Winter Color

Winter Color, oil on gessobord, 12"x9"

The day I was painting in Indiana (on the one pretty day we've had here in the Ohio Valley in 3 weeks) was fun and had my mind turning with new ideas. I painted for two hours before the wind picked up, to the point I had to stop. As I was packing up, I glanced uphill and spotted this tree illuminated with the first sun of the afternoon.  I did a quick sketch on a fresh gessobord, then finished packing up for the day. When I was driving home I remembered I had forgotten to take a  reference photo for this, so this one was all done from memory. 

Grey Skies, Ohio River

Grey Skies, Ohio River,  oil on gessobord, 9x12"

After packing up my painting gear on Sunday, I took the back roads in Southern Indiana. About an hour later ended up here...O'Bannon Woods State parks. It has an amazing section way up on a river bluff. I hiked down as far as I could without falling off the ledge and set up the easel.  The wind was strong, and the footing a bit ominous, and it was quite exhilarating!!

Here is where I set up my easel. Luckily I had the sunshine after about an hour of painting to warm me up.

Westward

Westward, oil on gessobord, 6x6"

While I was deciding where to trek to paint yesterday, I painted this from a photo reference from my summer trip. Still wish I was there. Sigh.

Bundled 2

Bundled 2, oil on canvas, 14x18"

"Bundled 2" came right off the heels of "Bundled". I felt I had to keep the momentum going.  This one was a bit harder to paint because the hay bales were smaller and more numerous.  The color promotes the serenity of the scene but still allows the drama of it to come out.

Bundled

Bundled, oil on canvas, 14x18"

I have been wanting to do a haystack painting for a while. I was going through the photos I took at the end of the summer, and I came across the reference for this painting - a photo I took in Kansas while traveling west.  I am starting a few larger ones to see how it "feels" and to include them in an up-and-coming solo show I will have at the Polvino Art Center in historic Nicholasville, KY during the month of January. I hope to see you there!

Dynamic Duo

Dynamic Duo, oil on hardboard, 10x10"

I went a little bigger with this one. The shadows were definitely more wonky then whimsical. I tried to convey that.  

*One corner of the painting is 1/8" wider because I cut this board myself and went past my cutting line. * 

Shadows 2

Shadows 2, oil on gessobord, 6x6"

Here is the 2nd in the series of shadow paintings. I think I'm  hooked.  Advice: if you are in a rut of any size, shift your gears.  I've always looked at shadows as whimsical, but they are becoming a joy to paint.

Shadows

Shadows, oil on gessobord, 6x6"

Several weeks ago, when the weather in Louisville had turned cold but sunny, I took a walk on the city's pedestrian bridge that crosses the mighty Ohio river. There seemed to be an abundant amount of cyclist that day. I began to notice all the shadows taking different shape the closer they came to me. I snapped a few photos to paint from and noticed when I zoomed in the actual shadow took on a more beautiful form. I may do a few more paintings from the photos, but I think it is a good start! #251

Walkabout

Walkabout, oil on gessobord, 6x6"

My 250th painting I have posted since beginning this blog and so fitting that it was painted at Bernheim!

This is the second painting I started at Bernheim over Thanksgiving days. I turned my easel 180° from the location I was painting "Roundabout" - yesterday's post. It was a meandering path that lead from the perfect locations - the forest to the lake!
The light was fading and lovely. I did not take a reference photo when I was forced to stop painting but finished it from memory the next morning in the studio. It was a liberating feeling not to be tied to a photo reference, for a change. It is how I formerly painted, and may try and force myself to do that henceforth.

Roundabout

Roundabout, oil on gessobord, 5x14"

The day after Thanksgiving provided me with the perfect weather and opportunity to paint outside. There is no better gift I can give myself.  This is a diptych of two 5x7" paintings.  The lake at Bernheim had some beautiful grey pockets of light floating around while I worked.  The background reeds and feathery plants hugging the far shore were made up of beautiful golden slivers.

Fall's Energy

Fall's Energy, oil on gessobord, 12x12"

I started "Fall's Energy" over two weeks ago, and returned to  it today.  I feel quite rusty because, in these two weeks, I haven't painted anything else at all. 

"Fall's Energy" is a scene of just that...energy from every direction.  Color, lines, and composition all converging to form this energetic painting.  Which is funny, because as of this writing, I have no energy.

