Monday, July 29, 2019

Locality!

                                                Mid-winter oil on canvas 20x24  51x61 cm


 The local parks where I live serve me well. The bonds I vote for translate into maintained places that keep to a natural low key vibe. Just what I like. No picnic tables or swing sets, a visiting child can look for bugs. Most of my paintings, like the one above, come from my walks there. Occasionally though I get out of town and if the trip allows, into someplace wilder. Not back packing nature but more like car camping. I carried a pack in Boy Scouts but never since. I may give the impression I`m hiking in pristine wilderness but I`m really a mile away from my home.
 However last week, after a visit with nearby in-laws, we went to Silver Creek Falls state park. It`s a little chunk of old growth forest with multiple waterfalls and undisturbed rainforest vegetation. It`s a bath of green!












 With some really big trees





 As you can imagine, the atmosphere of the place is kind of reverent.
I just finished 'Barkskins' by the wonderful Annie Proulx and she shows the consequence of centuries of logging. Because she`s a great writer, I could stomach the descriptions of the brutal massacre of the New World`s forests and the incredibly arrogant attitudes behind it. It is ugly and the genocide of the people living in those places, will surprise no one. It is the story of our country entwined with the history of the timber industry. As an Oregonian, I`m glad I`m better educated now about the business that first produced the wealth of my state.
This was painted a couple of days later;



                                          Broken Promises oil on panel 20x16  40.5x51 cm



                                                       Spider Rock by Bob Stuth-Wade


 A couple of years ago, I was perusing the vast Valley House Gallery website when I stumbled across Bob Stuth-Wade and it was like a jolt of electricity. How had this magical realist ever gotten by me??
He knew the soul of the Southwest intimately, and his technique is so precise and skilled , it`s utterly baffling.Yet he is not a hyper-realist.  He works from life on location and his intentions seem to be humane, even loving. He takes realism to a rare, maybe holy place. A Stuth-Wade painting is a clear view into the miracle of existence.


                                                           by Bob Stuth-Wade


                                                                 by Bob Stuth-Wade



                                      Summer Meadow watermedia on paper 12x9  30.5x23 cm


I`ve done some more outdoor work myself. That meadow above is no other than the Bryant Woods meadow! That place just gives and gives to me.




    Mitch Burrell and me in a photo by Burt Jarvis. That was a fun day. I`m back to my old method of hauling around an awkward lawn chair and painting on my lap. The fancy easel I bought just wasn`t right and it took me a while to figure it out. The palette didn`t let me get close enough to the paper, I had to lean over it. Anyway being closer to the ground is nice. I was studying the grasses;



 which led to this;


                                              untitled  watermedia on paper 12x9   30.5x23 cm




                                                               by Richard Diebenkorn


 "I can tell as soon as he turns up at the garden gate. I can tell if he had a good day by the way he carries himself, whether he fumbles with his keys, whether he says hi. Just a few weeks ago, he came in and said 'it`s all over. I simply cannot paint!' The next morning he left early and stayed in the studio all day without putting a single mark on the canvas, just trying to look at it in a new way. And then he came home and said 'I think it`s the best thing I`ve done'." Phylis Diebenkorn, from the Diebenkorn Foundation on Instagram.



                                                                   by Michael Lipsey




work for sale in my studio

prints by Fine Art America







Friday, July 12, 2019

Summer Work

                                               In the Canyon oil on canvas 30x30 [76x76 cm]


 This came together in a 12 hour day, it`s been a long time since I`ve done that. I didn`t intend to and as the day progressed, I started letting go of my other plans. This is an imaginary composition of the Oneanta Gorge in the larger Columbia River Gorge, and I had done a study years ago. Can something be a study when there was only memory to guide it? It felt great to paint in the 'zone' again but when I took it outdoors to photograph, the greens screamed at me. So then I spent several days adjusting them and in the end there is peace.


