Wall Relief Completed Full Size

Hand crafted in my studio, this 102” x 68” wall relief is the full size version of my original concept.  It’s been quite a ride figuring out how to construct it and months of testing to be sure it was done well.  I hope you enjoy the result. 

2012 AMOA-Arthouse 5 x 7 SPLURGE

Spring has come to Texas along with much needed rain. After an ugly year we finally have greens and flowers and water in our creeks. I’ve been busy painting it and am awaiting the perfect moment for my laser cutting to be done to construct my latest sculptures. Please consider joining me at this event next week.

The AMOA-Arthouse 5 x 7 Splurge is next Wednesday, April 4,2012. While the exhibit is up for a month, attend the 5 x 7 SPLURGE on April 4 to ensure you will have first pick of the invited emerging and established contemporary artists. I will have these two pieces available for purchase. Sale begins at 8:30 pm when the whistle blows. Music is by Latin Quartet Cuchillo’Palo. All 5 x 7 proceeds support AMOA-Arthouse education and exhibition programs.

For more info and to buy tickets go to www.arthousetexas.org

Completed Wall Sculpture!

Here it is… completed at last! The new hidden support structure works great and the changes in shapes and paint application really have added movement to this piece. “In God’s Paint Box II” is 3’ x 4.5’ and will hang on any vertical surface as it is sturdy, but not extremely heavy. It is ready for sale and is an integral part of my Western Movement series I’m currently working on.

Plein Air Watercolor

“Behind the Window” is one of my favorites painted while in Big Bend National Park. I couldn’t resist the layered view looking toward one of the park’s iconic formations.

Wall Sculpture Aquabord Painted

A visitor stopped by my studio yesterday while I was acrylic-sealing my sculpture pieces. She enjoyed seeing the “organic forms and surfaces”. Now I’m on to assembling it. These close up shots show some of the great variations Aquabord is capable of. It’s been so fun to experiment and enjoy the results within each sculpture piece. I was a bit surprised at how durable the board is as well. Most of the pieces came out great on the first or second painting pass, but due to the redesign, I ended up repainting one piece 12 times. I’m not proud of needing to do that, but it’s nice to know the board will hold up under such use.

Wall Sculpture Ampersand Aquabord Cut!

The intricate shapes and lengths required for this sculpture have definitely hit the limits of my scroll saw. I am now a saw blade connoisseur; it’s all about the teeth per inch. Whew, I’m glad the cutting is done and looks good! When I work larger than this on future sculptures, I will need to hire laser cutting. It’s exciting to see things moving along.

Wall Sculpture Ampersand Aquabord Cutting

There are several very long pieces on this sculpture that require holes within them and intricate cuts. The arm of my scroll saw makes me break at awkward times during my cuts and constantly rotate the piece I am sawing. It could be impossible on those pieces to make the clean cuts I desire. There are dedicated saws available for this that protrude vertically from tables, but I like the safety of this saw… and I already own it. Time to get at the harder cuts.

Wall Sculpture New Improved Ampersand Aquabord

The 1/4 inch thick Ampersand Aquabord that I special ordered for this larger sculpture is thicker by 1/8 inch than the original, smaller version. You can see how beautifully the sample cut. I think I like it even better than the 1/8”. It’ll make a visually stronger edge and give added strength for the longer spans. The test sample of Aquabord’s newly formulated surface took the paint similar to the product I used on the first sculpture. Today I transferred shapes onto the boards for cutting and I hope to get the cutting done this week. This sculpture will be 51” x 36”.

Drawing for Wall Sculpture

This drawing reminds me of an engineer’s plan (my apologies to you engineers) and it’s for the next version of “In God’s Paint Box”. I am dissolving the support structure visually. That process has lead to some changes in shapes and line in order to make the sculpture strong while visually giving the viewer the effect I am going for. I’m really excited about the results.

Gruene, TX

One of the oldest running dance halls in TX, Gruene Hall, brings in the greats like Asleep at the Wheel, Lyle Lovett, and lesser- known musicians. Free shows are in the afternoon quite often, and you can sit and drink something cool with the screens letting in the lovely outside air and the floor creaking to the time of the dancers. People ride inner tubes down the Guadalupe River. Hanging in the Gruene Mansion Inn, is one of my paintings, a testament to my love for this wonderful little town. Buck’s Pottery is in town as well as my gallery, Cactus Jack’s, where you can see this painting, “Any Side Will Do”.

