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.

Western Movement I

Near the Arizona/Utah border last summer, this lovely and wild place called to us. We just had to stop driving and get out the watercolors. I love this area for its broad and moving shapes. “Western Movement” is the first in a series I am working on created in this area. I’m giving you the sneak preview… more to be seen at a future exhibition.

The Never Ending Vacation

You know those vacations that are memorable and exciting at the time, but the rejuvenation from that vacation fades in a few weeks or sometimes even days? Many of my collectors have told me that they look at my work for a while most days whether it is in their office or home. One of my collectors described it this way. They get transported to another place free to energize their mind and soul. Why do people keep buying art when the economy is so challenging? It’s the never-ending vacation. I love being a part of that.

Collectors place their art in locations that provide solace, stimulation, peace, beauty, or a call to action. Placed by the breakfast table, an encouragement to start the day. Near the phone, a stimulation that provides energy. In the bedroom a solace and peacefulness promoting rest. The living room, it transports the imagination. The workplace needs all of the above. Long after the 3-day weekend’s effects are gone, art provides a need that we all have. We all can use a little art in our lives.

The Plein Air Experience

What’s different about a plein air artist from “normal” people? Painting on location can be wonderfully lovely, but sometimes it has its challenges. There’s something addictive about the experience for those of us who love it. Here’s a couple of snapshots of outdoor painting.

“Fishing the Stillwater” was a treat to paint. The approaching winter cold in SW Montana was held at bay that day, the fly fisherman appeared as if arranged, and the approaching night’s wintry storm had not even a breath of wind to bother us… a truly peaceful scene.

Read a text I sent another plein air artist this summer that prompted her to call me laughing to commiserate. “Ah, painting outdoors. A great start painting in Barry’s pasture. Hills, cows, flowers, crops… A lovely yellow biplane appears low overhead. I wave anticipating the customary dipping of the wing in return. It starts spraying who knows what? I piled my gear into the trunk in a destructive heap. I lost my lens cap. My I-pod broke even before the plane arrived. Geez! But I still feel happy because I got a great start and photos to work from.”

Plein Air- VS -Digital SLR Camera

One of the things I love about painting on location is the way it can present a prolonged moment of time. I’m particularly proud of this painting. It was a day to race the coming raindrops and changing scenery. Clouds in the sky were building to a storm and changing in shape and placement. The sky and water flipped vast areas of color, changing from deep greens and blues, to pinks and purples and pale orange. Almost done painting, raindrops began and I retreated to shelter.

Ever come back from a vacation or a lovely sunset and been disappointed in your photos? There’s nothing like the naked eye. A studio visitor saw my reference photo I took at this painting’s site laying near the painting. Some times things really come together on location and this was one of them. Amazed, she said it was like I made up the painting. I use photos as a backup piece of the information, but as you can see, the real guts of the work happen on site. The painting is closer to seeing with these remarkable eyes we have been given. I have a very nice digital SLR, but it’s really not able to deliver the experience of deep and thoughtful painting on location.

Watercolor Luminosity

It is easy to underestimate the power of luminosity. Part of the unique beauty and power of watercolor is the ability of the paint to allow light to pass through it and reflect light back from the paper. It’s why a watercolor can still be exciting to view in low light. The various colors have differing abilities to do this and that presents some interesting opportunities.

Above the Pacific Ocean, I stood to paint this view of Inspiration Point near Laguna Beach, CA. The area has been a favorite to paint for decades of plein air painters with its fantastic natural beauty. Moving light and color within the waves and active people enjoying swimming and the beach created an exciting challenge.

Wall Sculpture Completed

You are seeing the completed “In God’s Paint Box” wall sculpture that I started with a watercolor sketch in a canyon out west. (see post 2) With the newly reworked pieces, it produces the experience I was hoping for. This version is 3 feet by 2 feet, solidly built, lovely, and saleable.

One of you wrote that you were a bit confused by my “Chaos or Order” post. To be clearer, my work is about capturing and reproducing the full experience of a particular location. Not an overwhelmed first response to what seems chaotic, but a response fully connected with the place, its movement, color, and shapes. There is an order underlying the chaos we see in the world, and sometimes through just waiting, experiencing, viewing deeply, prayer, and pondering we get the joy of understanding.

Will there be other versions of this sculpture? I want to construct another where the largest piece on the bottom would be about 7 feet across. The viewer would look forward when approaching the bottom piece of the sculpture and then up the wall as I did in the canyon. I’d also like to construct a version of it in a material and size that can be used outdoors. Perhaps a new version will be commissioned in the future.

Wall Sculpture Coming Together

I cut out the intricate, large, and flexible support piece for the wall sculpture. What a relief that it can be made at my studio. With patience, Aquabord cut with a scroll saw makes a beautiful edge

The greatest metal fasteners exist to attach the pieces, but there’s too much play in them. I want the composition fixed. Every little movement between each piece would change the hard won composition. Wood cut to exactly the length needed will create the desired depths for the individual pieces. Oh, yeah, you may have guessed by now… this baby isn’t flat.

Enjoy the holidays!

Wall Sculpture- Chaos or Order?

