Parklands #5

Parklands #5, oil on Arches paper, 16x12"

I had a lot of trouble with this painting all the way around.  I don't know if it was the combination of the inorganic and the organic, which the other paintings in the Parklands series don't have, or that I was rusty.  I will chalk it up to both at this point.  I don't like getting rusty but it happens.  I had two different versions of this painting prior to going back in and re-doing the whole thing. The alternative would have been to scrub it. I eventually gathered my long, lost focus and reworked it. I re-sketched the entire composition, resized it all, and tried to squint at my photo to see and compose larger shapes.  I did a lot of overpainting on what remained of the other versions. One good thing about the oil paper that I have been using is it is very rag-like and absorbent, so there is no way to ever get a clean slate. It makes me rethink what color palette I will use henceforth, thus making "take two" more interesting all the way around.

Parklands #3

Parklands #3, oil on Arches oil paper, 16x12"

I've been using wonderful references photos as a starting point for for my paintings in this series, but eventually I reach a jumping off point and focus on what's unfolding.  These painting have definitely been an experiment for me. When I gave up painting in 1990, I had reached a point where mark making was just as much a part of the final interpretation, as the image itself.  When I returned to painting (almost 2 years ago) I thought I would pick up where I left off. I was wrong, wrong, wrong. But that's ok, because in all the experimentation, I had the opportunity to explore different methods, re-learn aspects of painting that where forgotten, and learn what I like and what I don't.  This is still evolving and will continue to do so. For now, I am struggling with working through a painting and not giving up on it. I guess this is a metaphor for  a lot of things in our individual lives - not giving up. I will always be an eternal student, so as frustrating as the challenge can be at times, I welcome it. 

Near and Far

Near and Far, oil on gessoed watercolor paper, 12x8"

I was up late, unable to sleep the other night and produced this painting. I was a good way to spend my insomnia.

Rows of Snow

Rows of Snow, oil on Arches oil paper, 12 x 16"

I have painted this scene before, a smaller version during the 30/30 challenge.  This time I interpreted it during winter with snow.  The red barn stands in the field alone. Everything else can't withstand the cold. 

Transitioning Topography

Transitioning Topography, oil on Arches oil paper, 12x16"

The reference photo for this painting was taken somewhere after the Rockies, heading west, when the topography becomes more sculptural and red. Nature rocks!

It has been a nice week off from painting, but I am ready to get back to it. I have been cleaning and reorganizing my studio. I bought a large metal tool chest to hold my palette and turp on top and to hold all my paints and chemicals in the drawers and underneath. It came unassembled.  All I can say is, it took me over a week to do it. Never again. But then again, never say never!

Long Way 'Round

Long Way 'Round, oil on Arches oil paper, 8x12"

Day 30, 30 paintings/30 Days

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This is the final painting of the 30 challenge. I am extremely proud that I accomplished 29/30 paintings, missing one only because I was too sick to stand at the easel. As I have said, the most important thing that I take away from the challenge is the fact that my painting are developing to where I finally feel comfortable again as an artist.  On a painting spectrum, my vision of what I want a finished piece to look like and the actual finished piece are each moving closer to the center.  I may take a few days off and catch up on things that have fallen by the wayside.

Also, I am happy to say that one of my 30/30 paintings has been donated as a fundraiser for St. Francis of Assisi school.  I mounted the watercolor paper on an archival board, with ph neutral glue, something I haven't tried before. The frame was also made by hand using a different method then previous frames.
Here is "Single"

Oncoming Storm

Oncoming Storm, oil on Arches oil paper, 8x12"

Day 29, 30 paintings/30 days

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I can't believe there is only one painting left to do. This challenge proved to be such a joy, and allowed me to grow as an artist. I wasn't sure I would be able to complete it, but I did, only missing one day because of illness.  And this painting, Oncoming Storm, is by far my favorite for many reasons. 

Distant Trees

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

Day 28, 30 paintings/30 days

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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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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

Frozen

Frozen, oil on Arches oil paper, 6x8"

Day 25, 30 paintings/30 days

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It's another cold day here in the Ohio Valley.This painting is of the frozen lake and snowy field at Bernheim Arboretum. It is also one I struggled with, the point of wiping the paper clean, but in the spirit of the challenge, I allowed it to be. 

Summer Field

Summer Field, oil on Arches oil paper, 8x6"

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I painted this late last night as an experiment and because it is so cold in my basement studio that I needed some warmth.  The painting is actually much brighter then the photo suggests. 

Flatland

Flatland, oil on Arches oil paper, 12"x16"

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I should entitle this one Falling Clouds.  And, I should be painting scenes of snowmagedan, but I just haven't been able to do that yet.  I should also note that the photos I have taken of my pieces lately have not been the best representation of the works, but it has been too cold to photograph them outside in subdued light. So, no matter how I try there always seems to be bits of uncontrollable glare. 

Layers

Layers, oil on Arches #140 cold pressed oil paper, 12"x16"

Day 21,  30 paintings/30 day challenge

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I started painting on gessoed watercolor paper at the beginning of the challenge in January, switching from my normal gessobords.  I realized I love the feel of the paper, and am sorting through the best way to suggest framing/hanging.  I was reading an artist blog recently and someone posted information on a type of Arches paper, that is suitable for oil paint. It has a built-in barrier so chemicals and oils don't leach through, leading to breakdown. So I decided to try it. I bought 12 - 12"x16" sheets to cut into smaller sizes. For Layers  I kept it whole, and BIG!

It had a different feel then gessoed paper, more of an absorbent feel that requires more scrubby painting. But I will acclimate and report more later.