recent paintings and news

recent paintings and news

Sunday, July 10, 2011

6 new encaustic works (sold)



looks like a new series evolving

'Quiet Conversations' ~ -incorporating drawing and glass-will see where it takes 
 me





 
Quiet Conversations  
encaustic/mixed media on panels 
9x12in, 2011, available




 
Quiet Conversations  
encaustic/mixed media on panels 
4x12in, 2011, available


Quiet Conversations   
 encaustic/mixed media on panel 
5x20in, 2011
sold





Quiet Conversations  
encaustic/mixed media on panels 
9x12in, 2011, available

 The next 2 images incorporate paintings rendered quite a few years ago. 
I have 'framed ' them by drawing with beeswax crayons that I made, as well as oil bar, then I fused them with heat and polished to harden. I attached a small frame on the back so they look like they are suspended from the wall and have a tapestry-like quality that I am liking.   
 
 
 
                                                                              
 
Quiet Conversations 

encaustic/mixed media on panels 
9x12in, 2011, available 








 
Quiet Conversations 
encaustic/mixed media on panels   
9x12in, 2011, available 



                                  *

Sunday, July 3, 2011

balance & letting go


On Sundays I work at our gallery - located in a tourist driven region of Niagara. In the summer we are fortunate in that we have visitors from around the world, and I am happy –and very thankful- to say that through this venue my paintings have moved to new homes in other countries.

I am especially happy, however, when they make their way to dwellings close to home. When local residents connect with the vineyards, orchards, fields and sky indicative of this region it touches a deeper chord.  Such was today. I actually had the opportunity to meet the couple that purchased ‘May’. Often I don’t so the chance to discuss the painting and hear why they responded to it was deeply gratifying-and so exciting to see it through their eyes! In discussing the work it inevitably brought back the inspiration and process so when it was time to part it was also bittersweet.

I guess the reason I am writing this is affirmation, for lack of a better word, that, as an artist, what I do can sometimes make a difference in not only my, but another person's, well being- being well. This always surprises me-like a revelation. Then my constant insecurities are momentarily quashed with the wonder of it all. Through many years and many paintings I have questioned why I continue to do what I do. (as if I have a choice??) I've given up a LOT-(would kill for a weekly pay check). Family, friends, loved ones are often put on the back burner. But making art is like breathing -I can’t NOT do it-so these intimate encounters with kindred spirits that 'get' my work enough to want it in their daily lives is something to behold-for me at least.

I’d love to hear from other artists on this-what have YOU sacrificed for your art?



 "May" with Doug & Pat




Friday, July 1, 2011

encaustic & quiet conversations (sold)


See how nature - trees, flowers, grass - grows in silence; see the stars, the moon and the sun, how they move in silence...we need silence to be able to touch souls.
Mother Teresa of Calcutta


A few new encaustics - new series. I have been making wee sketches in the early evenings and will be incorporating them into encaustic as well.

Clearing out my summer studio (garage) has taken priority and now that there is room to roam I will be hosting new encaustic workshops. I love working out there with the door wide open-especially when it rains and storms –I feel like I am right in it but remain dry:)

In the meantime I have been working on a very large painting and it is taking me forever..which is okay but I am starting to get in that obsessive stage i.e. all my waking hours and now even in my dreams. That’s another reason I like to transition after working all day on large paintings- I love the silence in creating at night and seem to get away with it more in the summer months.




Quiet Conversations
encaustic on box
6x8in, 2011
sold





Quiet Conversations
encaustic on box
6x8in, 2011
available

Saying nothing...sometimes says the most.
Emily Dickinson


The world would be happier if men had the same capacity to be silent that they have to speak           
Baruch Spinoza
*my favourite

Saturday, June 25, 2011

fire fly - moon dance (sold)



For me a summer night is especially evocative. I am not the only one. It is the stuff of songs, sayings, poems & plays.

What a marvellous night for a moon dance.



