Rhythms

"Rhythms"
14" x 18"
canvas
mixed media

Few of us realize the infinite possibilities in any one situation. We are limited by our own imaginations. Limits are formed as we grow up. As adults we either embrace these limitations or we shun them. To date I have decided not to plunge out of the side of a sky diving plane in an attempt to prove I am no longer afraid of heights. Instead I will take a brush loaded with powdered graphite and smear it all over the surface of my canvas, grind it in and extract the excess with some alcohol. No, not the kind I can drink. I then throw all manner of substance at the image in the excitement of forming something unusual in hopes that other people as well as myself can enjoy it. On this occasion there is an interesting, self-imposed restriction. The St. Albert Painters’ Guild decided it was time to perform an exercise that had been tried once before with fascinating results. We selected one photograph from many submissions and posted it for all the members so anyone who wished to take the challenge of interpreting the image could do so. The Guild boasts membership ranging from young to older (some of us never grow old!) exercising in every media imaginable. In any given show one will find abstracts to photo realism with everything in between. The fun part is discovering the possibilities. On the night of our opening we will see the gathering of an enthusiastic admiration society, comparing notes and exchanging comments on the mind boggling variety before their eyes. One image, infinite possibilities. Should you be in the neighbourhood on the 22^nd of October, drop in and join the fun. We love surprise visits.

Roots

Roots
60" x 40"
mixed media
300lb watercolour paper

It does not take long to bring things together. There are several “must do’s”. Usually one thing leads to another and suddenly it is done. As a rule of thumb repetition integrates the various elements within a piece. For instance, the laser copy transfer of my grandmother holding my cousin was all alone in technique. Transfers look like felt pen so a repeat performance was begging to be installed. Where? Where would I use more felt pen? The bark of the trees lent itself to texture. They required darkening to create more of a contrast between the background and the figures.  So beginning with an obscure, off-to-the-side branch I began to experiment with mark making. Little strokes, long strokes, curly strokes, cross-hatching.  Yes. A mixture was best. As I moved through the work I noticed some imbalance with value, corrected it, added the poem to repeat the rhythm of the leaves and … something was not quite correct. The background was competing with the foreground, demanding entirely too much attention. This exercise is like negotiating a peace treaty! The main advantage in this negotiation is that although the painting may squawk I have the final say. Out came my paintbrush. I hoped the applications of gel I used to affix the leaves would not interfere with the watercolour. It would be easier if I could just lay a wash over the whole thing… but then again, I could fix… Voilà! Take a picture, add a signature and the painting is done. Now all I have to do is figure out how to hang it….  

Roots: Stage Three

Roots 3

60" x 40"

300lb watercolour paper

It has been awhile. Placing appropriate pieces of tissue paper usually takes the most time. Things were getting tense. The inevitable question arose: How many more hours must I devote to this? with its requisite response: As many as it takes! Oh the agony of not knowing…. I must have control! There was a time when I would truly lose it. Control was big in my life. Relax. Enjoy the ride. This is fun and easy! And so it is. Once I began to breathe again I spent some time just meditating this piece. There are so many considerations. Where do I wish the eye to rest? How do I subdue some areas while enhancing others? I have several sheets of a single colour in various values, that is, light and dark. I also have several different shades of green with variations within by adding sprinkles of yellow or blue or red to the base. Making sure the tissue paper is well wrinkled before applying the colour washes ensures wonderful patterning. This time I required a certain colour in a certain value. It took three attempts to produce the sheet I needed. I now have extras for other projects. I make life more difficult for myself by not using scissors to shape the pieces but I prefer the softness of the torn edge. If I wish a hard edge I fold the paper on itself. This is fun. Taking artistic liberties I decided a few hints of red would focus and direct the eye. All was well until I noticed the bottom was disappearing. The carefully crafted watercolour grasses could not compete with the vibrant colour of the leaves. Oops. Now what? I looked at the piles of tissue paper scattered about the work surface and I saw scraps. Lovely. Perfect pieces for empowering grass blades. A little gel and a bit of patience later things were looking much better. Still… Something was missing. I opened my container of gold refuse, the leftovers from the leaves and other paintings. Ahh…. much better. I love the cheeriness of this piece. This stage is done. The only major question left to answer is: How do I bring it together? Yes, well…. that is for next time.

Safety

"Safety"

24" x 18"

Mixed media

on cradled board

Most parents concentrate on keeping their children safe, mothers in particular, or maybe that is just my point of view. This is the theme of the latest in my series “The Many Faces of Eve”. Balance is a challenge in life and in painting. Within the realm of parenting we have the opportunity to grow with our children. Our protective shields are slowly removed as they mature giving them more freedom to explore who they are. I remember holding their hands and finding places to set them free. Painting is much the same. I had a problem with this one. It hung on the wall for a long while. I could not quite see what it was that rendered the image unacceptable. Insights come in many forms. Usually it is just time and a fresh eye in the morning. On other occasions it requires divine intervention. My angel entered my studio, someone just passing the time as her laundry was drying. She made a few comments and I could tell this was a woman who knew what she was talking about. I showed her the painting and told her I did not like it. Her comment was, ‘The rocks are too well defined.’ Brilliant! My need for control was showing. Lately I have been challenged with the idea that the less I define my images the more interesting they are. That means releasing my notions of perfection or rather redefining them. Perhaps it is time to let go and let fly.

Come Along Children

Come Along Children

8" x 6"

Mixed Media

Canvas

I have managed to paint another daily painting. This time it only took about three days to complete. I am getting faster! Actually I was standing in the middle of the floor, gazing at the work I had planned to do, wondering what to do with my foul mood when I took up another prepared little canvas and began to play. Putting marks on a surface, whether it is watercolour pencil, paint, ink, or graphite, seems to immerse me in another world where bad moods and negative thoughts are not allowed to enter. Picking up a paintbrush is a direct connection to a better world, my God and an infinite amount of positive energy. As the painting proceeds there are always so many considerations: where am I going to put the important images on the surface; where will the center of interest be; what colours will I use; will the shadows be warm or cool? Once I put paint to canvas I may change my mind at anytime usually as a direct result of falsely interpreting what the results of my conclusions were. That is correct. I make mistakes all the time! I have found that the most important response to unpredicted events is to welcome them. This allows me to reconsider, imagine something new and step into possibility. I love my world. It is fun to be alive.