This painting of a black iris was an exercise in disappearing edges which I found exceedingly hard to photograph without glare. I wanted to offset the background slightly with a reddish black tinge, so I used a mix of alizarin crimson, ivory black and a touch of diox purple, but I'm not sure it comes across.
This little abstract piece started out light an airy, with lots of white, pale pinks and greens, and somewhere along the way, it took a turn and ended up like this. Not sure what to make of it, but I kinda like it.
Here's another quick little piece. Because my time is so limited lately, I don't have the luxury of spending time on details or working in layers which require drying time. When I only have 1-2 hours/day for painting, I'd rather work fast and see how far I get in one session. Alla prima work is ultimately more satisfying to me, anyway.
Here's a palette knife painting I whipped up today of the Lynch Creek area in east Petaluma in springtime, with the mustard flowers forming a citron carpet in the field. To go along with the blustery weather we're having, I tried to move like the wind with my palette knife, and it turned out much to my liking!
The narrative painting of my previous post reminded me of Taos, New Mexico, where I was first introduced to the narrative approach to painting, which reminded me of the casita I inhabited for a year. It was an amazing place with astounding views of Taos Mountain, and it would glow at times with an otherworldly radiance. I've tried to capture the intensity of that glow in late afternoon.