 I've been very busy lately with preparations.  I participated in a wonderful event Friday, called An Evening with the Arts, in a small town right outside of Louisville.  The event featured local artists displaying their work, prior to a lovely performance by Louisville Orchestra. My youngest daughter Barrett was my helper that night. She plays for the Louisville youth orchestra, so that was her common denominator.  The last two weeks I've spent cataloguing the work I took with me to display (75 paintings), constructing hand-made frames, varnishing, framing, wiring....all that stuff. It left me tired, but satisfied when it was over. 

I talked to a lot of interesting folks that night. And I am now  prepared for a solo show I've been granted for the month of January. More on that later.

Cattails 3

Cattails 3, oil on gessobord, 8x10"

Cattails 3, oil on gessobord, 8x10"

Here is a painting I did last week. I love painting cattails, and I had taken this photo reference the last time I was at my favorite Nature Preserve. The light was bright and the water was actually the star of the show this particular day.

In other news, I found a vintage camper, drove 5 hours to South Bend, IN then drove it home to Louisville this weekend. Yesterday, I spent the day tearing out replaced ceiling paneling that was hiding a lot of previous water damage, and found more work then I ever imagined (mold, rotting everything), BUT I got it, and am extremely excited over it's potential for my mobile gallery/studio, ARTwheels. 

My gofundme account is still very much active and seeking donations from all you wonderful people, the money now directed towards the unanticipated, complete renovation that this camper lovingly needs. Here's the link, and thank you to all of those wonderful folks who have contributed already. It is because of you this dream is coming to fruition!!!
https://www.gofundme.com/mvc.php?route=search&term=artwheels

Red on Green

"Red on green"

oil on gessoed board

9x12"

200

Sometime when you fall into a ballpit of lemons, you do come face-to-face with the one lemon that will give you a pitcher of lemonade (after you add the water and sugar).  Or whatever that expression is.  I painted last night to the point of an extreme headache, and overwhelming fibromyalgic pain, without finishing what I set out to do. This morning, nature awoke me at 5 (not unusual), so that I could go back into the studio to feel accomplished before heading into work. This is fresh off the easel and not the best photo of it. Still I'm excited about this painting. What say ye?

Magic School Buses

Magic School Buses, oil on gessoed board, 9x12"

Normally I post as I paint, but this one I painted, then forgot about for a few weeks, so here it is now. My daughter plays viola for the Louisville Youth Orchestra and they had a change in location for rehearsal a few weeks back. It was quite a trek. Knowing I would be in a non-urban location, and knowing it was going to be beautiful weather, I took my painting gear and my dog and set up to paint during her three hour rehearsal. There were buses parked in their lane, that made for a colorful contrast against a grove of trees just starting to turn their fall colors.

Angel River, Zion

Angel River, Zion, oil on gessobord, 12x12"

I revisited a few photos from my "Department of the Interiors" trip, as my family fondly calls it, taken at the end of the summer. This is the first painting I've done from Zion itself, which by the way, blew me away. I hope one day I can retire near it.

We were hiking on an incredibly hot day, when the Southwest was having higher then normal temps. So what are hot hikers to do but put their feet into a very cold river. I took this photo from the center of the river standing thigh- deep in water.  Oh what fun!!

Big Prarie Meadow 2

Big Prairie Meadow 2, oil on gessoed board, 9x12"

I did a smaller, quick sketch of this scene, just a couple of posts ago on location just to see if I wanted to do a larger  version.  I started round 2 on site as well. I blocked the composition in with the same palette, and changed a few things that were occurring, such as light. I also zoomed in just a tad.  I finished it in the studio from photos.  The gessoed board is a different brand then normal (Speedball as opposed to Ampersand) and has more of a slippery surface.  This trips me up a bit at the start, so I have found through trial and error, that I work better in shifts on this brand of board, allowing the layers to settle but not dry. I love the way this turned out....vibrant color and abstract layers of the landscape.

Overwatered

Overwatered, oil on gessoed board, 9x12"

While I was busy working on another painting at Patoka Lake, Indiana a couple weeks ago, I took a break to walk several feet away from the easel.  Looking out at the lake I spotted plants growing in abnormally high water, at least 20 yards from shore. Their distance was due to the ongoing heavy rains the area has had since June. Still, they were surviving, thriving and hardy despite being almost unnoticeable. The yellow and red leaves were a beautiful contrast to the greenish reflection surrounding the top half which dissolved into pristine blue.

Big Prarie Meadow

Big Prarie Meadow, oil on gessobord, 5x7"

This is a quick "sketch" if you will of Big Prairie Meadow, an area of Bernheim Forest and Arboretum that is filled with wild grasses, wild flowers, butterflies, various species of birds and forest rodents, and is the home to quail! It is also filled with sunshine most of the day. When I set my easel up on a hilly overlook this particular morning, a controlled burn was taking place at the farthest point away from where I was. I chose not to add it too the painting because it would have been confusing. But it added beautiful wafting silver smoke in the distance to the already bright and colorful landscape.

