Turquoise Ribbon

After more false starts yet again I came up with this small piece.  I feel I may be making a tiny bit of progress with choosing subjects and painting directly without over planning. Working more from intuition is revealing some surprising tendencies . I seem to be doing better with a mid value tonal range using blues and grays, which is a colour scheme I do not generally use in my large, thought-out-adnauseum work. It is almost grisaille, and perhaps a logical return to some basics while I practice this new (for me) faster approach.

The rest of the week has turned up some interest in my workshops and weekly classes in my studio - good news.  I need to follow through.  I have also been asked to teach a class through

the Kelsey Rec Centre on photography. This would be for basic point and shoot cameras most

likely, but there is a lot you can do to improve photo taking even with limited camera functions. The biggest issue seems to be concerning composing a shot. 

Now to choose my next paint-in-a-day subject...any suggestions?

My first try at a decorate small box was not worth completing.  I worked with a lot of magenta and reds, which are very transparent and don't have the full body I like.  I layered colour upon colour but the results did not improve.  Sometimes you have

to admit it isn't going to work and move on. 

This painting utilizes colours that suit my temperment better, at least in this point in time.

I enjoyed the smooth, pink glass as compared to the fussier embroidery and connecting the two with

the plain ribbon seemed to work.  In the setup the background fabric seemed to unify everything but I am not certain it entirely works in the painting.  I may change this.  

The Little Jugs Together

Viewing the little jugs all in a row reveals a process that I have to get more in touch with. I don't normally work in a series but it is something I want to do more of.  The next small series is involving little boxes that I have around.  The first one is almost completed.

I decided I didn't like the last jug painting with the dark background so I painted

over it and think it is better - not great - but better.  I have trouble with dark backgrounds. Almost every time I try to paint one it just doesn't work for me.  I study the old masters and some contemporary painters too, who seem to have a special flair for utilizing darks. They manage to impart life to the dark atmosphere whereas I just achieve dead space.  Something to work on in future. 

Another white jug painting

This will be the last jug painting for a while.  I need to move on to something different but haven't decided what that will be as yet.

My interest in a subject begins to wan after a while and it affects the quality.   In this case I limited the palette to indigo blue, naples yellow, Grumbacher red, burnt sienna

and flake white.  Oh, and a touch of cerulean blue for some

of the colour changes in the white jug. I loosened up more and did not get picky with detail or touch ups. 

Not using a figure in my work always feels as if something is missing.  I need to get over it!

This is the place where I do my work. I built this studio (not with my own hands, obviously) a year ago. It is the result of a life long dream, set at the back edge of our two acre property on the lower slope of Mt. H'Kusam in Sayward valley, near Kelsey Bay, north Vancouver Island.

I give occasional workshops and classes in this studio and can accommodate up to eight students at a time. It is wonderful to watch the expression on a student's face who "gets" what you're trying to tell them and give them. As I am still a student myself I can especially appreciate the feeling of elevation that learning a new skill or concept can bring. As for those who privilege me by commissioning a portrait of a loved one, I am always grateful for their trust in my ability and happy when they see the finished result and return that gratitude to me.

It is a reciprocal arrangement when you paint a portrait. It isn't just about the subject - it is about the artist and model and the dance they choreograph together.

A good portrait tells as much about the artist as the subject. Someday I may paint one that I feel is truly masterful, but until then I strive to be better with each subject and often feel humbled by how far I still have to go. I believe it was Renoir who said in his 80's or 90's that he finally felt he was beginning to know how to paint.

Little White Jug On A Doily

I've decided to stick with this little white jug subject for a while. I can see a lot of possible ways to paint this and for now it is something of interest for me. I love the shape and the way the light reflects around

the surface.  I found this jug in a flea market in Viroqua, Wisconsin two years ago and almost didn't get it as it was $22, more than I really wanted to pay. I went back to it twice before deciding that I would be sorry if I didn't get it.  So glad I did!  

The motivation to continue is strong for the moment but knowing me, well, that could change.  I have to battle with inner demons sometimes who ask me why I keep trying to be an artist and what do I expect to get out of it, etc., etc.. I already get so much that the question doesn't really need to be asked.  I get to follow my dream and be independent. Even if it never makes me rich or famous I am blessed.  Still, there is a struggle with each work that every artist knows about.  Will this piece turn out well?  How do I make my

inner vision appear on the canvas the way I want it to?  What am I trying to say

with this subject or am I trying to say anything at all?  And who cares?  That is a big hurdle sometimes - justifying my efforts when the world is already so full of

tremendously talented artists.  

One thing about this lifelong effort, I am never bored!