Glacial Fractures

"Glacial Fractures"  (45" x 70")

About a month ago ago, I was asked to work on a commission. They requested an abstract painting based on the general idea of some other abstracts I've done in the past but they (very helpfully) requested I use the colors in Degas' "The Green Dancer" (shown below).

The reason I loved this assignment was, well, there were two reasons...First, I didn't have to search for colors that would work and second, it was so much fun color matching one of Degas' most famous pieces. 

So my River Arts District art studio has been full of this really large painting now for about a month. It is scheduled to get its first layer of resin in the next couple of days (as soon as I get the gold leaf on the edges), and then it ships to Chicago. Honestly, I am going to miss looking at this one. 

I named this piece "Glacial Fractures" because it when I stand back and ask what it wanted to be called, the night time image of towering glaciers in Antarctica came to mind. Of course, the glaciers are lit from within (probably due to the aliens trapped in the ice). Ha ha. Don't you go rolling your eyes at me. I'm an X-Files geek. I can't help myself. 

Winter in the Summer!

"Top of the Mountain" (18" x 22")

I have the tendency of being plagued with constant restlessness..."I'm too cold. I can't wait for summer"..."I'm too hot. I can't wait for winter". I have to remind myself to fully enjoy and appreciate where I am in the year, you know? I mean, each season has incredible beauty. I have learned two things living in a part of the country that gets four bonafide seasons:

1) Each season is a delight.

2) As an artist, winter always sells. 

I have no idea why my second point is true. I would have thought a winter themed painting would be a "slow mover" when it comes to sales but my winter paintings are still selling in the summer so...being the keen entrepreneur that I am, I will continue to paint winter themes as longs as they sell. This painting in particular gives me great joy. It is called "Top of the Mountain" and features a stand of balsam trees heavily laden will snow. And as in most winter paintings, it is almost monochromatic. I think reducing a composition to nearly black and white (as you do in a winter scene) is really challenging and if pulled off right (hopefully!) is really dramatic. 

So this summer, as you're about to enjoy a long weekend of inhaling bar-b-qued hot dogs, hamburgers and enjoying home made ice cream, remember...there are less than six months till Christmas. 

Woods in Winter
by Henry Wadsworth Longfellow

When winter winds are piercing chill, 
And through the hawthorn blows the gale, 
With solemn feet I tread the hill, 
That overbrows the lonely vale. 

O'er the bare upland, and away
Through the long reach of desert woods, 
The embracing sunbeams chastely play, 
And gladden these deep solitudes. 

Where, twisted round the barren oak, 
The summer vine in beauty clung, 
And summer winds the stillness broke, 
The crystal icicle is hung. 

Where, from their frozen urns, mute springs
Pour out the river's gradual tide, 
Shrilly the skater's iron rings, 
And voices fill the woodland side. 

Alas! how changed from the fair scene, 
When birds sang out their mellow lay, 
And winds were soft, and woods were green, 
And the song ceased not with the day! 

But still wild music is abroad, 
Pale, desert woods! within your crowd; 
And gathering winds, in hoarse accord, 
Amid the vocal reeds pipe loud. 

Chill airs and wintry winds! my ear
Has grown familiar with your song; 
I hear it in the opening year, 
I listen, and it cheers me long.

The Last Sunset (is that dramatic or what?)

Lest anyone become weary of sunset paintings (is that even possible??), this one is the last sunset themed piece in the most recent grouping of paintings I've completed. In all seriousness, I feel like I've really grown from this. I usually do "daytime" paintings but was asked to work on two coastal sunset themed commissions about a month ago. Because I was in a sense forced to tackle a sunset, I took my time and applied what I've learned in the last couple years to both pieces. As it turns out, I had so much fun with those sunset paintings that I had to try more, working on a mountain (as opposed to coastal) setting.

I think I will be painting more sunsets (and maybe some sunrises too). They're just too much fun. You really can play with extreme dark and extreme light, and extreme contrast in the complimentary colors (i.e. the oranges and yellows in the sky playing against the blues and violets in the mountains). Everything is extreme. Too much fun!

