distilling an idea

I continue with finding variations of colors and ways to express and idea. This time I looked at one of my plein air paintings, shown below. I know it really doesn't resemble the painting...but it was simply a springboard from which to jump.

To me it says, when removed from the scene and allowed to distill the important information I tend to have more success.

washington and wax medium

16x20 oil on wood

Just returned from beautiful Nova Scotia and I am excited to be back in the studio. The time is short since by Saturday I will be in Washington State for my usual time with Richard. Then I will finally be back to the studio for a nice long work period. It's funny  I LOVE to travel and get new inspirations, see friends, etc, but I am always eager to return to normalcy and my studio.
This is a painting inspired from last year's trip to the San Juan Islands. I am working with the wax medium and having a lot of fun discovering its possibilities. I am enjoying the buttery smooshy feel of the medium. It is very different from the stickiness of Liquin or Galkyd. Like Liquin it dries in a day, especially when it is out in the sun. I think I use too much of it and need to temper my use a wee bit. a little goes a long way. So far I have sampled 3 different kinds: Dorlands, Gamblin and Soho. Later, after I have a better feel I will write more about the differences.
I have received a few emails and comments about sketchbook posts and am looking forward to all the peeks we will be getting. Just let me know if you are interested in participating. Check out my last post about it here.
While you are checking out things, by best friend in the universe has begun a blog called "Eye on the Cove." For a year she will be documenting the daily changes of the cove near her home in Nova Scotia. I can't wait to see the changes. Here is the link.

triptych

Here is my value set-up for my next triptych. The plein air work (small, above) was  which was completed last summer when I was in the San Juan islands. It was those glorious moments after sunset. That is the time when the land masses have close values (and low value) and the light in the sky is still tremendous (high value). The color is saturated. It is imperative to squint when painting outside as it eliminates all those insignificant value shifts.When creating the value study I just look at the strong value shapes and mass them together.
Now, a triptych is a whole different challenge. Here the whole painting, all three pieces must hang together as one piece. In addition each smaller square must be viewed as a separate unit and be able to stand alone. The squares are 24x24 making a total of
24x 72.

visions from Washington

Hi everyone!

It has been a few weeks since my last post. Thank you to all for the very understanding comments and emails. I have kept my computer closed and have only allowed myself 5 minutes to answer emails. Due to my time changes I have had  at least 5 hours a day in the studio and the time to teach  a week long  (1/2 day) workshop. At night I  continue planning my new studio. Priorities.
As far as articulating my direction; my trip to Washington made me realize that my goal is to erase the superfluous from my work and distill it down to just what is essential. Sounds easy, eh? Not so for me.  In a few days or so I will share a little studio work, but for now I share a few from my time in La Conner, Orcas Island and San Juan Island. They are my more successful pieces...although not quite what I am aiming for, yet.
Thanks so much for your supportive words. Toodles for now!

January 5, 2007 Self Portrait in Sweet Peas

9x7, pastel, I think it may go to the show
This week in school we worked on self portraits. And of course it was my young friend Hugh, who on his regular lunch visits said, "Loriann when are you going to do a self- portrait? This weekend?" So first thing this morning I got out a photo of me, painting in the San Juan Islands (Washington state.) I have been meaning to use this as a reference for two years... but other ideas always came first. I began will an under painting of intense purple and yellow watercolors. I paid close attention to big shapes of light and dark and not getting seduced by the idea of a figure in space. Simply paint the color notations and make sure to bunch them. I like the reflected light pieces. Can you feel the warm sun? Thanks for the photo Barbara!