Monday, March 28, 2011

La Plamenza

La Plamenza, 20" x 36", oil/panel

This smaller painting is an attempt to get the feeling of a diffused morning light.  Not dawn, but about an hour after sunrise.  I have experimented with the colour layers.  The under coats are subtle and influence the overall sense of delicate light.

This painting will dry in my studio for a month or more before being prepared for shipping to McLarry Fine Art in Santa Fe.  I have a solo exhibition scheduled there for September of this year.

Saturday, March 19, 2011

Prima Rosa

Prima Rosa, oil/panel, 60" x 40", click to enlarge
I'm continuing my exploration of contrasting colours in the foliage of my central tree forms.  Instead of green leaves I'm painting them red.  Going into the reds adds a whole new colour dynamic to the paintings.  It's also a hard colour to control and get to behave.  I've come up with blends that modify the warmth and coolness in the reds. This allows me to shape the mass and prevents the red tones from becoming garish.

I have also adjusted the blue tones in the sky by adding violet.  This also helps with the contrast and balances the play of light on the central mass.

The whole composition was begun as a fast wash of monochromatic browns.  I like to connect with my creative energy stream and work rapidly and spontaneously in the first hour of a new painting.  By being loose and open to possibilities; I can often find my way to a compositional form that I like.  The proportions are essential for a painting to work.  So in that first hour you'll find me ragging away and adjusting those proportions again and again.

I'll repeat it again for those who email me; no, I have no photographic references or photo transfers or photo anything.  The paintings are based on direct observation and memory only.

Sunday, March 13, 2011

Serenessi

Serenessi, 40 x 40, oil/panel, (click to enlarge)

I wanted to make the foliage red on this composition.  But I didn't want the colour to heighten the energy of the painting.  So I worked on th colour mixing to get reds that were rich but not too buzzy. There are four colours in the red mix in various combinations to go from light to dark.  I titled the piece Serenessi to suggest the mood I wanted to achieve.