August 10, 2013
Not the best photo, but here’s one I never posted.
This one of my daughter is from my first “go” at painting, before Christina was married. It’s the 3rd portrait I attempted.
Did I mention this? I only started painting a few years ago then had a several year break; I’ve now come back to it.
Apparently, It’s never too late to start, then start again.
August 10, 2013
It was meant to go in the Rotary Exhibition (see post, below) but I realised that I had grossly under-priced it and the organisers were unable to change the price, so “withdrawing” it was the only option.
The tricky part is that it does other artists a disservice to under charge as it lowers the general value of art locally.
I found this out the hard way. Not wanting to be greedy, I’ve put what I thought were reasonable prices on works, but which, if you do the math, turned out to be something like $10 an hour. Without replacing my materials. After a stiff lecture from artist friends, I could see how underpricing devalued the work of everyone else in the artistic community.
It’s a big painting, 900 x 600. I expect you will see her at the Calvin “Art and Soul” or Hobart City Mission Fundraiser, Long Gallery, Salamanca..
“Pouring Light” 2013. Based on time spent with the Amish and Plain People in Lancaster County, Pennsylvania. I wanted to portray the dignity, beauty and love which imbue ordinary duties when we value our vocations.
August 10, 2013
The two paintings I entered sold last night at the Opening of the Rotary Charity Exhibition at Wrest Point. There are over 400 pieces on display there, making it by far the biggest – and certainly most “posh” – exhibition I have entered so far.
It was fun taking my grand-daughter, Eve, along. I think she was especially gratified when the painting “of her” received its little red “sold” sticker.
I am always astounded when one of my works sell. There were so many there so much better. So many artists more experienced. Their art is so “confident” and mine still rather hesitating. When viewing one of my paintings in such a setting, I long for a few more moments to touch up areas that still don’t satisfy me. For both to sell at the actual Opening Party, only a few minutes after it was opened for purchases, was thoroughly astonishing.
My only explanation is: “God wanted them to sell”. For which I am humbled and grateful. I guess it means I will keep painting!
Any suggestions for the next Noir Canard?
“Growing Things” 2013. My granddaughter during her first summer living in the Huon Valley, discovering the joy of harvesting growing things, and of having plenty of room to grow.
“The Return of Noir Canard” 2013. This is one of an ongoing series informed by my love of classic films
I painted this a few months ago and it’s taken me a little while to post it here because it isn’t quite finished. And, it never will be.
It was another one of those working-to-a deadline paintings for an Exhibition. In the end, it had to be delivered to the venue “as is”. I was confident that it would not sell and that I’d be able to complete it later. You may have guessed…I went back to get it after the closing and…it. was. gone.
On the one hand, I’m happy someone liked it. I want people’s lives to be enriched in some way by my art. But there is this feeling, one I can’t shake: I didn’t give the person/people who bought it my best.
I’m reminded of Colossians 3:23-24 (NIV)
“Whatever you do, work at it with all your heart, as working for the Lord, not for human masters” [or for myself] “since you know that you will receive an inheritance from the Lord as a reward. It is the Lord Christ you are serving.” Rewards aside, I really do want to put my whole heart into my work. In some small way the joy I feel in creation mirrors that of the Creator in us.
October 1, 2012
If you scroll down to this time last year, you’ll see “Amish Autumn” as it was then.
It often takes time for me to really see what needs to happen to a painting. Sometimes it takes a word or suggestion from a friend.
In this case, I initially imagined “Amish Autumn”as somewhat naive: colors clear and “pretty”, the background misty and very secondary to the children…and all a little impressionistic. Photo-realism can be lovely, but it’s not what I’m trying to achieve. We’ve spent time with these people in Lancaster County, and this is how I saw them. Simple. plain, uncomplicated.
But, in the end, the painting didn’t completely satisfy me. It didn’t seem a “whole”. The children didn’t seem to feel comfortable in their world. Background and fore- seemed out of joint.
A year later, a glaze of raw umber brought some harmony to the work.
We’re works in progress. Sometimes we don’t really “see” until a there’s been a passage of time, a few steps are taken to provide some distance, or the word of a friend comes to bring decisions, change and resulting good.
Though we may have an idea of what we think the finished work should look like, the Artist, Whose work we are, has the advantage of both intimacy and distance, unerring perspective and purpose and is the friend who always brings harmony, even through the upheaval of change.
September 29, 2012
My favourite Noir duck lives on.
April 20, 2012
Steve Bowden instructed me to do a self-portrait some time ago.
I’ve been dabbling away at it for quite a while, not quite enthusiastically much of the time. I mean, I don’t really want a portrait of myself at age 58.
Last night, Steve said that I was “allowed” to stop.
It’s been a good/challenging exercise, however, so…point taken.
In initially establishing the facial proportions by holding up the brush handle at arm’s length to ascertain distances, one sees multiple brush handles and can never quite get the height/width of the eyes, since you are at that point holding the brush in front of them and can’t see them at all! Hmmm.
Looking into a mirror, then stepping away from it towards the painting (set back a few feet from the easel holding the mirror), was interesting. Not possible to immediately compare the effect of a brush stroke with the subject. Must step back into view of mirror, away from canvas. Painting the eyes was the most tricky aspect. Again, a matter of attempting to commit small variations in tone and exact placement of little identifying marks to memory before painting them. All the while, maintaining a “natural” facial expression.
There are mixed opinions as to whether or not I succeeded.
Next assignment: now “Mself” has to sit around, in view, for a month. At the end of that time I make any changes that particularly “niggle”.