Himalayan Blues

Himalayan Blues - oil on wood - 40x20" - $900

Himalayan blue reminds me of Diana, my father's beloved partner who passed away in 2013.  Diana was a professional ballerina in her first career, which took her on many excursions in exotic places in the world. 

In her memoirs which she wrote a few years before she died, I was captivated by one of the stories she told of when her dance group's tour took them from Darjeeling, into Nepal.  
One night a guide for the group offered to arrange for them to see Mt Everest at dawn.  Diana was eager, but was the only dancer from the group who went along with some other tourists.  Arising at 3am  to begin the journey, she was taken from her hotel by small bus, then by donkey up the mountain trails in the dark of the early morning. She couldn't see anything in the pitch black but was looking forward to the majestic experience of viewing the largest mountain in the world crest at dawn above the Himalaya's.
  
They arrived at the designated viewing spot just as dawn was breaking.  She described it as one of the most memorable moments of her life, but alas, not only for the majesty of the moment.  As dawn broke, light filled the space around her, and she became suddenly aware of the treacherous mountain path they had traveled on for this privilege.  The trip down was death defying frightening, on a rocky 5 ft wide path with a sheer drop off the mountain on one side edge!  
You can see why this story made an impression on me.

When I began this painting, it started as a non representational exploration process working into a gessoed wood surface with watercolors and oils.  Later it morphed into a field of Himalayan blue poppies somewhere during the process and I decided to just go with it.  

Studio work... and old canvas' get a makeover...

Pond - oil on board - 12 x 16 - $450
available at Gallery on Gore, Perth, ON

So I finished this oil on gessoboard painting a few weeks ago. As you can see from the 'in progress' shot a few posts back, I did do a fairly major re-jig of the composition. It wasn't sitting right with me.  Now I feel it 'reads', allowing the eye to wander through the painting in a more tranquil pleasing way. 

First decisions when I begin a painting are never written in stone for me.  I like to sit back; give it some 'mantel time', work out what the painting needs/ is asking me for.  The ability to be able to change my mind, follow a different direction than perhaps my first impulse is very satisfying.  A way for something stale to become fresh again.  Speaking of old becoming new again...

varnish removal is an outside project

scraping down the lumpy impasto bits
VERY carefully, dont want to cut the canvas

this morning, I removed the varnish from some older works.  So liberating!  There is something so freeing about utilizing a canvas that has sat around annoying me for too long!  This work needs to be done outside, as a rag soaked with Gamsol has a lot of fumes, even if you cant smell the odourless mineral spirit.  After removing the old varnish, I gave the canvas a light sanding, then scraped down lumpy paint bits carefully with a blade. 

unbleached titanium acrylic covers the old title

One thing I used to do was write the title of the work on the back of my canvas after completing them.  However I have now learned this is NOT a good idea, especially if the work eventually gets a re-work and becomes something entirely different!  How do I get rid of the old title?  A little canvas coloured (unbleached  titanium) acrylic paint does the trick applied thickly with a palette knife on the back of the canvas.   I now write the titles in PENCIL along the top canvas covered stretcher frame, so that I can erase it down the road if I decide to recycle a canvas like this.

Recycling old canvas's in this way seems to work fine for oil impasto methods because the 'fat over lean' rule can still be followed on the new work.   However, it DOES NOT allow smooth thin oil washes...if I'm going to be working that way, I usually reach for a pristine new canvas!

exploring possibilities

My usual painting practice is rather curtailed during the process of having our house on the market, and consequently so is blogging, as any of you who may read this from time to time may notice. 

Although studio time has been disruptive, there are some advantages...the pressure is off to produce inventory for art shows which is liberating!  Instead I made a conscious decision to go with the flow and use the time I do have to explore new processes and ideas, which means experimentation and disasters too.  

Above left is something on the easel I'm working on, to show you what I'm talking about.  This is a mixed media, watercolors and oils...and I dont know entirely where I'm going with it yet, but am letting it percolate while working on other things.

I shared a special weekend with my daughter Jane in Toronto a little over a week ago, where we trekked around to view many Open Doors Toronto exhibits.  We were especially surprised and delighted to happen across an amazing contemporary art exhibit at the Monk School of Global Affairs.  The exhibit was part of the Mirvish family's private collection and it is exhibited here on a rotating basis.  What a delight that was to see!  We are standing in front of a gorgeous work by Kate Graham(it matches my outfit! ha ha)  and behind Jane is a Jack Bush painting.  It was such a treat to get to spend some time together.  Jane was just at the end of a much deserved week off after filming the 11th season of Dragons Den, where she is associate producer.

Sunny Ways

November Morning - oil on panel - 5 x 7 inch

'Sunny Ways' (inspired by our new liberal government here in Canada) is also the theme I've chosen for my 30 in 30 challenge which I'm starting this month.  I like the theme because, well, I love the positivity behind it and somehow translating sunny things into paintings just really rocks my boat.

There's always something hopeful about a bright winter morning, this landscape is from Gananoque in November, where I stopped to admire the view of the morning sun on the river from the parking lot behind the Playhouse.

AHOY there! It's spring art show time!

