Petunia Study

acrylic on canvas paper, 12" x 12"

This was intended as a study for a larger painting of a tiny petunia.  Whether I get around to it remains to be seen, as I have quite a backlog of paintings in mind to do.  I just loved the golden glow coming out of the centre of this tiny flower and had to try to capture it.

The Blessed at Rest

oil on canvas, 24" x 24"

This painting has gone through some changes, all in the service of experimentation.  I used pretty much all the tools at my disposal, including brushes, palette knives, carving blocks, brayers, paper towels, and my gloved fingers.  I learned a lot from this one.  Next one, though, will be on panel -- much easier to get the desired effects!

Denman Cottage View

oil on panel, 11" x 14"

This palette knife painting is a somewhat idealized interpretation of the view from my cottage on the Denman property.  I painted it from a photo and not from life because, while my camera was off with the colors of the background hills, I quite liked its skewed version, and yet the values were not far off the real thing.  

Denman Street Lamp

oil on panel, 11" x 14"

Just one of the many interesting features of the property where I now live, this street lamp sits outside the milking barn-cum-art studio-cum-brewery.  

Lynch Creek Mustard

oil on panel, 9" x 12"

Painted from a photo taken when the mustard was at its height in April, this scene looks east toward the hills of Sonoma from Lynch Creek Trail in east Petaluma.  It's a scene that I never seem to tire of, always changing yet very peaceful.

Blue Bird

oil on panel, 12" x 16"

After what feels like a long hiatus from painting as I relocated back to California from New Mexico in March, I'm picking up where I left off in my painting explorations before I moved out of state a little over a year ago.  At that time, I had just begun a process with a new set of tools and a new approach to painting that somehow got sidelined in New Mexico, where I digressed starting with a class I had taken at UNM, which may be the subject of a future post.  For now, I am happy to be in an experimental mode weaving abstract shapes in and around my subjects.  

The Fortune Teller

oil on canvas, 24" x 24"

Not sure what prompted me to paint this, except that I've been wanting to tackle it for quite some time.  It was painted with both brush and palette knife, and I am especially pleased with how her bodice turned out.  I wanted to keep it somewhat abstract in design, and yet the pattern does have, for me, a certain logic that I find oddly pleasing.  I also like the black "halo" around her head formed by the chair back; it seems to give her a regal quality which I'm happy with.  I was hoping to give her some gravitas.  This is the third in a series of "Bird Girl" paintings that I'm amassing (actually, the fourth -- the second one I've never posted).  Birds are a symbol of freedom to me, and I like to associate females with freedom.  It is my wish that one day all females of the human species will unclip their wings, fling open their cages, and fly free.

A Rose in Snow

oil on panel, 6" x 6"

This little abstract palette knife painting is from a few months back; I just never got around to posting it.  There are more than a few others in my inventory that have met that fate.  This painting was inspired by the colors of New Mexico in October, like the rich red of chili peppers you see hanging everywhere in clusters, along with the warm yellow of drying chamisa amongst the cool green sage out on the mesa.  And then there's the snow.  It snowed here in Arroyo Seco on Halloween night, and my backyard has been carpeted in snow ever since.  It snowed again last night.  Everything's white.

Come On Baby Light My Fire

oil on MDF panel, 24" x 24"

Here's another one for the time-out room.  As my reference, I used a black and white publicity still of Tippi Hedren with a trained raven from Hitchcock's "The Birds," and had intended to mess with it after the initial block-in, but life demands pulled me away from the painting and my process for so long that I lost my momentum on it.  Oh well.  Life happens.  

To Grow Where We Are Planted

oil on canvas, 30" x 30"

This is an as yet unfinished painting that's been put in the time-out room for now.  My second attempt at a constructed painting, the idea for it was one of hope.  A downcast little girl brushing past a depiction of a life of ease sees a flower breaking through the pavement in its lust for life.  That was the message I was trying to convey, anyway.  This type of painting is entirely new to me.

Rosie

oil on cradled panel, 20" x 16"

It's back to the birds with this painting of a roseate spoonbill wading in shallow waters.  I've been wanting to paint this bird for quite a while, a member of the ibis family commonly found along coastal regions of North and South America.  I just love that long spatulate bill!  And of course, the gorgeous colors of her (his?) feathers.

Kevin's Pond, Late September

oil on canvasboard, 6" x 8"

This is a quick palette knife sketch I did from a photo I took of a pond in Valle Escondido in late September.  The well-known plein air painter Kevin Macpherson painted this scene, which is on view from his living room window, hundreds of times.  It became the inspiration for his book, "Reflections on a Pond."  There is a lot to learn from a scene like this for painting purposes.  It is an ever-changing subject, full of challenges.  I find it particularly challenging to paint water with a palette knife.  Much easier with a brush, but my overriding focus for this study was in getting the value of the distant mountain range right.

