Wayah Creek - Rubies & Rhodies

I've noticed a thematic perspective recently. I love to be deep in the embrace of the forest, looking upwards. It's a natural perspective in the Blue Ridge mountains, where the vegetation is thick and rich, and the small, smooth mountainsides are steep. Rhododendron again clothe this dell. Columns of deciduous trees vault their canopy against the sky, sheltering the ruby dogwoods. From a scene along Wayah Creek in NC.

12x17.5" Soft Pastel on LaCarte Pastel card

Wayah Creek - Rubies & Rhodies

Joy of Man's Desiring

Out Highway 20 at Arbor Ridge road is an unnamed garden center housed in an old barn faced with galvanized sheet metal. On the morning that it caught my eye, the nearly noon sun was barely peeking over the edge of the 'cowboy town' facade where it happened to strike a few purple muhly grass in full bloom and the variegated yucca beside them. Ever since then I've been determined to capture that muhly grass and the lovely rusting wall.
In the actual painting that deep watermelon halo on the muhly grass is hardly noticeable behind the creamy salmon froth of light. I just haven't figured out how to quiet rambunctious reds in Photoshop without losing the jewel-tones in the other colors.

Joy of Man's Desiring

9x9" Wallis Professional Sanded Paper

I've been trying a new approach this week. I didn't use an under-painting, but used the brown Wallis paper, and did a very loose color study on a scrap piece to work out most of the values and color choices. I just wanted to see how throwing down color fast and loose would work out. I knew I'd make color mistakes and was happy to scrub over them until I got closer to what I wanted. In that process I discovered the joy and necessity of that delicious grass apron, which I extended for the painting. In that discovery the final painting became all about the three color fields, with the elements themselves as mere excuses for placing and layering those colors.

As I considered the title for the finished piece, this indulgence in the joy of color brought to mind Bach’s famous treatment of the old hymn, and suddenly the fact that the subject was a garden center became essential. What better place to see the joy of man's desiring than in the plants he grows to recreate the Garden?

Rufus Morgan Falls and Life in the Shadow

Today’s pastel painting began with a photo from a lovely hike in the forests of the Rufus Morgan Falls area of North Carolina. I wanted to do something different with the picture, something that is focused on color, something that keeps the mystery of the dark wood alive while celebrating the sparkling fall sunlight. So I dove in, and when I was done I had landed here.

And if you didn't see it yesterday, too bad. I decided to crop it today and that crop is now posted. I'll probably catch some flack from the Mathemagical Cowboy who made me promise not to ever throw any painting away no matter how bad I thought it was. Guess I'll save the scraps for him. Now I have to change the title, as the focus is a little different.

4 o'Clock Shadow
10.5 x 10.5" Soft Pastels on Wallis Museum Grade Sanded Paper

This week I also ‘discovered’ Wolf Kahn. I had viewed his work a few years ago, and didn’t really get it. This time I watched a couple video interviews and I heard him articulate precisely what has been bedeviling me. I Love color. I Love working from the inside out. I have little interest in ‘representing’ a scene realistically, yet it seems that’s the only approach I know. Kind of maddening.

Here are my Wolf Kahn Take-aways:
• He always wanted to get away from ‘description.’
• ‘Get away from the brushstroke, just let things happen.’
• ‘Get away from deliberateness.’
• ‘To Paint is to live in the moment, trust our intuition and freedom of expression.’

At least my natural impulses are in good company. There is some comfort in that.

Hoping to go see his exhibit at the Morris Museum of Art in Augusta GA this month.

The Diva of Cullosaja Falls

Last fall I was traveling up the Highlands Highway in North Carolina and stopped to take my tourist shots of Cullosaja Falls.The shadows were long. The river poured out of the blue forest before me onto the giant golden-rock falls caught by the hot evening sun. At the top of the falls stood this distinctive tree. She reached into the spotlight and presided over the crashing drama below like an Opera Queen in her final aria. I knew I would paint her one day.

I've removed her from the big stage so I could concentrate on her unusual structure and the fall foliage. Second in the tree series.

