strategy for naming paintings

moving towards the light, pastel

Naming paintings is something artists either dread or love.  I have chosen to embrace it, but that's easy for me because I have a strategy. I will share it with you.

Oftentimes a painting speaks her name while I am working. Sometimes not. In that case I rely on "the notebook." I keep a tiny spiral bound notebook with me almost always. If I don't have the notebook I write ideas on scraps of paper and pocket them. Since I live in an urban area the time spent waiting at traffic lights often can be my most productive mind-wander moment. Therefore the notebook is always in the car. In addition I am an avid reader. Just absorbing writer and poet's delicious words can inspire new titles. Life experiences inspire titles. For example, many of the paintings for my next show, were painted during the time of my Daddio's process of leaving us. Two of the paintings I did in California describe the process- time to say goodbye (below) and moving towards the light. (above) I didn't even have to think about those names they presented themselves. When I paint tree groups they remind me of people and thus we have names like- silver divas (below). When the painting has meaning it will tell you.


Naming painting is a personal thing. How do you feel about it?

BTW Mark your calendars- If you are in the area, be sure to come to my next solo show, a quiet suspension of time- paintings by Loriann Signori. The opening is on Friday April 10, 6-9. But you are also invited to my pre-opening party for a sneak peak on Saturday April 4, 4-7pm. The show is at Gallery B in Bethesda MD. I will be there April 1-25 working at my easel (12-6) Come and visit sometime. I would love to meet my blogger friends!

time to say goodbye, pastel

silver divas, pastel

taking a chance

pastel on gessoed marble dust/oil underneath 36x42

It's framing time. Normally I frame my small paintings, but anything large or unusual I have my wonderful framer Bosco do it. I decided long ago that I realize I could save money doing it all myself, but it's about time and quality. I don't have the time (since I teach part time) nor do I have the knowledge to do certain paintings justice. That's the long way of saying I am taking a chance framing this one. It seems to me that the drips and raw edges are part of the whole, part of the thinking. Therefore I am keeping them in. (ignore the black on the right side..warp of camera on this large piece.) I am having Bosco deep shadow box it leaving all the "unfinished" exposed.

Rothko trees and upcoming show

oil on linen 36x36

I am finishing my paintings for the upcoming show at Gallery B in Bethesda. It will be up April 1-25th.  I will have my easel set up at the gallery and working there Wednesday through Saturday 12-6. There will a couple of free classes as well. Sign up for my newsletter and I will be sending out the specifics soon. (Link for my website.) Or, of course, you can email me and I will snail mail the show postcard.
The inspiration for this painting was a plein air painting I did this autumn. Patience and glazed layers was the way this one was created. I want to do the same layered opalescence. It's funny, my wonderful framer Bosco said to me that I was continually changing in this body of work. The only thing I could think was I kept seeking the best way to "feel." I'll still keep looking.

Interpretive painter? what do you think?

24x24 oil on wood

I was delighted that Judson's Art Outfitters choose to write about me on their blog! Last year, in Sedona, I met Carl Judson when he honored me with the Alcantara Paint Out Award. Carl is an avid plein painter himself and travels all over to different plein air events, so it means a lot that he chose my work.  Thanks Carl!

I found it interesting that I was labeled an "interpretive plein air painter" in the article about my work. Here's the Link. It's funny, I do realize, when I am at the plein air competitions, that my work does not look like the other work. I don't intentionally try to make this happen. Yet, I have always felt I was distilling and seeking the essence of the landscape. I guess that is interpreting.
When on location I try to feel my place, thus I prefer to be a "frequent flyer" and simply return to the same places time and time again.  I guess it is not really about the place. Or the place is so well known to me I can discard the "place" and paint. Does that make sense? Maybe I am an odd match for plein air competitions, but I just LOVE to paint on location (as well as in the studio.) What do you think? How do you see/paint?

Drawing 365: Tips and Techniques to Build Your Confidence and Skills.

Here are two pages from Katherine Tyrrell's excellent book Drawing 365: Tips and Techniques to Build Your Confidence and Skills. The book has been printed by North Light Books in the States. I am honored to have many pastel paintings included. (Thanks Katherine!) It's a very helpful book filled with excellent tips and beautiful images, must to have in your collection. You can order it with this link on Amazon.
I have posted two pages with my work, both are plein air pieces.
P.S. The Asian printed book (Page One Publishing) is titled 365Hints and Tips for Drawing and Sketching.

Here is a link to Parka Blog where you will find an in depth review.