My show is up on the walls at the gallery. A years work, thirty one pieces in total. Come and celebrate with us on February 7th from 5 to 9 at GalleryOne on Pearl Street in Ellensburg, Washington.
I’ve been working out this idea for a while and finally got the under painting pretty close. Then it started peeling off between the gesso and primer. I had to just take the whole thing off.
Redid the whole thing in about 2-3 days. Now to let it dry and start the next layers.
I’ve been at Mille and Bill’s amazing land on Maui for the last two weeks, painting everyday. The plants have such different colors than our eastern Washington plants. Here I’m trying to get the subtle pastels on the tops of these leaves. Watercolor is so fleeting and dynamic, such a challenge of spontaneity. 30 sketches … some aren’t too bad.
It’s a time-honored tradition to make copies of master paintings. The best way to really get into the mind and techniques of the past masters is to be right in front of the real painting in a museum, but if we can’t do that then utilizing the amazing access we have through the internet is pretty good. Some of the great world museums let us download a high resolution image of a painting, and print that out to work from. But, I still like having a real book with good prints to look at. This is a copy of the face from a 1623 painting called the “Merry Fiddler” by Van Honthorst. It just makes me smile when I see it.
This last weekend I went to a 2 day workshop lead by Aaron Coberly at Gage Art Academy in Seattle. It was great to go to a class and be a student again and observe a great painter doing his thing. The workshop was titled “Alla Prima Figure Painting” and we had a model take a pose and Aaron did a 3 hour painting in the mornings, talking through his process. Then we did a 3 hour painting to a new pose in the afternoon. I learned a some new techniques and shared some board time with new painting friends. The limited time really requires a focus and some chops that I will need to work on. Aaron is a good, supportive teacher for any level of painter, as there were some beginning painters and several more experienced people and his style and comments seemed helpful to all who attended. You can see Aaron’s work on his Instagram page or website: @aaroncoberlyart or www.aaroncoberly.com
I’m at Mille and Bill Kohls on Maui. Yesterday we went to the March for Our Lives march and concert at the Maui Arts Center. A heart felt local event, amazing young speakers with clarity and vision. They really are getting their skills as public speakers down. The Kohl’s have welcomed me and let me use the double decker bus to stay and paint in. This is a painting in progress of Lulu and Penny, Bill and Mille’s daughter and granddaughter.
I’m trying to get the winter color of our hills today. The gentle clouds drifted over the lip of the ridge and then vanished. Such fine gradations of muted grays. There are a couple of geese that come to our pond every spring, we want to think it’s the same pair. They flew in, honking to announce their arrival, landing together in the water. I’ve been thinking of some kind of bird flying by in this painting, but it can’t turn into a cliche. These Canadian Honkers might be the ticket.
The website is coming together, but I’m having a little difficulty keeping track of all the pieces. It’s a balance of the diligent work of the technical and the looseness of the artistic. While this painting energy is here I’ll try to ride the wave and keep it going, doing a new painting just about everyday. The technique is settling in, it’s an event, a few key strokes that evolve into the image. They must stay a mystery, with a certain level of control and craft to get them to work along with a big dose of uncertainty and randomness.
I got out to the studio today, excited to paint. Yesterday, a few friends came out and I showed them what I was working on… and everything worked. The ink flowed the and as we watched it created an image that begged our interpretation. Not today. After the initial strokes came off the brush they just sat there, so of course I had to start fiddling with it. Several hours later, the mud was too much to bare and I just walked away.
In April 2017 I started using Sumi and Chinese black calligraphic ink to do some experiments for a new series of paintings. After a few simple tests I realized that the medium of ink in water had such a rich world of possibilities that I needed to explore it further.