 Moon Dance
mixed media on panel
6x6in, 2011






  Fire Fly
mixed media on panel 
6x6in, 2011
sold








Wednesday, June 22, 2011

Summer (sold)

Love is to the heart what the summer is to the farmer's year - it brings to harvest all the loveliest flowers of the soul.  
Author Unknown






To see the Summer Sky
Is Poetry, though never to the, in a Book it lie -
True Poems flee.
Emily Dickinson


In June, as many as a dozen species may burst their buds on a single day. No man can heed all of these anniversaries; no man can ignore all of them.  
Aldo Leopold

No price is set on the lavish summer;
June may be had by the poorest comer.
James Russell Lowell

Then followed that beautiful season... Summer....
Filled was the air with a dreamy and magical light; and the landscape
Lay as if new created in all the freshness of childhood.
Henry Wadsworth Longfellow

Summer is the time when one sheds one's tensions with one's clothes, and the right kind of day is jeweled balm for the battered spirit.  A few of those days and you can become drunk with the belief that all's right with the world.  
Ada Louise Huxtable


Summer afternoon - summer afternoon to me those have always been the two most beautiful words in the English language
Henry James, Jr. 

July
Niagara Escarpment
oil on canvas
36x36in, 2010


HAPPY SUMMER !


Saturday, June 18, 2011

edge & field

Freedom is what you do with what's been done to you.
Jean-Paul Sartre




I haven’t posted in awhile- crazy busy month! My plein air classes and workshops are in full swing, and a few large paintings are in progress.  

I do want to thank those of you that took the time to write your comments on my previous post. I haven't had time to respond or even barely visit your new work, but intend to do so soon-
*Bill a special thanks to you-your compliment sent me over the moon!

 I did manage to get out this evening for a quiet conversation with the field and rendered this wee acrylic painting. I finished just in time too- my neighbour came out with the tractor to cut down the area where I was working!






June, Remains of the Day
acrylic on canvas
6x14in, 2011
available

For me,  acrylic paint can be challenging when it comes to edges in landscape—soft and varied edges that is. It lends itself nicely to sharp edges, and, although I really like it in others, I’m not after  graphic or stylized contrast in my own work. I do  like acrylic for glazing and if used wet and/or with different mediums I am able to achieve a more varied approach to edges and application with the brush. It’s also convenient ie not having to worry about transporting a wet oil painting when hurriedly trudging through fields  -especially if one is being chased by a columbine.





* a bit of excitement -a documentary  was shot here all day yesterday and I played a small part-primarily as myself but hey, they still made me do 'take' after take-am exhausted! The show airs in January and will post more info then-



Thursday, June 2, 2011

new June & plein air classes


'How sad it is! I shall grow old, and horrid, and dreadful. But this picture will remain always young. It will never be older than this particular day of June…if it was only the other way! If it was I who were to be always young, and the picture that were to grow old! For this—for this—I would give everything! Yes, there is nothing in the world I would not give!'

Oscar Wilde


Below is a view from my studio and it is a snowball bush that has grown somewhat awry -which I quite like.



June
oil on canvas
18x24in, 2011
available
 (still a wee bit glare y, will re-shoot when dry)


I worked alla prima over an existing dark painting-played with  higher chroma and worked out some compositional divisions. I also worked on mixing new spring greys.

I have finally settled on a medium that works well (for me) when painting outdoors—  2 parts safflower oil, I part dammar varnish or Canadian balsam ( it’s expensive) and a few (use sparingly) drops of cobalt drier. I much prefer this drier  to alkyd additives and mediums like Liquin, which I have used on and off for many years. When I work outside in the warm sun I like the paint dripping wet so use lots of solvent /medium in the initial stages of laying in. As I build the painting with thicker passages, the sun and the medium tend to set up and become tactile-I love that ‘pull’ as the paint then has a beautiful plasticity.


 weekly  Plein air classes resume 


*Weekly classes in  Plein Air Painting  resume next Monday night, June 6. There are 2 openings left so if interested, please contact me. If you are new to art making this is an opportunity to engage in a nurturing,  encouraging and  informative environment. You will approach and develop techniques  including observation, composition, value, colour, brushwork and paint  handling. For practising artists, this is an opportunity to hone individual goals and push beyond your comfort level. 





A smorgasbord of inspiring subject matter is waiting for you:
gardens, vineyards, orchards, fields and amazing sky 
 
For more information about the series, click here or on the top right hand side of this blog.
**If you have registered and would like to pay online securely via paypal, click the link below. You do not need an account with paypal to complete the transaction.





Monday, May 30, 2011

quiet conversations (sold)



I love the following poem, and the heady scent of them right now compels me to share it.

