Winter's evening photo

Untitled watercolor abstract painting - another hidden picture

Hiding landscape images in abstract paintings was fun, but I felt that it was getting too much the same, so this watercolor is a more intimate scene. I think it's really obvious, but have also gotten feedback that it was of something completely different than my original intention. So I don't want to spell it out in words. Tell me.....what do you see?

This piece was exhibited at the Kallet and is in a private collection.

Engagement Photos

The challenge of portraiture is to show the personality of the subject or in this case the couple. Kaysie and Lee are fun and adventure seeking souls who love living in the Adirondak Mountains. So a very chilly outdoor shoot was definitely called for. Here are a couple of my favorite shots from that day.

Leaning against the tree where he proposed, verbally and graphically.

And in Black and White (and red) by a nearby stream.

Abstract Impressionist Wooded landscape painting - mixed media

12" x16" 2009

Acrylic mixed media on stretched canvas



A "hidden painting" it only reveals it's landscape slowly. I liked the texture of this one so made the lighting a little more dramatic to show the shadows particularly in the white areas.

This piece was only shown on line and is available for purchase.

Etching

Dell 1993
Monoprint and Etching on handmade paper

This continues the explanation of my abstracts that began on November 10.

First a couple of quick explanations about the printing process:
Etching: A metal plate is covered with an acid resistant ground. You scratch your drawing through the acid resistant layer and dip in acid. Then rinse and remove the ground. Your drawing is now etched in. Then you cover it with ink and wipe. The ink stays in the lines and you run it covered with a piece of paper through the press. Voila, you have a print! You can make as many identical copies as you'd like.
Monoprinting: A plastic plate is used with either water color or another water-based paint. Cover it with paper and run it through the press. Voila, a print that was much easier to make, but you only get one.

I ran this print through the presses twice, first as a watercolor monoprint, then carefully matching the corners (both methods dent the paper around the edges of the plate) I ran it through the etching press. I made the paper of cotton and Iris leaves which gave it a very nice mottled brown color and texture.


This piece was exhibited at the Tyler Art Gallery in Oswego and at the Romano Gallery in Utica. 5 prints remain available for purchase.

The big ones - Abstract impressionist landscape painting

Natural Sextet 1992
Mixed Media 24" x 36" Panels

Ok, so if you've been following along for the past two weeks, here's what came next: The portals were fine, but needed a little color and I thought it would be interesting to be surrounded, totally emersed in the scene. If you stand about 10' from the center, the scene does now surround you from as far as you can see from the corners of your eyes.

This piece was exhibited at the Tyler Art Gallery in Oswego, New York, at the Romano Gallery (CNYCAC) and at the Cazenovia College Art Gallery. On line it is in the Saatchi Gallery. This piece is available for purchase.

Abstract Explanation Continuation (say THAT 3 times fast!)

Portals 1992

Acrylic and Mixed Media

on Board

Continued from last time's explanation.

I find it difficult to name paintings. I felt like last week's painting was kind of like putting a mirror up to the part of me that isn't normally visible. I liked the word "Lookinglass" better than "Mirror" so that's what it's called.


Then I started thinking about how Alice's lookinglass was a portal into a magical place. The woods were magical to me, particularly in the spring with the sunlight reflecting off the branches and certainly deserved a portal of their own, so yet another painting was called for.

"Lookinglass" was made with materials from the art supply store exclusively. This time I decided to go a little non-traditional so I used potting soil, coffee grounds and various other natural objects along with Acrylic paint and media to give it the rich texture I wanted. The acrylics stabilize and hold the natural objects into place beautifully.

When I was satisfied with the work, I bashed the edges to make them uneven - this is a portal to a place of untamed beauty so straight edges and corners just don't belong.

This piece was exhibited at the Tyler Art Gallery, the Romano Gallery and may also be seen on line at the Saatchi Gallery site.