Friday, January 23, 2015

In the Dorian Wood

In the Dorian Wood, 5 x 7", watercolor/Neocolor II
I have begun a shift in my endeavors, working toward a focus on creating in a way that serves to comfort and heal in today's world. A big part of this shift involves learning how to make music that helps. Therefore, I am becoming familiar with musical modes--something I had not heard of before--and I am captivated! The enchantment comes from seeing how the same raw material can be rearranged and a totally different feeling emerges. While I am delving into these modes on my harp, landscapes begin to emerge. I thought it would be fun to make little paintings of how the different modes appear to me.
      My first posting will be in the Dorian mode. It is one step up from the starting point, the Ionian mode, which would be C major (or any major).  The Dorian mode has a magical quality that reminds me of being in the woods--my favorite place!
   

Thursday, October 9, 2014

Moon Musings

Blood Moon, 5.5 x 5.5", mixed media
Very early Wednesday morning, I simply walked down my driveway to witness a wonder of our solar system. The earth's shadow slowly covered the moon. When I ventured out, there was already a visible bite taken out of the moon. Shivers ran through me: The universe is so large ! It was a major perspective corrective: the political season we are enduring right now doesn't count for much in the long run.
     The scene was so dramatic, a sound track would have been appropriate. Do you suppose there is a sound of light waves being blocked? I was fascinated to read about the red light that makes its way around the earth light the moon. And light passing through the ozone (which absorbs the red light waves) makes a rim of turquoise around the moon when the eclipse is complete.
     We were only able to see the first half of the spectacle in the eastern U.S. As dawn approached, the moon sunk low and it was a beautiful pink color, almost blending in the the dawn sky and a bit tricky to spot.  I've never seen the moon quite like that before. So I made a painting of that as well.

Pink Moon, 5.5 x 5.5", watercolor/pastel 
    Both of these little paintings will be part of an exhibit at MS Rezny Studio/Gallery, 903 Manchester Street, Distillery District, Lexington, KY in November. Titled Totems, Tales & 'Toons, the exhibit includes drawings (cartoons) by my friend and Rector, Chris Brannock, as well as my paintings of some of my personal totems and tales. We will be part of the Lexington Gallery Hop on November 21, 2014, 5 - 8 pm.



Tuesday, September 16, 2014

A Bit of Peace

There is a lot of sorrowful news in the world right now. And closer to home, I have attended several funerals in rapid succession. So, it has been calming and peaceful to work on this painting. A smooth lake is a gentle wonder. This evening was particularly beautiful because the sky was an unusual pink color. The combination of green and pink charmed me and made me think of the heart chakra, which absorbs green and transmits rose. I hope that this scene provides a calming, centering, healing respite for you.

Monday, September 1, 2014

Ah, September

Ah, September,  watercolor, 3.9 x 9.8"
I always love when September rolls around. I make vow to savor each day, because this is also a fleeting season (please see The Fleeting Season, 5/9/14, for the Spring version.)  Setting out for a walk this morning, I noticed that leaves from our street oak tree had fallen during last night's rain. The redbud pods are browning and you can see through the green of the leaves to the golden hue which is right around the corner.
        September is a unique month, because it still very much like summer (okay, it still is summer.) In September, is as though the heat and headiness of summer is gathered in a pot and simmered and reduced until it is a tangy elixir ready to be poured over a big pile of crunchy autumn leaves in October. Enjoy it while it lasts!

Tuesday, July 22, 2014

Learning from Newton's Apple Tree

Newton's Apple Tree, underpainting in watercolor
In preparing for a demonstration using complementary media to make a painting, I thought I had better use a smart subject; Newton's apple tree came to mind. It was a good choice for several reasons: it featured a close-cropped and well groomed lawn, the tree itself had a picturesque shape and the image involved some good story lines which could be useful for the demonstration.

      My favored media combination is watercolor and pastel. Starting with a watercolor underpainting, I had a particular goal to show how effective it is to place the complementary color of red underneath the grass area (please see the photo above left.) That was going to be my focus during the demonstration (the first of three demonstrations given in conjunction with More & More, a juried exhibit of mixed media pieces at MS Rezny Studio/Gallery.)