(although I think of my own region when I read it)



My May Lilacs
oil on canvas
18x24in, 2010
sold



Lilacs

 Amy Lowell


 
Lilacs,
False blue,
White,
Purple,
Color of lilac,
Your great puffs of flowers
Are everywhere in this my New England.   
Among your heart-shaped leaves
Orange orioles hop like music-box birds and sing   
Their little weak soft songs;
In the crooks of your branches
The bright eyes of song sparrows sitting on spotted eggs   
Peer restlessly through the light and shadow   
Of all Springs.
Lilacs in dooryards
Holding quiet conversations with an early moon;   
Lilacs watching a deserted house
Settling sideways into the grass of an old road;
Lilacs, wind-beaten, staggering under a lopsided shock of bloom
Above a cellar dug into a hill.
You are everywhere.
You were everywhere.
You tapped the window when the preacher preached his sermon,
And ran along the road beside the boy going to school.
You stood by the pasture-bars to give the cows good milking,   
You persuaded the housewife that her dishpan was of silver.   
And her husband an image of pure gold.   
You flaunted the fragrance of your blossoms   
Through the wide doors of Custom Houses—
You, and sandal-wood, and tea,
Charging the noses of quill-driving clerks   
When a ship was in from China.
You called to them: “Goose-quill men, goose-quill men,   
May is a month for flitting.”
Until they writhed on their high stools
And wrote poetry on their letter-sheets behind the propped-up ledgers.
Paradoxical New England clerks,
Writing inventories in ledgers, reading the “Song of Solomon” at night,
So many verses before bed-time,
Because it was the Bible.
The dead fed you
Amid the slant stones of graveyards.
Pale ghosts who planted you
Came in the nighttime
And let their thin hair blow through your clustered stems.   
You are of the green sea,
And of the stone hills which reach a long distance.
You are of elm-shaded streets with little shops where they sell kites and marbles,
You are of great parks where every one walks and nobody is at home.
You cover the blind sides of greenhouses
And lean over the top to say a hurry-word through the glass   
To your friends, the grapes, inside.


Lilacs,
False blue,
White,
Purple,
Color of lilac,
You have forgotten your Eastern origin,   
The veiled women with eyes like panthers,
The swollen, aggressive turbans of jeweled pashas.
Now you are a very decent flower,   
A reticent flower,
A curiously clear-cut, candid flower,   
Standing beside clean doorways,
Friendly to a house-cat and a pair of spectacles,   
Making poetry out of a bit of moonlight   
And a hundred or two sharp blossoms.
Maine knows you,
Has for years and years;
New Hampshire knows you,
And Massachusetts
And Vermont.
Cape Cod starts you along the beaches to Rhode Island;   
Connecticut takes you from a river to the sea.   
You are brighter than apples,
Sweeter than tulips,
You are the great flood of our souls
Bursting above the leaf-shapes of our hearts,   
You are the smell of all Summers,
The love of wives and children,
The recollection of gardens of little children,   
You are State Houses and Charters
And the familiar treading of the foot to and fro on a road it knows.
May is lilac here in New England,
May is a thrush singing “Sun up!” on a tip-top ash tree,   
May is white clouds behind pine-trees   
Puffed out and marching upon a blue sky.   
May is a green as no other,
May is much sun through small leaves,   
May is soft earth,
And apple-blossoms,
And windows open to a South Wind.   
May is full light wind of lilac
From Canada to Narragansett Bay.


Lilacs,
False blue,
White,
Purple,
Color of lilac.
Heart-leaves of lilac all over New England,   
Roots of lilac under all the soil of New England,   
Lilac in me because I am New England,
Because my roots are in it,
Because my leaves are of it,
Because my flowers are for it,   
Because it is my country
And I speak to it of itself
And sing of it with my own voice   
Since certainly it is mine.

Sunday, May 29, 2011

the end



The end has come, for my orchard series this season. I think of all, I feel most connected with this wee one.




May (Mom)
Wild Orchard, Niagara Escarpment
oil on canvas
8x10in, 2011



While I thought that I was learning how to live, I have been learning how to die. ~Leonardo Da Vinci



*




Friday, May 27, 2011

Vincent & inspiration


‘Is it not emotion, the sincerity of one's feeling for nature, that draws us, and if the emotions are sometimes so strong that one works without knowing one works, when sometimes the strokes come with a continuity and a coherence like words in a speech or a letter, then one must remember that it has not always been so, and that in time to come there will again be hard days, empty of inspiration.’