'The Diva' 8x13" Pastels on Wallis museum grade paper

Journey to Horse Creek

Thank you Gary Keimig for allowing me to use your photo from Horse Creek as the reference! It’s been a month getting here. First, I was enamored of Gary’s photo, but wasn’t really sure what was drawing me to it. Maybe it's that I’m a mountain girl at heart and here I saw what could have been my beloved Appalachia and the Rugged Rockies in a single view. At any rate, I wanted to explore this image, and an expedition it became.

'Clearing'

11x17" Soft Pastels on Wallis Museum Grade paper

I took the image into Photoshop and just pushed the contrast and brightness a little. That revealed the shadow lines and the lay of the land in the foreground. Wishing to avoid all the detail of the brush, I simplified the image to value masses and decided to try it as a representational abstract in watercolor. Enjoyed this, but the clouds were a disaster. Removed and tried again until I finally ruined it and gave it up for lost.

 Gary Keimig's Photo from Horse Creek

Determined not to be beaten, I returned to Photoshop just to play and see what I could discover with the painting tools as I had not yet used them. In my mucking around I happened to create a pale yellow sky where there was none at all, and THAT inspired the treatment you see here.  I saw a late (or early) thunderstorm moving off east, with a clear yellow sky, and cloud tailings being pulled away into the retreating clouds. That gave me excuse for the light on the golden hill, and a way to tie the bottom of the image to the top. This time in Pastels.

Update 08.03.10
I have been living with this piece for several weeks and love it more very day, though until today, I was unable to say why. Now I know. I like that the distant mountains seem to be so 'other worldy' as if from a dream. This picture speaks to me in metaphor, the 'mental' clouds beginning to lift the veil between what is beneath my feet and what could lie in my future. Solid obstacles lie between, but so does a path from here to there...and so the name should be simply 'Clearing.'

Perilous Rest

For almost two years I have wanted to paint from a photo of a log jam along the Columbia River in Portland. The image had strong lines, but until now, I could not think how to interpret it. In my sketchbook I worked in pen and then colored with alcohol markers to get a feel for value and colors. I actually love that sketch but I knew that it would not translate to pastels, they just handle so differently. Finally I decided to think in terms of abstracts for pastels: indulging the shapes, the colors, the values, and my 'poetic' concept of what I was rendering.

'Perilous Rest'

6x9" Wallis museum grade sanded paper 

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Anyway, I also decided that I would have to pick up water color so I could try pursuing my ink and color sketches.

Sycamore Branches

9x9” (nearly) Wallis Museum Grade sanded paper, Soft Pastels.
This week’s effort has been applied to Sycamore Bark. I was browsing a nearby park one bright but rainy day. Looking from the diamond light windows of the covered bridge I found myself in the ‘arms’ of a large Sycamore. I knew they had mottled bark, but I never knew there were so many colorful layers!

Shed On Matt Road

For two weeks now I have successfully created two early morning hours for painting. For a non-morning person this is a shocking accomplishment.

Anyway, for week one I tackled the Shed on Matt Road. I just had to paint that red roof! It was also a simple enough picture for a beginner. I struggled with the composition in thumbnails, as the more foreground I included to make the dirt road the 'S' armature for the eye, the smaller the shed became and the more the whole composition looked like a Bavarian mural. So finally I left only a smidge of road as an entrance for the eye and focused on the shed with the encroaching shrubbery.

I've been living with this result for over a week now. Over all I'm not in love with it. It's a little cartoon-ish. The Princess tree, which really is a monster, looks a little too Dr. Seuss for what I had in mind.

Update: December 16, 2009
So I've been living with this one for five or six weeks now. I expected to like it less every day, but surprisingly, it's growing on me! Kind of has a simple charm about it. The Dr. Seuss trees (which look a great deal like the photo reference) allow me to take it with a bit of whimsy.

I do have a whimsical perspective sometimes. I just had no idea that it would creep into my work.

Ah, well. moving on to my first experience with Kitty Wallis sanded paper! I may revisit this shed to see if I can get a different 'look' from the same subject.