Trio of paintings all about pattern

This trio of 11x14 oils on panel are all patterns that I found in plant material. I worked on them in unison and they are an interesting little tribe.

Close Quarters is a close up on a plant that I found on the fringe of a parking lot. It's soft leaves crowded together in a beautiful tangle that I couldn't resist.

Palm Herringbone is the beautiful wreckage of past seasons. The muscular base of old fronds ring the trunk in a dapper herringbone.

Blue Agave 1 gets lost in the giant arms of an agave I saw at my beloved Lotusland (see former posts for more praises of Madam Ganna Walska's extraordinary creation).


Now can I paint something simpler? Perhaps not monochromatic? Fewer thorns, hairs and twists and turns? Please?

Abundance

As promised, I've been dilegently working. No, that makes it sound too unpleasant... I've been spending long and happy days at my easel. I'm letting the house, garden and the bulk of my social life go (not without some regret) in the interest of creating a chunk (that's a technical term) of work.

This 11x14 is one of a series that I will share with you piece by piece that I came in very close on, creating an abstraction as well as a specific vision. I love that zone between realism and pure design. What a beautiful place to be!

Cactus Generations

I see it's been an entire month since I last posted. Well, I want you to know that I've been busy in all the right ways. I painted up a storm before the holidays, selling things before I had even completed them! Then of course I took time off to properly whoop it up with family and friends for Christmas. Directly after that our entire Fletcher family gathered for a week on the coast of tropical Mexico. It was delightful to be there and soul satisfying to see 20 some relatives from 87 to 1 year old laughing and playing their way through the days together.

I am now back at work like never before. I have been juried in to the Festival of Arts in Laguna Beach this summer! Since I sold virtually every painting I have ever made at Christmas time, I have buckled down, cleared my calendar and am enjoying painting in an uninterrupted fashion.

I will be posting more regularly once again… I promise!

Shiny & Bright

This 8x10 oil on panel is a shiny bit of joy. Last Christmas I bought our son a surfboard and it was too large to wrap, so when I saw a big bright bow in a store I snapped it up. When we were cleaning up after Christmas I just couldn't throw it out, so, like many things do, it came to live in my studio. In the following months I found that it cheered me whenever I focused on it, and one day when at a loss as to what to paint, it caught my eye.

I love this painting and may not give it up. It describes the complex shapes of the shiny ribon without becoming too careful. I have photos of my easel next to the set up with the bow under studio lights that I 'd share if I hadn't just returned from a holiday party… Instead, I will wish my beloved family and friends, who have been so receptive to my work, a big wide merry, happy and all the best. I love you and hope that the new year brings you the joy that you so richly deserve.

Fern Glen

Perhaps in celebration of getting a little rain (oh thank you, thank you!) I painted this crowd of ferns, an 8x10 oil on panel. The dream of moist soil and cool shadows with spots of brilliant sun pulled at me. Usually the areas of a painting that are lightest have the most detail, but in this instance the sun hit the frond so sharply that all the detail was washed out. The brightest area simply radiated warmth.

Unlike my last post, this painting did NOT leap off my brush. I knew it would be a challenge because it is a sequence of flat shapes. I am usually drawn to rounded forms that I can bring to life with direct light, core shadow and reflected light. These patterned flat forms vexed me. Why did I choose to paint it? Well, as I mentioned, I blame it on the rain!

Catching The Sun

This 8x10 oil on panel just really wanted to painted. It jumped off my brush so eagerly that I felt like an innocent bystander! I stopped the action long enough to snap a few photos along the way.

After toning the panel with a little Burnt Sienna, I made a quick line drawing placing the elements.

Can you see how eager the values were to get put down? They already leapt into the upper left corner!

I then brushed in the rest of the darks and lifted the lights by rubbing the panel 

with paper towels and Qtips dipped in solvent. 

 Next I moved to developing the color. I try to remain true to the tonal pattern I've established in my value study. I began by putting in the vivid colors that made this composition particularly interesting.

Then I moved to the more subtle colors in the greenery.

And I continued to make the decisions of warm and cool, light and dark 

that give the painting form, depth and temperature.

After letting the painting dry for several days I came back to it and refined the details, pushed the darks where I wanted more depth, and brought up the high lights.

Hope you like it, I had a ball painting it!

Seltzer Bottles

I am getting back to my art life after taking some time to focus on family matters, and boy does it feel good!

Here is a 12x16 in my Vintage Visions series. I stumbled on this box of beautiful old seltzer bottles in a big old barn of a building. They caught the light pouring through the door and glowed like jewels. Their beautiful green glass varied slightly from bottle to bottle as did the mechanisms at their top. Minor differences pointing to the fact that they were manufactured in a less industrial era. I envisioned local workshops essentially hand making small batch products. I smiled when I thought of what the workshops must have looked and felt like. Being a maker, I am always drawn to environments where something is being produced. My smile broadened when I thought of the elegant settings the bottles spent most of their career, sitting on polished bars putting the sparkel into countless festive evenings.
How could you not love these gems?