murmuration

 

Chunky and noisy,
but with stars in their black feathers,
they spring from the telephone wire
and instantly

they are acrobats
in the freezing wind.
And now, in the theater of air,
they swing over buildings,

dipping and rising;
they float like one stippled star
that opens,
becomes for a moment fragmented,

then closes again;
and you watch
and you try
but you simply can't imagine

how they do it
with no articulated instruction, no pause,
only the silent confirmation
that they are this notable thing,

this wheel of many parts, that can rise and spin
over and over again,
full of gorgeous life.
Ah, world, what lessons you prepare for us,

even in the leafless winter,
even in the ashy city.
I am thinking now
of grief, and of getting past it;

I feel my boots
trying to leave the ground,
I feel my heart
pumping hard, I want

to think again of dangerous and noble things.
I want to be light and frolicsome.
I want to be improbable beautiful and afraid of nothing,
as though I had wings.

"Starlings in Winter" by Mary Oliver, from Owls and Other Fantasies

   Murmuration,  encaustic on box, 6x4x11in, 2012

Murmuration,  detail on box lid

murmuration, detail on box side

current forecast

In light of the current forecast, (first snow of the season) I thought I'd post this plein air study. It was painted last winter during a snow storm where I took cover in an old shed.

February, Niagara Escarpment

oil on canvas, plein air, 8x10in

                                

  available for auction :
http://openstudiolive.blogspot.ca/

Open Studio`LIVE`

Between teaching, building a new website and attempting to paint the odd masterpiece, I have also managed to upload work to the Open Studio`LIVE` site. 

The third annual online art auction is now up and running (more than I can say for me). 

I will be shamelessly flogging it  by posting featured images. 

February, Niagara escarpment
jy14

encaustic on canvas

16x20in

BID here

art-making and tools

Tools are an important, and personal, part of making art. Our attachment to them is so interesting-we all have our favourite brush, knife etc. Any time that I introduce a new tool as part of my process I will try to use it -and only it- in the initial stages of a  painting's unfolding. I want to not only push it, but I want it to guide me in order to explore new possibilities. This is emphasized in my classes but I am planning to introduce a new workshop that will focus entirely on tools in making art. stay tuned.

 November, Niagara Escarpment, oil on canvas, 20x30in, 2012, available

 Other than laying in an initial  thin under wash with a large house painting brush, the image above was rendered with one brush- a number 12 bright.

Unfortunately I was too impatient to put another coat of gesso on the canvas before starting. It's been sucking up the thin layers of paint so there will be a few areas to be touched up, but I will stay with the same brush size.

sweetness of solitude

When I dance, I dance; when I sleep, I sleep; yes, and when I walk alone in a beautiful orchard, if my thoughts have been dwelling elsewhere, I bring them back to the walk, to the orchard, to the sweetness of this solitude, and to me.                                                                                            MicheldeMontaigne                                                                                                          

 Fall (into place) 
October, Niagara Escarpment
 oil on canvas, 20x30in
 2012, available

new class: November

paint play

Last Dance, Niagara escarpment, oil on canvas, 16x20in, 
available

This ongoing series will open up new ideas and fresh ways of seeing.

 Exploration in varying influences and techniques are emphasized and you will be encouraged to experiment with colour pallet, brush work and paint application.

We will work from direct observation as well as learn how to use reference materials so your paintings look fresh and vital-not copied. Choose your preferred subject matter i.e.  landscape, abstract or still life. 

A few plein air studies

 October, Niagara Escarpment, fog study, oil on canvas, 6x6in

Whenever I change my palette or experiment with new painting tools / approaches, I  tend to start off small...

October, Niagara Escarpment,  plein air study, oil on canvas, 6x6in,  2012

The following is a little heavy-handed but I like it 

October, Niagara Escarpment,  plein air study, oil on canvas, 2012, 6x6in

October

"October gave a party; The leaves by hundreds came- The Chestnuts, Oaks, and Maples, And leaves of every name. The Sunshine spread a carpet, And everything was grand, Miss Weather led the dancing, Professor Wind the band."
 - George Cooper

 October, Niagara escarpment, plein air study, oil on canvas, 11x14in, available

 "Even if something is left undone, everyone must take time to sit still and watch the leaves turn."
-   Elizabeth Lawrence

thanks(giving)

 

'We often take for granted the very things that most deserve our gratitude.'  Cynthia Ozick

 

  September, remains of the Day, Niagara Escarpment

 plein air, oil/cold wax on panel, 2012

available 

 "Every action of our lives touches on some chord that will vibrate in eternity."
  Sean O'Casey

between

Below is a wee study -am still entranced with edges, convergence and things in between.