      I set to work, preconceiving that I would be making an endless succession of small vertical green marks for the grass. Well, I had already ignored a couple of important guidelines that I profess: 1) Don't preconceive; don't figure that you know in advance how to render something. You will always be looking anew at your subject and making decisions based on your perception. Spend some time considering your subject and be objective. 2) Follow the direction of the image (Don't follow directions--follow the direction!) The neatly trimmed grass surrounding Newton's apple tree was similar to a napped velvet. So, rather than a vertical direction, the grass had more of a horizontal direction. Fortunately, as I was busy making all those vertical marks, our little group was enjoying a lively philosophical discussion. Finally, Mary allowed as how the grass could stand to be mowed. True! Luckily, this could be accomplished by lightly stroking the pastel marks horizontally (please see photo above right.) Which brings up a third guideline: Redemption is always possible with watercolor and pastel!


 After the demonstration, I decided to take up some of the pastel. This is accomplished by brushing on water and mopping up the pastel. The  "tooth" of the paper is restored and I could take the more appropriate approach of horizontal strokes of green to render the grass.


     This approach did the trick. I was able to give the impression of a well cared for lawn; one that would have restricted access. Since you have stuck with me thus far, I had better tell you the story about the lawns of Cambridge (the setting for this painting.) Apparently, originally the Fellows (academic leaders in the colleges of Cambridge) were not allowed to marry. Since the Fellows had to bear this sacrifice, it was considered what special privilege they could enjoy in compensation; and that privilege was that the Fellows could walk on the grass! So that is why mere mortals are not allowed to sully the manicured lawns of the colleges. But the grass is truly a side story, the subject is Newton's Apple Tree. Newton studied at Trinity College, Cambridge and in honor of his residence at the college, they keep an apple tree on the lawn in front. According to our tour guide, this tree is a succession of grafts onto the original (the one with the falling apple, presenting gravity to Newton.) Through this exercise, I find myself continuing on the learning path. Many thanks to Sir Isaac's apple tree!

Newton's Apple Tree, 12 x 18", watercolor & pastel 
   Perhaps you are wondering how it is that I came across Newton's Apple Tree. David and I were very fortunate to be part of a wonderful tour: A London Rhapsody with Fred Child. We were treated to a week of wonderful music and sightseeing in London and finished up with a trip to Cambridge to experience an Evensong at King's College. Beforehand, we enjoyed a tour of Cambridge, including Trinity College and Newton's famous tree.

      More & More will be on display at MS Rezny Studio/Gallery, 903 Manchester Street, Lexington, KY through July 2014. It is a wonderful show worth visiting!

Thursday, June 19, 2014

London Eye's Big Ben

London Eye's Big Ben, 5 x 7", watercolor on Arches paper
I'm not very handy with Photoshop and so if I want to tweak a scene, I paintershop. That is what I used for this little watercolor. We had great coach drivers for our London Rhapsody with Fred Child and this driver made a special and slow trip across the Thames so that we could see Big Ben through the London Eye. I wanted to remember it as I saw it, not with all the reflections from the glass and general blurriness. That is the advantage of making art!

Monday, June 16, 2014

6-16-14 Weekly Watercolor

Rainy Day along the Thames, 5 x 7", watercolor on Arches paper
Just a week ago, David and I returned home from a wonderful week in London. We were on a tour organized by MPR Custom Travel: A London Rhapsody with Fred Child. It was a fantastic week filled with lots of music. We enjoyed an informal recital in Handel's house of his music and his contemporary's music on a beautiful reproduction harpsichord; heard music that I had not heard before (Alwyn's Sinfonietta, and Britten's "Les Illuminations") at St Martin-in the Fields performed by the young Northern Lights Symphony Orchestra; an over-the-top entertainment concert of film music performed by the Royal Philharmonic at Royal Albert Hall; perfectly performed (by the London Symphony Orchestra) Beethoven at The Barbican; and an exquisite Evensong at King's College Cambridge (which included Fred Child's special interview beforehand with Dr. Stephen Cleobury. David and I were able to fit in visits to the Tate Britain and The National Gallery to satisfy my need to see art (and visit one of my favorites, Sargent's Carnation, Lily, Lily, Rose.) It was a rich and rewarding experience that will stay with me for the rest of my life.
     Before we left, the weather forecast predicted rain every day of our trip in London. As it turned out, there were only a couple of rainy days, and they were not too bad. The worst rain fell on us as we departed Westminster Abbey and on another day St. Paul's Cathedral. Perhaps the weather gods and the Church of England got together on this! Rain seems to go with the atmosphere in London and the Thames is a natural organizing factor for Europe's largest city. This painting celebrates the two and gave me the exercise of depicting rain on the coach's window as well as allowing me to revisit a lovely trip.