The Blue Mountains
by Henry Lawson

Above the ashes straight and tall, 
Through ferns with moisture dripping, 
I climb beneath the sandstone wall, 
My feet on mosses slipping. 

Like ramparts round the valley's edge
The tinted cliffs are standing, 
With many a broken wall and ledge, 
And many a rocky landing. 

And round about their rugged feet
Deep ferny dells are hidden
In shadowed depths, whence dust and heat
Are banished and forbidden. 

The stream that, crooning to itself, 
Comes down a tireless rover, 
Flows calmly to the rocky shelf, 
And there leaps bravely over. 

Now pouring down, now lost in spray
When mountain breezes sally, 
The water strikes the rock midway, 
And leaps into the valley. 

Now in the west the colours change, 
The blue with crimson blending; 
Behind the far Dividing Range, 
The sun is fast descending. 

And mellowed day comes o'er the place, 
And softens ragged edges; 
The rising moon's great placid face
Looks gravely o'er the ledges.

Sunset or Sunrise? End or Beginning?

Summer Scenes from the Blue Ridge

Here is my next "Sunset" themed piece. Someone last week asked "Is that sunset or sunrise"? Good question since this is just a scene out of my head but to me, this looks restful, not "waking". Now the crickets begin to chirp and cicadas begin their song, unceasing through the night. Someday, I'll paint a good sunrise but for now, this one to me is definitely and happily a sunset over the Blue Ridge mountains. Take a drive on the Blue Ridge parkway in either direction from Asheville at about 8:00 tonight and this is what you'll most likely see (and this is why I love living in Western North Carolina. 

Giverny: My Homage to the Man

A few weeks ago, Joy and I were up in Pittsburgh visiting our oldest daughter Camden, her husband Joseph and our baby grandson Elisha (who is amazingly cute). Well, one of the days we were there, we went to the Carnegie Museum of Art(which was truly amazing). After snaking our way through corridors of modern art and the medieval art, we (finally) got to my personal favorite: the impressionists. And oh my gosh -- Actually being able to get up close and personal with a Van Gogh was almost a holy moment! And then...and then I saw it: water lilies. Claude Monet. My favorite of all my favorites. I was transfixed on this massive panel of water lilies. I could see the brush strokes and understand the mixing of paint. It was beyond incredible. And Camden said, "you know, when you get back to your studio, you should create a water lilies painting as an homage to your man here." 

So I did. When I got back to my studio in Asheville, I began building water lilies on my canvas. 

This piece is entitled "Giverny", named after the home of Claude Monet, who lived at Giverny, France for forty-three years, from 1883 to 1926. I think one of the big reasons I love Monet was that he was seemingly fascinated by the play of light and reflections on the water. He worked on many paintings executed on a floating studio (in Argenteuil or on the Dutch canals). He was obviously taken with the inverted reflections you find in these "liquid mirrors". In 1893, he purchased a piece of land situated at the end of a narrow arm of the River Epte (side note: this is the same river where the St.Claire's originally settled down after a life of being Vikings, but that's another story). And this piece of land became his home. The water lilies and painted and re-painted and re-painted nearly ad infinitum were all done here (in his back yard). I really want his back yard!

So this piece is my way of "taking my hat off to the master". It is my take (with my own technique and materials) on a well familiar theme. Thank you Claude.

Sunrise, Sunset...

Recently, some visitors to my Asheville art studio commissioned a couple of paintings from me, one of which featured a sunrise over Driftwood Beach on Jekyll Island (just off the coast of Georgia) and the other is sunset through Spanish moss hanging on oak trees in Florida. I think probably no matter where you are in the world, this time of day is the best, but the intensity of the colors and the length of the shadows are awesomely amplified when the sun is rising or setting over a body of water.

I have always loved twilight or daybreak.  This time of day has be poetically referred to as the "time in between times".  It is then the fairies (or fireflies), dipping and rising in their hypnotic evening dance.