San Luis Storefront with Salvia

oil on panel, 9" x 12"

This (mostly) palette knife painting is of a crumbling facade of an old storefront in San Luis, Colorado.  I loved the profusion of salvia, or Russian sage, obscuring all but one window of the storefront, and the cool shape of the facade made me want to paint this perspective.

Seen Better Days

oil on panel, 8" x 10"

I'd been wanting to paint this crumbling adobe home in Taos for a while, but there is no pullout along the road I could use to capture it live.  Couldn't resist the urge any longer, so I took a drive-by photo and painted from that.  I kinda like it.

Taos Mountain from Wisdom Way

oil on panel, 8" x 10"

Another plein air study of Taos Mountain with a modern adobe home in the foreground, amid a field of sage brush.

Truchas

oil on panel, 8" x 8"

Had another plein air adventure yesterday with the Taos group of painters in the picturesque village of Truchas, about an hour's drive south of Taos.  Truchas is an artists' enclave set on a ridge with breathtaking views in every direction.  It was the setting for parts of the Robert Redford film "The Milagro Beanfield War." I love Truchas!

Pearly

oil on cradled panel, 16" x 8"

I started this painting with the idea in mind of messing it up a little at some point, but, as sometimes happens, I grew attached to this little magpie and so decided in the end not to mess with her.  I quite like how her tail feathers blend in with the wood post.  Magpies are beautiful birds, especially when in flight.  

On a Mission

oil on cradled panel, 9" x 12"

This is an attempt to meld architectural elements with abstraction, a painting of one corner of the historic, much photographed and painted church in Ranchos de Taos known as San Francisco de Asis Mission Church.  The simple, clean lines appealed to me, and allowed for the inclusion of my favorite subject this past year:  the bird!  In this one, I've placed the national bird of New Mexico -- the magpie -- on the ledge to the right, and two pigeons (or doves, as the case may be) to the left.  This church has a certain atmosphere conducive to spiritual healing, as I experienced firsthand a few months ago when I was lucky enough to have the place all to myself for some deep reflection . . . well, me and Lola, that is.  St. Francis would have loved her!  

Summer House by Aspen Lake

oil on canvas panel, 12" x 9"

This is a palette knife plein air sketch I did the other day in my first outing with a Taos-based plein air group of painters.  They know all the cool places to paint!  Aspen Lake is a little hidden gem in the Taos Canyon area between Taos and Angel Fire, a popular local ski resort.   

Midday on the Mesa

oil on panel, 6" x 8"

This little study was started on site, at a pullout looking west on Blueberry Hill Road on the outskirts of Taos, and finished in the studio.  It was a hot day and I had started just as the sun was getting intense.  It seems my fascination with cows has followed me to New Mexico.  

Latilla Ladder

oil on cradled panel, 9" x 12"

This painting was done from a photo I took outside the Harwood Museum in Taos.  There was a lavender metal ladder against the wall, which I replaced with a latilla ladder because I find latillas so charming in their irregularities, and they are an identifying feature of this unique region.  

Seco Colors

oil on canvas, 10" x 10"

This palette knife painting was done back in March, my first plein air effort in New Mexico.  A scene along Hondo Seco Road on the way to Arroyo Seco, the colors were shockingly vivid that day, set against the dark background of Taos Mountain.

Taos Mountain from Millicent Rogers Road

oil on panel, 9" x 12"

This is a plein air study from the day before yesterday, in the afternoon at a location just north of Taos.  No refinements, just a quick impression.  I bashed in the cows later, from a photo I had taken at the scene.  I had the pleasure of Diza's company for the session, who was working in watercolor -- not an easy medium in the best of conditions, but in hot and dry weather, super challenging!

Blumenschein Studio in Spring

oil on panel, 8" x 10"

This was a quick plein air study from last week outside the Blumenschein studio in Taos, done with a palette knife.  I tend to reach for the palette knife when I feel I have to work in a hurry.  I had intended to work inside the studio with a few other artists, but the host's dog and my dog did not seem to get along.  Hence, I set my easel up in the garden outside the studio and went to work while keeping one eye on my dog -- not the ideal circumstance!  Ernest Blumenschein, a New York artist, first arrived in Taos in 1898, fell in love with it, and ended up living there for 40 years.  He was a co-founder of the Taos Society of Artists and a founder of the Taos Art Colony.

