Seriously?

So I fought and fought and fought with a trio of paintings this past week. Today I set them aside and began a new painting which painted itself.

My muse, she's a humorist.

So this new work is 16x20 in size and is, as yet, unnamed. I am open to suggestion. Thus far possible names include: Seriously? Was That Really Necessary? and Sigh.

I have no process images of this one as it painted itself. There is a looseness to this one I am hoping to achieve in future paintings.

Sigh.
Dawn

Mount Townsend

Several weeks ago I had about 4000 things to accomplish, so instead I went to the mountains. I hiked Mount Townsend, at least until my fear of heights kicked in (almost at the summit, alas.) It was a beautiful day, a beautiful hike, and it kicked my butt. (20% grade--yowza!)

This is an image from that hike. I took more time with this one than I usually do, and really contemplated each step and what it brought to the work.

In step one I am, as always, looking mostly at value and composition, laying in fields of color.

In the second step you can see the layering in the sky and mountain. At this point I am very enamored with the thick line at the horizon; it emphasizes the horizon in an interesting way.

The third layer shows what that layering looks like drawn down over the entire painting. This stage is technically pretty good. However, I feel I have lost something in this. It lost some interest, part of its spark.

The fourth step shows me working to regain that interest. You can see I re-worked the sky, lightening it towards the horizon plus adding several glazed layers of various colors to add depth. I also added more color to the mountain and the water.

Stage five. Alas, I had to kill my beautiful horizon line, subdue it. It was too bold and was hindering the sense of endless sky and water I was trying to achieve. I also added more rosy-peach color back in, as somewhere along the way I had lost that color of wildflowers.

I am still not satisfied with the foreground, but need to live with it for awhile. Let me know if you can tell me what I need to do to reconcile it!

Happy painting and hiking!
Dawn

Thomas Moran Studies

Top: "Atmospheric Perspective,"(after Moran’s “In the Bighorn Mountains, Wyoming”)
oil on canvas, 20"x10"

Middle: "Romantic Sublime," (after Moran's "Grand Canyon in Arizona")
oil on panel, 16"x20"

Bottom: "Isle del Walpe," (after Moran's "Sunset, Pueblo del Walpe")
oil on panel, 10"x8"

Port Townsend Gallery is presenting a Faux Show in the month of October. Each gallery member chooses an artist to focus on, then creates a body of work inspired by that artist.

I have spent some time studying the Hudson River School of American landscape painting the last year. Thus I chose to look at work by Thomas Moran, one of the masters of the romantic landscape.

All of our myths of the West were embodied in the late 19th century. As Rebecca Solnit states, the West was not so much discovered as it was invented. These artists came west with the survey teams and presented some of the first visuals of the continent to the masses back East, all part of the agenda to sell the idea of the west.

The last half of the nineteenth century was a world on the cusp. The world view at the time was that wilderness was boundless, that nature (and God) would provide whatever we asked for. It was, of course, part of our entitlement, our manifest destiny.

There is such a seductive power in these works, and understand that I truly enjoy the romantic school of art. They are beautiful both in aesthetics and in content. The ideals of the time are lovely, sublime, and unattainable.

I wanted to create a body of work that both honors this aesthetic and, at the same time, intentionally pulls the viewer back out of the pastoral landscape. This is the purpose of the text in "Romantic Sublime." In "Isle del Walpe," I used Moran's composition but changed it from a desert landscape to a seascape. The last piece is a work in progress. I intend to add a map element to “Atmospheric Perspective," drawing attention to the journey to the unattainable West.

I would love to hear feedback on this body of work.

Please join us at Port Townsend Gallery for the Faux Show, up through the month of October. The opening reception will be Saturday, October 2nd, from 5:30 to 8:00. 715 Water Street, Port Townsend Washington

Untitled

New work! This is a 60"x48" oil on canvas. The image is from a storm cloud in Northern Colorado last June; not an epic storm, just a pretty one.

I have spent much of my life watching these thunderstorms grow over the plains of Colorado. It was very nice of the weather to cooperate during my family visit last June; lovely weather overall and a small thunderstorm.

This shows the underpainting (used to lay out the composition, establish value, and as a tool for layering) and the finished piece. This piece is not yet titled.

Dawn

The Need for Solitude

"Solitude" mixed media, 16x20 on illustration board

I've been spending a lot of time walking this summer, particularly through the woods all around Port Townsend. The rhythm of walking, the quietude, the sights to be found: all these things quiet my mind like nothing else can.

This piece began as a failed watercolor; it was not very interesting. I added layers of charcoal and clear gesso to the piece which gave it depth and the illusion of having detail. The final coat is an oil glaze to further enrich the surface.

Happy walking and painting,
Dawn

Birth of a Tree (drawing...)

So here is a drawing process for you. I have been experimenting in the studio with drawing effects and have come up with a mixed-media approach that is making me very happy. The final surface is rich with process and almost patina-like effects. I have been very inspired by the work of Larry Thomas in California; he has a series of monumental drawings that are amazing. Johanna and Shirley at Akamai Art here in Port Townsend were instrumental in helping me figure this out.