Sun Tree

Sun Tree, oil on gessobord, 5x7"

This was the first of five paintings that I worked on when I went to Lake Patoka two weeks ago.  The other four have already been posted - I inadvertently went in reverse order. 

I tried to capture the sun radiating on the trees that morning. The water still had more of a green/dark tone to it because the sun was still on the rise. This little scene provided me with the perfect warm up.

On another note, my daughter Reid received a college scholarship from the St. James Art Festival high school competition for her portfolio entry. There are 6 scholarships offered from local foundations associated with the St. James Art Festival given to talented students.  Reid won the Dot Wade scholarship, which coincidentally was same one that her brother Hugh won for his 2-D portfolio last year.  I am extremely proud - times 2!! Here are a couple photos from the reception last night:

Old Cedars

Old Cedars, oil on gessoed board, 6x8"

I mentioned in a previous post that on one side of the cove I was painting on this day, there were thriving green cedars, and on the other there were worn out, last-leg cedars. This painting is of the latter. Despite their days being numbered and nature reclaiming them, they were the first colors of Fall I saw, and in the sunshine, they glowed!

Kayak Cove

Kayak Cove, oil on gessobord, 5x7"

I parked my easel at the bottom of a small-craft launch last week, at my favorite lake in Indiana.  I have kayaked parts of it, as it is very large.  For this painting, I turned my easel to face a tinier inlet within the cove. Some wild grass hugging the shore was mid-day illuminated.  The lake and the sky, at this time of the day were virtually the same color.

Cove Jut

Cove Jut, oil on gessobord, 9x12"

So I had a few days in a row of painting en plein air which was so rewarding.  I got to be outside for entire days, and I got to paint for entire days, which I rarely get to do.  I went to a lake in Indiana, and because it was a Monday in September, I could have counted the people that I ran into on one hand.  Due to high water, some of the areas I would have sought out were closed.  I did find a small-craft launch, like kayak and canoe size, that had enough flat to set up my easel. The ramp had these little juts on each side of me, so I painted them both as the sun moved overhead.  They caught my eye because each was lined with cedar trees, one with living trees, the other with dead and brown trees. These are the living. 

Lake Cove

Lake Cove, oil on gessobord, 6x6"

This is the second painting that I did on my latest visit to Bernheim Forest and Arboretum. It is one of my favorite places to go when I have a day off or a weekend morning with nothing to do but hike.  There is a lake near the entrance that has many great, quiet places to set up to paint. I only turned my easel a little from "Lake View", to zoom in to get these illuminated reeds.  

Lakeview

On Sunday, the weather in Louisville, KY seemed to cooperate for the first time in 2015. Really!
So what's a painter to do but paint...outside where it was perfect.  I actually took the photo above of the lake only, after I had finished my painting.  The easel photo was taken after the ground was put on.  The light changed each minute I was there, but it was all a wonderful experience. Even though they did not make it into my painting, the clouds were the best part. 
Here is what I came up with:

Lakeview, oil on gessobord, 6x8"

Arches

Arch, oil on gessoed board, 11x14"

I painted Arch on a much larger sized gessoed board than I am used to.  The grand, yet simple scene allowed me to gravitate in this direction.  I actually took about 10 progress photos as I worked through this painting, documenting my actions.  I tried to put them all together so the viewer could "flip" through with your arrow keys on the computer, but I couldn't find the correct way to format it.  So here's the finished product. I am very proud of this one.

Capital Reef Cows

Capital Reef Cows, oil on gessoed board, 9x12"

Capital Reef National Park in Utah is an amazing place to be visually overwhelmed, in a good way. I had an amazing panorama that changed throughout the day, depending on the light, clouds and winds that passed through it. 

On the roads around the park, you see "Free Range" signs signifying cows are found everywhere.  There was a wire fence outside the boundaries of the hotel that I stayed in, probably to keep the cows from knocking on our doors, but they were there, always hanging around.  Most of what I saw were mama cows and their babies. The calm landscape was filled with their calls if their babies ventured one sage bush too far.

Road to Moab, 2

Heading into Moab, 2, oil on gessoed board, 9x12"

These red rocks are embedded into my heart. It is the same part of the chain from my pastel drawing Heading into Moab from earlier this week. The colors, formations, sage and sky speak for themselves. 

