Gerber Daisies...Spring has Sprung...!

In late February, the first to show their blooming faces were the Gerber Daisies.  The cadmium red-orange is my favorite color, and I photographed them to savor their glory and to use as a reference:

The more I thought about it, the more I wanted to capture their vibrant color on paper.  Using a wet-on-wet watercolor method, I dropped in color to start the process and allow the shapes to emerge:

Red and green are opposites on the color wheel, and I felt the tension between them, so after looking at it for several days, I decided to soften the shadows and cool the painting by adding ultramarine blue.  I also decided at this point that, compositionally, it didn't work...so I cut it into three pieces.  I was fairly happy with the resulting three paintings, as I felt that they worked better than they had as a whole.  The original left side of the painting yielded two quarter sheets:

I continued to work on these as individual paintings, neutralizing the blue shadows with a burnt umber glaze.  The changes are subtle, but I feel they're effective, and I'm much more satisfied with the results.  These are the finished versions:

I continued to work on the right half of the original composition.  I thought that it needed to be warmed up, so I added other flowers from the garden, bringing orange, yellow and rust into the mix, finishing the painting.  Then I hung it and photographed it to do my usual 'eye-edit'.  After looking at it for a couple of days, I still felt slightly frustrated with the design elements, so I cut this half in two as well, winding up with four from an original single work.  Here are the results:

So...if anyone asks me 'How does your garden grow?', I can reply 'With silver bells and cockel shells, and Gerber Daisies all a-glow...!'

Inspiration for 'Wave up to the Shore'

When my friend Larry Looney asked me to consider creating a CD cover for his album of Irish and Scottish ballads, I was flattered.  Having never been to Ireland, I set out to research and glean photos from friends and Irish Tourism on-line.  Larry talked to me about the atmospheric look he desired, and I had him cut several pieces of watercolor paper in the dimensions of the cover.  I did a preliminary watercolor sketch that I didn't like, and decided as a warm-up exercise that I would do full-sheet watercolors of the Irish coast.  The first to be completed was The Emerald Isle.  I kept it loose and focused on the colors of the shoreline.  I think the cloudy sky really makes the colors 'pop'...!

The Emerald Isle

I hung it up for the editing process, and began the second large watercolor of a small house nestled by a creek near the shore.  The creekbed gave me rigors, as it was difficult to make it 'read' correctly in the eyes of the viewer.  I think I got it right.

Irish Fishing Cottage

For the third painting, I chose as a photo reference a dramatic view of the beautiful Mountains of Moher as they 'run down to the sea' (as the old song by Percy French goes).  I loved the vibrant colors of the minerals within the rocks, exposed by the drop-off to the ocean.  Because of the details in the topography, this one required significant drying time between painting sessions.  That gave me the opportunity to begin to work on a series that led to the actual CD cover.  At this point, I wasn't sure how the large paintings were going to be used, or, if indeed they would be used at all.

The Cliffs of Moher

In the meantime, I was looking through old photographs I had taken for painting reference purposes, when I spotted a panoramic shot of Santa Cruz from a beach, near the Monterey Peninsula.  Amazingly, the mystical colorization of the land, sea, sky and figures was just what Larry had in mind for the cover.  I suggested he use the photograph, which he considered.  He decided to go with his 'purist' instincts and held out for a fourth watercolor.  This took some work.  I did it as a miniature from the start, being the actual size of the CD booklet cover,  and it took several months to evolve.  Patience paid off, and we were both well-pleased with the result.

Wave up to the Shore

...and here's my photograph, which served as a reference for the painting...

Santa Cruz Sunset

As you can see, I 'Emerald-ized' the landscape in order to give the painting a more vivid 'sense of place', in tune with the Irish theme.  We actually used the left side of the photo for the rear tray of the CD, and it works very well as a background for the song titles and other printed information.  The colors of the photograph and the cover painting compliment each other so well that some people have, on first glance, thought that one was a continuation of the other.

