery's 2nd annual exhibition and fundraiser, with all proceeds of our exciting new art raffle going to the Heart and Stroke Foundation of Ontario. It's easy to bid online for original work, made with love in Niagara by the Jordan Art Gallery artist/owners.

Heart to Heart Auction of Art officially opens February 1~27, but you can preview available work here.

Included below are a few of my paintings available to bid on.

a time to cast away

Last night I had a dream about loss-I think a culmination of what I am going through with my Mother but also upon reading that artist Marc Dalessio’s beloved and beautiful young wife just passed away from a malignant brain tumour. Loss is inevitable and something all of us share- I don’t know whether that makes it any easier but there is comfort in the knowing. I wish I was better at articulating my feelings with words.

January, A Time to Cast Away

oil on canvas

30x40in, 2009

encaustic

 


A few new encaustic paintings in the experimental stage. I've worked in this beautiful medium on and off for quite a few  years, and they have synthesized with my outdoor paintings and drawings made during daily hikes-


ie the uprooted field flowers and fragments embedded around the encaustic paintings were pulled from the earth in the same area.

Black eyed susans, wild asters, milkweed, queen anne's lace, goldenrod, wheat, alfalfa and seeds are preserved forever, planted and embroidered in rich layers of natural beeswax. (To view earlier work, visit here.)

Having said that, lately the medium has been taking me somewhere new, and I am easily led. 

Passing a Way

encaustic on panel

10x14in, 2011

 

Passing a Way

encaustic on panels

10x14in, 2011

over the hill

Plein air painting conjures up romantic images of artists standing in warm colour drenched meadows on bright sunny days, happily painting and smiling without a care in the world. It can happen like that, but more often than not we brave the elements—gales of wind arising from nowhere tossing canvas just as we are about to make THE stroke—or mosquitoes and midges embedding themselves into our wet paintings and eating us alive at the same time. The sudden hailstorms, unwelcome skunks or worse, onlookers wanting to chat. But even with all these deterrents out we go, ready to embrace whatever nature chooses to throw our way.

The urge of a winter sky and white deep (really deep) snow came over me yesterday and I had to get out. What I hate about winter outside is how long it takes to dress for it. To make matters worse, after bundling up with wool hat, big down- to –ankles- sleeping bag coat, wool shawl wrapped over my head and hat, backpack, painting board and gear, I went to slip on my snow boots only to find a hole! But I was bound and determined to get out there and spotted my partner’s huge black Frankenstein-looking boots so on they went-I figured he wouldn’t mind since he wasn’t home. Out we finally trudged and what a vision –my huge bundle of blackness along the white winter path accompanied by my canine entourage.

I should have known it was to be one of those days that did not want to abide.
The massive boots were so heavy that every step through that dense snow was like lifting an elephant. And when I finally made it to the hill that I wanted to paint from, I opened my gear just as the dogs were wrestling near by so everything was immediately covered with snow. Then when I turned to pick up my paint board that had fallen over I lost my footing and fell—rolling down the hill, finally stopping—but couldn’t get up! There I lay like a Goodyear blimp, captured by the snow, flailing my arms and trying to lift my legs but the weight of those massive boots wouldn’t let me maneuver myself and it took what felt like an eternity before I got my bearings. In that moment I just lay there, visualizing how absolutely ridiculous and absurd I must look and thinking how foolish I was (and really being thankful no one was around)–and for what? I am getting too old for this—no more! Then I managed to hoist myself up aka a dog, brushed off the snow and climbed back up the hill to paint.

January (winter field)

oil on canvas

9x12in, 2011

available

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Little January

Movement and rhythm are continuous in our natural world, and often emphasized when caught and controlled. Rows of bound vines continue to tantalize me. While working on this painting (view from my kitchen) I was listening to a CD of Irish poetry a friend had given me. I jokingly told her that my paintings would soon be vineyards on the sea..which got me to thinking perhaps that is the appeal—the movement and rhythm emulating the sea’s continuous ebb and flow.

January

oil on canvas

18x24in, 2011

Little January

Tapped at my door today.

And said, "Put on your winter wraps,

And come outdoors to play."

Little January

Is always full of fun;

Until the set of sun.

Little January

Will stay a month with me

And we will have such jolly times -

Just come along and see.

