Return of Winter in Shu Swamp

Winter's Tranquil Effect 46"x 58" 2015

Again Winter is upon us, coming later than usual but welcome because of the beauty it brings to the land. I started this painting last February and let it rest over the summer, then returning in November to finish because I needed the cold air outside to bring me back into this scene. Perhaps it is not yet finished because sometimes the obvious is not seen for quite a long time but still it hangs in a local gallery window I hope to inspire onlookers to stop and reflect on the splendor of the season.

Topeka BNSF railway yard & Lucy

BNSF Railway Yard in Topeka, KS 20 x 40" 2015

I got back into doing a series of railroad paintings this summer to commemorate my father's passing  3 years ago. He would have enjoyed seeing these works. Time flies too fast.

Lucy 32" x 38" 2015

Another painting of Lucy, one of my favorite models. I just cannot do her justice in attempting to capture her astonishing beauty. I prefer the casual pose over the artificial stiff stance of so many equine portraits.

Sanctuary 45" x 50"

Woe, I cannot believe how much time has passed since my last post. I finished this painting quite a while ago and have since been busy preparing work for the outdoor art fairs this summer. This painting has been getting a lot of attention at the horse shows and at the Westhampton Beach Mary O'Fritchie Art Show last weekend. Here are few pics from that show -

Rejoice! A New Painting in Progress

Small sketches for the latest painting, oil on watercolor paper

How joyful it is to begin a new painting!  There is so much hope and anticipation of great challenges ahead to be conquered, new horizons to cross, and a really good painting to enjoy. But in reality the thrill of the whole process is very much befitting to the agony and the ecstasy. Hard as I try, not all paintings will become their best. This is the reality of each new canvas. That is why I begin with as much preparation I feel needed before jumping into it whole-heartedly. But that work still does not guarantee success or get me out of hot water because the painting process itself really is what determines the finished work.

Acrylic and Oil on canvas, 45" x 50" work in progress

The underpainting prepares the basic color scheme and the drawing continues to be finessed as each layer is built. I decided to invert the horses from the original sketch- why? I just thought they looked better facing right. The bird is there because I believe it adds a certain refinement and elevation signifying spiritual and bodily freedom. I try to put them in my work any time I can.

So, here it is so far and when I return the finished painting will be unveiled...

Plein air painting festival July 11-13, 2014

Acrylic on 140lb watercolor paper

One of the locations for Gallery North's Wet Paint Festival this year was at Harmony Vineyards in Head of the Harbor, NY. On Saturday I made 5 paintings moving my easel to different locations around this very beautiful vineyard. Here is my entry for the auction next Friday evening. I chose this because it offers 2 paintings for the price of one and shows 2 views from the same standing point.  The weather was perfect with a light breeze coming off the harbor. Plein air painting is truly one of the best things about being a painter.  I go to work in a location that will ultimately become ingrained in my memory because of the intense visual observations made. It is always fun to see how these studies evolve as the spontaneity of the process keeps it all so refreshing.

A Cardinal's Lair

                                               Oil on canvas 38" by 50" 2012-2014

I wanted to give the viewer a glimpse of a very special and rare abode, a place that we would name a secret jewel in nature, yet common in that vast array of wonders the woods will show us. The frame was initially difficult to work with as I had changed it's color and design more times than planned. But I was determined to make it do what I had intended, to enclose a window into an exquisite world.

Fresh Paint

"Entering the Show Ring" oil on panel, 4" by 9" 2013

Right now I have really been enjoying painting more loosely. Why do I find the look of a loose painting so much more satisfying than one that is technically tight? Technique is a funny thing, you can head out in so many different directions with it and still get lost no matter what. A tight painting done well can absolutely razzle-dazzle but what about the search for freshness, emotion, and confident finesse of the artist's hand seen in varying brushstrokes through texture and direction. And more importantly, an artist's struggle can be seen, forgiven, and understood on a much higher level than in the general academic approach. The most important thing for me when building a painting is to get that essence of what the story is I want to portray. Whether it be the weather, a gesture, a single moment in time captured in color and brushwork, that is what brings me back everyday to paint exactly what I want and the way I want it.