Hooks, Hearts and Hexigons

Two hooks joined at the point of action at the lever end of the hook facing each other seeing one another in a mirror for a strong bond of the heart. Two hooks that are back to back let their relationship space out. They break easily.

Two hearts back to back make a hexigon dream cloud.

Two hooked hearts overlapping.

Daffodils in the Rain

For a month now I have been doing black and white drawings of the ripples made by rain drops on a tiny pool of water that rises up by our miniature daffodils. None of the sketches really helped in the way I paint wet into wet oil.

Workshop at Fall Creek Fish Hatchery and Research Center

This will be the fourth year that I have taught watercolor at Fall Creek Fish Hatchery and Research Center. It is free but pre regestration is necessary. It is the first Saturday, November 6. To secure a place call Joseph O'neil at 1-541-487-5512. Below is a student's work from last year.

In the afternoon it was dark and rainy outdoors. I tried to find an activity that did not involve going outside to paint.


Here is one result " Fort Hood" rendered by a gentleman who took up my idea of expressing your emotions and the perception of all your senses. Looking through my collection of photographs he selected one as a starting point. It was a sunset over water with grass in the foreground. For his "Fort Hood Flag at Half Mast" he preferred to paint on pure white paper slightly sullied by the folded grid for a book. The paper had been folded into 16 square pages but not cut. I don't know if the gentleman was aware of the symbolic significance of his heart felt memorial painting. I see this as an expressive work.
As a teacher I don't feel I had much success in convincing my students that they really have so much art inside them.
For the most part I had some very appreciative students learning some basic possibilities for carrying watercolors outdoors. I heard some wonderful questions on techniques. In hind sight I have additional things I want to share at the Fall Creek Fish and Art Festival, 2010.






I received this question. What specifically can I do to improve my style in watercolor?

This was a great question and the class was almost over. I had spent so much time talking about how to be prepared for sun, and rain and hunger and thirst. I showed how to manage drying your work without a hairdryer. I fear especially for the beginning students, there is a need to know much more about getting the paint from the palette to the paper. What different possibilities does a round pointed brush have in contrast to a flat one? Where do you begin first with the forms or the spaces around?
The beginning point doesn't matter. Then proceed on the path of least resistance making what you do as simple as possible. To improve your sense of color and how you form and place your images there is nothing better than trial. Select what you like best. Keep painting and drawing into your paintings. I really like to tint the paper before I paint and then just a few lines on location makes for painting that tends to be tied together.
I wish all my students more exciting, memorable painting experiences.

Abstract from my Indian Summer Yard

This diptyic is oil on 12" square Masonite boards with supports 1 1/2" deep. Just enjoyed making one more oil painting day before trying to put them away for the season. I paint outdoors because none of my studio areas are well ventilated.

Water energy as seen in emotional symbols in abstract painting

Acrylic on Masonite blocks, 12" square.

At home touches to paintings made in Winnebago studio

I had a wonderful month painting in my outdoor Winnebago studio. I was on the bank of the Siletz River at the Coyote Rock RV Resort and Marina.
These canvases are 24" x 24". I will hang them up in my house to look at and think about. It was my intention to express my emotions in an abstraction departing from the objects in the picture until the subject was no longer important. But I just couldn't depart to the non-objective in these two paintings.

My touches to this first painting covered the entire canvas except the mountain in the back ground. The Sprightly Splash received some value changes in the splash itself. I do not like pure white from the jar.

Painting the kinetic feel of rock and waves

The self portrait is more finished than when I first posted it below.

From high above looking down painting the ocean at Rock Creek Wayside,
I hear power in waves roaring towards me like freight trains.
The joy in my heart is protected by the cozy cove of rock solid ribs and my gloved right hand.
The water energy slaps me in becoming a splash of energized droplets on canvas.

