detail of A Cherry Note II

detail of A Cherry Note II

Small Fruits

progress, early on, on another cherry

The canvas is backlit here, like the cherry, so it's hard to tell what's there. So far it's only the drawing settled into its spot on the canvas.

The rice paper ball is where I've been suspending these smaller things from. It's lit for this set-up creating a little highlight on the cherry in addition to the backlighting.

Small Fruits

A Cherry Note, oil on canvas, 10 x 8 inches

This is the first time the background has felt so vertical to me. Before, the horizontal feel to the ground along with the severe-vertical-taut thread helped to create balance. The cherry stem's shape is so lovely here - I think it needed a simpler space to balance the sweetness of its curve.

Small Fruits

Small Fruit in Progress

Here is what was on my mind yesterday. It's not finished but the idea is coming along.

The small pieces to the right are from my first blog. The cherry in the teapot created such a wonderful-colored-light within the white-porcelain pot - I couldn't resist trying to capture it. The peonies (to the left, in the distance) are from my garden and were painted 3 years ago. That part of the photo is so dark and it's hard to see, but there's an Arts & Crafts quarter-sawn oak frame on the peonies that is absolutely beautiful - the craftsmanship is amazing. It was made by Timothy Holton. I'll try to get a better photo of it for a future post.

Green Steps

Beside/Below the Shade Garden in June 2008

I've got a canvas on the easel and its idea swimming around in my head. At 11am I've vowed to begin it. But in the minutes before, I'll catch another glimpse of the garden where it seems my energy, both physical and otherwise, have concentrated lately.

Last month I carved these steps into the hill in the woods, beside and below the shade garden. I tried to work gently around the trees' roots and planted grass seed afterwards in hopes of it rooting before the rains could wash too much of the loosened dirt down the steep slope. I got lucky - the hard rains came after it sprouted. Eventually this stairway will get used - my plan is to embed stepping stones into the bare spots that I make. Those spots may differ depending on whether I'm going up or going down. I imagine I'll get a juxtaposition of the two patterns.

Convention - an Exhibition

Last night I helped hang some of the work for this exhibition - including this piece of mine. I'll be back again today to see if a few more small pieces are needed. And then again on Friday night to relax and see some old friends and hopefully meet some new ones. Please stop by and say 'hi' if you're near Saint Paul.

A Tractor-Tire-Tread Doughnut

French Cruller, oil on canvas, 20 x 16 inches

Nature Morte

Nature Morte; A Late Veery, oil on canvas, 30 x 24 inches

edited July 2, 2008: After reading Bruce Morrison's comment regarding the identity of this bird, I decided to change the title. It was formerly Nature Morte; Young Robin. Thank you Bruce!

Detail of Nature Morte; A Late Veery

detail of the painting in the following post

Morning Light

The Shade Garden in May

When I was out watering this morning I kept my eyes open for a place to bury the robin. The light filtering through the bleeding hearts was so beautiful. And that area is fairly established - those plants won't need to be moved or divided for a time. So there the robin will rest.

Garage

Painting of a Late Young Robin in Progress (the painting is shown on its side)

The background won't stay so vibrant or so fuschia-colored but the bird is getting pretty close in form and color.

I duct-taped a couple of bamboo sticks to an upright pole. The tail is held between these two sticks to keep the bird from spinning.

Window

Sketch of a Late Young Robin, graphite on paper, 11 x 8.5 inches

I finally found my cruller doughnut at Rainbow Foods. When I got home with it, and strung it up, I took a break to look out my window. There, on the ground, was a dead bird. I'm not at all fastidious about cleaning my windows, but this bird was fooled anyway. The poor thing apparently dove into the glass. It looks like a young robin to me.

This really isn't the type of set-up to do in the stuido - so I'm painting in the garage tonight.

Thinking Big

An Idea for a Larger Painting

Spending a 3-day weekend with other artists and painters was incredibly inspiring. Art-a-Whirl is packed with talent, diversity and passion - it's impossible to come away from it unmoved.

Today, the Monday after, I'm finding myself thinking large - very large. The color inset above is a photo of a 24 x 30 inch painting I did last year as a study. It's taken awhile, but this study is now forming into a sketch for a 5 x 7 foot painting. It may take another year - and another-larger studio - before it makes any further progress. But I thought I'd post this now for you all to see.

Glazed Doughnut

Glazed Doughnut, oil on canvas, 20 x 16 inches

The Makings of a Doughnut

Glazed Doughnut in Progress

It feels good to be back at the easel. Spring is a busy time around here with yardwork, woodswork and gardening. Lately, I've had some art business things to attend to also. And to top all of this off, finding just the right donut to paint has been much harder than I imagined. I'm on a quest for a glazed cruller or glazed french doughnut - the kind that looks a bit like a tractor tire with deep treads.

So far, I've tried gas-station-convenience stores and fancy grocery stores with fine bakeries. I've also tried to look up donut shops online but haven't had any luck yet finding one. So today it's a plain glazed doughnut from my local gas station. Maybe I was meant to do this one before the cruller.

Chocolate Doughnut with Sprinkles

Chocolate Doughnut with Sprinkles, oil on canvas, 20 x 16 inches

Teacup Take Two

3.5 x 2.5 inches, ink on paper

I did a few things differently this time. I soaked the Fabriano paper for 10 minutes before blotting it and storing it in a sealed plastic bag. Then I waited 2.5 hours before printing so the paper would really 'take' the water in. I also covered the inking tray with a damp cloth between rolling.

It's a new carving too. The edges of the lip and base aren't wavy lines this time - more hard-edged. And the cleared areas follow the cup to better create the 'ting' sound-waves so characteristic of china.