Gruene Hall Click Here

Gruene Mansion Inn Click Here

Evening On The Marsh

Painted at the end of the day, I worked to finish before the light was gone. A party on a nearby deck kept me company while the marsh grass’ color dared me to paint it. I love the grass patterns through the water and the skyline in the distance.

Barton Springs Pool

Austin’s iconic Barton Springs Pool grants relief from the summer heat at a steady 68 degrees year round. It’s a treasure for the city and a refreshing place to paint in the summer.

Enlarging Wall Sculpture

I’m so excited about today’s studio work. Sometimes it takes several months to gain enough distance from a project to change direction. My artist friend, Elwood Howell, reminded me of the value of drawing in charcoal to conceptualize and it was so freeing to work this way again. The wall sculpture enlargement of “In God’s Paint Box” has been on hold while Ampersand tweaked production of the boards, but I waited beyond that to start the work. Knowing that there were changes to make in the shapes and support structure, but unsure of what to do, charcoal drawing opened up creative doors. I’ll be cutting wood soon!

Click Here to see Elwood Howell’s work.

Maynard Dixon Residency #5

Paria Canyon in southern Utah is worth the half hour, bone jarring, dust covered drive from the highway. Movies were filmed back in there and you can see why. As you turn yourself around in a circle, the rocks vary in color dramatically. One location for filming could easily look like many on the screen. This watercolor was painted at a turn in the road while things were quiet in the morning. Remote as it was, a caravan of ATVs arrived as I was nearly finished. 30 of them slowly and kindly drove past me with many of them apologizing for the cloud of dust. I was glad to have gotten much of what I had hoped to paint on the paper as the procession slowly moved along.

Some of you have asked me about the annual Maynard Dixon Country show that I attended last year in UT. It is a fantastic way to see museum quality art that will most likely never be seen again in public. Some of the very best artists of our time bring their work to this show and you get to view it in a lovely gallery situation. Yes, no red velvet ropes or museum guards lurking. A lot of the big names in landscape painting are there to talk with during the opening. It’s a heady experience for an art lover… and the weather is great that time of year.

I like Glenn Dean’s paintings for this year’s show. Click Here
More MDC show info: Click Here

Maynard Dixon Residency #4

Asked by others how many paintings I produced on my trip, I’d rather know how many total works will be influenced by my work out there. There’s a long lasting value to a residency like this. I see it affecting things in my current work and inspiration for great amounts in the future.

Returning to the site of my original sketch for the wall sculpture “In God’s Paintbox”, I was struck again by the difference lighting can make. Although this location was less exciting this time, the light and amazing rock colors that I remembered were experienced in several other locations during this trip. Back in my studio, I used samples of rocks and sand in the midday Austin sun diffused by plastic to replicate a bit of that great lighting to understand it better.

In Maynard’s cabin, I read in a book that some of his studio floors were painted sky blue with a rust red circle on the ceiling to combat too-cool lighting. Reading that acknowledged what I was seeing from the reflection, diffusion, and powerful UV midday light. With a fuller experience of the area, I am creating more paintings and sculptures in my studio.

Maynard Dixon Residency #3

Painted from the rise above Maynard Dixon’s studio near his favorite sitting rock for viewing the valley and mesas, I chose to paint the luscious spring green trees and mountain stream. The Texas drought we’re experiencing made it all the more inviting to celebrate the Utah Spring.

Maynard Dixon Residency #2

I painted from this location several times during my residency. The coral pink sand is amazing and I love the movement in the dunes. Of course, sand moves with the wind …. Yes, it was a somewhat challenging location, but as usual, photos don’t do it justice so I’m glad I have my paintings!

The midday light in northern Arizona and southern Utah is fascinating. Some days it turns a grey and dried twig into a fluorescent bluish grey. As if a black light was turned on, a tan leaf becomes glowing and alive and every already colorful stone turns jewel-like. The air is alive with breathable color and you stand within it in the powerful landscape of the west just drinking it in. Of course, it would affect a painting done in that light the same way, as in never to be viewed in the same light again, so I plan to do studio work based on what I observed.

Maynard Dixon Residency #1

Wildfires, mountain passes with snowstorms and high winds, and sandstorms in low areas were interspersed with times of perfect lighting and full clouds above the mesas. What a blessing to spend continued time in an area of the U.S. that can be so difficult to get to. The Maynard Dixon residency allowed me to afford to stay in the area long enough to wait out the weather systems, adapt to colors and conditions, and experience the area at a deeper level. It was too difficult to blog while on the trip, but I’m back and ready to post. Thanks for waiting. Here’s a few photos of where I stayed.

