Cassy

Cassy
Oil on Panel
12 x 12"

I'm pleased with the energy in this oil sketch. The light was shifting due to a rare occurrence of clouds in our otherwise flawless Tahoe sky. It made me work faster, in a more intuitive way - whilst still bearing in mind all the valuable lessons I'm learning about edges and colour right now. I used a much more restricted palette than I have been using of late, and it really forced me to consider the relative temperature and value of each patch of colour. The big omission from my palette (which was a challenge) was black. This forced me to create dark values from other colours, which makes the temperature more 'adjustable'.

Learning to love green

Untitled Study in Green
Oil on Panel
15 x 30"

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"Green how I want you green. Green wind. Green branches."

Federico García Lorca
Spanish Poet and Playwright, 1898-1936
"Romance Sonámbulo"

"Green is the prime color of the world, and that from which its loveliness arises."

Pedro Calderon de la Barca
Spanish Poet and Playwright, 1600-1681

"He had that curious love of green, which in individuals is always the sig of a subtle artistic temperament, and in nations is said to denote a laxity, if not a decadence of morals."

Oscar Wilde
Irish Playwright, Novelist, Poet, Short Story Writer and Freemason, 1854-1900
"Pen, Pencil and Poison," Fortnightly Review (London, January 1889)

"Absolute green is the most restful color, lacking any undertone of joy, grief, or passion. On exhausted men this restfulness has a beneficial effect, but after a time it becomes tedious."

Wassily Kandinsky
Russian-born French Expressionist Painter, 1866-1944

"Green represents the dead image of life."

Rudolf Steiner
Austrian Philosopher, Literary Scholar, Architect, Playwright, Educator, Social Thinker and Esotericist, 1861-1925

This was a study I did in Phyllis Shafer's figure painting class, and was an exercise in colour. We were looking at Secondary Colours, that is two primary colours mixed together - green, violet and orange. Now, I would never usually use such a revolting combination to paint a human being, or anything else for that matter - which just goes to show how much I understood the properties of colour. I had visions of lurid fauves - type imagery, which is fine if that's what you want to create, but I don't, so I was slightly appalled at the task in hand.

Then Phyllis demonstrated the colours when mixed and desaturated (mixed with white, black or grey) - and my horror subsided into curiosity and wonder. A new visual world was opening up to me, which I had resisted partly due to my arrogance (I know what I like, and I don't like that!) and partly because I had no idea about how to use these colours in a naturalistic way.

"There are no "beautiful" or "ugly" colours. Those words describe our feelings about colours, not their intrinsic properties. "Wrong" or "muddy" colours are simply mixtures that are the inappropriate relative temperature for the area in which they are placed."

Richard Schmid, Everything I Know About Painting.

The model was posed on emerald green velvet, and despite my initial, "oh god, I actually have to use that Viridian with the cobwebs on it", I really enjoyed painting this. I took my time, used every ounce of observation skill at my disposal, and pieced together this study from all the tiny shifts in colour I now saw in the models' flesh tones - as reflected by the green velvet and the light I now understand a little better.

So now I understand a little more about the properties of green, and how it affects the colours around it, I'm learning to love it.

The Earring

The Earring
Oil on Canvas
50 x 40"

So this is the painting I posted as an underpainting a while back. I tried really hard not to lose that energy in the markmaking that I loved so much. It was hard because I've been working on wood for so long, and then painting on canvas again is completely different. I primed it 6 times, but it was still more absorbent than I wanted it to be. I'm torn now, because I like the texture of canvas, but I like my paint to slide around on the surface more than my canvas will allow. Perhaps I just need a finer weave? If anybody has any suggestions, please let me know.

Sujet

Sujet
Oil on Panel
49 x 24"

Fabula and Sujet (also sjuzhet, syuzhet, sjužet, or suzet (сюжет) ) are terms originating in Russian Formalism and employed in narratology that describe narrative construction. Sujet is an employment of narrative and fabula is the order of retelling events. They were first used in this sense by Vladimir Propp and Shklovsky.^[1]

^{This painting has been sitting in my studio waiting patiently to be finished for a few months now. I really dislike leaving pieces half completed, but moving house just meant that certain things couldn't get done normally.}

^{My ideas about the body telling a story really came through with this painting, I think. I'm becoming more and more interested in the emotional value of 'unfinished' brushstrokes, when juxtaposed with more 'refined' areas of interest in a painting. I think it adds a raw quality to the piece, an energy which I've been looking for to balance the new things I'm learning about the more technical aspects of painting.}

^{I've got a lot more work to post, and it's interesting for me to compare this piece - which was really at the beginning of the change I'm seeing in my work - with the paintings I've done over the past few days. I'm still working my way through Richard Schmid's 'Alla Prima', and right now I'm very preoccupied with edges. And colour.}

^{Sometimes I feel like my head will explode with all this new awareness of the visual world; other times, a lesson I learnt just appears in my mind at the right time, and I get to try it out for myself. It's very satisfying but I'm very much out of my comfort zone right now, and it reminds me of learning to drive.}

Bragging Rights!

"There is an ancient enmity between daily life and the great artwork"

Rainer Maria Rilke

So after a rather lengthy on/off hiatus due to housebuying, and then adding a new roof in the nick of time before the first snow hit Tahoe, I'm back on track (I think). I 'interviewed' one of my new models this morning, paid what must be my 100th visit to Meeks this month for studio essentials, and then (with a little glee) came across this issue of Tahoe Quarterly in which I appear alongside some pretty heavyweight 'Tahoe Masters'. It's their 10th Anniversary Issue, and they published a list of artists who'd been featured in TQ over the years, as artists, "who have mastered their craft."

Excellent ego boost for me at a time when I was starting to wonder if I'd ever feel like an artist again. Thank you Elizabeth Korb and Tahoe Quarterly!

In the spirit of reviving my dormant artist-self, I've also posted an invitation on my Tahoe Artists Network Facebook Group to a critique group on November 5th. If any locals are interested, drop me an email - I'm looking for professionally minded creative people to share and discuss your creative practice. I've also posted a discussion starter on the board - Influence & Originality, so if you're not able to make the meeting, feel free to throw in your ideas on the subject.

Charcoal Study

Danielle (i)
Charcoal on Tinted Paper
22x15"

Underpainting #1

I'm ridiculously excited about this painting - I've been learning a lot about edges and values from reading an amazing book: Alla Prima: Everything I know about painting, by Richard Schmid. I've been reading it and making notes for the past few weeks - and although there's an intimidatingly large amount of information, I think some of it is finally going in. My friend, and new boss Kim Wyatt (of Bona Fide Books*, a brand new small press in Tahoe) referred to what I'm doing as 'composting' - that is, reading some, and then allowing it to settle in my brain before going on to the next chunk.

I'm enjoying my new mode of working; Without the pressure of chasing shows and sales, I'm finally on the path I wanted to take when I left the UK - which is painting for the love of painting - not trying to second guess what other people might like in order to make a living. My new job is giving me the money to contribute to our income, and buy paints - and is a nice enough job that it doesn't suck all the creativity out of me like a bar job would. When I'm satisfied that I've got a decent enough body of work to show - then I'll start sending out artists packets to galleries.

The other important reason why I'm able to do this right now, is that I was awarded the Jackpot Grant from the Nevada Arts Council for the second year running. This time, the budget is for models - so I can produce a body of figure paintings from life over the summer. This means a huge amount to me, and I'm very grateful to receive a grant in these hard economic times. Thankyou, Nevada Arts Council!



*Website coming soon!