dry pastels
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Saturday, June 20th, 2020
Cape Bridgewater, Australia – 16H x 20W inches dry pastels on 140 lb. watercolor paper
Exhibitions
Thursday, April 30th, 2020
Bell Rock AZ, 18H x 24W inches soft pastels on 140 lb cold pressed and Kaniksu National Forest, Idaho – 18H x 24W inches watercolors showing at J. Mane Gallery Landscapes 2020 online exhibition, April 24 – May 24
Winter Forest: Dogwood, 14H x 20W inches watercolors on cold pressed premium and Multnomah Falls, 31 x 25 inches (framed size) watercolors accepted into the New Horizons Landscape Exhibition, 3 Square Art Gallery June 12 – July 10, 2020. Opening date dependent on “Safer At Home” order for Larimer County, CO.
Dutch Creek Hoodoos
Sunday, March 8th, 2020
Dutch Creek Hoodoos, BC Canada – 18H x 24W inches graphite, soft pastel and markers on 140 lb cold pressed watercolor paper
Renewal: Mt. St. Helens, WA
Tuesday, March 3rd, 2020
Renewal: Mt. St. Helens, WA with Indian Paintbrush wildflowers. 18H x 24W inches soft pastel on 140 lb cold pressed.
Left image shows work as it began. Painter’s tape is used on every work on paper to keep edges clean and allow room for mat and framing. Workable fixative sprayed at various phases really brings out colors, deters unwanted blur of colors while working, plus renews the surface to fix up or brighten areas that have become dark or slippery from too much buildup.
Bell Rock AZ
Thursday, February 6th, 2020
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Alberta Bound
Tuesday, January 28th, 2020
Alberta Bound, 18H x 24W inches dry/soft pastels on 140 lb cold pressed.
Adding Color: the point of no return
Wednesday, May 30th, 2012
Chrysanthemums, work in progress; see previous post. Above: color details of 85W x 45L inches graphite, colored charcoal / dry pastels on white 100% cotton
When working with a large format, it’s easy to overwork the smaller areas. They’re like little compositions on their own. The trouble is, they may seem successful close up, but may not contribute to the overall balance and flow of the larger piece. Above are some examples, where I’m now reluctant to change what needs to be changed…but I will. Back to Art 101: It’s absolutely necessary to stand back often and study the entire composition from afar.
When you throw in a factor like color, there’s no turning back. I had a specific purpose for this drawing though; to fill a wall space in an otherwise fairly monotone, contemporary room. The idea was to create a look similar to a black and white photo where one color highlights the main subject only.
It’s obvious that introducing color has compromised some of the original spontaneity, so to recapture some of that energy, I carefully try not to disturb what’s left of those livelier marks, and enhance some with little sparks of color. Isolating red, and only red to the central main flower sapped all the attention, so I’ve added more colors to it and the surrounding elements than initially planned.
Viper’s Bugloss
Thursday, February 25th, 2010
Viper’s Bugloss, 18H x 24W inches soft pastels on paper.
It’s tempting to pick these for wildflower bouquets, but the plant is very irritating to the skin, so are best enjoyed left where they are, growing en masse in summer fields beside the highways in eastern Ontario, Canada.
I was curious about the name… according to the Encyclopedia of Herbs and Herbalism edited by Michael Stuart (c. 1979, 1987 ISBN 0-9999-48911), they were formerly one of the most respected plants used for the treatment of viper’s snake bite venom.
Grackles
Thursday, June 18th, 2009
Grackles, 11 x 10 inches soft pastels and graphite on paper. 20H x 16W” framed.
The Dallas area is notorious for its Grackles. In some places they gather in flocks by the thousands. I’m not exaggerating – they are especially notable during evening just before sunset; bird parties I call them, lined along telephone poles and wires, sitting perfect wingspans apart from each other, and packed full in the trees. Photos can’t capture it all, because the experience also includes their loud calls. It’s fantastic! I love it, but they’re a nuisance in public places like near restaurants and malls. Park your black car under a tree if you don’t mind driving away with a fairly white one when you leave.
Salt Spring Island Fog
Monday, July 14th, 2008
Salt Spring Island Fog, 18H x 24W inches graphite, eraser, dry pastels, colored pencils on paper, burnt umber frame size 29H x 35W x 3D inches, accepted for the Visual Arts Society of Texas 2009 Calendar. All accepted original works will be displayed. Meet the Artists and purchase a signed calendar (or more!) on November- December, 2008 at The Chestnut Tree in Denton, TX.
Post-dated Note: Article published in the Denton Record Chronicle, Entertainment section February 8th, 2009
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