While rereading my on-site notes in preparation for painting the individual pieces of my wall sculpture, the words “every rock inconceivably different” stuck in my mind. I remembered being overwhelmed to the point of laughter at the site and busily made each piece as amazing as I could. Assembled together, that same overwhelmed feeling hit me. Having reproduced the effect of overwhelming stimulation, I remembered the satisfaction in creating a pleasing order and composition in watercolor. Time to rework those pieces. Chaos was not my quest.

Wall Sculpture- Osprey Nest II

Perhaps you’ve never seen one of my wall sculptures. This rough mock up of the wall sculpture, “Osprey Nest II”, hangs in my home. The plan is to construct it in powder coated steel. I love the varying depths of the pieces. It was inspired by a view at Acadia National Park, in Maine, another one of my favorite places.

Wall Sculpture & Scroll Saw

I’m moving forward with the Aquabord experiment and decided to invest in a new scroll saw to get cleaner, more intricate cuts. Of course, following the

directions written by a non-native English speaker made the supposedly 20 minute setup time take an hour and a half. It was worth it. The scroll saw makes a beautiful edge when cutting with patience and I love it. My dog, Emma, thought it wasn't as much fun as being outside.

There’s a couple pieces I have been concerned about being able to cut with my scroll saw because it has a stationary arm that can get in the way, and large pieces of board can become flexible arms dangling about while cutting and moving in all different directions. With practice, my technique is improving even though it is very challenging to maneuver and stay true to the design. I cut out one of the two trickiest pieces: the intricate, large, bottom piece of the 12 piece design. Still to be cut is the large backing piece and it is very long with many cuts requiring a lot of rotating. I really don't want to go with a rectangle, frame-like, board behind the pieces for this sculpture. I hope I can get it to work.

Watercolor Luminosity

It is easy to underestimate the power of luminosity. Part of the unique beauty and power of watercolor is the ability of the paint to allow light to pass through it and reflect light back from the paper. It’s why a watercolor can still be exciting to view in low light when other paintings can't be seen. The various colors have differing abilities to do this and that presents some interesting opportunities.

This painting, "Head on Up", was painted on location at Enchanted Rock in Texas. I love the strong shapes and the directional movement at this park and return often. It's a physically challenging location to get to with painting gear, dog, and extra water, but this view from Turkey Peak Pass is one of my favorites.

Wall Sculpture Ampersand Bord

One of the materials I've been experimenting with for my wall sculpture isAmpersand Aquabord, and I’m really impressed. It is a thoroughly archival masonite board with a clay coat that accepts watercolor.

There are many attractions to use Aquabord for this particular wall sculpture. With an acrylic spray varnish over the watercolor, it is safe to be hung without glass, it can be cut into shapes, and most importantly, I think I will be able to transfer the feel of the original concept with it.

I thought it would be fun to offer these three unframed paintings on Aquabord for sale, priced for a little holiday cheer. They are all 3" x 5" and require no glass or frame. The two "Night Time Burn" paintings are inspired by a series I'm working on for the Hill Country Conservancy. Paintings are $50, plus tax and shipping. Email me at terrimw@sbcglobal.net and I will send an invoice with paypal button. Top painting, "Night Burn II", middle painting, "Along the Stream", bottom painting, "Night Burn I".

For artists: If you paint watercolor wet in wet, you’ll love this product. It’s extremely responsive to the brush and far more forgiving than any watercolor paper. The possibility of repainting a board actually exists with some labor. Tips on their website are a must- read and the company responds to questions. http://www.ampersandart.com

Michaelis Ranch Breakfast

I did this painting on location at Michaelis Ranch SW of Austin. It's a lovely "century" ranch that has been in their family since the late 1800's. Many of the buildings are extremely old, and they raise some fantastic Charolais cattle. I love painting there. This particular plein air watercolor took two visits to finish. The cows were amazingly hungry and did stay to eat a long time, but they move around and the sun changes it's angle making the white cows loose their backlit blue shadows as the day progresses. Also, the drying on the watercolor had gone too far by the time I wanted to place the final shadows on the cows to make them look more 3D. I returned a second day to cows milling around, and the haystack well eaten, but with patience I was able to catch what I was looking for. This 15 x 20" watercolor is titled, "Breakfast!"

I have been asked how I know the shapes and relationships in a painting are right. I can only say that I had extensive training on composition from my professor Morton Grossman, who was trained at the Art Students League in NYC. Most of the principals I learned are in Edgar Paynes book, “Payne On Composition” which you can get a copy of through DeRues in Laguna Beach, CA. It’s not an easy read, but you learn a lot if you work through it. Once you have it in your blood, you will just know it when you see it.

Wall Sculpture Scale Up

I’m really excited about this piece I’m working on. It’s been a while since I constructed a wall sculpture and I want to try out some new materials. I’m experimenting, talking with manufacturers of boards, metal, fasteners, and paint, trying to find the match between my original idea and the materials.

Digitalized enlarging from the original outlines of the watercolor sketch creates some fuzzy and haphazard edges. The idea is to translate the impact of the original and enhance the whole for the intended response. Each piece individually as well as it’s placement next to the other 11 pieces has to work.

I cut out all the 12 pieces in blue paper to arrange on the wall. The top 7 pieces are working, but I’ll have to work on the three pieces in the middle. I haven't even gotten to the bottom piece yet in this picture. With everything blue, there is no conflict to the eye from variations of color, value, or surface. It’s all about composition and patiently slogging through to what Goldilocks described as, “It’s juussst right.”