Inside October

TM9059 Inside October 34×40 oil on panel

Part of the thrill and challenge of working on a series is looking for new ways to interpret the theme. With that in mind, I’ve been restudying two artists whom I’ve admired for a long time – Joan Mitchell and Willem De Kooning. Both artists really knew their way around paint – how to layer, scrape, articulate, splash, and smear. In other words, they created rich surfaces full of abstract gestures. My own affinity for Mitchell’s nature and poetry-inspired canvases might seem¬† obvious, but her bravura brushwork and bold freedom has also inspired me. De Kooning’s restless scraping and repainting created rich surfaces and a sense of depth. While his particular women-as-subject doesn’t speak to me, his techniques do. Inside October is my first larger attempt at letting some of their approaches weave into my own pondscapes. It’s a variation on the “what if…” game. Can’t wait to try another. Details below.

TM9059 Inside October – detail near center showing use of monoprint techniques, roller and brush work, and scraping and spatter

TM9059 Inside October – detail from right side looking through leaves toward a cloud

 

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Early Evening at the Pond

TM9058 Early Evening at the Pond 36×44 oil on panel

I love watching the light fade. Colors lose their saturation and everything seems to calm down The nuances become important. In Early Evening at the Pond everything is quiet – no ripples, just a slight current carrying a few stray leaves. Shadowed reflections darkly frame the fading blue sky, and a pale cloud seems to be hitching a ride with the drifting leaves.¬† It’s a good time to pause. Detail below. Enjoy.

TM9058 Early Evening at the Pond – detail from left side

 

Tumblers

Two aspects – one painting from a foggy day, the other bringing back the blue. Enjoy.

And then it started to clear…

Of course the storm leaving has its own charms, with those big rolling waves.

 

Busy Skies

 

We’ve had some stormy weather lately, and the skies say it all. I used a palette knife and Winsor Newton Alkyd Impasto medium to capture the rough seas and clouds. Enjoy.

Sing!

TM9050 Sing! 36×48 oil on panel

When I see a tree transitioning into color and dancing in the breeze I want to break out in a song. There is still joy in the world, and trees remind me of that fact. That exuberance I see, and want to paint, is a balm for the soul – especially in troubled times. Detail below. Enjoy.

TM9050 Sing! – detail showing use of layered brush and roller painting

 

At Bass Rocks

TM9042 A Day at Bass Rocks #44 7×7 oil on paper

So many artists have loved and painted Bass Rocks in Gloucester, Massachusetts. It might be the rugged and colorful fingers of granite clawing out to the sea, or the elevation – just high enough to raise the horizon line and provide a different perspective from the nearby beaches. As an artist, I know it could also be the difficulty of anyone climbing out to watch over your shoulder as you paint or sketch. It is public and private at the same time.I was out there recently, and, as usual, found much inspiration for more coastal paintings. The first study, at the top, is looking directly out to sea, while the rest of the gallery concentrates on the rocks. Enjoy.