expressionist

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Buddha Park, Laos

Monday, October 21st, 2024

Oct.1st: Buddha Park 01, 18H x 24W inches soft pastels on paper.

25 km from Vientiane, Laos, Buddha Park displays over 200 large, reinforced concrete statues based on integrating stories from Hindu and Buddhist mythology, created by Luangpu Bunluea Surirat and his apprentices, started in 1958. This is the first of many representations I have planned. I was there in 2016 and took so many photos, intending to do a series of drawings much sooner than today, but couldn’t decide where to start because there are so many interesting pieces and points of view.

Though the sculptures at first seem crudely done – for how easy can it be to manipulate concrete? – the artists have carefully rendered the grace of hands in prayer and portrayed such character in mythological gods, animals, demons, and combinations of all the above. Discovering cows grazing in the neighboring meadow as part of the setting in the far end of the park, it’s a place where the sum of its parts is so fantastic, that to dissect it in any portrayal will not do it justice. Better for you to read this link to all the information about this remarkable human achievement, than for me to only show you snippets of my impressions or try to describe it in words.

Oct. 4th: Buddha Park 02, 18H x 24W inches soft pastels on paper

Oct. 8th: Buddha Park 03 – Vishnu as Narayana with Lakshmi and Sheshanaga, 18H x 24W inches soft pastels on paper

In the simplest of terms and with limited understanding, here’s my guess at what this group represents: Vishnu with weapon and symbolic items missing, in the form of Narayana (“He who lies in the waters”), is seen lounging beside Lakshmi, his female counterpart. He is mounted on Sheshanaga, a many-headed serpentine demi-god, said to exist before the creation of the universe and will remain after its destruction.

In the complex belief system of Hinduism, literature regards gods, demi-gods and goddesses assuming many forms, with different names and aspects that change with each incarnation. The broad concepts and multi-layered symbolism are only learned by lifelong (or many lives of) awareness, devotion and practice. Brahma, Vishnu and Shiva are 3 aspects of the One Supreme Being, and are principal deities who create, protect and transform the universe.

Oct 10th: Vishnu as Varaha – Buddha Park 04, 18H x 24W inches soft pastels on paper

Oct 16th, Buddha Park 05: My best guess is that this is Durga, Hindu Goddess of war and strength, protective mother of the universe, eternally struggling with forces of good against evil. She is usually depicted riding a lion or tiger, with between eight and eighteen hands holding the various weapons and objects that are highly symbolic of her purpose.

18H x 24W inches soft pastels on paper. Work process:

Oct. 21st: Buddha Park 06, Airavata, Hindu elephant deity or also known in Thailand as Erawan with Indra. Work in progress:

Phase 01 Phase 02 Phase 03

Mallards

Tuesday, April 30th, 2024

Mallards, Rood Bridge Park, Hillsboro OR, 18H x 24W soft pastels on watercolor paper. Framed size 27H x 33W inches, white mat and white wood frame with crackle finish.

Shades of Green

Friday, April 28th, 2023

Branches ‘n’ Blossoms, (2021) 18H x 24W inches soft pastels on paper. White mat, and framed version has white 27H x 33W” wood frame with crackle finish.

Finalist in Camelback Gallery’s Shades of Green 2023 Competition and Exhibition.

Driving to the Coast

Wednesday, July 15th, 2020

Driving to the Coast, 18H x 24W inches dry pastels on paper

Summer Garden Abstract

Monday, January 20th, 2020

Summer Garden Abstract, 14H x 20W inches watercolors on 140 cold pressed. Resist medium was used to create abstract, flowering negative spaces.

Waterfall Fantasy 03

Wednesday, November 22nd, 2017

Waterfall Fantasy 03, 6H x 3W inches watercolors

Watercolors bookmarks

Monday, November 20th, 2017

Autumn Forest Scene 13, about 6H x 2W inches watercolors on 140 lb cold pressed

Autumn Forest Scene 10, about 6H x 2W inches watercolors on 140 lb cold pressed

Autumn Forest Scene 11, about 6H x 2W inches watercolors on 140 lb cold pressed

Autumn Forest Scene 12, about 6H x 2W inches watercolors on 140 lb cold pressed

Clearcut forest, Tillimook OR

Tuesday, February 28th, 2017

Clearcut 01 details, watercolors – work in progress details

Oystercatchers

Monday, February 27th, 2017

Oystercatchers, 18H x 24W inches watercolors on 140 lb cold pressed. Framed size 27H x 33W inches, white mat, white wood frame with crackle finish.

Showcased in the J. Mane Gallery’s Fins, Feathers and Fur 2020 exhibition.

This is finished, although I’d love to merge the contrasts somehow. I don’t want to mess up the implied light though, or the initial spontaneous brush strokes, like in the background waves. Every new mark at this stage makes a difference too, and in context to the whole, even small changes affect other areas that need to adjust accordingly.

Before you know it, colors mud together and beautiful open spaces disappear. I’m going to take direction from my most recent pieces, which I feel were over-worked, and quit while I’m ahead.
Challenge is exciting…particularly with watercolors. Whereas with other media mistakes can be erased or covered easily and change can occur throughout the process without much hesitation, with watercolors a person needs to know a subject well – or at least be able to fake it with confidence!
Finding a way to make each painting unique means following cues happening within the work itself. In this painting, the most remarkable thing occurred after the the first phase of production.

Because this subject was unfamiliar, I started by first penciling in the shapes, wondering what I could do to make this less boring – you know, not just be a picture of Oystercatchers. When erasing the pencil marks in order to see what the paint had established, little rolls of eraser pieces scattered here and there. Sprinkled impromptu around the birds, those tiny eraser shreds added a pronounced and unexpected zing of life to the composition. First thinking “what have I got to lose?”, the eraser-pieces were mimicked in paint around the birds. I’m tempted to make those strokes more prominent, but a small success is in order, so will use this fun technique in another painting.