Gone West!

Painting for the first time on my trip to the Maynard Dixon residency, Tucson provided a nice break from driving. I was pleased enough just to get the kinks out of my gear…every screw was loose on my umbrella, tripod, and pochade box. Is it the worsening roads in the US or my old Explorer rattling along? The dry air at 3% humidity petrifies paint in the palette; the timing with washes and brush strokes have to adapt as well. Usually a trip’s first painting is a throw away. I’ll post a few things from my trip over the next few weeks.

“Compositional Anarchy” A confession of a periodically willful painter.

It was like pitting a heavy weight champion against a fly -weight. Intentionally ignoring years of training and practice, I placed the strong, large, dominant form of the building squarely in the middle and passively modeled it. I then proceeded to use complementary colors attempting to direct the eye from the red kite in the blue sky to the figures on the grassy knoll. The diagonal across the entire lower portion of the composition did not help the ailing painting. There was little fight. The laws of composition were not to be overcome by mere trickery.

For artists: A great book: “Payne on Composition” can bought at DeRus gallery of Laguna Beach, CA.

Deep Eddy Pool House

For three years my dear friend and fellow painter, Laurel Daniel, and I have painted at Deep Eddy Pool sometime during the heat of Austin’s summer. We get there early and finish painting as it’s really getting hot. Then we jump into the spring fed pool and cool off. It doesn’t get better than that!

Hill Country Spring

“Hill Country Spring” is another 5” x 7” I did recently in my studio from a plein air watercolor. I wasn’t satisfied with the original painting and the studio time gave me another shot at it. I usually work larger, but it has been a great exercise in focusing on what really makes a painting work. This version captures the scene better than the original.

Thanks to Thunderbird Foundation!

I have exciting news today! I was accepted for an artist residency at Maynard Dixon’s historic property in Mt. Carmel, UT near Zion National Park. I started a series out there last year and have been working towards returning to continue the project. The Thunderbird Foundation’s generosity will help make it happen.

This 5 x 7” studio painting is based on a plein air watercolor from that series. It may be one of the 2 pieces I choose to include in the Arthouse at the Jones Center’s 5 x 7 invitational, opening May 12.

Yosemite Falls

Traveling with family on mainly a hiking trip, I allowed one session for painting during the heavy runoff of early spring snowmelt at Yosemite. These watercolor sketches with the people so small at the bottom are true to the site.

2011 Art and Conservation: Our Hidden Treasures 3rd Biennial Post #5

Last night’s private reception for the Art and Conservation show brought a special treat. Lou Smith introduced himself after viewing my painting “Enchanted From Afar”, a painting of Enchanted Rock and the approaching valley. Lou’s dad and grandfather were ranch managers on Moss Ranch, the original ranch that became Enchanted Rock SNA. What an honor to have Lou tell me how this painting really captured what was so dear to his family, the memories he has of the place and stories he heard over the years. He mentioned an out of print book in the Boerne library titled Mr. Polo, that is a biography of his father, Cecil Smith. I just love this kind of history and hope to get a chance to read it some day.

The 5 paintings posted on the most recent four posts are for sale now.

For sale through Cibolo Nature Center:

“Enchanted From Afar” 15 “ x 20” wc and ink $2000 framed

“After the Burn”11” x 11” wc and ink $800 framed

contact Cibolo Nature Center contact Kate email KVillarreal@cibolo.org

more info about the show Click Here

For sale through my blog, contact email is terrimw@sbcglobal.net

“After the Burn II” 8” x 8” wc and ink $300 unframed

“After the Burn III” 8” x 8” wc and ink$300 unframed

“Fall Grasses” 11” x 15” wc and ink$900 unframed

2011 Art and Conservation: Our Hidden Treasures 3rd Biennial – Post #2

April’s purple verbena and yellow daisy-like flowers contrasted against the burnt wood. This small painting, “After The Burn III” at the end of my day is the most abstract from the series for the show. I love the freedom in this painting that was breed from hours of viewing and experiencing the site. My setup was unusually luxurious for plein air. It was almost like a studio with my Explorer’s hatch open to extra gear, supplies at my side, and the preserve’s remote tranquility full of life urging me on to creativity.

Exciting news! I am honored to be featured along with Davidson Nature Preserve on Cibolo Nature Center’s website as well as the monthly magazine “Explore”. Click here to read Cibolo’s website article.

