Man in His Garden

"Man in His Garden" 18"x18", oil

A landmark painting for me, this painting exhibits a style and motif, I care to pursue.

The paint itself is carved and sculptural. Entirely painted with a pallet knife. I find colors remain cleaner and is very tactile, achieving my effort to create a painting that becomes an artifact or something more than merely a pictoral representation and becoming something that shares the attributes of sculpture or an intaglio print or even a collage. I can feature pursuing this direction to the extent of using plaster and tile.

Road to the Highlands

I spent much of the fall in the beautiful Okanogan Highlands, a neighboring eco-system of high (4000') open grasslands of aspen groves in the folds of hills that rise to forested slopes of solitary peaks such as Bonapart Mt (seen in the background).

Bonapart has significance to my partners family, as does the Okanogan, because their ancestors were some of the first ranchers in the area and her grandfather, Russel Buckley, was one of the first Forest Rangers, patrolling the huge forests of the Okanogan by horseback.
It is important to me to follow the advise of friend and artist William Reese and his wife Fran who say that I should paint about what I know and the places I know. They say there is much of beauty and value in the region that have yet to be discovered by the art world.
From participating in paintouts and painting in different locations of the country I have found that there is considerable reason to regard 'place' as

important to not only the artist rendering the view but to those that live in that landscape and perhaps to those that value such work enough to purchase it and live with the painting they have invested in, a raison d'etre of place, painting, artist and patron.
I have set myself a project of painting the colorful studies I did of the Okanogan into large, 30"x40" canvases. Doing so I have reached a technique that is exciting and enjoyable and achieves a goal I have felt my work should also explore of considering the painting as an artifact of thought expressed in harmonious and beautiful stature. Simply put, I am using the broken color concept of the impressionists and using LOTS of paint, actually carving the paint into the drawing it needs to be. Perhaps nothing new in the realm of art history but new and exciting to me. If you can expand this photo you will be able to see the impasto effect of the paint.

Back at the Ranch, Fall Color

After an intense summer on the road to plein air paintouts including Joeseph, Oregon, Hood River Oregon, Whidby Island, WA, Ellensburg, WA., Wenatchee, WA., Hope, Id., I look forward to studio time and might night be seen until next spring.

I'm trying to capture the Fall Colors before they go away and plan to get through the black hole of Winter by doing a series using Fall Colors.

John Carlson, "Analyze your impression in order to approach expression......"

Have Brush Will Work for Art

It's been an intense past couple of weeks as I've been on the road going from paintout to paintout. I've met some wonderful people, artists and country. The weather has been spectacular and I've found homes for quite a few paintings.

The end of August saw me in Hood River which is an amazing location. 10 minutes in any direction and you can be a different landscape. East to the desert and steppe, South to Mt. Hood, North to Mt. Adams both dormant volcanoes and West towards Portland and what is know as The Gorge.

Everyone I met is there because of the wind. Windsurfers and kiters. I've never seen so many skinny people. Winter it is skiing. A lot of good energy and I look forward to going back.

Check out the event blog at http://pleinairhoodriver.blogspot.com// They even had a pleinair writing event. We'll have to wait a bit to see the results but it should be interesting.

Cathleen Rehfeld was our coordinator. She had pre-arranged sites such as the Whitehouse Bed and Breakfast where I painted this painting I call Madame Pear Bottom. I hadn't notice the figure until Joe Howard took a peak over my shoulder and said, "Looks like you've been away from home to long." I didn't get it until he pointed out the nice female anatomy of my pear tree. I honestly didn't paint that on purpose but now that's all I see. Sheesh!

Cathleen not only guided us around but is an awesome painter. The sale of that weeks efforts was awesome and couldn't have happened without the support of Rich Kruger a true patron of the arts that Hood River is fortunate to have. We painted at the Cathedral of the Airplane otherwise known as the Airplane and Auto Museum, http://www.waaamuseum.org/, every plane flies and there are over 100 planes. An amazing place if you ever get the chance to visit. One of my favorite highlights was the Maryhill Museum and a painting, "Solitude", by Lord Alfred Leighton. It is an awesome technically accomplished painting, done in the pre-Raphaelite manner. The painting itself is over 100 years old and there is not a crack in it although it is highly glazed. The work reminds me of opera and what it is possible for the human hand or voice in the case of opera, to achieve. It is also curious to find such a treasure, as well as many more, to be found on the arid steppes of the columbia river.

I then went to Coupeville, WA. I made it in time to get my canvases stamped and painted into the night doing my first 'nocturne', wearing my LED hat to see by. The painting was of the Dog House Tavern in Langley and came out well although I didn't get a photo of it before it found a home.

I was home a couple days to check on the horses and chickens. All was fine so I took off for Coeur d'alene, Idaho where the Oil Painters of America were holding there western region show at the Devin Gallery. They also held a paintout in which I participated and found a home for another painting. Each time I sell a painting I meet another great person with an interesting life to learn about. An emissary of art, my paintings are my calling card. OPA was well attended but the real show for me was at Stephen Gibbs, Art Spirit Gallery which was showing works by George Carlson, one of the geniuses of the today's art world. He had a series of oil paintings which were highly inspired. Reflecting "Big Ideas" as Bill Reese would say. He is the one that considers Carlson a genius which made me look even more closely at Carlsons paintings and sculptures. Carlson's work shows me what is possible if one commits to the highest levels of reflection.

