Work in Progress: Paris Passy Gate Now the Magic Happens

The block in for this painting Paris Passy Gate is complete and now I’ll move onto the next phase, pushing and pulling value and adding the details.  I’m very happy with the initial washes and the texture I was after to convey the patina on this bronze gate.  But over all the values are pretty mid-tone.  I want to darken areas and lighten areas.  That is what I mean by push and pull.  I will pull lights out and forward and push darks back.  The details I’ll add will be more emphasis on shadows and elements of the design that come after an initial wash.  I really love this part of painting, it’s when the magic happens and it starts to come to life!

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Work in Progress: Paris Passy Gate

I am always fascinated with details, behind the scenes and the logistics of doing certain things.  I think that’s one of the reasons why I became a designer.  In the past I have shown some work in progress photos of a painting after I had completed it.  This time, I thought I would share them while I was actually doing it!  It’s great for me to actually see the progression too.  When you see the image on the computer monitor, it can be more obvious what tweaks or modifications need to happen!  I hope those that are following my blog are enjoying this step by step process.

This phase of the painting I call the “block in” phase.  I have not gone over very much of this a second time to make adjustments.  Watercolor artists paint with this medium in so many different ways, wet on dry paper, wet on moist paper, wet on wet paper, glazing, etc.  That’s what makes it so exciting to work with.

I like to try to get everything the way I want it the first time, however nine times out of ten that never happens!  Therefore when everything is blocked in, I go on to the next phase. That’s when all the magic happens.   Stay tuned!

If you enjoy following my works in progress, you might consider

liking my Facebook page

or sending me a friend request.  I tend to do a lot more posting as things happen there.

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Work in Progress Paris Passy Gate and Do You Work on More Than One Painting at a Time?

The opening for the “Orange Blossom Special” Aril Exhibition at the Winter Garden Art Association was last night and there was a great turn out, wonderful art, crowd, and music!  If you live in the area, stop by and see the show, and see what this great new facility in our community has to offer!

Today I thought I would share some progress on Paris Passy Gate.  I had started this painting after I had designed the Coral Reef Menu commission for Epcot, while the design was being approved and before the actual paintings for the menus were done.  I’m usually a monogamous painter focusing on one at a time.  However, this may be the first time I put one aside for a while after completing two other paintings.  I tend to get in a groove on one painting and really know the palette of color I’ve worked out and the painting techniques I’m using on a particular piece.  Then I don’t over think it too much and just let the intuition kick in.

On this one, with some considerable time apart,  I had to get to know it again. In this case, I am so thankful I made some color notes and swatches.  So I could go right back to the palette I started with.  It sure saved a lot of time.

I may not be making any sense.  Artist friends if you would like to comment please feel free.  Can you easily work on more than one painting at a time, or are you dedicated to one until it’s finished?  Although that’s not to say that, sometimes when I think a piece is finished,  a few day, weeks or months may go by and I decide it’s not and tweak it some more.

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Star Struck is Framed Without Glass

Star Struck

$500.00

Watercolor 

Mounted on Archival Board with 2" Wood Edge

12" x 12" x 2,"  (30.5 cm x 30.5 cm x 5cm)

Accepted into the 2015 Women Painters of the Southeast Annual Exhibition at the Blue Ridge Arts Association, Blue Ridge, Georgia

Inspired by the light and cast shadows on a bromeliad. 

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Last year while I was attending the annual exhibition of the Women Painters of the Southeast.  I visited a gallery where there was a watercolor artist who had mounted her paintings on board and sealed them.  Therefore, there was no glass, mat board or frame.  They were displayed just as an oil would be, painted on a gallery canvas.  I mentioned to the gallery owner how intrigued I was by this since I also painted in watercolor.  She mentioned that many collectors and galleries don’t value or maybe I should say don’t think there is as much value in works behind glass, and many galleries decline works that are. This piece of news was a bit shocking to me.  Really?  One more struggle to overcome for watercolor artists!

