In or Out, Large or Small, it’s all Good

 
I like to do a painting on the first and last day of each year to mark it in my mind, take note of the transition from one year to another. This year I am involved in finishing a commission for Florida Hospital. It’s a large oil painting 6 x 18 feet, and large or small my technique is the same. Layers and layers of paint. It’s taking all I’ve got and I couldn’t tear myself away to get out and paint this year. Not even for a few hours.

In a way I’m beginning to regret that.

Twilight, the painting above, an early moonrise, is one I did several years ago on December 31st. It is a small oil painting 6 x 8 inches. I painted it plein air standing under the Tomoka River bridge as a freight train rumbled over head. I planned on working up a larger version in egg tempera and put it in a frame to study it. A few days later a visitor came in to the studio and immediately fell in love with it so I let it go.  I almost forgot to sign it.

I’ll soon be finishing the big painting and heading outside to paint some of this beautiful Florida winter light, and I can’t wait to begin working on some ideas I accumulated while working in the studio. It’s a good mix, in or out, large or small, it’s all painting.
It’s all good

Going Home

 Going Home
Oil on Linen
48 x 60 in.
sold

Charolais
egg tempera on panel
sold

Last month I attended a benefit arts gala at the Charlotte Country Club in North Carolina. Proceeds from the sale went towards supporting the Stepping Stones program at Crossnore School. Above is a couple of paintings of mine that sold. I love when my work can help make a difference in another persons life.

Meanwhile. . .

Work continues on the Florida Hospital commission.

Here is a preview of the study at the VIP reception with Florida Hospital Cancer Center Director, Debra Trovato. The painting is scheduled to be completed in January. Stay tuned.

New Oil Painting on the Easel

Here  is a new oil painting I am working on for an event next week at the Charlotte Country Club in North Carolina.

I have all the major shapes laid in at this stage, next I will begin to adjust the values, color temperatures and start getting the light to flow.

I am using the new Gamblin Fastmatte paints which dry overnight allowing me to layer the paint like I do with egg tempera. They dry a bit darker than when I first put them on, similar to acrylic paints and I have to compensate, but once I figured out what was happening- no problem. So far, I like them, and I won’t be bringing a wet painting to North Carolina with me next week.

APainter in His Studio

 

New Studio!  New Commission

I have been commissioned by representatives of Florida Hospital to paint a large painting for the lobby of their new state of the art cancer center in Ormond Beach, Florida.
The painting is 6 x 18 feet. The small sketch on the easel is my preliminary study. I have been testing and will be using the new Gamblin Fastmatte paints and I’m excited about their possibilities. They dry quicker than traditional oils allowing me to develop the painting as I do my egg tempera technique. I will be posting updates of the process on my blog and Facebook.
This commission coincides with my move to a larger studio, thanks to the grace of a couple of good friends.

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Winding My Way Around

Landscape paintings are traditionally depicted horizontally.  A basic rule of composition in landscape painting is the rule of thirds.  The artist divides the canvas in thirds, deciding which is the important part of the scene, the sky or ground, and places it in the largest two thirds.

In my painting Crescent Moon, I opted for a non-traditional vertical format, primarily to show twilight proclaiming its nightly dominion over the mountains.  A shimmering membranous veil of celestial light descending curtain-like upon the land. Secondarily, I enjoyed the challenge of counteracting traditional landscape rules, to lead your eye, in a fraction of the painting, deep in to the landscape.

I’m an artist, I speak in possibilities.

Maybe it’s a metaphorical mountain painting. Universally we are similar, you and I, actors winding our way around our own microcosmic stage, playing our parts, separating the linen from polyester, the bolts from the nuts, sorting it all out, what is true and meaningful.  Which part of our lives do we give the largest part of ourselves, which the smallest?

A painter true in his work becomes his own confessor.