Sunday, June 21, 2009


L'Arida, 2009, oil/panel, 42" x 64". This painting is a commission for a client who lives in the Santa Fe area of NM. It is a variation on a theme and is based on an earlier piece titled "Dusty Chaco".

It is interesting for me to watch certain paintings that I make. They enter the market place and sell quickly. Often there is something about the work that strikes a cord with many folks who ask for something "like it". Since I do not have giclee prints made of my art, the best I can do is oblige with variations on a theme. There is a long history of this among artists and musicians who often compose and play variations on established motifs that they have originated.

Monday, June 8, 2009

Arbouri Mura / Tajoulii

Arbouri Mura, 2009, oil/canvas, 28" x 48".

I've been blessed with some extra time and a lot less pressure to paint quickly. The poor art market does have some advantages. The slower pace in the studio means I have time to build more layers into the surface of my paintings. This gives me the ability to get some "aerial perspective" going. Living in a region (north of Toronto) where summers get pretty humid, it's common to see a haze of warm air when looking at the landscape. These two paintings are playing around with the effect.

The above painting is based on a wall of trees I often pass when riding my bike around Oro Township. I like it when the sun is low and the haze picks up a shadow.

The painting below (inspired by the Eastern Townships of Quebec) is based on a really wide tree that sits alone in a field. I've brought that tree close to the picture plane, so the hazing is set farther behind it.

Tajoulii, 2099, oil/panel, 30" x 68".

Tuesday, June 2, 2009


Oritaba, 2008, oil/panel, 54" x 48".

This painting was on exhibition in Montreal at Gallerie de Bellefeuille. I've had it shipped onto Toronto where it is currently on show at Bau-Xi Gallery. The painting is for sale. The current slump in the art market means that the inventory of unsold work is greater than anytime since early 2000. It's tough to see one's paintings not finding buyers in spite of the fact that the pieces are good. However, I know most artists are in the same situation.

On the positive side, the extra time I have in the studio is allowing me to work slowly on each new piece. The time for added reflection means I can revise and reconsider each element in a painting. Recent work is now composed of additional layers of paint that enhance colours and tones. The hectic art market of the last 7 years did provide good income for self-employed artists, and that is missed. But the quieter period we are now in provides breathing room and a chance to slip deeper into the world of landscape, art and expression.