 It can`t possibly last but Oregon is having a mild summer. Like they used to be and I am beyond grateful. In this new age of global warming, the sweetness of a day feels to me extravagant. I want to honor it. To that end, I`ve been painting outside some. The results aren`t too successful yet but these two cheered me on;


                                 From Luscher Farm watercolor on Yupo 14x11 [35.5x28 cm]


                                     Untitled Forest watercolor on Yupo 12x9 [30.5x23 cm]


 Lots of unfinished oil paintings about but they are slowly coalescing. Very slowly. I`m close.


                                            watermedia on Terraskin 12x12 [30.5x30.5 cm]


 As I plot my strategy for re-engaging with the oil paintings, I paint watercolors. Even a decent abstract one!






 Everybody has seen the photos, most are appalled, but unless the courts order more humane treatment, these concentration camps at the border will persist. This is what the president wants and his party is mostly silent. Deterrence to immigration through cruelty. I am so ashamed of my country right now.

 Illegal immigration is a persistent problem but these Central Americans are fleeing lawless countries menaced by drug criminals. They struggle to come here for the mere chance their children will be safe.
In my opinion, we broke those countries and we own them now. Where to start? We overthrew democratic governments to make banana agriculture profitable for American business interests. That`s where 'Banana Republics' come from. We supported dictators who enabled businesses to exploit those countries for any resource that was marketable. Our disastrous war on drugs caused these societies to degrade into vicious feudal territories ruled by drug gangs. We used those countries in a petty proxy war with Russia, ignoring the needs of the citizens but keeping their governments placated with foreign aid. So now a lot of those people want the hell out of there just to survive. It will never happen, but I think we need a separate immigration policy with those Central American countries. And major investment in their local enterprises. Throw in sensible drug laws since this is a fantasy.


 And since this is a serious tone, here is an article by Bill McKibben on our new climate.

For now, the fate of our country resides in the Republican Party. Will any patriots besides Justin Amash emerge? Sure looks doubtful as that institution slides into fascist policies without a hiccup. The voter suppression alone is an outrage.
 We all can see it. That damn red hat is a swastika. American style.


 OK then.







 Look at these beautiful paintings by Jordan Ellingston.
A year ago he wrote me and invited me to come paint with him in Kauai. I could stay in the room he rented, he would sleep in a tent. Now that touched me, I`m a virtual stranger. He saw something in my work that had a commonality with his vision. I agree. There is an obsessive focus on the sweeping crystalline space of the North Shore that sure got to me when there in 2013.
Have you ever seen any paintings of Hawaii this soulful?





More research on the incredible power of drawing! This article caused me to examine my own resistance. As I`ve mentioned many times, I think drawing is a pain in the ass. But why? Well for me it might be because I try to make it utilitarian. I see it as preparations for painting. So when I can`t indicate mass without a bunch of tedious cross hatching I get frustrated. Maybe if I just let lines be lines. I`m not sure if I can. For many years I only worked from drawings so it is baked in. That practice made me draw a lot and I truly think it`s the foundation of what I`m doing. I advocate for it all the time yet feel so little joy.







work for sale in my studio [updated]

prints from Fine Art America





Saturday, June 15, 2019

Pride



 I`ve been thinking about this for days, it`s our 50 year anniversary! Collectively, we began to demand our full humanity be recognized. I was 15 and can`t truthfully say I remember the event, I suspect it wasn`t national news. But by the time I graduated high school, I was acutely aware of what it meant for me. On a bus returning from Disneyland on grad night, I came out to myself. I felt terror and relief simultaneously. It was a couple more years before I let those I love know but I understood, a life of integrity was the only one I wanted to live.
No life is simple and everybody struggles. Yet having a massive prejudice to push against gave my life some early purpose. I`ve never assumed bigotry and spoke of my reality openly. Without negative reaction for the most part. I`m certain the love of my parents was the foundation for that confidence. I would meet many others not so lucky.
True pride was still in the future, I was doing what I could with my circumstance. Being an artist who worked in restaurants was an easier passage than most. I have been comfortable on the margins with little expectation for money. My personal 'pride' came with my husband John. It took many years and a lot of therapy before he was possible. And he stayed. When I became grateful for my sexuality, that was the attitude that mattered.
Despite the ridicule and bias, it`s good to be gay.




