Here is the watercolor version of "The Age of Anxiety." Doing these in watercolor takes a lot more pre-planning than I am used to. I even needed to get out the dreaded Maskoid for the raindrops--and should have used it elsewhere as well. Next time.
An exhibition challenged me to tell a story in 80 square inches, so I came up with this little painting ("Word of Mouth"). Originally I had moved to canvas to have a BIG space for my stories, so this was particularly difficult for me. But three girls, three very different personalities and some tension told a unique story. The viewer can fill in the "words."
I loved the gesture in the photo that this painting materialized from. It brought home the exuberance that we had for nearly everything. We went white water rafting last weekend and that exuberance came back in full force. We will always be adult children.
This posting is for Ken, who wanted to see the new painting in the Andrews Art Museum exhibit. I was driving back from teaching a workshop in Idaho Falls and watched the clouds line up this way all the way back to Boise. Believe me, clouds don't do this in the East. Kathi Eagan, my Buffalo agent, sold "Yonder," one of the paintings that was accepted into the show. So I did this replacement.
Did you mother plague you with rhetorical questions? "Your not going to wear those are you?" While I've had this idea in my head for many years, this painting was inspired by a book Myrna gave me. Thanks Myrna.
I've been having too much fun painting to keep up with this. Here is my current favorite. I'm working on 24 x 24 canvases and having a hard time keeping them simple enough for this smaller size. But this one works. The caption on the side of this gallery-wrapped canvas reads "Sooner or later we learn to fly."
Chanting while jumping rope kept us busy for hours. We didn't know that we were burning calories. We were playing and competing with our friends--or even ourselves. Remember Double Dutch, crossing our arms, double jumps? This series on Free-Range Children is bring back memories and lessons for the future. Watch for my new web-site with 15 paintings in the series. Coming to this screen soon!
"To try and take iron-control of a painting is to kill it at birth. Yet to let it run riot almost certainly ends in anarchy or mud. I've found that if I alternate between order and chaos, intuition and intellect, then the painting slowly reveals itself." Nick Bantock
Here is a thought to kick you all into high gear this week.
"To me, a great painting is a painting that is able to help you see the world in a different way. And its not just what you see in the painting, but what you're able to see after you leave the painting, and the way that the painting is able to expand your ability to see the world in new and different ways." Lester Marks, Houston collector
Here is my latest (40 x 30, acrylic). For a person who never liked texture in my watercolors, I have turned into a texture queen in this painting. Actually, I spent a lot of time toning down first natural textures that occur with this style of painting, then the textures that I created or saved along the way. Does it work for you?
There is an article in the current New Yorker, that I've been meaning to tell you about. Van Gogh's Ear, the Christmas that Changed Modern Art.
Based on a German book by reputable German academics, it says that Gauguin was quite the swordsman and went around with a sword often--and that HE cut off the ear...perhaps while defending himself with a sword. Evidently the cut was too clean to have been done by Van Gogh, people don't self-mutilate themselves that way and there are subsequent letters between the two men that imply that this is what happened.
So Gauguin ran off to Tahiti, became the first "primitive" painter and influenced Picasso with this style. And thus "the Christmas that changed Modern Art". Hmmmmm.
I am the author of Master Disaster, 5 Ways to Rescue Desperate Watercolors. Based on a course that I have developed over many years, the bones of this book give you a plan to finish your paintings--and even your bombs. The meat of my book and course, though, is to help you structure your life to encourage and accommodate painting. Painters have to paint. This is how to do it.