Sprague Lake Reeds

Sprague Lake Reeds, oil on gessoed board, 9x12"

Sprague lake was one of those places on my recent trip that put me on senses overload.  We were finally to Rocky Mountain National Park by evening and had enough time before the sun set to take a small but beautiful hike.  Sprague is a shallow lake that attracts fly fisherman who stood like statues, casting long shadows.  It has several layers of illuminated reeds and shore boulders on one side.  And that was just the beginning of the trail!
This painting, however, almost bit the dust several times during the process of painting.  I am not that adept yet with painting water....despite giving it many shots.  I took a photo of the painting in progress and sent it to Hugh, now in college in St. Louis, telling him I was at a standstill. He gave me some simple advice on "fixing" the water, and 10 minutes later I had a painting that I liked. Just a bit more touch-ups and it was done.  I will say that I normally don't get so detail-y, but felt with the reeds, I couldn't do them justice without it this time.  I am thrilled though, at how "un-detail-y" the background is, basically the initial wash I put down, with a small bit of touch-up.

Heading into Moab

Heading into Moab, pastel on paper, 9x12"

I enjoyed the pastel sketches I did on site(s) during my trip trip.   I have been feeling under the weather today, so I decided to take a paint-break and work with pastels again. This "wall" of red rocks was one of the views on the twisty road into Moab.  I was taking non-stop photos as we rounded one amazing turn after the other. I liked them all, as usual :-)

Passing through Vail

Passing through Vail, oil on gessoed board, 9x12"

When I started Passing through Vail from a relatively dark photo, I wasn't sure how it would turn out. I have been reading a lot about atmospheric perspective and how objects turn lighter or blueish to the naked eye, the further they are away.  When I was out West, I tried to recognize this with the distant views I was taking in, to apply it to my future paintings  I would be doing of the trip. The photo was taken while driving on the highway near Vail, CO. There was a small lake that held the reflection of the beautiful sky that day, with the Rockies on both sides. 

Lone Butte

Lone Butte, oil on gessobord, 8x6"

This butte was photographed while we were driving in Colorado, right before you cross into Utah. I don't remember exactly where since this was just the beginning of the red landscape. Like Mars.  I am realizing more and more how erosion itself is a artist. Each of the buttes and mesas that you find in this vast western desert territory are unique and beautiful. And worthy of anther artist's eye.

Road to Moab

Road to Moab, oil on gessobord, 8x6"

I have put painting on hold for a couple of weeks, much to my chagrin, due to life's many circumstances. Today...free time!!! It has been fun going through all my photos of my recent 2 week "Department of the Interior" trip.  I was struggling with the way some of the photos turned out because I couldn't see a painting there. A few days ago, I was listening to a great radio show podcast called "Artist Helping Artist". The episodes are archived and when browsing, found one of my favorite contemporary painters, Karin Jurick, who lives in Atlanta. Karin did not study art in an academic way and has had an interesting path to where she is today - selling almost everything she paints. When asked about painting from photos her reply was, "I don't paint what's in the photo, I paint an interpretation of a scene that I photographed." In other words, it is simply a reference and the rest is up to you. I loved this and it struck a cord as I was struggling to find a handful of photos to paint. Road to Moab is painted from a photo that almost wasn't. The road was so twisty, that every other turn provided a spectacular view. I was erasing as many photos as the number I kept.  This photo had it all, foreground, middle and enough distance to satisfy me. And of course the twisty road....always one of my favorite subjects.

http://www.dailypaintworks.com/fineart/celia-kelly/road-to-moab/408044

Road to Somewhere

Road to Somewhere, 9.5 x 13" (approximately), oil on board

I have painted this image before, a few months ago, but swiped it away because I wasn't satisfied with it. I don't do that very often, mostly because I don't like wasting paint. I kept coming back to this photo, rethinking it several times, and finally got a "keeper". This is done on gessoed board, and the size is approximate because my skills with a circular saw are not spot-on. I like how moody this turned out. Subconsciously, I think it was because Hugh is leaving for college and my favorite critique-er won't be home any longer to talk me through rough creative patches.  On a good note, I am finding myself becoming more gestural as time goes by which is how I painted many years ago. It was very freeing in a sense so hopefully this is a good progression so far. 

Wet Creek, Arches

Wet Creek, Arches, oil on gessobord, 6x8"

This is the first painting I have done since returning from my great Western tour. I have since returned to work, and helped two of my three children back to school. My third will begin College in a week. Sigh. I hate summers end.

One of the most amazing experiences while on my trip was being submerged in vast, open spaces....everywhere!  I have been to parts of the Southwest and Northwest, but the actual West put me on senses overload. I couldn't take it all in fast enough: the sky, the heights, the constant changes in geological formations and topography, the wind, the temperatures, the sun....