I don’t agree with this philosophy so I won’t be mounting all my paintings from now on, but I was still intriguedand wanted to try it.  After doing some research I came across a video done by artist Birgit O’Connor.  My new work Star Struck I thought would be the perfect candidate to give this process a try.  Essentially, it involves mounting your painting to an Ampersand Clay Board, with a soft gel medium and sealing with and archival varnish with ultra violet light protection.

I like that you can hang on the wall or place on a table or shelf.

I was pleased with the results.   I would like to experiment a bit more as to the final finish on the surface of the painting.  The Golden Archival UVL Sealer comes in gloss, satin and matte.  I am am also curious about the Renaissance wax that Julie Ford Oliver has recently tried, thinking that would give a nice sheen to the surface as well.

As I experiment a bit more I will be sharing the results, going into a bit more detail on the processes that have worked for me. Any artists materials I use,  I am very conscientious  of the archival factor.  I have been assured by all the specifications that  the materials I use for my paintings,  paper, paints, mat boards, etc., are archival.  The materials used for this process, board, soft gel medium and spray sealers also claim to be such.  I know there are a few out there that won’t feel this is adequate protection for a watercolor painting.  But, only time will tell!   At least with the sealer you are also getting UVL protection.

 This painting will be available at the

Winter Garden Art Association's

April Exhibition, 127 SoBo (South Boyd), Winter Garden, Florida.

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This Weekend Women Painters of the Southeast Show Opens and The National Georgia Watercolor Society Show Closes

Lotus Nocturne

$175.00

Price Includes Shipping

Limited Edition Archival Giclée Print Signed and Numbered, Edition of 300

Original painting is SOLD.

Image Size:  Half size from original, 19.5" x 9.25," (23.5 cm x 49.5 cm)

Shipped flat with backing board.

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Opening this weekend through April 18 is the 3rd Annual Women Painters of the Southeast Juried Exhibition at the Magnolia Gallery in Greensboro Georgia.  I have two paintings in the show, Lotus Nocturne and Bananas on Japanese Box.  Both will be available for purchase during the exhibition.  Sadly I am not able to attend this year.  Last year’s event in Franklin Tennessee was one of the highlights of the year.  There are so many talented women artists in this show.  I will be with you all in spirit!

Also, the 2014 Juried National Georgia Watercolor Society exhibition closes on March 31.  This will be your last chance to see more amazing painting at the Carrollton Cultural Arts Center, in Carrollton Georgia.   My painting Waiting in the Wings is in this show.

Both of these shows areright outside of Atlanta. Stop by if you are in the area!

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New Work... Star Struck

Star Struck

$500.00

Watercolor 

Mounted on Archival Board with 2" Wood Edge

12" x 12" x 2,"  (30.5 cm x 30.5 cm x 5cm)

Accepted into the 2015 Women Painters of the Southeast Annual Exhibition at the Blue Ridge Arts Association, Blue Ridge, Georgia

Inspired by the light and cast shadows on a bromeliad. 

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When I saw the light hitting this bromeliad and the shadows that were cast I knew I had to paint it.  This piece for me was more about shapes, shadows and warm against cool color, than the actual plant!  After spending almost 5 months designing and painting the Coral Reef Restaurant menu project for Disney, I wanted to work on a small painting that only took 3 days to paint as opposed to months!

I also wanted to experiment with mounting a painting on a board and sealing it instead of framing behind glass.  Stay tuned as that will be the next step to this paintings completion.

If you live in the central Florida area the Central Florida Watercolor Society Annual Juried Exhibition opens tonight at the Sanford Welcome Center.  There will be 54 paintings on display from the members.  The show will be up until April 22 and the reception for the show will be April 19 from 6:00-8:00. My painting Bird’s Eye view will be there. Thank you to juror Karlyn Holman for including it in the show.   Hope to see you then!

