This drawing, which we are fortunate to have hanging in our living room, is by the extremely talented Pennsylvania artist Taryn Day.
In addition to her personal website and blog, Taryn maintains a site called "The Art Room". Here she posts other artist's work and thoughtful interviews. Taryn has honored me by featuring my work in The Art Room several times. This recent post focuses on some examples of my winter tree paintings. Thanks, Taryn!
In 1981, artist Bill Viola made a videotape he called “Hatsu Yume (First Dream)”. In it there is a sequence where a fixed camera views a rock on a mountainside for a long period of time. People move around the rock, at first 20 times normal speed, then gradually slow to normal, then slow-motion. Here’s what Viola says about it:
“...What I look at in that scene is the rock, not so much the people. I thought it would be interesting to show a rock in slow motion. All that is really happening is that the rock’s time, it’s rate of change, exceeds the sampling rate (the recording time of the video), whereas the people are within that range. So the rock just sits there, high speed, slow speed...it doesn’t matter. I think about time in that way. There are windows or wavelengths of perception. They are simultaneous and interwoven at any one moment, but we are tuned only to a certain frequency range. This is directly related to scale changes in space or sound, proportion in architecture or music. A fly lives for a week or two, and a rock exists for thousands or millions of years."
Work in the studio continues on these large paintings in my stone series. I love the creative freedom this type of work affords me. The process is almost diametrically opposed to the controlled, goal-oriented approach of my realist paintings. I begin without a goal in mind, just applying paint very freely and intuitively with large house painting brushes. Instead of imposing an image, I try to discover one by developing an ongoing dialogue with the painting, letting it tell me what it wants to become.
At some point the shapes of the stones suggest themselves in the marks I've made, and I begin to more or less define the forms. The rock forms give me a malleable structure for the paintings that provides an anchor, or focus for the paint. I'm happiest when the final result is a balance of representational and abstract.
Many changes occur. Traces of previous colors and shapes show through succeeding layers of paint in the search for something that feels resolved. In the painting--as in life--yesterdays affect tomorrows.
So much of the impact of an original painting, especially if it is large, is lost in reproduction. I'm including this studio shot to give a sense of scale.
It was a shimmering sunlit morning here today, with a chill in the clear air. We drove to the park at the eastern edge of Salmon Creek. Brenda walked the trail a couple of miles or so back home, while Winslow and I nosed around the wooded creek bottom. We discovered this fabulous tree, with that limb reaching out like a long, grasping arm.
I really enjoyed doing this painting. Lately I've been feeling the need to work a little larger. There's a certain kind of paint quality and freedom of brushwork that can be difficult to achieve on a very small scale.
Watercolor and pastel on paper, 20.5" x 25.25"
(Read below for purchase)
Click image to enlarge
I painted this back in 1983, and feel it's one of my best works from that era. The collector who owns it would like to sell it. If you're interested, contact Renee at firstname.lastname@example.org, or call 702-767-8800.
How 'bout those Seahawks!! I'm a Seattle fan, but it was painful to watch Denver disintegrate. I found myself rooting for them to at least score a few more touchdowns.
Enamel on gessoed paper, 63" x 72"
Click image to enlarge Inquire for price
I've been busy remodeling a three car garage with eleven foot ceilings into a studio. There's still work to do, but it is turning into a space I really enjoy. I built a floor to ceiling plywood painting wall on one end and installed track lighting to wash the wall evenly. Just last week new aluminum and frosted glass garage doors were installed, letting in filtered natural light that really transforms the space:
The works in progress on the studio wall are on large sheets of heavy, gesso-primed paper. I'm calling the one on the right complete. It takes its place in the succession of stone paintings that have been in progress for several years. You can see other works in the series and read about their motivations here and here.
Our neighbors up the street have an elegant little Japanese Maple along an inviting entry ramp leading to their purple front door. The color combinations put on quite a spectacular show this past fall.
I still feel like a beginner, even after a lifetime of painting. That’s the wonderful thing about art-making—each blank canvas offers the opportunity to rebuild your world anew. How many job descriptions offer that?
I grew up in rural northeast Oregon and started drawing and painting when very young. I’ve painted large murals all over the country, illustrated books, taught workshops and exhibited in galleries and museums. My art has traveled down two seemingly disparate but parallel paths: one more traditionally realist and the other more abstract. Sometimes they overlap.
Welcome to my daily painting blog.
Here's the deal: most everyday I trek out into the wilds of the woods, or maybe the wilds of my studio to complete a new small painting, usually oil on gessoed hardboard, 5 x 7 or 6 x 6 inches in size. Then I take a picture of it, close my eyes, cross my fingers and push the button that posts it on this blog, floating out into the virtual world.
If you see it, like it, think you might want to own it, send an email to email@example.com and I'll send you a PayPal invoice. You can pay with credit or debit card, or with a PayPal account. (Please note: You do not have to be a Paypal member to purchase. )
Your individual personal information will never be sold, shared or rented to anyone without your advance permission or unless ordered by a court of law. Information submitted to us is used only for purposes of contacting you or sending you emails based on your request for information.
You may unsubscribe at any time by following the “Unsubscribe” link at the bottom of each email sent to you, or by sending an email with “Unsubscribe” in the subject line.