- Winifred C. Marshall

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new year

'New Year's eve is like every other night; there is no pause in the march of the universe, no breathless moment of silence among created things that the passage of another twelve months may be noted; and yet no man has quite the same thoughts this evening that come with the coming of darkness on other nights" Hamilton Wright Mabie

I have walked this path every day for 10 years—and it is always the first time.

January, Remains of the Day

oil on canvas

24x36in, 2011

available

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Nollaig shona duit! & residency

'Nollaig shona duit!' 

Happy Christmas!

'Nollaig faoi shéan is faoi shonas duit.'
A prosperous and happy Christmas to you.

I thought these Irish sayings appropriate, having joyfully received an early Christmas gift in the mail: I have been accepted into a residency at the Tyrone Guthrie Centre in Ireland!

Still reeling--more later but now time to celebrate with a pint of Guinness!

May peace and plenty be the first to lift the latch on your door, and happiness be guided to your home by the candle of Christmas.

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Winter Solstice

Well, it’s 2AM on Tuesday the 21st of December--and the earth will align for two special events - - a total eclipse of the moon, and the winter solstice when winter officially begins.

The night sky has been so beautiful..I painted this from my window around 7:30PM until 11:30 and will definitely go back into it as it's still very rough around the edges, so to speak.

As well I need to adjust the palette. It was so dark while I was working that I was scooping up what I thought was one colour only to find..NOT.
This needs to be more cohesive/refined and perhaps I will glaze when completely dry. As well, I  am having  problems with the M Graham whites. They are not opaque- they are  too transparent and fluid aka walnut oil-I like fluidity and transparency in some of their coloured pigments, but not  white! I had run out of KAMA (beautiful Canadian handmade paint) --what a difference and I will be ordering some today. Considering the time of year I had better stock up.

I try to keep this blog ‘clean’ i.e. strictly art, but considering my art is inspired by my environment I thought I would share my outdoor studio and 3 reasons that have fostered my appreciation for the great outdoors.

I’m still working on the commission mentioned earlier and with family illness I haven’t had much time to paint, but am optimistic things will turn. In the meantime, I am sharing another ‘December’ painting.

This little painting has been good for me and it was hard to let it go when sold. It not only represented a significant time in my personal life but jurors loved it –even won first place in a regional public gallery exhibition.

December, Remains of the Day

oil on canvas

11x14in, 2010

SOLD

I had been working all day on a larger studio painting and just killing it –getting very frustrated—so I opened the door to get some air and again, on the fly, looked out and there it was. I never moved so quickly as to when I wheeled my painting table over and strapped that canvas onto the easel..am wondering if I could generate the same energy (of the painting, not me!) on a much larger scale…

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This week I’m in the studio working on a commission- from one of my ‘October’ paintings as reference. On this December day, however, the temperature is _9C .

Snow-worthy for sure although it hasn’t arrived in this part of Southern Ontario- yet- except for a light dusting. I hope it holds off until next week when I have some time to paint it. In the meantime I thought I’d share another of my December vineyards from seasons past.

December, Remains of the Day

oil on canvas

11x14in, 2008

I remember sitting right in the snow to paint it. I have a ‘sleeping-bag’ type coat that goes down to my ankles and I can tuck it under to stay warm. (I think it is my favourite piece of clothing. Huge pockets to put things in from daily field walks—milkweed pods, stones, the occasional animal part that my dogs have discovered).

I was attracted to the remains of one of those shimmering blue-bright December days and accompanied the incoming shifting hues of light.

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a wee show..

A few of my paintings are up at the Grimsby Public Library as well as the Art Gallery lobby so if you're in the area they would love to see you... 

 January Ice Vines

oil on canvas

24x40in, 2008

 

January Ice Vines

oil on canvas

20x36in, 2008

February

oil on canvas

36x48in, 2007

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 I really have a problem with the loss of daylight so when I lose the light in the early evening I usually work from a still life or a plein air sketch-referenced larger work. Controlled light is great but I still crave the challenge of changing light.

I was in the studio about to close the blinds --on the fly glanced out the window and low and behold, Christmas lights! This was an excuse to use pure pigment and it was interesting to build up the saturated darks and value shifts. I have a very large knife with different angle edges and used it a lot—on a larger canvas I could probably get away with a brush. I do like working with the knife-really really thin and wet paint though—not fond of the consistent strokes and ‘icing’ look that can sometimes happen when using a knife with thicker paint. I’m liking the Canadian Balsam/linseed oil as the paint really glides and it dries to a luminous gloss.

December, Remains of the Day

oil on canvas

9x12in, 2010

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