I am very proud of the creative results, and of being a part of this endeavor.  Larry's music is beautiful, and I thought you might enjoy hearing an example from the album.  The song is 'Kilkelly', named after a town in Ireland (Cill Cheallaigh in Gaelic), in Co. Mayo.  It was written by two Americans, Steven and Peter Jones, and is based on letters from their great-great-grandfather, Bryan Hunt, to his son John, their great-grandfather.  As Bryan was illiterate, the letters were actually written by the local schoolmaster, Patrick McNamara, who had been a friend of John's.  Its haunting lyrics and melody are overwhelmingly melancholy, like so many things about Ireland and its people.  To hear the song, simply click on the orange arrow below...



The next time I paint the Cliffs of Moher, it will be on location on the Emerald Isle...!

Letting it out...

One of the things that I have learned is the value of Pilates breathing and painting through times of massive aggravation.  This week has proven to be a challenge to me and to my resolve.  These two paintings are a result of an almost Zen-like transference of the frustrations I was feeling into something expressive and, hopefully, beautiful.

New Roses

As a result of the recent gift of significant rainfall in Austin, the Double-Take Roses are blooming everywhere.  This painting began as a complete abstraction, a pure expression of the pent-up emotions I was feeling.  However, when I took a break from it in order to make an edit photograph, I saw the rose forms materializing and literally blooming on the paper.  This was a single-afternoon endeavor and a very Zen experience.

Fire and Smoke

Late last evening, I found that I couldn't bear to walk away from my art table, so I faced the white paper one more time and began dropping in random color, shapes, lines, isopropyl alcohol and coarse sea salt.  I let it dry overnight, and this morning at six I decided that I would randomly add black acrylic paint with my brayer.  I let it dry all day, and decided tonight that those quick decisions I made this morning were good.  This painting conveys the energy at the heart of my feeling levels yesterday.  It is finished.

Birdland USA

I first became fascinated with the idea of depicting birds in their environment when I was sitting on the beach at Monterey Peninsula, painting on location.  The rocks at Lovers' Point were my subject matter, when a gull landed and posed for me for an inordinate amount of time.  I was amazed, and did my best to capture him on the white paper.  A simple watercolor sketch took on a greater depth of meaning with his presence.

Lovers' Point

So began my quest to capture the ethereal beauty of birds in their natural habitat.  The series has grown to include three additional paintings so far...

Ode to joy!

I was honored that this painting was juried into a show at Concordia University reflecting the many faces of birds.

Yes...?

This was inspired while on a trip to California.  I drew it off in lime green paint on paper and didn't finish it until three years later, at home in Texas.  I loved his expression and chose the title with that in mind.  His magnificent presence now graces our living room.

Solomon the Referee

This last painting was finished February 23rd, 2012.  I had longed to paint the unique coloring of the Gulf Coast Roseate Spoonbill, and was pleased with this first effort.  I have found myself fascinated with pink feathers, and am planning my next exploration:  the flamingo.  Hopefully the use of pink will not provoke the ire of the Komen Foundation, directed either at me or the birds.  Come to think of it, the birds were using it first.

Stay tuned...

Looking back at my WOMEN STUDIES : CULTURAL OBSERVATIONS AND SOCIAL COMMENT

When I began this blog, I talked about the creative journey involving the development of a specific painting in this series, Soco Sisters.  I thought it might be interesting to see a selection of other paintings in that series, in order to put the newer one in context.  Let me tell you about them...

Ladies of the Club I

Ladies of the Club II

The inspiration for this painting was the Home Demonstration Club of Groves, Texas.  My mother (pictured to the left, in the red dress) was a member from 1941 until the early 1970s.  This club was very important to these women, practically vital.  They wouldn't miss it for anything.  It was an opportunity for them to share important aspects of their lives as homemakers...recipes, household tips, sewing projects, and even bits of the latest gossip.  There are two versions of this painting because I sold the first one and liked the theme so much that I painted another.