Sat, Sun. May 23-24, 10am-4pm
Lower Brewers Locks
ART SHOW at Doner Studio

Looking for a pleasant weekend of nature and art? Look no further! You're invited to a fab spring art show at the old mill at Lower Brewers Locks, on the grounds of Doner Studio.(I'm inviting you!) I guarantee you will enjoy strolling this park-like setting in the gardens by the river, browsing works by over 25 local artists and artisans.  The setting is just lovely.  There is a food truck on site, and it's FREE ADMISSION!  Hurray!! Doesn't everybody love free?  Come see us, and enjoy a day out in the country.  See the map below for directions. 

This is the way to Doner Studio... see you there!

 

moments

Primroses - oil on panel - 6x8"
click here to purchase

I'm doing a sun dance this weekend.  OMG, we had SNOW this morning, ugh. SO over it!

So, I had a moment on the way to yoga on Thursday morning. Driving along, thinking about living in the moment...what it really means; suddenly a shift in my perspective occurred, it felt profound.  I know we all get these moments from time to time. It's good they occur randomly and infrequently because it makes it more special.  I like when that happens. What it felt like was that the big picture was no longer down the road and in the future, but  all around me, right here, right now. I was hyper aware of it.  Quite wondrous really.

I resolved this week to be mindful of as many moments as possible, notice and  acknowledge them. It's actually quite a challenge.

the dreaded artist statement is your friend

 

work in progress-  oil - 30 x 30"

I think most artists agonize over writing artist statements for body's of work or for entries to shows or exhibitions. I know I do. It's not easy translating art into words, but it's kind of essential that we learn to do this.  Did you know that an artist statement is actually your friend?   Yes!  It's on your side...in your corner...tooting your horn...giving explanations of your work to those that take an interest when you're not around to do it!  

Personally I hate confusing 'art speak', and always appreciate reading an artists statement that is written in simple language so anyone can understand. That can sometimes be hard for us artists! We get excited about and  caught up in our own technical interests and ideas about how we make our art, so much so that we forget the simple(but 'ultimately sophisticated') edit.  I know I have written tons of statements over the years to go with my art. Tons of boring yadda yadda yadda waxing poetic about my art philosophy etc.  Who really cares? no one that's who! ha ha.  I'm learning as I go on. 

As my art changes so do my statements.  Here's my most recent attempt. We'll see how long it lasts. heh. heh.

"Recent themes in my work acknowledge personal freedoms and joys found in the activity of everyday life.  The freedom of cycling along, the joy of quiet solitude, the delight of a holiday. With these ideas in mind, I merge the pictorial with the emotional. I love the meditative process of working in oils."

I had to laugh when I viewed this satirical youtube by visual artist Charlotte Young.  Hope you get a laugh or two.

Ontario tomorrow

It's coming to an end. My time with Ella and Rachel and Matt. It's been the most special time getting to know my new little grand daughter. I've been here for 9 days and tomorrow I will fly back to Ontario, but I will take a bit of Ella home with me in my heart.  

Painting, this week has been on the back burner, or I should say, the night burner.   Matt and Rachel's house has a lovely downstairs bedroom and sitting room that I have been staying in.  When we say goodnight and they all head to bed, I head downstairs.  Usually I'm not in the mood to go to sleep right away, so I stay up and paint a little with my travel watercolour set. Tonight it's three 8x 2inch  watercolours; just enough to satisfy my need to paint, but not a big commitment.  
Burning the night oil seems a good way to wind down before I go to bed.  At home I  rarely paint at night.  I like painting first thing in the morning if I can, it's when I have my best energy.  My mind is fresh and rested after sleep, it's easier to focus and commit myself to the task at hand.  I get so immersed in painting at that time.  Often when I'm ready to take a break after a few hours, it's a complete surprise to me that it's nearly noon!(and I'm still in my pyjamas rinsing out my paintbrushes.

Italy at Gallery Perth

So on Tuesday I went to Ottawa, and on my way home I stopped in at Gallery Perth, in beautiful Perth Ontario.  It's a wonderful gallery, and situated in an old mill (Code's Mill) right next to Perth Picture Framing, and across from the picturesque river Tay.  The mill is occupied by a a restuarant; Fiddleheads,  a coffee shop; Coutts Coffee, a gift shop; Ground Waves, and a hairdressers; The Curly Redhead as well as some other business offices.  There is a large indoor limestone courtyard with flagstones and a fountain where you can relax with a cup of joe or order lunch. A delightful spot to spend a couple of hours.  The gallery is run by the owner of Perth Picture Framing.

It had been since last summer that I had taken new works to the gallery.  Veronica had sold, but I knew it was time to change things up a bit; so  I decided to take her a group of paintings that were on an Italian theme.  Some watercolours and some oils.  Veronica didn't mind the mix, and I think she was glad of some new things for her gallery. 

Here's the group of Italian paintings now on display at Gallery Perth.  Besides the Italian group there are also 3 of my large 'Wetland' series at the gallery as well.  If you're looking for an enjoyable day trip, consider a drive to Perth, Ontario and visit Codes Mill and Gallery Perth!