I will be exhibiting a small group of recent paintings at Fountainhead Gallery in Seattle for the month of March, along with featured artist and fellow landscape painter Christine Gedye. The paintings are part of my ongoing investigation into the border between reality and imagination as it applies to nature scenes, and some technical experimentation in color and texture. The dream, daydream, meditation, or fleeting thought at the edge of perception can paradoxically put us more in touch with our surroundings. I am particularly interested in what happens in the transition from daylight to dark and the effects of low light on vision. In some of the compositions I represented this phenomena with a violet underpainting (a hue that can easily shift from warm red to cool blue), which inspired the title The Violet Hour. There will be an opening reception on Saturday, March 7, from 5 to 7 p.m. and the exhibit will be up until March 29. For more information go to Fountainhead Gallery.
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Fountainhead Gallery in Seattle has its annual holiday season group show up this month. Titled "Glancing Back, Moving Forward," the exhibit showcases works chosen by director Sue Peterson from previous shows by 25 long-term and new gallery artists. My paintings "Murmur and Sigh" and "Florida Landscape with Rocket Launch" are hanging. There was a nice opening reception on December 6 with several of the artists in attendance, and the exhibit will be on view until January 25. It's a nice show, stop by and see it! For more information, go to www.FountainheadGallery.com.
Summer in the Pacific Northwest is lovely and this year it was warmer and longer than usual. Since it had been a few years since I had done much oil painting outdoors, I signed up for a 3-day July workshop taught by Mitchell Albala, author of Landscape Painting: Essential Concepts for Plein Air and Studio Practice. The location, Orcas Island, has beautiful views everywhere one looks. Mitch's lessons in a systematic and logical approach to tackling this complex subject helped me to be more efficient and effective in capturing my surroundings. We students in the painting group, and my family members who accompanied me, had fun, too! Back in Seattle, I bought myself a new compact pochade box that attaches to a camera tripod and took it out for a few short local excursions. At right, Pochade box in action, Gasworks Park, Seattle. What is so enjoyable to me about plein air painting, along with the pleasure of being outdoors, is the opportunity for direct response to and engagement with the subject, along with the limited time available to dither about. In this way, it is similar to working from the life model. I don't worry about the concept other than the purely visual factors of composition and color, and I go for a straightforward interpretation of the scene in front of me. It is Fall now, but the weather is still nice; I hope I can get back out there a few times before the rains set in. Left, Small sketch on paper of the river bend at Bothell Landing Park. In the earlier months of this year, 2014, I had a one-person exhibit at the Edisto Island Museum in Edisto, South Carolina. This was an exciting project for me, preparing and shipping fourteen paintings to this small museum located on the scenic island home of my forebears. The Museum Director, Board members and visitors were appreciative and complimentary about the results. Here in Seattle, I was invited by an artist/curator friend to exhibit several works along with a small group of artists at Gallery 4500 in the University District. In late summer I exhibited a specially-created a painting (at right) on the theme of the struggle for women's reproductive rights, for the invitational show titled "Who Did She Think She Was?" at the Toshiro Kaplan Building in Seattle's Pioneer Square. I will post an announcement as soon as I have my next exhibit scheduled. In the meantime, you may see examples of my work at Fountainhead Gallery in Seattle. |
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March 2024
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