I'm off to Wenatchee to paint with William F. Reese, one of the patriarchs of oil painting in the Pacific NW and the nation. I hope a little of his knoweledge rubs off on me, then I am off to Ellensburg for a paintout and N. Idaho for a paintout and benefit for creating a wilderness area of Scothman Peaks.

Stay Tuned

Shows and Competition

I've always admired this painting of "Lucky" and entered it in the Equine Acadamy of Art show but it failed to jury in but I did get it into a show and competition held by the Westcoast Paper Company. Although I will miss this painting should it sell I will be delighted for whoever ends up with it. If I held onto all the paintings I like I wouldn't be making much of a living.
Lucky is one of the best work horses I've ever had. I raised him from a foal. He's called Lucky because he's lucky to be alive when he was born.
The boys wanted to see a foal born so we slept in the barn. I got up thinking it must be time and found my mare Sister looking like she was ready. I got the boys up and we waited, and waited until finally I called the vet. She instructed me to stick my hand in there and see what was going on and when I did there was nobody home. There I am with one arm up to my shoulder and talking on the portable phone to my vet when Stephen Jeffries, a visitor from England, happened to look over the bank and said, "What's that?". I looked over the bank and there was Lucky, all curled up and cold. What a dunder head, the other horses kept siding up to the barn fence and whinnying. I thought they were trying to encourage Sister when all the time they were trying to get my attention to come down and rescue this poor little critter. I hurried on down and picked up the little guy and packed him up the hill. Talk about imprinting. We've been buds ever since. I never had to "break" him. I just showed him once and he got the idea. He's about as honest and bombproof as I have ever seen in a horse. He paces himself in the field and can outwork any other horse on the place without breaking a sweat.
I think this portrait of Lucky, captures his personality and my love for the guy. I especially like the different textures I achieved. The dexterity of brushwork and harmony of value and color is exceptional too if I don't say so myself. Oh, there are deflugalties (new word) but I'm not going to say anything if you won't.

"Sunbathing Betty", oil, 16x20

My favorite model is vaporizing in the sun before my eyes. A dedicated model I couldn't allow her to fry in the 95 degree heat so this session only lasted 20 minutes but I really like how it came off. I've been using oil gesso and sanding it smooth. Using thin washes of Old Holland medium I mix myself I can control the drying time and application. I got some nice sable brushes that make me have finer control. I believe I'm developing my sensitivity to color and handling. I've looked at art all my life without fathoming the finer points of application until I attempt achieving certain effects with the brush.
Instead of diluting hue with titanium white I use the white of the canvas as one would when doing a transparent watercolor. I especially like quick drying glazes that I can immediately layer new strokes. Cool over warm, light over dark etc.

JC is an EFF (emergency fire fighter) for the BIA on the Colville Reservation. Home from U of E. Kentucky, he chases wild fires to earn money for university. He's going to be a famous writer (starting with his first novel, "White on Rez") if his papa has any say in the matter.

To keep him preoccupied he's doing what most young people are doing these days, chatting on his laptop. 30 minutes was about all I could get out of him. He found out how hard it is to sit still or rather my version of sitting still. He's got great features. I hope he takes up my suggestion that he approach the art deptartment at Uof EK or "YUK" as he says, and make $20 an hour as a model. He's a fit dude, packing his firefighting equipment around these mountains keep him fit as a marine.

There are no rules

Attending a show of Impressionists at the Seattle Art Museum, which compares the realism of Fragonard and Rembrandt to the Impressionists Monet and Renoir, I came home and started into a series using a technique of painting used by early masters and taught to me by Leonid Gervits which entails the use of underpainting and glazes, exploiting the natural brightness of the oil primed canvas itself. A technique used by the old masters and shunned by the alla prima work of the Impressionists.
I started this series with a team of horses under a monumental cloudscape. I love painting clouds and have always been attached to studying them. Studio paintings allow me to implement the visual vocabulary I have acquired over the past 35 years of dabbling in art.
Considering imagination to be one of the tools of painting I have yet to explore, I am delighted to explore where I might go.
I started the series with something familiar, a team of horses farming. That idea led to the next painting we call "Blessings", of a willowy woman, arms upraised in supplication, her light dress blowing in the breeze. A very optimistic image that imparts good feelings. This in turn led to the next idea in which I had intended to simply change the dress to one of green and place the figure on a green hill to express the idea of "Verdancy". I started with a nude to get the proportions right with the intent of dressing her with the green gown but the gestalt of the painting led to an entirely different painting, far more spiritual and iconic ending up with a goddess like figure emerging from the clouds bringing rain to the sun baked earth. Still staying with the theme of verdancy I placed the constellation Pisces in the upper left corner which is the constellation the sun is in when it crosses the equator in the northern latitude spring. I put a sliver of moon, one native americans say is the pregnant moon. I'm quite delighted with these paintings and am looking forward to where I might go using my imagination.
Having developed my painting technique through the exercise of alla prima, pleinair painting, I strive to develop content by means of imagination which I feel is another level of effort with enormous possibilities. I find I am at a point where I am familiar enough with the mechanics of making a painting that I the next thing to do is explore the content of my paintings. I will still paint en plein air as that is how one develops the visual vocabulary necessary to fuel the imagination on the journey into an un-mapped world. There are no rules in this world I intend to explore. The danger is to guard against diminishing the effort by editorializing although much of what I'm interested in is definitely political and aspirations that have developed out of a lifetime of experience.
Each of these paintings are 30"x40", oil, done on canvas.