Le Champs-Élysées Réinventé

acrylic on canvas, 24" x 12" x 3

This was an attempt at an abstract iteration of a landscape which I did for my UNM class.  I couldn't help but be influenced by the hot colors I see in Taos, not only in the vivid sunsets but also in much of the art I see in galleries around town.  I had intended to warm up my palette after leaving the cool blues and greens of California behind, but I think I can dial it back a bit now, as this is a bit over-the-top, even by my standards.  Still, I do find the two abstract compositions rather compelling and might make an effective diptych.  I include the original to show the springboard I started with in this experiment.

Chic Sheikh

acrylic on canvas, 16" x 12"

This is the "resolved" result of a semester-long scraper painting assignment from my class at UNM.  I had chosen acrylic as the medium for this project, which was perhaps a mistake, since it is next to impossible to scrape an acrylic painting off, unless you scrape as you go.  This canvas went through 11 iterations before finally resolving it, most of them abstracts.  The biggest benefit that I could see from this exercise was perhaps the buildup of texture on the surface.  

In the Dark

oil on canvas, 30" x 30"

This was the final painting for my class at UNM, the assignment being a constructed image made from a collage.  I had mixed feelings about using my partner's image for this narrative, and have since promised myself to do a proper portrait of him.  He was kind, hilarious, gifted, and oh so easy to be with.  Here, he looks imposing and kind of scary, not qualities he actually exuded, although he had a kind of personal power that made people respect him.  The narrative I was going for in this painting tells of oppression and unconsciousness, not only for the oppressed but for the oppressor as well -- hence, the sunglasses.  I painted billowing curtains behind the women to indicate the winds of change blowing toward the future.  This is the first painting of its kind that I've attempted, and may be the last!  I'm not too comfortable with political themes.  This painting will be on display at the Taos TCA Stables Gallery May 8-13.

Pride on Parade

acrylic on panel, 20" x 20"

A blue heron in mating mode.  Just for fun.

Can I get a smile?

oil on panel, 24" x 24"

I painted this for a class project called the "Three-headed Portrait."  I used a cropped version of a photo I had taken in China of a class of school kids on a field trip to the famous Three Pagodas near the town of Dali in the Yunnan Province.  Only when I zoomed in did I notice the face on the baseball cap that looked like it was floating in space.  I thought it could serve as the third portrait in my composition and an amusing counterpoint to the serious expressions of the two kids.  

Shhh!

oil on panel, 12" x 12"

This is a painting I did for a UNM student exhibit currently showing at David Anthony Fine Art in Taos.  I'd had it in mind to do this humorous portrait for a while, so when the opportunity arose, I seized it.  

Fish n' Chips

acrylic on canvas, 16" x 20"

This is the abstract iteration of my previous posting, Fish.  To compare these two paintings is like comparing a raw whole fish with its cooked version:  very different in appearance, taste and aroma, but based on the same raw material.  

Fish

acrylic on canvas, 16" x 20"

This simple painting of a tropical fish was the first part of a two-part exercise at UNM.  The first part was to paint anything -- an object, still life, landscape, portrait, whatever -- in a representational manner, and the second part was to paint an abstract iteration of that first painting.  I will post my abstract interpretation of this one tomorrow.  Spoiler alert:  it looks nothing like this fish, but perhaps someone will see a connection between the two paintings.  I found this exercise to be a fun way to approach abstract painting.  I'm doing another now.

UNM Nude Study

acrylic on canvas, 30" x 40"

This was the result of a 2-1/2 hour session with a rubenesque model at the University of New Mexico.  It is the largest and, for its size, quickest figurative painting I've done to date.  It was my first day in class and the only session I got with the model, so no refinements on this one.  Still, it was a fun exercise.

Backyard in Winter, Casa Azul

iPad painting, 10" x 14"

After having spent months in transition, I have finally settled (for now) in the vicinity of Arroyo Seco, a little town just a few miles north of Taos, New Mexico.  It has been, and continues to be, a challenging time for me but not without its plusses.  The landscape, for one, is extraordinary and begs to be painted.  Also, I am happily enrolled in a painting class at the University of New Mexico with a fantastic teacher and artist, Sarah Stolar, which marks my first foray into formal art education.  It is pushing me in new directions which I hope will soon be reflected in my art.  

In the meantime, here's a digital sketch of the view from my place of Taos Mountain, the outline of which is obscured by cloud cover.   There will be paintings of that mountain to come.