Up to this point in my painting career, most of the oil paintings that I work on "daytime" themed paintings. Honestly, the technique I use to paint has proven to be a rather difficult technique to use in portraying dawn or dusk. But over this past year, I've learned that if I work much slower and apply layers of paint in much thinner layers, applying just one color family at a time, I have much more control over what's going on with the color and light in the piece. The results are something that I've been really, really excited about. 

So...after finishing these two commissions, feeling rather confident in my new found abilities, I started four more sunset-themed paintings, this time featuring long distance views from the top of the Blue Ridge Mountains. Photos to come shortly! 

Crossing the Bar
by Alfred, Lord Tennyson

Sunset and evening star, 
And one clear call for me! 
And may there be no moaning of the bar, 
When I put out to sea, 

But such a tide as moving seems asleep, 
Too full for sound and foam, 
When that which drew from out the boundless deep
Turns again home. 

Twilight and evening bell, 
And after that the dark! 
And may there be no sadness of farewell, 
When I embark; 

For through from out our bourne of Time and Place
The flood may bear me far, 
I hope to see my Pilot face to face
When I have crossed the bar.

My Creative Muse

I will never get over Claude Monet. He is my artistic hero and by far my favorite artist of all time. He was prolific (with over 2500 sketches and paintings that we know of) and he was an innovator, the father of French Impressionism. His style is all his own and even without his signature, we know precisely who the artist was. He was inspired by nature -- his garden pond at Giverny, sunset on haystacks in the field and rows of poplar trees along the Epte River. What he did for artists was to introduce us to the wild use of color and light. His paintings glow. Each one is a visual feast, leading the viewer to curiosity, exquisite joy and hushed stillness at the mastery of this artist. He was amazing.

Look at the above painting of the poplars. Have you ever seen blue trees? No, but it works here in this painting. The blue shadows he uses accentuate the warm red and orange and gold used to illustrate the sunlight. And that really is the color formula he teaches us -- warm colors and their complimentary cool color right up against each other simulates the play of light and shadow in the real world.

Here is another of my favorites. This second painting depicted above is the same subject matter as the top painting but handled differently. This is a much warmer piece but again, notice the trees -- blue shadows right up against warm gold-green in the background and directly beside bright orange in the upper foreground trees. I love this!

Monet is exactly the kind of artist I want to emulate. I don't live in rural France, but I too am inspired by the awesome nature so close at hand right here in Asheville and Western North Carolina. And being half artist, half mad scientist, my style is all my own and I want people to recognize my own art even before they see the signature. And painting on a metallic background, I too am playing with color and light. And my goal is to present a visual feast to the viewer, leading them to curiosity and exquisite joy. These are all what I aspire to.

So basically, I am just like Monet. Oh come on. Let me dream.

Getting Better Acquainted

A couple weeks ago, I received an email by a studio visitor that wanted to include me in their blog. Of course, I said yes because I love attention. :) Here is some of the questions he asked. (And by the way, if you have questions about my artwork or about art in general), feel free to email me. I'm very happy to answer questions or give art advice!

Q&A

Q. Your website mentions various you venturing into dialuminism around 2001. What made you want to start painting this way? 

A. About 17 years ago, I was at an outdoor street art festival in Mt. Dora, FL. At that event, there was an artist that had a booth filled with Greek Orthodox icons. These were legit. He was painting with hand-ground pigments and traditional gel mediums. They were amazing. I had never, ever seen the color of paint do what it was doing on top of 24c gold. It was incredibly rich and intense. After about an hour in the booth, I went home with an idea. I had to try painting on top of gold leaf (I had a couple scraps around) using the medium I was familiar with (oil paint) to see if it could possibly work. And it did. And then I realized I did not need gold to achieve the effect I wanted. Gold works because it is reflective. After a good deal of hunting around for a metallic leaf that would work, I found Italian aluminum leaf (the most pure aluminum leaf there is). That is what I paint on. And I do that because it reflects light back through my paint, creating a "backlit" oil painting. And I do that because when you back-light pigment (as in a stained glass window), you greatly intensify the color.

