"Laddy the Handsome Rooster" 8x10, oil

Pucini Singing to the Choir, 14x16, oil

The Consideration of Calligraphy as Sculpture

My darling partner Betty's, niece, Mira, explained to me a little about oriental calligraphy and of course I can't remember all the details but the conversation affirmed that their is an entire culture and a large part of the world that has the wonderful ability to think of the written language as a visual language of pictures or ideograms, fascinating. what an intrinsically artistic culture that must be as compared to our lineal alphabet inherited from the easterly direction of Sumera.
I've often signed things with my name followed by a quick cartoon of a horse head. I ramped that up to an ideogram to look like the above illustration. Now I have it in mind to explore what that would look like in a 3 demensional piece of sculpture. probably welded metal.
After taking a workshop from master brush builder Glenn Grishkoff, I made myself some brushes using bamboo handles and various brush materials. These images were created with ringtail cat hair.
I find contemplating brushwork to expand upon the western process of picture making. "Seeing" is one thing but implementing the "Zen" of the brush stroke is another consideration entirely. I find on 'youtube' demonstrations of chinese landscape painting that reflects the inherent consideration of the brushstroke as well as definition of a landscape done with black ink filters the effort of landscape painting down to its essentials. To combine the two i.e. occidental and oriental landscape techniques is a challenging aspiration.

Chicken Roost

What a great place for chickens. They can get out of the rain, the warm sun shines through the broken window like a green house, the rooster can keep an eye on his harem and the hens can keep an eye on their chicks playing in the shade of the old truck. what a life...........

Poultry Paintings ( :

Both SOLD thanks for your support!


Poultry Paintings or Chicken Scratchings, WhatEverrrrr.........my manager found out I like chickens and suggested I do a "chicken painting" a day and start a "product line". I took her advice and everyday I whip out a painting of a chicken. It's fun. It only takes a couple hours at the most to do an 8x10. I used to do small watercolors of chickens, mat them and sell them for $15 or so apiece. They disappeared like hotcakes.

They are so colorful and a great excuse to have fun with paint. They are very sociable. Watching chickens is like a world in microscope plus the added benefit of eggs for the table. My favorites are banties and Araucaunas. They lay blue and green eggs.

I think everyone can relate to chickens and some even identify with the little buggers. I remember before my youngest son, JC, began to talk he raised a chick and carried it around for a pet. Maybe that's why he crows like a rooster now that he's in college ( :

Back in the saddle with my brush.

It has been a real effort to get back to painting after visiting Maine. Seems I got more painting done on my days off at the Wildwood Stables, driving horses, than I do when I am home. Too many distractions. Remodeling the house, hauling hay, getting the winter wood in and just the daily distractions. My manager/partner has been great about arranging life so I can get back to the easle. I was worried I might fall out of the 'groove'. I have to an extent. I missed the grand colors of fall, of being among the cottonwoods, painting their reflections in the river. I had plans to carry on some ideas I had developed from previous paintings that required big canvases, I even got the canvas but haven't got back in that groove which is disappointing.

To get beyond that I just go outside and find a spot and lose myself in the moment. Sometimes I catch one, like these here. These old trucks are parked out in a field, kind of an old bone yard, typical of abandoned vehicles you find on the rez. I think that is because folks use their vehicles until they just can't go anymore and put them in the back forty for parts. It used to be horses now it is cars and trucks.

If the sun isn't out or it's too cold, I work in the dungeon/studio where I get lost in technique. I'm trying to work from photographs. I don't know why as photos aren't what it's all about. For me, landscape painting is about being there, about the Place and about the Moment. I get distracted by Technique when I have all the time in the world to screw up a painting but it is consistent with a thought I have about the painting as an "artifact", that needs to exist on its own elements. Less about the effort as an attempt to make a statement or impart an observation but to explore technique and the realm of the abstract. I have to admit that it is easy for me to ramp up my painting into realms of the abstract. So far I keep myself grounded by a reference to something figurative but I suspect if I have any response that supports my 'other' work it would be easy for me to pursue that direction. I like color and I like big canvas and I like to paint.

The above painting 16x20, oil is a copy of a plein air painting that came off well. Rather than try to tweak the original I did a copy using the visual vocabulary from the original plein air painting that I had acquired during the 3 hr painting session, and photographs of the site. What I found is that I couldn't replicate the success of the plein air painting and ended up with a new landscape. OK fine. So then I proceeded to the painting below. Using both photos and the previous efforts and got caught up in technique. If plein air is acquiring a visual vocabulary then using that vocabulary to express more than the mundane might be where I am heading.