Bird's Eye View

$1,750.00

Watercolor, Framed

11.5" x 30," (29 cm x 76 cm)

Framed Size "19.5 x 37.75," price includes frame

Selected for the 2nd Annual Women Painters of the Southeast Exhibition, 2013, at the Imagine Gallery of Fine Art, Franklin Tennessee

Selected for the 2014 Annual Central Florida Watercolor Society Exhibition

When I lived in California I had a persimmon tree in my backyard and I have been enamored with this fruit ever since.  I loved in the winter when all the leaves had fallen from the tree and these bright orange fruits where dangling from all the branches. That is the inspiration for this painting.

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Purchase

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Art-O-Mat® in Savannah Georgia

In a recent post on Dustin Yellin’s Triptych at the SCAD Museum of Art. I mentioned I was going to blog about another art installation I came across that weekend I was in Savannah.  I had read about these off and on over the years but had never come across one in person until the day I was in Sylvester & Co., at 205 W. Broughton St., Savannah, Georgia.    What on earth am I talking about?  Art-O-Mat® of course.  You might ask what in the h#*$% is an Art-O-Mat®?

Art-O-Mat® is one of the most brilliant ideas for re-purposing I have ever come across.  They are retired cigarette vending machines that have been converted to dispense art instead of cancer sticks cigarettes.  This concept was created by artist Clark Whittington who built the first Art-O-Mat® for a solo show in 1997.  It was installed with his work mounted on blocks the size of a pack of cigarettes and sold for $1.00 each.

When the show was over, instead of dismantling the machine a group of artists formed the AIC Artists in Cellophane group, which is the sponsoring organization for the Art-O-Mats® today.  There are over 100 active machines in various locations across the county.

There are over 400 contributing artists from 10 different countries that supply the art for the machines.  Artwork can be in all different mediums, from ceramics to photography, painting, drawing, jewelry, etc.  When you walk up to the machine you can kind of get an idea of what you might get by peeking through the front display glass.  But some pieces are in boxes, rather than mounted on blocks.  So you know the name of the artist, and the media, or sometimes the subject matter of the work but that’s it.  Therefore, it’s akin to the prize in the Cracker Jack Box!

This is how it works, you buy a token magic coin for $5.00 at the establishment that has the Art-O-Mat® and you use the magic coin to get your art.  Put the coin in the machine, pull the handle and your masterpiece falls into the tray at the bottom.  It’s really fun when you do it with a group of people because you all have to see what everybody got.

I was very happy with mine.  I chose the work of ceramist Noelle Horsfield. It’s a cigarette box sized tile with a blue and brown glaze.  I can’t tell what the motif is but it reminds me of Japanese ceramics.  My daughter also chose a piece by Noelle and her tile had a tree of life motif.

I am so intrigued by the Art-O-Mat® , it will became an addiction (no pun intended) each time I see one.  If you haven’t clicked on the link already to visit the Art-O-Mat® web site you can click here.  It features photos of all the machines, gives the locations of where they all are across the country, and you can preview the work of the artists who participate.  There is also information on how you could become an Art-O-Mat® artist.

So go to the site and visit your nearest Art-O-Mat®.  Feel free to post a comment here or a photo of your treasure on my Facebook page.  And the best thing is…. it won’t come with a warning from the Surgeon General so you can have as many as you want!

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The Coral Reef Menu Commission for Epcot Walt Disney World is Finished

I have neglected the blog because this is the week I needed to finish the Coral Reef Restaurant, Epcot, menu project. If you’re new to the blog, I was commissioned to do the cover art for the lunch, dinner and dessert menus as well as the menu interiors.   I’m happy to say I turned it all in yesterday to Walt Disney Imagineering and they were very happy with it, as was I!  They will present it to the folks at Epcot and then it will go to print sometime in April and then I can share what I have been working on since November!

Paris Passy Gate... where I left off...

I will be getting back to the other painting on my easel, Paris Passy Gate and some small works I’ve designed and have been in the queue to paint.