Q. What is your favorite piece that you've created? 

A. Whatever I happen to be working on at the moment. I'm serious. Every piece I do is my favorite one I've ever done as I'm working on it.

Q.  Who’s your biggest inspiration as an artist?

A. Makoto Fujimura. He is a Japanese-American artist who paints atop metallic leaf as well.

Q. What drew you to the River Arts District? Why Asheville? 

A. In Asheville, in the River Arts District (at least for right now), I can have a art studio that is open to the public six days a week, and because there is a unique community of over 200 artists within a square mile all of whom are basically doing the same thing, there is enough of a presence to attract people from all over the country (and other countries) to our square mile. And because of that, artists can actually make a living creating their art and selling direct to the client.  (Some art studios I recommend in the area.) 

Q.  Do you know of anyone else in the River Arts District who deserves some exposure?

A. Yes. Daniel McClendon (an awesome abstract wild-animal painter), Cindy Walton (one of my favorite cold wax painters) and Matt Tommey (he makes incredible baskets out of wild vines native to the WNC area).

Q. Is Joy also a painter?

A. Yes. Joy is a painter and awesome #1 assistant. She works on her own pieces (all the small work -- she says she doesn't have the patience for the larger pieces). And she assists me on various steps of my work when I'm slammed. A lot of the gold edges on my paintings have been applied by Joy and she's applied a good deal of the aluminum leaf faces I paint on. And she runs to Walmart and Michael's for art supply runs. I am deeply in debt. 

Q.  Any future developments worth mentioning? 

A.  Always. I'm real excited about a 12' long installation piece (on twelve panels) that I sent to the gallery in Oklahoma City that represents me (Kasum Contemporary Fine Art). I'm experimenting with a new idea (also for a large installation piece) featuring aluminum leaf and dichromic film on clear plex panels. This could be super cool because the color of the panels change depending on the angle you are when you see it. I mean, it changes from yellow to orange to blue as you walk around it. More to come on this.

Personal Thoughts

"How do you decide what to paint?"

A young couple was visiting my studio yesterday and had commented that each of my paintings made them feel quiet and peaceful inside, and that although they each depicted a different landscape, that the resulting emotional impact was the same. I told them that that was the greatest compliment someone could pay me. And then they asked how I decide what to paint. And after pausing for a few moments (because I'm not usually asked that question), I realized the answer to that was simple: I want to go back home to Eden. Please pardon my philosophical/spiritual answer, but the question itself turns out to be a philosophical/spiritual question. Eden is in my ultimate goal. I can't help but long for it and depict it in my imaginings. My faith tradition teaches me that I was made for a Garden...a place that is filled with beauty, peace and safety. A place where people can be completely vulnerable and unashamed. And I can't help it -- this is what I'm depicting with my imagination in every painting that comes off my easel. Quiet woods, mountains reflecting in a serene lake, early morning sunlight poking out of the shade canopy in the forest...each scene I paint depicts a place I want to sit (preferably by myself or with just one or two close companions) and be quite, absorbing beauty as a dry sponge absorbs the water. I was made for that. I think everyone was made for that. That is why I paint what I paint. (See my FAQs for more)

The Conundrum Of The Workshops
by Rudyard Kipling

When the flush of a new-born sun fell first on Eden's green and gold, 
Our father Adam sat under the Tree and scratched with a stick in the mould; 
And the first rude sketch that the world had seen was joy to his mighty heart, 
Till the Devil whispered behind the leaves, "It's pretty, but is it Art?" 

Wherefore he called to his wife, and fled to fashion his work anew -- 
The first of his race who cared a fig for the first, most dread review; 
And he left his lore to the use of his sons -- and that was a glorious gain
When the Devil chuckled "Is it Art?" in the ear of the branded Cain. 

