I've recently returned from New Mexico, spending a weekend in Santa Fe for the International Folk art festival, which was fabulous,and the remainder in Taos. Every day was hot, but dry, with intense blue sky and desert/mountain landscapes. I went out early to paint, spent the afternoons exploring, and more painting in the evening. Plein air painting is such a challenge for me, particulary in a workshop, but I always come away with new insights about my own process, as well as techniques.
Traveling by air with plein air equipment was the first challenge. I carried my Anderson easel, the medium size Dakota box of pastels, panels, camera, etc. in a large backpack for carry-on, which worked ok, but was pretty heavy. The hip belt saved me. Next time I will use a rolling bag!
I have worked with a variety of sanded surfaces in my studio - Colourfix, LaCarte, Kitty wallis, Pastelboard and panels that I prepare myself using gesso, liquid acrylic, and pumice powder on gator board. Kitty Wallis holds the pastel really well so that many layers of color may be used. I really like using the gatorboard panels for the same reason, but also because they don't require additional backing when framed.
The most important insight for me was that the paintings I do in my studio, such as this one, after a plein air experience( classes especially), are the best because my choices are clearer, more intuitive, better composed and of subjects that move me because of certain colors, textures and light. I love the curves and surface variations of adobe, and the Southwest in general.
I've been squeezing time in the studio between work in the gardening and preparing for a new class at Franklin Pierce University, but times up. Paintings are off being framed for my next show at Art in the Park, Labor Day weekend. Getting everything I need together for it has been a challenge, but I have a tent and panels, so I'm ready to go!
I've recently returned from New Mexico, spending a weekend in Santa Fe for the International Folk art festival, which was fabulous,and the remainder in Taos. Every day was hot, but dry, with intense blue sky and desert/mountain landscapes. I went out early to paint, spent the afternoons exploring, and more painting in the evening. Plein air painting is such a challenge for me, particulary in a workshop, but I always come away with new insights about my own process, as well as techniques.
"Onset Morning"
I've been busy creating a website and trying to catch up on painting for a show coming up at the Works Cafe in Keene in May, and have also been experimenting with pushing color. I love the color and shadows of this little building.
Spring is calling, drawing me into my studio to paint more water. This one has taken me a while, but I couldn't wait to get started on it. Now that I see it next to what I am typing, the colors seem off, which is very frustrating. The grasses should be very warm in color, but look gray.
Clouds have always fascinated me and I spend a good deal of my walks looking at the sky, bringing images like this one home to paint, but not lately. Temperatures have hovered just above zero and the wind has me walking head down with all but my eyes and nose covered in warm layers. Nevertheless, it feels so good to be out for long walks again, the best being just before Christmas in the middle of a beautiful snowfall, on my way to see the Nutcracker. It was magical, as was the performance.
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