Happy Spring, Azaleas are blooming!

Also want to wish everyone a happy spring and hopefully all of you up north have had a break in the weather and are enjoying some more pleasant conditions!  What a rough winter it has been for you all!!! I know some of you have been down my way for spring breaks.  It seems a lot of people are flocking down here, but I can’t say I blame them!

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The Triptych by Dustin Yellin at the SCAD Museum of Art

I was in Savannah Georgia last weekend and every time I go, I always visit the SCAD Museum of Art.   SCAD is the acronym for Savannah College of Art and Design.  There are also campuses in in Atlanta, Hong Kong and France.  The college is integrated into the historical town of Savannah with most buildings having been renovated or repurposed for classroom facilities, dorms, student centers and most notably the Museum of Art.  The university’s commitment to historic preservation and adaptive use is most evident in this facility.  The oldest part of the building dates to 1853 and was once part of the oldest surviving antebellum railroad depot in the country.  In 2011 with an addition designed my architect Christian Sottile, a SCAD alumnus and dean the School of Building Arts, it has been transformed into a premier contemporary art facility, mounting an exhibition each academic quarter.

The back side and shadow projections on wall

One exhibit that is currently showing absolutely blew me away.  I have never seen anything like it and felt compelled to share.  The piece is by artist, Dustin Yellin, titled The Triptych, 2012, glass, collage, acrylic, measuring 46.5” x 208” x 27”.  Yellin lives in Brooklyn, NY and is best known for his sculptural painting.  Multiple glass layers are individually embellished then combined to create an intricate three dimensional collage.  The Triptych is his largest most complex work to date.  It weighs twelve tons and is comprised of three panels, of roughly 58 panels of glass each.  It is a three dimensional viewing experience.  Walking in the dimly lit room on closer inspection the glowing mass, depicts a surreal mythical spectacle embodying Yellin’s vision of the world and consciousness.

Side view showing layering of glass panels

This is one of those pieces that you could never take in with one viewing and I wish I could have the chance to see it again.  Layer upon layer of images, mostly antique found images and others that may have been created by Yellin, collaged together on each panel of glass.  There are also appears to be areas articulated with ink and or paint.   When the panels are sandwiched together the images come to life in a three dimensional manner, that harken back to what could be a glorified View Master view or multi-plane animation effort.

Details of first panel

Not only is the work so intriguing to look at and study, but I couldn’t help wondering, as I usually always do, about the logistics of creating such a monumental piece.  If you live near Savannah or are visiting,  this is worth seeing.

Detail of third panel

Next week I’ll share another intriguing art installation in Savannah.

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Acceptance into the 44th Annual Juried International Louisiana Watercolor Society Exhibition

Mayan Gate

$1,500.00

Watercolor, Framed

14.5” x 21.5,” (37 cm x 54.5 cm)

Framed Size 21.5" x 28.5," price includes frame

Selected for the Louisiana Watercolor Society 44th International Juried Exhibition 2014

Selected for theFlorida Watercolor Society's On Line Exhibition, 2014

Selected for Pennsylvania Watercolor Society's 34th Annual Juried International Competition, 2013

Selected for the Annual Central Florida Watercolor Society Exhibition 2013 at the Terrace Gallery, City Hall, Orlando Florida

This painting was inspired by the wonderful Mayan Revival Architecture at the Maitland Art Center, Maitland Florida, designed by J. Andre Smith. 

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I'm thrilled and honored to share that Mayan Gate has been chosen to be in the 44th Annual International Louisiana Watercolor Society Exhibition.  This one is very special because I am a huge fan of juror, Anne Abgott.  Thanks Anne!

The show will be at the Garden District Gallery in New Orleans, Louisiana from  May 2-May 25, 2014.  I'm hoping my schedule will allow me to go see the show.  I am embarrassed to  say I have never been to New Orleans.  I think this is the perfect excuse to go!

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