October, Remains of the Day

plein air, oil/cold wax on panel

8x10in, 2012

available


 

'rags for those loved', intentions from Ireland

yyyyyyyyyyyy

Wish Horse

 rags for those loved', intentions from Ireland  

outdoor installation, Grimsby Public Art Gallery

Niagara, ON, Canada

This is a toy horse that my daughter played with as a child. I embellished it with  feathers for flight and a jewel for luck. Before I hung it on the rag tree (borrowed from the Irish custom which you can read about here) , I made a wish, or 'intention' as they like to phrase it.

A few images of the project-as usual I forgot to take many photos and these are not the best. I will be going back periodically to document the tree as it fills, but along with rags and the wee wish horse, I have seen a child's purse, a pair of reading glasses, some small ears of corn, and even paintbrushes suspended from the branches (not mine). I added some rags that my Mother used for painting-she never threw anything out-she would wash and re-use them.
I am so grateful that the gallery has allowed me to leave the installation up for an extended period! 

Fall Plein Air Classes

Fall is such a short season-why not make the most of it? Join us outdoors in Niagara's  orchards, fields and vineyards while they are bursting with colour. 

 

Plein Air Painting 
 

All sessions are held on the Niagara Escarpment, a Unesco world biosphere reserve



 
 

These in-depth sessions will address challenges specific to the outdoor painter.  After my trip to Ireland I have learned about packing light, working with a simplified pallet, preparing surfaces and working fast with the changing light! I will share techniques including pre-mixing predominant seasonal pallets, building composition and economy of brushwork. You will be responsible for your own supplies and a list is provided upon registration. Some outdoor easels are available.

 

Ongoing Mondays and Tuesdays throughout the fall:

10am -12:30pm or 6-8:30pm

info/prices/register here 
secure online payments via paypal accepted

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spark

 It’s interesting what ‘sparks’ inspiration. Last summer I worked on a series of small nocturnes(firefly moondance), incorporating them with my encaustic work. 

This week someone posted a simple poem on facebook. It beckoned me to re-visit the theme-on a larger scale.

 I also think it resonated because of the project that I will be presenting on Saturday. I grieve for my Mother-I crave her physical presence. At present, the physicality of making art settles this longing, allowing-for a time- peace and acceptance.

Firefly Moondance, oil/cold wax on canvas, 24x36in, 2012

Firefly...

As subtle as a fairy's sigh,
aloft on summer's velvet night,
the blinking of a firefly
anoints the dark with specks of light.
It's said that they illuminate
the spirits of our loved ones gone,
who wink at us from heaven's gate
and flash their love, like sparks of dawn.

These creatures, magical and small,
are bearers of immortal souls
who come to comfort one and all
by glowing soft like warming coals.
So in that moment, brief and bright,
we lay our grief and sorrow by,
and smile each time we catch the sight
of the elusive firefly.

Katharine L. Sparrow

fall (into place)

Our greatest glory is not in never falling, but in rising every time we fall. Confucius

fall (into place), Niagara Escarpment, oil on canvas, 48x48in, 2012



 I did have many falls in the making of this painting, but the process taught me a lot

Don't learn to do, but learn in doing. Let your falls not be on a prepared ground, but let them be bona fide falls in the rough and tumble of the world. Samuel Butler

Rags for Those Loved

below is an invitation for those who live near or are visiting the Niagara region:

photo courtesy of Carol O'brien

I  will be presenting a public installation on September 22 in conjunction with Niagara  Night (& Day) of Art. The project is intended bring to attention the importance of hospital and hospice in our community and the public is invited to participate.

During my Ireland residency while travelling around the countryside, from time to time I came across a tree completely covered in rags or scraps of clothing.

I learned the rags are placed there by people who believe that if a piece of clothing from someone who is ill, or has a problem of any kind, is hung from the tree the problem or illness will disappear as the rag rots away.

Tying rags as an offering to a sacred tree is an ancient Celtic tradition still alive in Ireland. The fabric is meaningful - it symbolizes a desire or dream.