Here was the only bit of water to be found on a day that I hiked for an hour, in 108º. There were warning signs in Arches National Park advising hikers to carry at least two quarts of water each when hiking a three mile trail.  

Overall this painting makes me smile. The first of many to come from the trip.
http://www.dailypaintworks.com/fineart/celia-kelly/wet-creek-arches/404820

Capital Reef morning

Capital Reef Morning, pastel, 9x12"

This is a drawing I did while staying at the Capital Reef National Park lodging. This was my hotel view and it was breathtaking to open the door to this first thing in the morning. We took a horse trip all through the layers of this incredible park. I took a lot(A LOT!!!) of pictures of open range cows that added another dimension to the landscape. I'm in awe of Mother Earth

Red Rocks 2, Moab

Red Rocks 2, Moab,   pastel, 5.5x8"

Here is another quick sketch that I did while in Moab, UT. If you have never been to Arches National Forest, I highly encourage you to. What a valuable national park! We hiked in 108° heat. I have severe joint pain that keeps me from doing certain things and wipes my formerly "bottomless pit" endurance out, but remarkably, I was pain free. I just had to stay hydrated which was challenging.

Red Rocks, Moab

Red Rocks, Moab, pastel, 5.5x8

It has been really liberating to be out of the studio in some ways. Doing these quick sketches from life is fun!  Here are massive red rocks from Moab, UT.  Because I worked on this for less than 20 minutes, I tried to convey the rock striations rather that get too detail-y.  Works better for my brain to sum up an area and work quickly.  These wide open spaces and fresh air are just what the doctor ordered. Now I know why Georgia O'Keefe stayed in Taos.

http://www.dailypaintworks.com/fineart/celia-kelly/red-rocks-moab/402605

Hotel pool sketch, Moab, UT

Hotel Pool sketch, Moab, UT, pastel on paper

I haven't painted in a week because I am currently on a trip around the west. Thank goodness for Hotel Wi-fi.  I am doing sketches from life that may become paintings. We shall see. Here's a quick sketch I did while sitting by the hotel pool in Moab.

http://www.dailypaintworks.com/fineart/celia-kelly/hotel-pool-sketch-moab-ut/402372

Open Air

Open Air, oil on gessobord, 10"x10"

The photo reference for this painting came from Morguefile.com. I edited the size of the photo a bit, but overall I got the importance of the moment. I loved how vast the beach seemed, and the fact that you could be all bundled up, yet warm in the sun. 

Sun Cruise

Sun Cruise, oil on gessobord, 6"x6"  

Summer Barn Alone

Summer Barn Alone, oil on gessobord, 8x10"

This is the latest addition to the barn series. The longer I continue it, the more fun I have. My aim is to eventually have the geometry of the barn itself as the focal point, and let the landscape be a complement. Right now I think I have that backwards.

Summer Companions

Summer Companians, oil on hardboard, 8x10"

I've been working my way through a barn series, and this one was very satisfying to paint. I struggled at first because I had purchased a different brand of hardboards, and they were a lot "slipperier" then the Ampersand variety I'm acclimated to.  I decided to slow down, and actually work on it in shifts.  I normally start with a ground layer, but this didn't work either due to how slippery the surface was.  I decided to build up the paint instead, letting it set, rather than dry, and to use less medium. It seemed to work, and I was even able to get a bit animated with it. I love the specks of bright red that ended up standing out among the green.

Face Value

Face Value, oil on gessobord, 6"x6"

I took liberties with this barn, by changing the color of certain parts of the landscape, that I thought were mundane.  This barn stands near French Lick, Indiana (yes, that's the real name). It is historic and in beautiful condition, so it immediately caught my eye. The grain silos were constructed of tera cotta bricks and were incredibly beautiful, reminding me of the millions of Roman bricks all over Italy. For this reason here is a close up of the grain silos, in all their artful glory.

Purchase info: www.dailypaintworks.com

Field Day

Field Day, oil on gessobord, 6x6"

I still have a small grudge against a college painting professor who exclaimed to the class on the first day "No Barns"!!  I get it now, but at the time I remember thinking "but Wolf Kahn paints them beautifully!"  When they sit near the highway like the ones I photograph, they are seen by thousands a day but come with a story very few know. In other words, they are enshrouded in obvious mystery.  I think I would like to keep it that way....it keeps me drawn to them.

purchase info:http://www.dailypaintworks.com/fineart/celia-kelly/field-day/397292