Thoughts on Horse Farming

the pace of time
are horses in a field
working for a man,
a season of plowing,
a season of planting,
a season of harvesting
and a season of rest.
Baling sunshine for food
is how life is meant to be,
a cycle of energy
complete unto itself.
Companions working,
tilling the Garden of Eden.

Thoughts on painting, "En Plein Air"

I've painted, en plein air, from Maine to Washington state. I've stood on the dock painting lobster boats as they came in from lobstering and traded paintings to lobstermen for a sack full of lobster. Parked on the roadside painting landscapes of the Rockies or Wallowas, folks stop, look over my shoulder and take photos of me painting the landscape. We trade email addresses and they send me photographs, sometimes we trade paintings.
Whether painting on the side of the road or the wilderness, the thing I like about plein air painting are the 'Paintouts'. Paintouts have become a popular way for galleries, festivals and communities to ramp up the exposure to art. Such events are an opportunity for artists to meet other artists and compare their work. Galleries and community art festivals get an opportunity to showcase their local artists and invite outside artists, sometimes of great stature, to their community, which can be a great economic boon to all parties. Artists are invited to "paint the town", after a day or two, paintings are collected for a show and reception where the work is displayed, and awards presented. It's a great way for art to bring artists and the public together. The public gets to see artists at work and are thrilled to find ordinary scenes brought to life by gifted painters.
Artists have always turned to nature for both inspiration and knowledge. The Impressionists made a practice of working directly from nature. Today painting "en plein air", literally, painting "out of doors", has become something of a movement along with an interest in "daily painting" in which painters challenge themselves to do a painting a day. Google 'daily painting' and you will find blogs and websites displaying extraordinary galleries of artwork. Many of these pieces are available directly from the artist or sold at auction on Ebay for very reasonable prices.

Painting 'en plein air' fits our busy lifestyle. In an abbreviated world of acronyms and sound bites, small quick paintings done on the spot, are only appropriate. It is the artist freezing a moment of time, focusing like a Zen master and deriving inspiration from an intense reflection upon nature, like haiku poetry, distilling the moment into it's essence. A process where the heritage of the Impressionists meet the oriental art of Zen masters.

Much has been written about the Impressionists' interest in oriental prints. I think they were as interested in the process as much as the product. Untill Monet and the Impressionists took painting out of the atlier and Salon into the streets and forests, official art was considered to be work done in the studio. To consider work done "in the moment", on site, en plein air, was revolutionary. We can thank Monet for elevating everyday scenes to the extraordinary and bringing art to the common man. Painting was no longer an activity for the affluent but something anyone could do. With the advent of paint in tubes, artists developed a portable studio. The french easle and pochade to carry wet canvas, became synonymous with the image of the artist at work.
It is a privledge to make a living as an artist but it is also a job that puts bread on the table. Like a carpenter or plumber, doctor or dentist the artist and his tools find work enhancing our lives and culture, turning the mundane into the thing of beauty to be appreciated in our busy hyphenated lives.


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Kress Gallery Opening

The show in Spokane at the Kress Gallery went well. My friend Slatz was the guest poet and hushed the crowd with his wonderfully embellished poetry. Quite appropriatelly Slatz read from his suite of poems titled "Seasons" which went well with my series on the wall behind him titled "Seasons". To be honest, we didn't plan things this way but the collaboration started 30 years ago with myself playing guitar behind Slatz. I look forward to more such opportunities.
Perhaps it would be appropriate to organize a political fund raiser with all such artist types. After all it is an election year. Artist should let their candidates know what they think and ramp up the support for the arts. Thanks to Mapplethorp for blowing the government off with his explicit photography, politicians are allergic to the political risk of supporting art and the results are a culturally impoverished public art world.
Ryan Hardesty manager of the art@work program who hung the show and did an exceptional job. It was great to see my work all in one room. I had over 30 plein air paintings which just filled the room. Ellizabeth Mills, manager for Riverpark marketing department helped make the show possible. Luna's catered the event with wonderfully creative treats. I greatly admire the art@work program that the Northwest Museum of Arts and Cultures. Paintings can be leased with the rental going towards the eventual purchase of the piece or the piece can be returned and anther tried on. A great deal for artist finding a home and income for their work and a way for new collectors to get started. Thanks to all who attendende and for those of you that have the opportunity the show will be off for a couple months at Riverpark Mall.