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.
"Canyon Adobe" - Sold
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!