Some leave offerings to saints, others to ancient gods or nature spirits. Sometimes the rag represents a wish or aspiration.The fabric used in rag trees is symbolic so the types of rags tied to branches vary widely, from lovely, shining silken ribbons to simple scraps.

 

The public is invited to adorn a tree with rags, ribbons, clothing, trinkets or any object they find to be meaningful. They can come, make a wish or say a prayer for loved ones who are ill or have passed, bringing  to attention the importance of hospital and hospice in our community. The artist will be present during the day between 12PM and 4PM. 

In my research I have  been corresponding with Irish photographer Carol O'brien:

'this is exactly what the custom of the Rag Tree is - an offering in exchange for an intention (or wish), whether that be for those still with us, or for the memory of those who have passed. One of the lovely things about the tree is seeing the colours of the new items against the faded and discoloured items which have been on the tree for years and seem to have blended themselves into the bark. Also the variety of items on it - from actually rags torn from clothing, to rosary beads, to lengths of ribbon, to hair ties, to belts, even socks! But mostly you find yourself looking at an item and wondering who had left it, or when, and what intention was so important to have granted that they would leave behind some part of themselves, and most importantly - was their intention granted! Every item holds a secret and a storey and I think it is this that makes the tree so full of mystery and symbolism!'

the kind of September

      
Try to remember the kind of September

When life was slow and oh

so mellow.

Try to remember the kind of September

When grass was green and grain was yellow.

Try to remember the kind of September

When you were a tender and callow fellow.

Try to remember and if you remember

then follow, follow.

Try to remember when life was so tender

When no one wept except the willow.

Try to remember when life was so tender

When dreams were kept beside your pillow.

Try to remember when life was so tender

When love was an ember about to billow.

Try to remember and if you remember

then follow, follow.

 Deep in December it's nice to remember

Although you know the snow will follow.

Deep in December it's nice to remember

Without a hurt the heart will hollow.

Deep in December

it's nice to remember

The fire of September that made you mellow.

Deep in December our hearts should remember and follow, follow.

written by Tom Jones and Harvey Shmidt

September, remains of the day, Niagara Escarpment, plein air, oil on canvas, 11x14in, available

blue moon and harvest picnic

QUICK! go outside and look UP !!!!!  (August 31 )

 Each year, the moon completes its final cycle about 11 days before the Earth finishes its orbit around the sun. These days add up, and every two and a half years or so, there is an extra full moon, called a blue moon. The origin of the term is uncertain, and its precise definition has changed over the years. The term is commonly used today to describe the second full moon of a calendar month, but it was originally the name given to the third full moon of a season containing four full moons. 

from 'Almanac Moon' series, encaustic on panel, 6x6in, 2012

 

Below is more 'produce' for today's Greenbelt Harvest Picnic.  

 

 

 

Bartlet pear 2 encaustic on muslin panel 12x2x12 2012

Ruby's pear (sold)

mmmm 

My dogs love pears and 'pick' them from the lower branches of the fruit trees we pass on daily walks. I was told that the core is harmful to them so must monitor their consumption. 

 One of the dogs, Ruby, is very sneaky and hides them in her mouth.

This is painted from a pear rescue reference-don't you think tooth marks enhance the overall feel of the work ?

Ruby's Pear, encaustic on panel, 6x10in, 2012, available

 Upon completion of the work Ruby did get her just deserts.

Food for Thought (sold)

 

More produce for next Saturday's Greenbelt Harvest Picnic

 

 

Bartlet Pear 1, encaustic on muslin/panel, 2x12x12in, 2012, available

 Food for Thought, encaustic on panel, 5x2x15in, 2012, sold

new encaustic work

I've been eating, drinking, and breathing art. The weather has been refreshingly cool, fuelling energy and inspiration. Deadlines do that to me as well-there is a lot to be said for working under pressure. The week has found me painting amidst rows of sky-high corn or ducking out at twilight for some plein air.

I also resumed some encaustic work planned for next weekend’s show. 

For many years vegetables from the garden or pears from abandoned orchards here have been constants my work.  However, I enjoy the challenges of seeing them in new ways and like to present them differently. 

Below is the first of a new series and there are a few more on the go. Fingers crossed that this  energy will keep flowing until they are finished and ready for the Greenbelt Harvest Picnic.

Cayenne 1, encaustic on panel, 4x2x14in, 2012, available 


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