The Playgroup

When my daughter moved to Texas, she was one of many young mothers living in a new community, knowing no one, with a young baby.  A group of women who found themselves in a similar situation came together for playtime for their children.  While it started from a practical need, it grew into an important social network, enriching these young women's lives.

Beauty

This painting is about the rituals women perform to capture their concept of ideal beauty.  This is contrasted with the beauty found in nature and that of a red sports car.  The irony is that the red sports car (chili-pepper red, to be exact) is now parked right outside...and I enjoy it every day!

Love, Austin Style

Despite first impressions, this is actually a mother and daughter.  Eating a late-night dinner at EZ's, I couldn't help but notice how happy they were in each other's company.  It's as simple as that.

An Artist at Heart

A self-portrait, this painting finds me in my HR office taking a mental vacation, designing my next abstract painting.

The Fruit Bowl

This is a scene from my wedding reception, when my new mother-in-law showed up in a pink raw silk dress, wearing a humongous white straw bowl hat.  I always thought it should hold fruit, so that's how I painted it.

The Wedding Party


Here are the players on that hot June day in 1966.  I have tried to capture the mood of the moment in this painting.

I am currently working on two paintings for this series:  Sadie and Herb - true fans! and Angelfood Duels, and I have one painting in the idea / development stage, The Song Weavers, featuring three local women songwriters who represent three different generations.

Playing with Golden's Crackle Paste...

Randomly perusing fine arts on line, I ran across a small painting by Carol Nelson that used hand-made papers and Golden's Crackle Paste. I was intrigued. So, I went to Jerry's Art-a-Rama and bought some. I happened to have a 12 X 12 Ampersand mounted artist panel...and I decided to play. I started with a collage of hand-made papers. I formed the heart with the Crackle Paste on top of rough brown serrated packing paper (looks a bit like a honeycomb; Cheap Joe's uses it to wrap brushes). Then I washed it. It took three days to begin to dry for the cracks to begin to appear (this was during a few days of monsoon-like rain, lengthening the drying process). I was so excited when it began to crack.

Artists using this product, with demonstrations on-line, recommended varnishing the Crackle Paste to preserve the cracks in the finished form. I did this. As it continued to dry, the cracks got bigger and deeper...very exciting. I decided to add paint, still not completely satisfied with it. I decided to chill out and step back for a bit and really look at the form. This led to a decision to add the Crackle Paste to the background, which, because of its opacity, diluted some of the backgroung color...a good move. Then I went back and tinted the cracked background. Now I have to make decision as to whether I will draw back into it or leave it alone.

So...here it is. What are your thoughts...?

A few pencil marks, a bit of Sharpie line drawing, and oil pastel, and then I neutralized it all with a grey-blue glaze...it's done! No more experimenting...

Well...I couldn't stand it.  I just had to do one more thing, so I added an old gold glaze to tone down the sweetness of the blue-grey.  I've actually framed it...it's done...!

Holidays and other distractions.....

It's been awhile since I last posted.  So,I will share to give you an idea of what I have been up to these past 3 months:......I have completed three holiday watercolor commissions, took a trip to Chicago where I spent time at the Art Institute and the Contemporary Museum of Art, experimented with Golden's Crackle Paste to make some creative and artisticly satisfying valentines, drawn off two new watercolor paintings (which I have begun to paint, as additions to my Women's Series), and have seriously undertaken the overall design and the painting of the accompanying artwork for the lyrics booklet for Larry Looney's CD of Irish & Scottish songs, Wave up to the shore, which he recorded back in 1991.  I have taken a bit of time as well to tutor and encourage my granddaughter, Madeline, in her acrylic painting endeavors.  Her work is amazing!

Painting and creating all along...I have just not been blogging!  I bought a new camera, a Canon Rebel, to photograph my artwork and have spent allot of time figuring how to use it.  O, do I have a long way to go!

I thought I would share the watercolor, 'North Atlantic Abstract'...