Garden Tiger Moth

oil on panel, 6" x 8"

I love the colors in this one.  The Garden Tiger moth is found in northern climates, preferring cool weather.  I'm enjoying painting these little critters, but  am also feeling frustrated because I am in the process of moving house and don't have much time to spare.  I'm squeezing these guys in between marathons of moving-related tasks, which is a valuable exercise in itself.  I'm not complaining; I just wish I had time to really delve into it.  I feel I'm on the verge of a major change of some sort and just want to get on with it, whatever it is.  I'm feeling an urge, an itch, or something.  Could  be that moth on my arm!

Red River Blues

oil on canvasboard, 6" x 6"

I got the Red River Blues,
Headin' to a city
Where the sun is big and pretty.
Gonna change my life,
End the strife,
And paint in warmer hues!

Emerald Swallowtail Butterfly

oil on cradled panel, 6" x 8"

Another exotic butterfly to close out the year, the emerald swallowtail is found in Southeast Asia but also commonly collected and kept in butterfly houses worldwide.  I'd hate to cage this beautiful insect, or any wild and beautiful creature for that matter.  I'd rather discover it in its natural habitat, or perhaps make a painting if you can't see it live.

Egret in Flight

acrylic on canvasboard, 12" x 12"

Here's another study that somehow slipped through the cracks and was forgotten for a while.  I painted it early in the year and rediscovered it the other day as I was going through ALL my paintings, cataloguing, labeling and boxing ahead of my move to New Mexico in January.  I had wanted to do a series of birds in flight, but that idea got shoved to the back burner, as often happens with me due to the varying demands on my time.  I see myself in this bird now.  

Mexican Bluewing Butterfly

oil on canvasboard, 6" x 8"

I learned with this little study that the smeared paint technique works better on smooth hard surfaces, such as a gessoed wood panel or metal plate.  Not as easy to do on a canvas or canvasboard, but that was all I had on hand and wanted to paint this little being.  Still, I'm not displeased with how it turned out.  The Mexican Bluewing's habitat ranges from Mexico down through Central America.

Salt Marsh Moth

oil on panel, 6" x 6"

Moths are beautiful, too!  These are nocturnal creatures, whereas butterflies are out and about during the day, but they both belong to the order Lepidoptera.  The salt marsh moth is common to Florida and Texas.

Chinese Red

oil on canvas, 8" x 10"

For a change of pace, here's a palette knife painting of an Oriental poppy I did some months ago and, like a few others, recently looked at with fresh eyes and thought better of.  I've been going through my entire inventory, boxing up paintings ahead of my move to Taos, and have made more than a few discoveries of overlooked early work that have stood the test of time, at least in my mind.  I may post some of that early work in the coming days.

Black and White in Blue

oil on MDF panel, 24" x 24"
sold

A seemingly perennial work in progress, this is the same heifer as in a previous post, from a different angle.  I think I liked this painting better in its third iteration.  Maybe the cow is trying to tell me something, as in leave me alone!  Can't I just stand here in peace, enjoying a cool drink of water?  We'll see about that.

A Patch of Blue

oil on canvasboard, 8" x 8"

Here's a little abstract done a while back that I'm offering now as a ray of hope for all Californians who have lost their homes in the devastating fires that have ravaged this once beautiful state.  The deep irony of a blue state being blanketed in red is not lost on me in this challenging time for everyone everywhere.  May the Phoenix rise again!

Rhetus Periander Butterfly

oil on panel, 6" x 6"

Another colorful butterfly found primarily in Central and South America.  

Cleared for Takeoff

oil on canvasboard, 8" x 8"

Another little abstract ditty that got lost in the shuffle, painted a few months ago.  I have precious little time to paint right now, so busy getting ready to move.  I will be posting a little less until I'm over the hump of tasks in preparation for it.

On the Wing

oil on panel, 12" x 12"

Here is a case for putting paintings in a time-out room.  This is what later became "Space Balls," as seen in the previous post.  Although I like Space Balls, I now see that its predecessor had merit on its own.  I regret painting this one over, as I am in love with things with wings, and I see such a thing in this painting.  Ah well, live and learn, as they say.

Space Balls

oil on panel, 12" x 12"

This is an abstract piece I did earlier this year.  It got buried amongst other pieces I was working on concurrently.  In preparation for my move to New Mexico this coming January, I've been going through my entire inventory, something I've never done since I started on this art path, and I am overwhelmed by the number of paintings I have accrued over the years!  I hope to have time to focus a bit more on marketing my work in the new year.  I do know I will be wanting to paint more than ever, so this could become quite a challenge.

A Delicate Balance

oil on linen-mounted panel, 16" x 12"

It is what it is, folks.  All my paintings are experiments to varying degrees, and this one was my attempt to merge my love of cows with my love of birds, as well as subject with background, admittedly with varying degrees of success.  I do like that cow, though; she makes me smile.  The bird is a black-billed magpie.