HEAVY WEATHER 18X24 $900
The impact of weather approaching over the long flat expanses of the Midwest has a very unique feel, and it is a very strong visual memory.
My family spent some time in Kansas City, Kansas. I was initially amazed that it was so cosmopolitan and yet a heartbeat away you were in the plains … looking at farmland for as far as you could see. That was a long time ago of course, and I’m sure much has changed … but the memory is still as strong as ever.
This piece expresses much the same sense of an unchanging and changeable world. The sense of an invincible and staunch world at the mercy of weather and circumstances is never more visible than in the lone barns and homes that dot the landscape of the plains.
I like the concept of the buildings standing strong against whatever weather comes. These barns are seasoned warriors.They hang in there whatever comes.
I guess I will never really stop with the landscapes … even as I continue exploring life in precarious times. And, I suppose that this landscape is no different … after all life on a the Great Plains can be precarious indeed.
ISLANDS OF THE MOON
I am happy to announce that I will be showing my new work for the month of November at the Avon Free Public Library. The library is on Country Club Rd in Avon CT.
There will be an Artist Reception on Thursday, November 5, 2015 from 5pm – 7pm.
The show will include only new work done since my last show 3 years ago. It represents a lot of change and evolution.
I am really looking forward to having the opportunity to show viewers my new pieces, and will be happy to see you on thursday evening, if you can make it.
So this is the new form of the old planet series that I started last fall. Since then I have started a second series of fish and their world as our own.
The two motifs, planets and fish, come together in this piece and begs the question … What if space in our world is really no different than that of outer space? In this circumstance, which world is being invaded by whom?
Both fish and planets share a sense of weightlessness that gives them a graceful, and rather surreal quality that is intrinsic to their nature. In our dreams we share that same weightless sense of freedom. But it brings with it some of our other, less reassuring, unease.
In this case the feeling is energizing. not frightening, but there is a sense that that could change at any moment.
CELESTIAL POOL #2 – OIL – 40 X 30 – $1,800
There is a part of me that is always aware that something could be lurking beyond our view. Space after all is constantly in motion. What if that motion is about the movement of space toward a big old hoedown of sorts? Or maybe a late night get together after work at the local pub? What if space is really a big ole biker bar? I mean they do sort of look like billiard balls, right?
What if space is a huge billiard hall filled with felt covered tables and biker gods that play for high stakes?
Would you really like to hear what they are talking about? And, what would happen if your old TV antenna were to become the cell tower for conversations with the celestial Minnesota Fats & Co?
Or maybe you realize that the Moon is really just a huge plasma screen that is showing feature films after you are asleep.
I guess it is reassuring that there is always an escape hatch … you know, the black hole.
CELESTIAL POOL #3 – OIL – 30X40 – SOLD
SEASIDE RENEWAL – OIL/PALETTE KNIFE – 30X40 – $1800
The latest of my architectural pieces this is really fun, and has an insane depth of texture. It feels like you could peek around any corner and see the water. And, are those people on the roof looking at the view???
Seriously, the texture of buildings that have been baking in the sun and surviving the winds and rains of harsh New England winters have a unique depth of character all their own. I am fascinated by those houses and storefronts that seem to hunker down for the bad weather, looking grim and grey, and then reemerge when the sun comes out, looking festive and full of life. Nowhere else is there the same feeling that the buildings carry on a life of their own once the tourists leave.
CIVIC HISTORY OIL 36 X 48 $2,000.00
The latest of my large oils, this image went through several stages to achieve the balance that makes it so satisfying to live with.
The images below are a sort of visual journey of the evolution of this painting.
In this one the loose drawing of buildings and roads and images of living in the space have been blocked in. I used an assortment of colors to go back in and over draw areas that I felt needed to be enlarged or reduced.
Next came the blocking of colors and over painting with thin washes of color to bring some balance. During this phase there were a lot of small changes and lines were again redrawn. But the image was becoming unbalanced, and loosing some of its initial draw.
This is close to the final image, but is still rather flat and uninteresting. The background needed to be addressed. But the foreground works well, and the smaller houses all feel cohesive.
Finally it begins to hang together. Now it is a question of bringing the right foreground into sync with the rest.
LET THEM EAT CAKE
OIL ON GOLD LEAF
6 X 6
Marie would have been so happy to be given a bed of gold leaf. In this image, she looks as in-charge as ever. Her don’t-mess-with-me aura comes through and yet she is a fascinating now as ever.
This small piece is painted on gold leaf and heavily distressed, but the cut away of the pigment reveals the gold leaf and gives it a nice energetic feel. The size means that the strong coloration does not overwhelm and is kept in balance with the gold.
Don’t forget to click on the image to get a more detailed view of Marie A. in all her glory.
MR MONOPOLY RETIRES
OIL ON GOLD LEAF
8 X 6
This is an older piece that hangs in my studio and is still a favorite. Mr Monopoly and his monocle continue to amuse me because he is painted on gold leaf, and looks relaxed and unconcerned that the market is acting up!
Painting on gold leaf is a very different experience from painting on a gessoed surface. The slick quality of the leaf creates a surface that gives the paint more chance to move around, and act in unexpected ways.
This particular image is on a canvas board that has been gold leafed. The surface has more of a bite than other leaf surfaces that I have used. It is easier to control the pigments as they are laid down, but the shine of the gold that comes through is more subdued. I did a couple of pieces on this kind of surface, but find that I prefer the smoother surface of a gessoed board with the gold leaf as a base. That type of ultra-smooth surface is the same surface that I used to create a series that examined trees and their landscapes.
Mr Monopoly has that self satisfied look that comes with the robber baron attitude. It is rather nice that he has been reduced in size and made to look ordinary even though he is made of gold. Don’t forget to click on the image for a closer look at himself.
TUSCAN QUILT III
OIL 24 X 30
TUSCAN QUILT II
OIL 24 X 30
Continuing the theme on the quilted landscape of Tuscany, this pair of landscapes invoke the sense of lightness and joi de vive that characterize the sense that one takes away from one’s time in Tuscany. The others that were part of this series have gone to private collections.
The use of vibrant colors is somewhat contrary to the more faded coloration of the landscape. However the horizon line fading into the foreground and having no real stopping point as it recedes is very true to the atmospheric quality of the views that characterize the area. The fact that all the different textures and colors meld together, and yet remain distinct, is so much a part of what one sees.
Though these were painted as a pair so that they could be hung together, they are available individually. Don’t forget to click on the image to see them in greater detail.
THE LATER YEARS OF ITALIAN PUTTI III
OIL 24 X 18
This image is the third of my Italian Putti that asks the question, “Where do all those cute cherubs go once they grow up?” A lot of them learn to play instruments as they cavort up in the ether, but they couldn’t all be rock stars in later life. This guy apparently pursued a musical career.
Once again the piece is heavily textured and uses the palette knife to create rough and smooth surfaces that lead to a sense of ambiguity. He has an etherial quality, but at the same time is current and of the real world. He is solid and transparent at the same time.
The work is also developed on a diagonal grid, much like the earlier pieces of the same title, but this guy has an entirely different color scheme. He is also done on a gessoed board which changes the nature of the finished piece. Without the springiness of a canvas surface, the palette knife becomes more aggressive when used this way.
The piece is available through Xanadu Gallery’s Studio Artist web site. Don’t forget to click on the image for an enlarged view.