                                                              2014 post-wedding party



                                                                oil on canvas 12x9



                                                 Winter Meadow oil on panel 20x20


 A couple of recent paintings I can live with. There have been several others I can`t. I never get used to this dilemma; I yearn for that great painting that paints itself, but they`re very rare. My process involves lots of experimentation trying to find something workable within my intention. It can be so frustrating. Yet if it were easy, I`d make it complicated. Boredom is less acceptable than stress by far. The unrest I feel in my recent sessions must be a message, but what? I keep going back and forth between mediums, trying out new substrates, different scales and nothing is taking root yet in a sustainable joy. I get good paintings here and there but it`s a groove I`m after. The sense of mission.

The whining of artists who are living the dream, it`s the worst!





 You are looking at the next president of the United States. The one on the right, the other is his husband. I`m serious. This is how; Barack Obama`s presidency was made possible by the sheer incompetence of George W Bush, with his debacle of the war in Iraq. The country, in enough numbers, overcame an embedded racism and elected someone smart, charismatic and black. Eight years later, a complete charlatan barely wins because of the despair in parts of the country that never recovered from the Great Recession. What have we got to lose? The economy improves though the chaos, deceit and corruption of the President`s administration turns off so many, the country chooses a brilliant small town mayor for his replacement. Who happens to be very young and gay. It could happen! If Pete Buttigieg is humbly articulate and a visionary, he could capture the imagination of the country. If the president attacked his sexuality, I don`t think people would stand for it. I`m very curious to see the first debates. If he can win over people of color, and if his intelligence doesn`t become a liability, hard to relate to, I think the man above might have what it takes. After all, anyone can be president.


                                                                    by Doron Langberg


 The young Israeli artist, Doron Langberg, is gay and using his social circle as the subject of his work. His technique is sensual and painterly with vivid color. Bonnard is a direct influence both for his bold color and the domesticity he portrayed so lovingly. The work is intimate and often erotic. In an interview he explains how his generation came of age when HIV was treatable and it does not dominate the queer culture like it did. Yet he wants the work to read as unequivocally gay. Interesting.


                                                                   by Doron Langberg


                                                                     by Doron Langberg


                                                               by Doron Langberg


 I find his work to be utterly beautiful.






 Yo painters, listen up! I want to debunk a belief that is giving you false comfort. If you let your paint dry on a brush, you cannot bring it back to life with Murphy`s Oil Soap. This does NOT work! Mind your brushes when you quit for the day.




 My cats. Lyndon asleep, Carter on his waterbed. I`m just a piece of furniture to him.




                                                             Waterfall oil on panel 6x6



work for sale in my studio




Wednesday, May 22, 2019

Travel, Tests and Abortion

                                              [restoration marsh] watercolor on yupo 12x9




 It`s been a tentative start to the plein air season, Spring came late,  but my new set up is simple, functional and compact. I wish I had abandoned my deliberate low tech lawn chair rig years ago. I stand to paint in my studio, it makes sense I`d want to outdoors as well.
 I don`t make a lot of plans, I like life to be as slow as possible with as much time to paint as I want. My focus is on art whether or not I`m doing it very well at the moment. I`m often not and that is when I welcome any interruption whatsoever. Finding a balance between stimulation and solitude isn`t easy.
 One way to appreciate and utilize the quiet life is to go to New York City!
My husband John had been wanting a full scale total immersion NYC experience and he got one. An old friend lives in a close by suburb, so we stayed with her but took the train into the city every day. It was her suggestion and a good one. She lives in an old converted barn in the middle of a huge garden.




 A great place to decompress.
My pal and I had lived on a post-communal farm together when we were both very young. I`ve often  marveled my parents trusted me with this adventure at 19 and far from home, but it was all they really could do. They loved me. It was a pivotal experience, everything is pivotal at that age!
We became fast friends and stayed so even with a whole country between us. Being with her again in this late part of our lives was profoundly satisfying. Because our visit was a full week, John slipped into her pocket as well. He personally understands now.



