Artist Journal Page Spreads Painted on Monhegan
My approach here is more meditative than anything else, just marinating in being there, storing it all up for when I am not.
My approach here is more meditative than anything else, just marinating in being there, storing it all up for when I am not.
Here are two landscapes in pastel I did last week in Maine.
I’m keeping it framed in my office/studio to remind me of my friends in Maine and the good times we have.
I’m in this art show at New Pond Farm that opened last night, with the two plein air paintings.
Don’t you love the quality of the light in May?
Maine is a very varied place and has endless subjects to paint!
I love the contrast of their bright variegated colors that contrasts so beautifully with the greens of surrounding scenery.
Check out the paintings and close up details in this post of a wonderful show.
The idea of restricting the quantity of strokes is to curb detail, go for only the more abstract essence of the scene, and to avoid over working it.
I loved the complimentary colors at play during the golden hour in this beautiful spot; the light, the seaweed and the rocks are endlessly fascinating.
I was particularly attracted to this tree’s redness and the textural roughness of it bark, as well as its one-sided woven branches.
I painted next to this rushing stream the whole day our daughter climbed the mountain…
These redwoods were painted as a metaphor to keep in mind.
I love the supple, soft undulations of magnolia petals.
Both of these works were painted for their abstract meanings, so even when art is representational, I feel it should be about more than just what meets the eye.
All these explore something other than the things themselves, which I wholeheartedly embrace.
I do not often do still life paintings, but here are a few I did this week, ranging from impressionism to abstract conceptualism.