The 'painting as an artifact',

came to me while looking at paintings in museums which are in effect paintings that have been put aside and archived, which makes them an article of interest because of the singularity which they represent. Whether it is a new fossil or new painting the article has enough significance that it is archivable. Somehow I also view paintings like tombstones which are the artifacts we use to consecrate a persons life, memorialize it, memorialize that moment in time, even if that time spans an entire persons life. Portrait of a moment.

Artist Reception Friday Oct, 26, 4-7pm Arbor Crest, Riverpark Square, Spokane

I'll be having a reception at the Arbor Crest Wine Cellars in Riverpark Square, between 4 and 7 pm, Friday October 26 in Spokane.

We will be raffeling one of my paintings so come on down and test your luck.

I've got some great landscapes of all sizes. The Seasons Series won Best of Show at the Museum at Moses Lake. It's a great piece which includes 4, 3'x4' oils on separate canvas joined to be one single piece.

Come on down and have a sip of wine and visit. Love to see you there.

Granite Sculpture and Steve Hayne's Granite Museum

Picture of Steve Haynes, stonemason on Mt. Desert Isle and curator of the Granite Museum.

Steve is working on a memorial. He was asked to match the granite of the existing cemetary plot. He is so knowledgeable that he can not only decipher the type of granite but what quarry in New England it came from. He obtained a piece from the correct quarry and is working in up with an antique machine that he rebuilt. The machine is air driven but manually worked to bush down the surface of the granite. This work had previously been done by hand. This "machine" replaced the 20 men required to do such labor. Mt. Desert Isle was reknowned for the granite and stone masons there were here. Many large projects in New York and Washington D.C. as well as other famous cities have buildings made from quarries in this area. Steve has accumulated a wealth of information, tools and geneaologies of the men that worked the stone.

After seeing the wonderful granite sculptures created this summer on the Schoodic Penninsula, I went looking for someone to show me how to work stone and have found a real granite guru in Steve Haynes. I hope to get back next year and look over his shoulder to learn more of this lost art.

Communities in the area collected $5000 in matching funds to have the priveledge of having one of these seven sculptures in their communities. The building in the background was constructed for the Navy as an officers' quarters by J.D. Rockefeller Jr. The bottom picture is a sculpture called Rebirth.

Otter Cliffs and Bernard Harbor.

"Otter Cliffs" 8x10 oil
Pleinair painting at Otter Cliffs is an experience of a life time. This little study shows Sand Beach and Mt. Champlain in the background where Hudson River School painters Thomas Cole and Fredrich Church painted in the 1840's. What is so wonderful is the location.
I try to get to this sight as the sun rises above the atlantic and lights the granite cliffs with an orange glow.
Lobster boats work their traps at my feet. I can see right into the cabin and watch them pull the traps up with the winch, toss the reject lobsters back into the ocean and the keepers into the lobster box.
The ocean is calm this time of year and the constant wash of the waves against the cliffs is soothing and mesmerizing. The occasional cruise ship comes in like an alien space ship and I am grateful as it rounds the bend out of sight but I think about the guys back at the stables and they busy day they and the horses will have hauling people around Day Mt.
Those thoughts change as a beautiful sail boat comes into view. I watch the cormorants dive for fish and study them as they dry their feathers in the sun. Evidently they can't allow their feathers to stay wet as they don't have the oils ducks have to keep them afloat. They do swim like ducks but have to return to the rocks to dry off. They look like prehistoric creatures with their bony wings and long petrodactyl like beaks pointed to the sky.

"Bernard Harbor" 8x10 oil
This is a quick sketch done while the sun was just setting. It took about 30 minutes while painting with fellow artist Hugh Grant that has a summer home here in Bernard Harbor. It is a real working lobsterman's town with many lobster boats filling the harbor as well as the reknown Thurston Lobster Pound that offers lobster right from the boats.
The maples are beginning to change color. I'm excited to have the opportunity to paint the fall colors.

Driving horses, painting and new friends at Acadia

Here I am driving Wildwood's Barney and Charlie to the top of 580' Day Mt. We head to the top of Day Mt., to catch the sunset. The view is fabulous looking out over Seal Harbor and the Cranberry Islands. Day Mt is only 580' above sea level but it is so close to the coast that it is like being on a 50 story building. We see whales off the coast and beautiful sail boats.