Cascading

Cascading, oil on gessobord, 12x9"

If you have ever been to Boulder, CO then you know there are constant streams running throughout. When I was there last summer, there was one within walking distance from the hotel. Even though the streams are small-ish in width, the water always runs rapid because of the trajectory of the nearby foothills.  The rocks are still large enough to hop around on and take some fun photos. This painting is from one of those days. 

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 #4

Parklands #4, oil on Arches oil paper, 16x12"

I feel like I am gaining momentum with each new painting in this series.  This painting was done from a photo reference with very little light variations. I painted it that way but added a lot more color. 

On a personal note, today is the last day of my Spring Break, and I am already feeling a bit melancholy. I have gotten into a nice routine of waking up, finishing a painting that I started late the night before, posting it, then deciding where I will hike or bike for the day, to explore and take photos.  In other words, doing exactly what I want to do, which I rarely get an opportunity to experience.  I was very productive this past week, so I will heed a warning now, my painting is about to slow back down, much to my chagrin. Thanks for the support I have received through the evolution of the Parklands series. Any artist will admit that comments and "likes" help to keep us going.  So I'm not sure if this will be the last of the series or not. I still have a few interesting photos I want to explore through paint. We will see what this next week brings :-)

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. 

Parklands #2

Parklands #2, oil on Arches oil paper, 16x12"

This is the 2nd in the Parklands series. It was much more difficult to accomplish/finish, but the second one usually is. I was listening to a podcast of a contemporary artist's interview yesterday. She was saying she usually has 5 paintings going at once. I could not wrap my head around that concept when I heard it'. But today as I have given it more thought, I am actually thinking of attempting it. I've been in a gear-shifting mode with my painting style, and working on several at once, just may be the answer to continuity. When I start something 24+ hours later, I tend to lose momentum. This (hopefully) will help it will continue.

Parklands #1

Parklands #1, oil on Arches oil paper, 16x12"

Yesterday, I went hiking in two different rural parks in the Louisville area. It was a beautiful, uplifting experience that yielded many photos consciously shot to use as references for drawing/painting.  I decided after reviewing them on my computer, that it was time for another series. And since I am attempting to use more abstraction, what better time then now.  Here is the first, which I worked and reworked, wiping and scraping paint on and off.  There were a few moments that I wanted to give up on it, but the photo kept drawing me back in to the actual moment I was there. Plein air painting from memory!!!!  Hopefully, I will be able to begin painting 2 with a bit more spring in my step!

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.  

Patches

Patches, oil on canvas, 9x12"

It hasn't snowed here in a while but when it did I went out to photograph some fields and a small lake nearby. Even though I thoroughly enjoy painting outside in the snow, it was much too blustery during this last batch.  Here is an active field, shut down and enjoying the peaceful silence.

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!

Oncoming Storm

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

Day 29, 30 paintings/30 days

please visit and "like" my Facebook page

Celia Kelly Studio

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. 

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.

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. * 

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.

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?

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.

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.