One Tree Hill, France

"One Tree Hill, France"

Oil on gessobord, 8x10"

When I received this photo from my sister, who often visits France's vineyards, I loved the ancient stone structure and neatly tended rows of grapes. However, I was really drawn to the single tree waving in the wind. While it was overshadowed in a landscape of beauty, it became my focal point. When I search vast fields for my own composition, my eyes are often drawn to a single object. And often, it too, gets lost in a field of beauty.

Dissolve

“Dissolve”

Oil on panel, 14x11”

It’s been a while since I worked on a series of any kind. I’m not sure if this second painting, with photo references from Makers Mark in Loretto, KY will evolve into one, but it seems to be leading me in that direction.

Spencer County Farm Lane

"Spencer County Farm Lane"

Oil on canvas, 14x18"

I went out sight seeking a couple of days ago, to seek both inspiration and composition. I didn't end up with a whole lot of material, but I had enough to work with to be able to combine photographs together, to make several potential paintings. This is the first.

Empty Fields

Empty Fields, oil on board, 18x24"

Barreling down the highway for extended lengths of time never gets old.  The fun part is trying to take photos that aren't blurry, no matter how advanced of a camera (the camera operator is not advanced!).  Here is a flat, farm scene that I'm always on the lookout for.  I never tire of wondering how different their life is, compared to my urban dwellings. 

Storm over Kansas

Storm over Kansas, oil on board, 18x24"

I'm heading out to the knobs of southern Indiana today to hopefully set up shop, dog and daughter in tow.  I finished this painting a few days ago, but didn't immediately post until I thought it was finished.  Even though a landscape is often simple, there is always so much more going then at first glance. Storms in Kansas, if you have driven one side to the other, come up fast and furious.  So much so, that the rest stops have emergency alert notifications that go off before you can see a storm on the flat plain. It is one of the scariest and exhilarating experiences I have encountered. Nature showing its strength.

Long-legged

Long-legged, oil on board, 16x20"

I really need to get a phone with a better camera. I took several photos of this painting, and I feel like it still isn't represented to the best of its ability.  Regardless, I loved these long-legged vines.  I wish I knew what varietal they are.  When I was painting the background, I blurred the photo so I wouldn't get to caught up in the nitty gritty, i.e. the details. The abstraction was fun to do, and still shows the depth of space.

Windy Bernheim

Windy Bernheim, oil on gessobord, 8x10"

Yesterday, to take advantage of a rain-less day, I took Rothko (see pic below) to Bernheim to paint and hike.  I wanted to continue with the vast, tiered landscapes of the Parklands series (which will continue hopefully tomorrow), so I set up near the Educational Building, stuck my set-up around a corner of the building to use as a wind block. The wind gusts still found us, and at times I was having to hold the pochade box with one strong hand or risk the entire set-up blowing over. It was an adventure that took a lot of laughing, and having Rothko there to helped me sustain. Out of these conditions came this sweet little landscape. 

Deep Space

Deep Space, oil on gessoed hardboard, 8x10"

My latest landscape done early this morning. Working towards more abstraction. Baby steps for now and it feels good.  

Illinois

Illinois, oil on gessoed hardboard, 8x10"

I've been wanting, for my own knowledge and ability, to start pushing to the abstract end of the spectrum of painting, without abruptly changing immediately. I don't think that would be good for the thought process that goes into each work.  I found a reference photo that I took while driving through Illinois on the way to St. Louis, that is geometry all the way. As I told my son, the artist, I used a palette knife, not to apply paint (brushes only at this juncture) but to take it off exposing other color underneath, or to manipulate texture in other areas. 

This painting is dedicated to my friend Shawn, who left this world on Tuesday. He had been living in Iowa for a few months. These fields reminded me of the Iowan heartland. 

After the Harvest, Kansas

"After the Harvest, Kansas", oil on gessobord, 18x24"

I finally finished this landscape over the weekend. Was fun to paint larger with this one. My next landscape attempt will (hopefully) drift to more abstraction...I have tinkered with this lately on oil paper, but may use these as the references for a larger work. Stay tuned!

Distant Trees

Distant Trees, oil on Arches oil paper, 6x8"

Day 28, 30 paintings/30 days

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Celia Kelly Studio

I have a handful of photos of Kansas and the eastern part of Colorado where the land is equally as flat and mostly farmland.  I had sat them aside last fall to paint from but never did.  When I decided to jump into the 30 day challenge, I quickly threw a file together of 30 photos to paint from, and I've realized I have thrown most of those by the wayside, returning to these photo references instead. It's been a better tradeoff and the paintings are showing the growth I was hoping for during the challenge.

Winter Field

Winter Field, oil on Arches oil paper, 6x8"

day 27, 30 paintings/30 days

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Celia Kelly Studio

I was unable to paint/post yesterday because I had a sudden onset of a virus and spent the day willingly in bed. This is completely unlike me, so despite the fact that I won't produce the full 30 paintings, and I could not paint, I feel like the rest was desperately deserved.

Here is another vast farm scene that I see when traveling back and forth to St. Louis.  There was absolutely no light values to be found within the reference photo, so I created them. For feeling tired, rusty, and having freezing fingers (basement studio), I am pleased with this little one.

I am also happy to be the Louisville Visual Art Association artist of the day: http://www.artebelladaily.org