thinking about sharp vs soft and my show

I apologize for my absence. I have been so busy getting ready for my upcoming show at the Waverly Street Gallery.  It gets installed tomorrow evening and opens to the public on Tuesday. The reception is Friday the 11th- 6-9PM. Please come if you can.
I thought I would  take this opportunity to post this painting- River Evening. It seems to be one of my favorites from this show. Why I wonder?
I think it is the use of a soft less focused space and the rawness of this pastel combines to create a deeper feeling. You see the drips, spills and smudges...in fact I think they make the painting stronger. More to the concept.
What do you think?

nightfall and Rothko

bottom of painting

oil, 16x5.75

Mark Rothko once said,"Often, towards nightfall, there's a feeling in the air of mystery, threat, frustration-all of these at once. I would like my paintings to have the qualities of such moments."
After reading that quote I felt strongly about the colors changes I needed for this one. (Sorry about the glare on the bottom one. it is still too wet. I will replace the photo when it is drier.)

red sky at night, sailors delight

 

Here are two more small paintings that I am framing for the small wonders (holiday) show.

PS Remember to vote.

twilight no. 157 and no. 158

no. 158 6x6 pastel

no.157 6x6 pastel

My favorite field, done from memory. I keep struggling to get that unique vibration that is evening twilight. Lasting for about 4 minutes, it is elusive. These are just two (of many.) I switch papers and methods. I try different colors under and on top.

Upon returning from Sedona, I am settling back into my normal life- a balance between studio and plein air.

creative habits and Wolf Kahn show

8x5 pastel on art suede

“To be creative,....may mean nothing more than the refusal to be habit-ridden.”    WK

Isn't that the truth? There is a line between constant experimentation  (and no solid work) and constantly producing the same thing in the same way(all paintings produced with the same method, of the same subject matter. ) We all have our side of that line and have to police ourselves to be certain not to get stuck-on either side. Exploration and discovery are the root of creativity.
On that note, I keep on working on how it is best to create that night glow. How can I do it best? That blue green twilight glow. Above is one of my latest versions.
Yesterday, for the second time, I visited the beautiful show of Wolf Kahn's work at the Addison Ripley Gallery in Georgetown, DC. It includes 32 pieces, most of which are oils with about 6 pastels.  Here are a few photos of the works on display.

Wolf Kahn, large oil

Wolf Kahn, large oil

Wolf Kahn, small pastel

Wolf Kahn, large oil

One thing I did notice is that he usually paints on a brightly colored ground and that it peeks through in most places. In a way it feels like a silkscreen. Each layer of color as a screen is making another layer in space.
It feels a little weird placing the work of the master on the same page as mine...but I wanted to share with my many blogger friends who could not make it to the show.

study for night

twilight 10x9

twilight 2 10x9

Night time, the later part of twilight...those few moments ...the sun has set the sky is darkening.  Ahhhhh. Maxfield Parrish did it in a way that can't be topped. I have spent many nights, months of nights just walking at that particular moment. If I am home making dinner I just pop onto the deck for those moments. It might last 5 minutes maximum. Memorizing. Finally I attempt the beauty of that light. It will take many times to find a way.
Oil underneath, on Uart, pastel layered on top.

BTW Today is my celebration. It's one year now and I am healthy! Yay!

Did you ever say, wrong, wrong, wrong?

Did you ever look at a painting and all you can say to yourself is: wrong, wrong, wrong?
Well this one haunted me. It did not feel like twilight (see yesterday's post.) Twilight has lots of light, those last moments of sun from below the horizon, but is also has reduced chroma. The chroma is usually reduced by its complement.  So I changed that.
The painting yesterday also had no feel. You could not feel the last sad moments of twilight, the bittersweet exit of one day and hope for a new beginning. Hopefully I changed that too.
Thanks everyone for your kind comments yesterday.

diptych pastel, grisaille and thumbnails

pastel on BFK,  2 panels 6"x6"  and its grisaille (bottom)
Yes, I know I am at a period of transition and struggle..does that mean that it's time to slide under the radar? Nope. I have decided that you may watch me struggle. Thank you Jala for your help.
These are the two parts for my new diptych. I haven't done a diptych since summer, but suddenly I had an idea.
I am working on a oil diptych as well.  I  toned two canvases (16x16 each) with a luscious orange /pink, then made a grisaille on top . I continue to work with these still..same thoughts, different process.
Deep breath.

Thumbnail color studies- This is the one I chose(bottom and much pinker.)