Athena Rises to the Occasion

oil on panel, 20" x 20"

The idea for this painting came to me after I learned of the Portland, Oregon protests and the federal agents that descended on the scene to "control" the crowds.  One very brave woman, dubbed Naked Athena, rose to the occasion to confront the hypocrisy of the moment, and did it in the cleverest, bravest way imaginable:  naked yet in disguise with face mask and knit cap.  I thought it was a brilliant move, and her yoga poses made a profound statement of defiance and compliance, all at once.  This is one strong woman in total possession of herself.  I was also impressed by the fact that she had no tattoos, at least that I could see from behind.  So, here is someone who is able to resist peer pressure.  What yoga practitioner doesn't have a tattoo?  Naked Athena is a rare bird and a symbol of feminine strength of spirit.  

I should point out that the scene, aside from the figure of Athena, is taken from a fireworks display outside the Police Headquarters in St. Louis, but it served my purpose in this composition to a tee:  a case of poetic license.  I have another painting in mind to do on the same general theme, but we'll see how that goes, as I am currently unable to devote large chunks of time to painting, even as I feel the urgency to go to my easel on a regular basis.

West Marin Ranchland

acrylic on MDF panel, 8" x 16"

The golden hills of California are so beautiful to me at this time of year, and the local landscape is looking gorgeous right now.  This was painted from a photo, but I'm hoping to get out there and do some on-site painting soon.

On the Prowl

oil on panel, 12" x 16"

I've been thinking about cats lately, perhaps because there are so many roaming around where I live, although none quite as feral or imposing as this panther.  Fun to paint!

Fleurescent

acrylic on canvas board, 12" x 12"

For this painting, I used no visual reference.  It started as an abstract idea, which evolved into a semi-abstract painting of flowers.  The idea I started with was to make a statement about Paris in color and shape.  When I think of Paris, I see mostly dark green and white stripes, and splashes of hot pink.  Voila!

Been to Church

acrylic on canvas paper, 12" x 12"

This was a quick exercise I made for myself to see how fast I could recreate a painting I had found online of what looked like a cathedral on a misty day framed by greenery, branches, and a few springtime blossoms.  I gave myself an hour and was very happy with the result.  My thanks to whoever the artist was!

Beam Me Up, Scotty!

oil on canvas paper, 12" x 12"

Sometimes, when I've created a "wiper," I use the leftover paint to just play with and, well, use up the paint.  This is the result of one of those sessions.  I was agitated when I started this, but somewhere in the process, I calmed down.  Guess I got beamed up!

Sting Me!

oil on panel, 18" x 18"

This is the first in what I hope will be a series of paintings of my little dog Lola.  She is an extraordinary zen-like being and it's been difficult to capture her special essence with a camera, much less a paint brush, but I feel satisfied with this one.  She came through for me very early on in the process, and so I've left her face untouched in places from the first go round.  

Chamisa

acrylic on canvas paper, 9" x 12

An aerial view of chamisa, a beautiful, fragrant shrub and a common sight in New Mexico.  It makes for a fun color study.

Anticipation

oil on panel, 8" x 10"

Here's a little painting of a black cat on a white ledge in shadow.  I was drawn to the alertness in the cat's stance, and the contrast of its black coat against the shadow and the sunlit wall.

Sunlit Ridge

acrylic on canvas paper, 12" x 12"

Painted from a photo, here's another quickie I did to distract me from the two paintings I'm currently struggling with.  I think it helps to do these quick studies, because I notice that it puts me in a different frame of mind when I return to the more challenging paintings.

Out of the Blue

acrylic on panel, 16" x 12"

As the title implies, this painting was not planned.  It was started as a distraction from another one (actually, two) that I'm currently struggling with.  A little experiment that was quite satisfying.

Green Adobe with Chamisa

oil on panel, 12" x 12"

After a long hiatus, I'm finally able to start clearing some time for painting again.  Other obligations pulled me away as I was starting this one, so its trajectory was interrupted and, although I worked it to some sense of completion, I can't help wondering how different it would have turned out had I been able to work it from start to finish in one or two back-to-back sessions.  This is a corner of a modern adobe home I often drove by on my way to and from Arroyo Seco, a charming little village in New Mexico between Taos and Taos Ski Valley.  I loved the pale green color of the walls of this home set against the citron yellow of the chamisa blossoms, with the latilla ladder leaning against a wall, and the peak of Taos Mountain just "peaking" over the home.  This is a quintessential Southwest scene, at least to my eyes.

Roses of Robert's Barn

iPhone painting, 10" x 10"

I now have 20 paintings gracing the walls of the tasting room at Denman Ranch, most of them for sale.  I've also done a number of digital paintings of the property, which I hope to show as a collection at some point.  Here is one I did from my iPhone a few months ago.  Life now returns to "normal," where I can FINALLY get back to painting.  Hallelujah!

Backyard Cottonwoods

oil on panel, 12" x 12"

Here's another New Mexico painting dug out of storage, one that I'd forgotten about.  I painted this with a palette knife en plein air in my backyard one brilliant day.  I love the irregularity and organic look of latilla fences of the Southwest, and the view from my backyard of those golden cottonwood trees was just amazing.

From Out of the Blue

acrylic on canvas paper, 12" x 12"

I've been rifling through my paintings in storage as I am mounting an exhibit in the tasting room here at Denman Ranch, and I came across this abstract painting I did in New Mexico in 2018.  Looking upon this with fresh eyes, I quite like it.  Glad I kept it.

Fred Baca Park

iPad painting, 10" x 14"

Here's another digital painting from New Mexico, a quick sketch of Taos Mountain from Fred Baca Park, a little neighbourhood park in Taos that I frequently took my dog to.  

African Spoonbill

oil on panel, 14" x 14"

A straightforward portrait of an African spoonbill wading in shallow waters.  I have painted a roseate spoonbill previously, and I just find these birds to be so exotic, with their long legs and bills.

Old San Luis Facade, with Salvia

oil on panel, 10" x 8"

It's back to New Mexico with this one, or rather, Colorado.  San Luis is reputedly the oldest town in Colorado, just over the border with New Mexico.  I've painted this structure before but from a different angle.  I found it very intriguing from a painting perspective, and so of course, I had to paint it again!

White Roses by the Window

oil on panel, 24" x 24"

This painting of a bouquet of white roses from my garden was an attempt at partial abstraction.  I didn't want to fully define each flower, opting for a loose impression instead.  Color harmony and creating a sense of depth were the overriding concerns here, and I'm happy with the result.

Hoo r Yoo?

oil on panel, 12" x 12"

This is a painting of a barn owl I had fully intended to experiment with, but life intervened and, by the time I could turn my attention to it several days later, the paint had partially dried.  This is why I consider myself an alla prima painter.  I like to work a painting to completion while it's still fresh.  Still, the result, at least to my eyes, is not without merit.  I think he's a cute little guy (girl?).