The first three images are straight up charcoal on watercolor paper. At this point I realize I have made a critical compositional error in the diagonal branch at the top right hand side of the piece, which detracted from the overall movement. Image 4 shows how much I was able to erase but, by image 5, I have employed a layer of Acryla Gouache (Holbein) to cover the mistake. Aaah, gouache. The artist's whiteout.

Next I fixed the holy living hell out of it so that I could apply a layer of clear gesso without lifting the charcoal. Clear gesso has tooth to it that colored gesso does not, a perfect layer to seal in the first layers of charcoal and be able to work more layers on top. This is fundamental as the next multitude of layers include more vine charcoal and oil washes. I used about 10 layers of oil washes, which involve a little tiny bit of paint in a ton of pale drying oil and mineral spirits. This serves to encase the charcoal and gives the drawing that luster I mentioned.

This process is very happy-making. It feels like encaustic as you are sealing in various layers; both watercolor and oil painting; and drawing.

The last image is a detail, in which you can kind of see what a cool surface this is.

"The Grove" is 25"x38" in size, available unframed for $125.

Dawn

Drawings

New work, done as part of my graduate studies. I have been thinking about trees a lot, easy to do when you live up here.

When I was finding myself again last summer, I went to visit my friends in Novato, CA. I spent hours walking the dry California hills above their house, delighting in the isolation, the views, nature above giant tracts of humanity. I also delighted in the trees. Weird, oddly shaped trees, trees I was not familiar with. These trees make me think of European myths and about dryads and tree entities, beings being trapped in trees or becoming trees, trees becoming people. Some of their forms are so surreal they look like mythical beings. Some of them just Feel powerful.

Inspired greatly by Larry Thomas, I began some larger drawings on good paper. It feels great to be drawing “seriously” again.

This first image “Lost and Found” (top) is supposed to be non-representational, though I began with source photography. I fought the image of the bird that kept reemerging until, finally, I realized it needed to be there. This piece is charcoal and pastel on Stonehenge paper, 22x30" in size.

The second piece, “California Trees” (middle) is from a very complicated image, vast patterns of branches. I remember at the time thinking about the patterns of light and shadow as a language spoken by nature. Also charcoal and pastel on Stonehenge, 22x30" in size.

“Offering” (bottom) is a looser quicker image, influenced by the joy of a new paintbrush (Liquitex Freestyle Paddle brush = too cool!) The immediacy of ink and concentrated watercolor and a springy brush gave me freedom. I did not draw this out ahead of time. The focal point of the lighter branch resembles a dryad, she and her tree. This was not intentional but fits. "Offering" is on Rives BFK, 22x30" in size.

Each of these drawings are available unframed for $100 each.

Dawn

"Vessel"

My new painting is titled "Vessel." I began this piece during my oil painting class, and my students commented on how the under-painting looked like a ship. This was complete serendipity. As I have spent so much time drawing and painting boats in the course of my graduate work, the structure of the boat unintentionally manifested itself into my under-painting of trees.

I, unfortunately, did not get a good picture of this under-painting as I was anxious to finish the work. If you look at the overriding structure of tree trunks and branches, though, they kind of resemble masts.

When I started thinking of this image I was on a walk through the woods contemplating the power of becoming a vessel, of allowing yourself to step aside and let higher powers move through you. It is counter-intuitive that, in relinquishing your own ego and sense of yourself, you become more powerful. You allow yourself to become more than you can possibly be just on your own two feet. The trick is in getting yourself out of your own way!

Thus "Vessel" is a play on words but is very much on my mind on all counts.

The piece is an oil on canvas, 24" x 48" in size, and my ego is allowing me to sell it for $995.

Happy painting, walking, and contemplating to you as we head towards June!

Dawn

The Birds Go Pirate

Well I tried, but the the birds have their own agenda. After painting them and drawing them in their little canoes repeatedly they decided they wanted to evolve in the grand scheme of nautical history.

They pirated these ships.

I am not proud of this, but they are particularly driven in their need to find and claim new migratory routes. Plus these boats are more stylish.

The first image is the first pirated vessel. The pieces that follow are part of a series depicting the fleet. You will not see the birds on these ships as it is an issue of scale. The boats are huge, the birds are busy.

What I like about these two ensuing images besides the conceptual component are the lines and the flat washes. Frankly, they remind me of the children's books I grew up with in the days before full-colored illustrations were affordable. The fresh linear elements excite me. The layered sense of space came about through transparency, as if you could see through all the ships to the horizon. It is meant to create a sense of limitless space and ships innumerable. All of these pieces are mixed drawing media and tempera paint on watercolor paper, 22x30" in size.

I am a bit afraid of what the birds will make me do next. At the moment they are in their pilot quarters pouring over maps...