They fought and they talked in the North and the South, 
they talked and they fought in the West, 
Till the waters rose on the pitiful land, and the poor Red Clay had rest -- 
Had rest till that dank blank-canvas dawn when the dove was preened to start, 
And the Devil bubbled below the keel: "It's human, but is it Art?" 

They builded a tower to shiver the sky and wrench the stars apart, 
Till the Devil grunted behind the bricks: "It's striking, but is it Art?" 
The stone was dropped at the quarry-side and the idle derrick swung, 
While each man talked of the aims of Art, and each in an alien tongue. 

The tale is as old as the Eden Tree -- and new as the new-cut tooth -- 
For each man knows ere his lip-thatch grows he is master of Art and Truth; 
And each man hears as the twilight nears, to the beat of his dying heart, 
The Devil drum on the darkened pane: "You did it, but was it Art?" 

We have learned to whittle the Eden Tree to the shape of a surplice-peg, 
We have learned to bottle our parents twain in the yelk of an addled egg, 
We know that the tail must wag the dog, for the horse is drawn by the cart; 
But the Devil whoops, as he whooped of old: "It's clever, but is it Art?" 

When the flicker of London sun falls faint on the Club-room's green and gold, 
The sons of Adam sit them down and scratch with their pens in the mould -- 
They scratch with their pens in the mould of their graves, 
and the ink and the anguish start, 
For the Devil mutters behind the leaves: "It's pretty, but is it Art?" 

Now, if we could win to the Eden Tree where the Four Great Rivers flow, 
And the Wreath of Eve is red on the turf as she left it long ago, 
And if we could come when the sentry slept and softly scurry through, 
By the favour of God we might know as much -- as our father Adam knew!

How I decide what to paint...

Today is Tuesday (my day off from painting).  By the way, if you're a visitor to Asheville and roaming around the River Arts District, looking for open art studios, never fear. My studio is open and being watched by Ruth Vann, a dear friend of Joy's and mine. So as I was saying, today is my day off and I thought I would spend some time on the computer hunting for photos that inspire me (I am constantly on the look-out for a photo or an idea that would lead to a compelling oil painting).

But...what makes a "compelling" oil painting? Glad you asked, but that's a tough question to answer!  When you go to Google images for instance and type in "compelling landscape photos", you get some very nice photography. But I can literally spend an hour looking at hundreds and hundreds of beautiful photos and not one of them would make a really great oil painting. Why is that?

One sticking point that causes most photos to be disregarded is that I'm looking for a subject matter (for the most part) that is either generic or is specific to Western North Carolina. That is because I have found it difficult to sell artwork that is obviously a scene from somewhere else in the country. About three years ago, I came up with what I thought was a really great idea:  to paint the iconic scenes from around the whole country. My thought was that people come into my art studio from all over the country so...why just stick to local North Carolina landscape scenes? Well, that year I had a blast painting Mt. Rainier, Yosemite Valley, the plains of Nebraska, the coast of Maine and the bayous of Louisiana. I loved it. This country is huge and so incredibly scenic. Great idea, huh?

Well no. I still have a few of those paintings left. I learned something that year though. Most of my paintings I sell in my studio are to people visiting Asheville, and they're looking for something to take home to remind them of their time in Western North Carolina (not a lighthouse on the coast of Maine). So now, that's the first thing I look for: something specific to North Carolina mountains and woods, or something generic (mountains, trees, lakes, rivers etc. that could be anywhere).

But then the second thing I look for in a photo I use for inspiring a painting is whether or not it "draws you in". That is what I am looking for and I'm not really sure what does that. Lighting? Colors? Contrast? All the above? Something else? Basically, I want each painting to speak to the viewer : "come home". That's it. It's that simple. Come home. We strive and work and stress-out and play and vacation so that we can re-create Eden. We really do. I don't care what religion you are, I think that's what we're all doing. We long for paradise and try hard to create. I can't create paradise, but I can let the viewer look at it. And I like that. I believe that hints at hope. This very easily turns into a philosophical and spiritual conversation, and I won't do that here but...that really does explain what I'm trying to do with my artwork and what I'm inspired by.