New Forests - teaching questions

                                                           watermedia on Yupo 14x11


 No titles on these new works yet, it`s been mortal combat just to get something decent.

                                                          oil on multimedia board 14x11

                                                       watermedia on Terraskin 16x11

                                                             oil on multimedia board 7x5

                                                  watermedia on Terraskin 14x28


 With each recent painting, I`ve been mentally verbalizing what I`m doing. In early February I`m teaching a workshop in Seattle and want to be prepared. Talking while painting is something I discovered I can do and it`s the only way it feels natural to teach. The class is just two days so I`m trying to distill what I do into concise helpful units. For example I`m taking and will talk about a big variety of brushes. When I`m in the fray, I choose which one to use much like a surgeon would. Carefully. Each type does something specific and I believe the right choice is crucial. That being said, I also believe they should be inexpensive. Precious tools and materials really inhibit me.
A friend suggested I talk about color, she thinks it`s the most distinctive aspect of my work. It might be the most subconscious of my decisions too so I am happy she pointed it out as worthy of a discussion. Do any of you who look at my blog and work have any thoughts as to what you might  like to hear from me in such a setting? I`m not fishing for compliments, I`m just curious what others think is important in painting. I`ve never taken a workshop like this and I want to provide as much useful information as possible.
I will talk about having a real connection to your subject and the importance of knowing your reasons for painting and of what your ideals might be. These psychological questions are often uncomfortable especially for new painters yet they are worth asking though as the answers can set a course of forward motion.
Thinking about the process so much makes me realize how individual and instinctive it all is. Just the way we hold a brush will determine the sensitivity and energy of the mark it makes. And how we hold it is also probably genetic. It`s not a coincidence my handwriting looks like my Dads`.
There is plenty to love in painting, just creating something is often thrilling. If we go deeper, get more personal, we will encounter true tests of our character. If our best self prevails in those situations, painting becomes our companion and the real fun can begin. If I can make that experience more accessible, I will be happy.

                                           
                                          a poem from Martha Graham to Agnes DeMille
                                         [thanks to Dana and Laura]

                                                       Chasing Rivals by Matthew Dibble

                                                       Mecca Chip by Matthew Dibble

                                                        Earth Vanishes by Matthew Dibble


 I`ve mentioned Matthew before, I think he is truly an exceptional painter. He walks right up and steps into the shoes of Willem de Kooning, one of the greatest artists in history. Without explanation or apology Matthew extends the territory of abstract expressionism. His personal story is an inspiration. The investment group, Brighthouse Financial, made a little commercial/promotional video featuring Matthew, and it`s sweet. His show 'Legendary Bog' is up at the First Street Gallery in New York until January 26 2019.

 In New Mexico, I almost always knew what phase the moon was in. I worked at night and in the Southwest it is impossible to ignore the sky. Now in the Pacific Northwest, hardly ever. Too many clouds and trees! With this chart I can check with a glance.

 Here is a man who paints with the tide.




work for sale in my studio

Workshop in Seattle Feb. 2&3

Prints from Fine Art America

Before the Snow

                                                   Before the Snow oil on canvas 24x20


 It wasn`t my intention to create a tonalist painting, but it was as if Emil Carlson was whispering in my ear to slow down and use smaller brushes. Coax the image into life. This was another failed painting that I knew I would fool around with again some day. Saturday was the day. I had squeezed random blobs of color, white and clear thick painting medium on the piece. Then I squeegeed them all over the canvas mixing them up in the process. What I had then was an amorphous misty void. Here and there I saw elements of its former life and began to emphasize areas using transparent color. It was more assembled than painted and the palette had to be cold. Maybe because it`s November. It is based on the soggy marsh forests on Minto-Brown Island.

                                                Rainforest Autumn 4 oil on canvas 20x16


 This also became tonalist in my effort to tweak it toward vitality.

                                              Cascade Head Spring watermedia on Yupo 12x39


 There it was, impossible to ignore! An announcement that the Saavy Painter Podcast was having a competition and online exhibition. Reasonable entry fee, and no shipping or framing issues due to it`s digital nature. I thought it was a perfect opportunity to enter a couple of oddly shaped paintings. Cascade Head Spring won third place! Yay me! Nice prizes and a mini interview for the podcast. That`s perfect with my fear of public speaking. The exposure for my work will be considerable too.
You can see the show here.

I was feeling very lucky at the end of Oct. and also applied to be the first artist in residence at Hakeakala National Park on Maui. One month inside the crater! My only competition is the rest of the whole world. Open to all disciplines and nationalities.  I slaved over my proposal letter.

And I submitted for an award from the Santos Foundation for artists of merit. I thought why not? can`t win unless you enter! I also saw that they had extended the deadline. That means they were short of applicants.

 I learned a long time ago to give efforts like these my whole attention during the application process and then forget about it. Usually works unless I want something badly.
I need to be in that crater.

Within all of the reports surrounding this necessary purge in sexual harassment claims and denials, I found this quote to live by "if a woman wants to see your penis, she will ask".
As for gay predators, shame on you! You are not excused because you`ve been denied full acceptance. Your homosexuality is not a shield for you to hide behind.
When power is used to sexually coerce it`s just wrong, we all know it.

                                                                    MatthewDibble


 Matthew Dibble is an artist I`ve admired a long time. He shows with Saatchi Online as I do and I`ve watched his career expand with interest. He works hard and every painting I`ve ever seen has something exciting about it.

Too much thinking can be an obstacle for me when painting; the ‘judge’ always seems to get in the way. My connection can only be found in the moment, and I often come back to a sense of my feet on the floor while painting. During these moments some real work is possible…. As artists, we do much better trying to keep things simple. We do better to compare ourselves solely to ourselves. Self-inventory is useful, while self-condemnation is not. Without calling our whole identity into question, there are inquiries that we can fruitfully ask. How am I developing as an artist? Am I doing the work necessary for me to mature? Did I work today? Yes? Well, that’s good. Working today is what gives us currency and self-respect. There is dignity in work. —Matthew Dibble

                                                              painting by Matthew Dibble

                                                           painting by Matthew Dibble

                                                             painting by Matthew Dibble

 He`s terrific, yes?

                                           Fanno Creek Fall watermedia on paper 16x12


 This seemed like a dud a couple of years ago, now I like its wistfulness.



work for sale in my studio