Manifest Destiny

One of the series that came about through my graduate work at Goddard College. This entire series is tiled "Manifest Destiny." It is a combination of the academic research I am engaged in, which involves the Romantic artists of the United States in the mid-nineteenth century. What fascinates me about these artists is that they were scientifically oriented, they traveled great distances to create their images, and they were obviously blown away by the landscapes they found in the American West. The dichotomy is that, in creating these paintings of the wilderness that so inspired them, they actually aided in its destruction.

This series began with the sculptural element: birds in boats (scale is 4" to 15", media is ClayShay(r)). The birds came to me. It is partially based on perceptual imagery from the Pacific Northwest, namely the fact that I often see a line of birds resting on a log out in the Strait. These are usually cormorants or gulls, but it inspired the idea of migratory birds building boats and heading West, looking for better migratory routes they could monopolize. I love these birds, but there is a seriousness about them that cannot be denied. Their ultimate goal is to take over the world...

From the sculpture came the drawings, which are all mixed drawing media on various paper. Their scale ranges from 11x14 to 30x40. I like the fact that they have a textile feeling to them, which speaks to the historical element. It is a big step for me to work perceptually from a conceptual element.

The birds have big plans--watch for their latest escapades here!
Dawn

The Harbor

New painting! In fact it is still quite damp... This is from an image I saw several weeks ago. In real life the bay was not nearly as interesting, it was a flat grey day with this random ray of light. The light is what I was after.

The bay is different each and every time I see it. Within an hour the light, the waves, the tide, everything changes. I could spend the rest of my life just watching the light change out there.

With this piece I was trying to capture a sense of longing and isolation I felt when I saw these boats looking towards the far horizon.

"The Harbor" is 24x36, oil on canvas, and is for sale for $795.

Horizons Art Show

Here are a few pictures from the art show at The Art Mine. It's a nice, big space and a little hard to convey just how it feels. I have 27 images up to give you an idea of the scale.

The art opening went really well; there was a good turnout and I met a lot of people. It was a great introduction of the range of my of art to this community.

As far as I know the art show in Colorado was also well attended; my art friends back there tell me it was a great opening.

Back to the studio; I am working on a 24x36 landscape this week. It should be ready for viewing by the end of the weekend. Yay!
Dawn

February is a crazy art month for me! I have two shows opening some 1500 miles apart from one another.

The show in Washington is at The Art Mine in Port Hadlock. The show will be open for viewing from Feb 2nd through March 20th; the opening reception is Sat Feb 6th, beginning at 5pm. It is an eclectic show featuring many new pieces including some of those I have previously blogged about.

The show in Colorado will be at The Art Center of Western Colorado in Grand Junction. The dates for this show are Feb 5th through March 15th, opening reception Friday Feb 5th from 7pm to 9pm. Alas I will not be able to attend this show opening as I have not figured out how to be two places at once... The work for this show features my black and white pastel series, including several large pastel diptychs on wooden panels. Here is a link to their website: I am showing with an amazing glass artist, Andy Martin, who ironically lives in Seattle now!

http://www.gjartcenter.org/exhibits_upcoming_2.html


And other than that I start grad school at the end of the month as I start to chase down the elusive MFA. Art art and then more art--life is good!

Let me know if you make it to one of the shows; I would love to hear feedback. Thanks! Dawn

New Series: Washington Miniatures

I am enjoying working on some smaller panels at the moment; these are 9x12 oil paintings. The subject is direct from my birdfeeder; these are two of the feathered beasties who are currently eating me out of house and home. The first is an Oregon Junco, the second is a Black-Capped Chickadee.

This is a fun format; the small scale works with the images. I am planning on working on more 9x12 landscapes as well (see "Crescent Lake" in a previous post,) and hanging them together as a mini-installation, alternating landscapes and birds.

It is almost like a sketchbook in oils; these are images I want to capture quickly as I explore and navigate my new home.

Any of these are available for $200. Happy painting, hiking, and birding!
Dawn

Murder Complete

The murder is complete! This is the piece I started 3 weeks ago; I had to tone down the value shifts a bit to pull it off but, in the end, it has the subtle shimmering light of the Sound I was after.

Please note: the first image here is my underpainting which, as we remember, looked like a poorly formed pterodactyl. The final image here shows you the birds in detail with a little more finesse.

The title is "Murder in Progress." It is an oil on canvas, 30x40", selling unframed for $995.

If you look close you will notice that the birds are not reflected in the water; this is because the birds are spiritual entities. Ravens are very powerful symbols. In this case, to me, they represent ethereal transition.

Dawn

I was travelling this past week so do not have a studio image to share; that being said here are some sketchbook pics for you from my travels. Here's the problem with hanging out with graphic designers: you begin to think that the way you lay out a sketchbook page makes a difference. Here's the really annoying thing: they are right. I am liking the text as an element on these pages. The most challenging pages were the 'cloud studies' page, which I drew from a plane window at 36,000'. You have to work fast on those suckers. The other challenging page is the 'red-breasted nuthatch' page as it has a lot of design elements. I actually hand-painted each letter on the title.

I have missed my studio this week so should have some paintings to share soon. So now go draw something, then obsess over the text layout. Or just go draw something like a normal person...