Munson Creek Falls on accordion folded watercolor paper

The most pleasing thing about this watercolor is immediacy and spontaneously. I didn't go back afterwards and make changes.the Munson Creek Falls are a true gem. a few years ago trees obscured the view. Now they are completely revealed.

Paintings from seeing high surf at Rocky Creek

My intention was to use what I was experiencing as a springboard to an abstraction leading to a journey. I feel these paintings were about the energy of surf that roared like freight trains rushing to a crash on the rocks. The water exploded. These two paintings are just a beginning. Another one could make a leap to something but I don't know what yet.

September painting inspiration on the Oregon Coast

Today it is raining hard and I am taking time to reflect on my husband's photos.

I'll put my paintings out in the dry of our motor coach to look at them more critically.

The way I paint and draw is very nearly the same.

For a month abstracts approaching non-objective content have been my focus on this blog. In addition I have been making pen and ink illustrations. To my great surprise I learned that my best most direct and expressive work in both is done when I am standing up. Even when I am working in 3 inch square area I need to have free movement of my arm.
Secondly, I learned that I needed to be in a certain moment when I had a whole over all awareness of what I was making. As soon as I fixated on a part of the painting that was not as precious as another, the changes were forced. I can be very good at finessing a spontaneous look but it is always very difficult and often I fail. Like in my paintings when I draw, I started changing small areas using white-out making forced areas in an otherwise precious drawing.
In both drawing and painting, I work myself up into an emotional state of what I am making. When I tried to copy analyzing the angles and sizes, the emotion and spontaneity was dead. The same death to my spirit occurred with tracing on a light table.
Today I am going to buy more sumi ink and nibs for my old fashioned pen. I love the way it responds to my slightest differences in pressure as though I was sculpting. As for the rags, I have been using on my paintings, I am going to fashion more paint shapers from rubbish I would ordinarily throw in the garbage.

Abstract Painting of the Color of Some News Broadcasts - Red Hype and Yellow Truth Twisters

These two 32" square acrylic paintings were first about the emotion of the ocean and clouds and not about reproducing a picture of them. The meaning I wished for my paintings became clear from a single comment of my husband on the news of another dip in the economy and general worsening of the world situation from small entities that make splashy headlines. I am very much for freedom of the press and demand more journalists out there with more stories and less hype and regurgitation.

New series of Oregon Coast Paintings

I have been inspired by my early art education under Frederick Heidel and more recently Diane Hoff-Dobbie to be very selective from nature and then let myself go without expectations. Only to interrupt the free flow by stopping to look and draw out several paths for a conclusion to the journey. In recent days I have set up myself for uncertain success. I have been trained to do painted studies from nature and then work in the studio. Here I am doing studies in the studio mostly from memory on 12" square Masonite. Now I am going out to the river canyons and beaches to do the larger works. I like to play and experiment but that isn't the object, I want a true, immediate, emotional response that is structured to communicate. I am not painting my impression of nature: I am painting selected nature that reflects my desire for a rich paining journey. Hopefully I won't be lost in scattered impulses too much of the time.

Abtract growth in high relief lines

If you like these two, see similar ones by clicking below on labels.

Abstracts reacting to one another

Oil paint often is immitated with acrylic so it is difficult to tell one from the other. I have thought that my acrylics looked like oil because I started painting with oil in the 60's. After years of acrylic painting, I see big diffeences in how I proceed in applying the paint.

Rock and reflection abstract diptych

Oil on masonite boxes. Please click on the image to see enlargement.

Paintings from Cascade Head, Oregon

Acrylic on masonite board box 14" square, by 1 3/4"

No brushes, no extra solvent oil painting at the Oregon Coast

The picnic table is my studio furniture.

Click on the photo see close-up all the paintings.

Painting at the Oregon Coast

The fog is lingering today but this afternoon it should rise with the breeze and change of tide.

Morning Grazers - The well cared for steer series

On the back of a used envelopeI sketched these steers. Then I continused to refer to them as I painted them. This is oil on stretched canvas.