                                                      The September 11 Memorial

 I had been to NY several times since the attack but had never seen the site. This was a high priority this time. Photos are vastly inadequate to convey the scene. The memorial uses the actual footprint of the two towers in creating a waterfall that flows from the edges of the open void into a pool before falling again into an unseen space. I think for many, the image of the towers melting in place was the most horrifying. The falling water suggests this. Reminds us in a way both powerful and subtle as the names of the dead can be felt by our fingers. It is a masterpiece.
The jury had this to say about the winning design;


Of all the designs submitted, we have found that "Reflecting Absence" by Michael Arad, in concert with landscape architect Peter Walker, fulfills most eloquently the daunting but absolutely necessary demands of this memorial. In its powerful, yet simple articulation of the footprints of the Twin Towers, "Reflecting Absence" has made the voids left by the destruction the primary symbols of our loss. By allowing absence to speak for itself, the designers have made the power of these empty footprints the memorial. At its core, this memorial is anchored deeply in the actual events it commemorates – connecting us to the towers' destruction, and more important, to all the lives lost on that day… 

While the footprints remain empty, however, the surrounding plaza's design has evolved to include beautiful groves of trees, traditional affirmations of life and rebirth. These trees, like memory itself, demand the care and nurturing of those who visit and tend them. They remember life with living forms, and serve as living representations of the destruction and renewal of life in their own annual cycles. The result is a memorial that expresses both the incalculable loss of life and its consoling regeneration. 






 We saw the acclaimed play The Ferryman and a dance performance by the Mark Morris Group loosely based on the Beatle`s Sargent Pepper`s Lonely Hearts Club Band. It was colorful and joyous with extra music by Ethan Iverson.









 Two botanical gardens, bonsai and alone time with John Twachtman`s "Arques la Bataille" at the Metropolitan Museum. The first time I saw it in 1983 I gasped. I had never even seen a reproduction and it`s quite different from his other work. I still love it but was shocked to see the color was completely other than I remembered.
The best paintings I saw were in a show of Joan Miro`s work inspired by poetry at MOMA.



                                                                    Nozkowski


 Thomas Nozkowski died last week. Even in the title of his obituary, the size of his paintings is mentioned. His opinions about scale were reassuring to me and the idiosyncratic work he produced delighted me. He was an outspoken original. Though our work is nothing alike, I felt close to him. Read his own words.


 I`m about to begin a new period of oil painting now that I`ll have all summer to concentrate. Prior to this effort, I`ve been testing watercolor papers and trying to get my fill of watermedia. As I`ve written before, I paint with oils as a concession to successful career practices. The techniques are nearly identical but there is much more of a market for oil paintings. I live with this compromise comfortably. However there is a psychological freedom in working on paper that is unique and pleasurable. It`s less precious. Though when it comes to presenting a good one, framing costs are considerable.
So in an un-Nozkowski spirit, I`ve been painting familiar motifs on these sample papers and also trying mightily to get a good watercolor before I resume the oils;


                                                               oil on Yupo 20x16


                                                             watercolor 6x6


                                                                  watermedia 6x6


                                                                    watermedia 12x9


                                                               watermedia 6x6


                                                                    watermedia 12x9


And this last one below is painted from seeing a friends Instagram documentation of her hiking trip in Jordan [!] Something about the hills in the far distance seduced me. The outcrops were bleached to transparency much like distant views in New Mexico. Georgia O`Keefe famously called the phenomena 'the faraway nearby'.


                                                   Wadi Rum watercolor on Terraskin 12x12



 Everyone by now knows of the states trying to outlaw abortion in an effort to get a case before the Supreme Court. That a bunch of men think they can legislate what a woman can do with her body makes me crazy. I suspect most readers of this blog about painting would know how I feel and agree.
Fundamentalism, in any religion, is about control, not faith.
Here is one ministers take on the matter;





Everyone should bear in mind that outlawing it will only make abortion dangerous. That is obviously no problem for politicians who come up with laws that would prosecute a female for an abortion more severely than the man who raped her. This is the modern Republican Party.





Read Ursula le Guin`s personal remarks






Harold Ho is a hero.



work for sale in my studio