Seasonal Colors

"Seasonal Colors I & II" are 30x24" each, acrylic on canvas.  They were created first by filling each canvas with loose gestural brushwork edge to edge.  Then the tree shapes were carved out using negatives shapes (spaces between) in simplified muted complimentary colors meant to push the richness of the oranges and greens.  The flat background creates quiet contrast with the energy within the tree forms.  I enjoy the dichotomy of the two images together, one warm against cool and the other cool against warm.  They almost look like they are having a lively and secret conversation.  I started these some time ago but have only recently revisited and completed them. 

 

 

"Through the Looking Glass I & II" are 15x15" multimedia pourings on gatorboard which have been mounted to 24x18" birch panels.  These were part of the pouring sessions we did last year.  They were both handled similarly.  The paint was applied liberally, then I then dragged a popsicle stick through the layers.  The white one was under-painted in a bright red so the red you see is revealed, not added.  It was a fascinating process and I find the results intricate and amusing and unlike anything I've done before.  Presenting them against the wood panels to me adds dimension and a pleasant combination of materials. 

"Blue Windows" is 48x36", acrylic on canvas.  The source material was a photograph I took in Charleston back in 2000.  I've always been intrigued by the bizarre angles and perspective in it.  I rarely draw before painting but I made an exception in this case because it was so important to get the angles right.  Even though they match the photo, the effect still feels somewhat warped, which would usually bother me but in this case doesn't.  It's been pointed out to me this painting is much tighter than my usual work (minus the foliage, of course).  I finished this in December but am just now catching up on my cataloguing.  Happy New Year! 

"Charleston Memory" is pastel on sanded paper, 27x19".  This started out as a literal portrayal of a scene I photographed on a trip to Charleston, a familiar and lovely sun-soaked plaza.  It was pretty enough but not very interesting to me.  I have never experimented with painting pastels with water on a brush so I decided to see what would happen.  There was a good chance it would lift the pastel and the sand off the paper and be toast.  Surprisingly, the water smoothly mixed with the chalk and with minimal application did not disrupt the paper.  The scene took on a dreamlike quality.  I like how the lines sort of walk through it.

"Push and Pull" is acrylic on wood, quite large at 45x96".  This piece was requested for a large open work space after I completed my recent work, "Citrus."  The layering of circles in this technique builds up a very dynamic surface.  While there's a great deal of energy and movement, keeping the palette soft and the grid parallel to the frame lends stability and quietness.  I enjoyed how differently the paint interacted with the wood verses canvas.  It's difficult to see here but the texture created by the repeated application and removal of paint is interesting up close. 

"Jasper I & II" are acrylic on panel, 14x15" each.  These were part of my recent pouring experiments.  The highly organic outcome you tend to get with pouring can feel both internally and externally familiar.  These reminded me of one of my favorite minerals, jasper. 

"Citrus" is 36x48", acrylic on canvas.  The under-painting was scraped with a tool meant for creating faux wood effects in scenery.  The resulting grooves made for a fun foundation and gave the surface interest.  My loose goal with this one was just more experimentation with the circular template I found in the shop dumpster.  :)  I love the depth the overlays create, both with the positive circular shapes and the negative diamond shapes in-between.  This piece has a lot of pleasing movement and color for me.