Excerpt of a  Letter from Vincent van Gogh to Theo van Gogh
Arles, c. 7 July 1888

Those words resonate with me. I have been thinking about what compels me to make so many paintings of the orchard-I never think about it while I am in progress, only after I have produced a series do I reflect on why. In essence I think the orchards in bloom hold a resplendent optimism –I think the rows of white are leaning into the sublime-my friend calls it tree-worship. But what are They worshipping? Besides the bearing of  fruit, I find they are feminine in their gesture, in their stance, in their limbs. When in bloom they merge with the sky into an otherworldly guise. The culmination lasts not even a week, and I think that is what I find to be so compelling. 



May (& Joan) oil on canvas, 7x14in, 2011

This painting is one of my finals from the season. Part of it was rendered in response to a photo taken by my dear friend last week. We were WAy overdue for a good visit. With dogs in tow and drinks in hand  we  hiked out to the orchard, sat under those glorious old trees glistening in the late day sun, and caught up with our lives.


*I have been pouring over  letters written by  our Vincent. All 874 are posted on a very easy to navigate website: the Van Gogh letters
  http://www.vggallery.com/letters/main.htm




*

Tuesday, May 24, 2011

spark



No creature is fully itself till it is, like the dandelion, opened in the bloom of pure relationship to the sun, the entire living cosmos.
- D.H. Lawrence

If dandelions were hard to grow, they would be most welcome on any lawn.
-Andrew V Mason

It gives one a sudden start in going down a barren, stoney street, to see upon a narrow strip of grass, just within the iron fence, a radiant dandelion, shining in the grass, like a spark dropped from the sun.
-Henry Ward Beecher



May, oil on canvas, 8x18in, 2011, available

I knew my neighbours would be mowing through the vineyard rows as soon as the rain ceased, taking the dappled yellow with them. I sat outside my kitchen door and caught these doomed (deemed) weeds as quick as I could—was lots of fun. Their plight was sealed just as I put down my last stroke-

*

Friday, May 6, 2011

A Weekend Invitation (sold)



SALE on -
This Weekend Only
ALL of my paintings at the Jordan Art Gallery are offered for 13% less than the listed price-just think of it as a tax break.

Sunday, May 1, 2011

MAYDAY (sold)



"What potent blood hath modest May."
- Ralph W. Emerson


"The world's favourite season is the spring. All things seem possible in May."

- Edwin Way Teale


"Be like a flower and turn your face to the sun."

- Kahlil Gibran




Happy May!



 May
Niagara  Escarpment
acrylic on canvas
18x24in, 2008
sold



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to everything there is a season (sold)




My earlier post expounded on how incredibly amazing April is - that we should be patient considering all she brings in growth and renewal. Well I take it back. She has wreaked havoc on far too many. 

 I’ve been  miserable thanks to April. Our majestic old maple tree was torn out by the aftermath of the US tornados. (I can’t even begin to fathom the vast devastation and destruction in the US). The tree is/was situated in front of our veranda, where the entrance to my studio is located. I know that I am fortunate as it missed the house, causing no major damage. I can’t help but feel gutted though when I look at her splayed on the ground, vulnerable, her wee spring buds on branches of hope. I feel like I am mourning as she was so significant to me and my work. The ambiance she provided when sitting out with friends or painting with students will be sorely missed. I keep thinking of all the years that she gave to the birds-some returning year after year. She was their social network as well as protection and housing. When I think of it trees are very much gathering places and places to gather. I am deeply thankful that I shared my seasons with this old girl and she will be sorely missed.



I like to paint ideas via oil sketches on black gessoed card. I have many and usually don’t share but thought I'd make an exception. Last evening I sat on my veranda and painted ‘ view without  tree’ . Serenaded  by finches and mockingbirds, breathing fragrant sweet air, colouring in yellow green land and shocks of forsythia --I might forgive April.




Almost May
Niagara Escarpment
oil on gessoed card
4x6in, 2011
available 

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read on for image of destruction....

Sunday, April 24, 2011

What is it about an Orchard?



Some keep the Sabbath going to the Church 
I keep it, staying at Home 
With a Bobolink for a Chorister 
And an Orchard, for a Dome

Some keep the Sabbath in Surplice
I just wear my Wings 
And instead of tolling the Bell, for Church,
Our little Sexton — sings.

God preaches, a noted Clergyman 
And the sermon is never long,
So instead of getting to Heaven, at last 
I'm going, all along.
Emily Dickinson




April, Waiting for May
oil on canvas
30x36in, 2011
available

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