2011 Art and Conservation: Our Hidden Treasures 3rd Biennial - April 2011

Controlled burn areas acrid and crunching beneath my feet was the attraction on my first visit to the Davidson Nature Preserve. It was the promise of better things to come. Growing up on a farm that now is under grassland/wetland restoration made me want to see what would sprout from the burn. Painting on location would prove to be a special experience here. April came and the scarred earth seen in January bloomed with wildflowers and grasses. The flowers were outstanding in stark contrast to the nearby burnt logs.

Sponsored by the Hill Country Council for the Arts and Cibolo Nature Center, “Our Hidden Treasures 3rd Biennial” assigns conservation land to each of the juried artists to paint throughout the year. This plein air watercolor titled “After The Burn II” is from the series of paintings I created for this show opening April 7. I will post several pieces over the next couple weeks, including the show pieces.

“A Trickle of Water” and Plein Air Easel- Classic Julian French

“A Trickle of Water” was painted on a ranch full of pinkish granite crushed by the creek and standing in boulders and mounds. The water at times can pick up almost tropical colors there in the late afternoon. One time at this ranch I was so engrossed in my painting that I neglected to notice a large rattlesnake coiled a few steps away under a bush. Early spring is a forgiving time for people focusing on other things. He was still cold and sleepy, so I finished my last bit of the painting and packed up.

The classic Julian French easel. You ask if anyone still uses these heavy weights synonymous with the artists’ authentic look when on location. I treasured mine till it finally gasped its last breath and became a wobbling, unsteady disaster. Heavy and hanging from the hand while on a long hike, it can create a sore wrist and unsteady strokes when you arrive on location. Painting next to your car, it provides a very sturdy and luxurious painting experience. Large umbrellas can be used. Extra storage and palette surface are available. **Artists beware… not all French easels are created equal.

“Creek Dreams” and Plein Air Easels- Artwork Essential EasyL

Hiking out of this canyon, I blew out my old hiking boots like a set of well-worn tires. I wondered why my legs felt so funny, but painting buddy, Jill Carver, and I kept trudging upwards and I never knew till I took off the boots in the parking lot. I love these colors in winter when the leaves are off the Sycamores. This 15” x 22” watercolor is titled, “Creek Dreams”. Jill’s work can be seen at at Wally Workman and InSight Gallery.

**Note for Artists. Artwork Essentials’ EasyL manufactures some of my favorite plein air easels. I own two different sizes. The Versa, shown here, is their largest easel and is great for large panels and windy conditions. Having your easel dump over fully loaded not only messes up the painting and gear, but can break an expensive piece of equipment. This is my steadiest set-up. A large palette will fit inside the Versa beautifully. Their smaller box, the Lite, lives up to its name when needing to pack smaller and lighter for longer hikes. I love their umbrella as well!

Hill Country Movement

Painted this past week, “Hill Country Movement” was what I needed. The lighting finally is strong enough outdoors that I am excited to paint plein air again. An artist friend, Lynn Cohaganshowed me this location and I just love the movement and color there. With “windy” on the road sign, it can be a challenging site to avoid moving gear. My board wiggled in the 20 mph gusts and my brush sometimes connected with my paper in unexpected ways. It’s a fascinating place. I can’t wait to return.

Painting Tigers

Painted on location at the Austin Zoo with Plein Air Austin, this painting of a tiger cleaning up after a hearty meal of….well I don’t know, there were pretty big bones lying there when it was done, is titled “Last Licks”. This zoo’s main attraction is that you can really see the animals. The tiger’s space wasn’t especially gorgeous, but it did have this lovely tree, and with a little imagination I blocked out everything manmade. I won’t add to this sketch. It has a simplicity that I like.

Plein Air Easel- En Plein Air Pro

I won this easel as part of my Excellence Award from Nomadas del Arte, a national plein air show. The En Plein Air Pro was great to take on the plane as it was light and compact. Anticipating one session of painting on the trip, minimal gear was my goal… not even an umbrella. The best view at the beach was low to the ground, so I sat in the sand….less than optimal for keeping the gear free of grit. I did blend in with the surroundings well, creating more anonymity than the usual standing with umbrella above the easel.

A reader asked me what easel I use to paint on location. I definitely have my favorite, but sometimes packing for plane travel, wind speeds on location, the need for a light pack or support for a large painting panel, and the demand for shade dictate particular set ups. Very seldom do I sit while painting… it restricts my movement and slows my thoughts. I’ll share a few set up picks over the next few posts.