Show off

I'll admit it, I have been neglecting my blog lately.  Short little blurbs on Facebook are just too tempting, and I wasn't sure how many people were actually reading the blog.  But I have been reassured that indeed I have an audience, so I will try to do better.

There are a few new things on my plate this summer.  After building up my skills on the 16x20 canvas board I gave a 24x24 gallery wrap canvas a try.  My original intention was use the small Connected study and go bigger, but as often happens, the painting went its own way and I just followed along.  It got rather dark at first but with some effort I was able to get it a bit lighter.  I am finding that if I hang a painting on the wall and turn off the brightest lights to imitate typical lighting situations in a house, it helps me to make a few adjustments.

Evening Storms Likely 24x24 oil, copyright 2013

Next month will be a bit hectic as I will be showing in two places at once.  The first is the Cozy Kup Cafe on US 35 in New Lebanon.  It's a coffee shop (obviously) that my husband stops in occasionally - I'm not a coffee drinker, but he brings home excellent chocolate chips cookies - and the owner Sarah is an art lover.  A fellow artist, Phil Erbaugh, suggested I stop in and see if she would be interested in showing my work.  She said yes, so now I have my first venue on my own!  I'm pretty excited about it, so if you are local, be sure and stop in for a cuppa joe and a painting during the month of July.

In addition to that, thanks to a last minute change of plans I will be participating in an invitational show at the Preble County Art Center in Eaton during July.  And the Preble County Fair is coming up at the end of the month.  Now how am I supposed to decide which paintings are going where?  And if only I had this problem more often!

Bigger and brighter

This weekend I attended the opening reception for Spring Fling, an annual juried exhibit at the Gateway Arts Council in Sidney, Ohio.  This year I was privileged to have two pastels accepted into the show.  It's an excellent exhibit with many talented artists participating, making the quality of the pieces displayed quite high.

I learned a few lessons as I walked around the exhibit.  The first, which I really already knew, was that while my work has gotten much better over the last few years, I still have some catching up to do.  The second was that I need to paint bigger and brighter, especially for these types of exhibits.  Larger pieces often do a better job of commanding attention, in particular when they surrounded by many other pieces.  A little 9x12, while quite lovely in a living room or bedroom, is overwhelmed in such a space.  In addition, all the dark shadows which were supposed to be dramatic turned out to be more melodramatic in a setting with lighting that is more subdued than in my studio.

Taking all of this into consideration, I have resolved to paint bigger and brighter, at least for exhibits.  Even for other pieces I will try to make the mood brighter - occasionally walking the pieces out of the studio and setting them in a room with more typical lighting (my dining room, for example) will help with this I think.  Something like the painting below is step in the right direction I think.

Chance of Scattered Showers 16x20 oil, copyright 2013

Dark skies

Winter Sky study 9x12 oil, copyright 2013

Connected study 8x10 oil, copyright 2013

Since taking the workshop with Steven Walker I've been playing with my oils, trying to work out how they will work best for me, and I find myself focusing more and more on the sky.  Really, that shouldn't be much of a surprise as that is what I have been doing for some time in pastels.

These two are the most recent of those studies.  During the workshop Steven pointed out several times that my clouds were rather dark and ominous looking, and these are no exception.  I like the drama that dark skies create and have many, many reference photos of storm clouds.  After finishing the second one in particular though, I realized he had a point - it's a bit too dark.  It may not be obvious on a computer screen, but it is obvious when it's on my living room wall.  It appears that I need to learn to compensate for the fact that a typical room in a house is not as well lighted as my studio.  I think I will try the second one again, but larger and brighter, while keeping the drama.

Fresh eyes

Breaking Through the Clouds 9x12 pastel, copyright 2012

Sometime working in a home studio is a bit isolating.  Being surrounded by fellow artists can offer unexpected insights as well as lively discussion on color theory, perspective, art history... all the technical details of what goes into a painting.  But sometime the technicalities and techniques can bog you down, especially when the only insight you really need is, does it look right?

Despite his protestations of "I'm not an artist", I have managed to convince my husband that his insights are quite helpful.  With this painting, he pointed out that it looked much better when the large, closer tree was more defined.  There are reasons for this having to do with perspective and line and depth; the simple truth is, he was right and it does look better.  Sometimes all it takes is fresh eyes.

Beyond blue

Reveal 16x20 oil on panel, copyright 2012

Clouds breaking apart to let a bit of sunshine peek through inspired the last of these sky paintings.  I have to admit that this one gave me a lot more trouble than the other three.  The problem seemed to be that I tried to hard to make it look like the photograph instead of just letting go where it wanted to go.  The paint got pretty thick, then hard to move around and impossible to create the softer feeling of the previous painting.  After a few days of drying I worked on it a bit more, let it dry slightly, then went over it with a dry brush to soften some of the edges.  I still see places that could be changed, but over working is always a danger and it's best to quit while you're ahead.

This is the last of the sky paintings only because I had only four panels.  They were a good break from my typical landscapes, a way to get the creative juices flowing again.  I will be purchasing more of these panels to keep handy when breaks are needed, so you can expect to see them at random.  And the paintings were certainly helpful - I got back into pastel landscapes this week and will be posting one soon.  It's one of my best yet, at least in my humble opinion!

Cobalt blues

Light of Dawn 16x20 oil on panel, copyright 2012

Inspired by a photograph taken several years ago, this is my favorite of the skies so far.   The photo had quite a bit of purple, but the painting wanted to be more blue, so I just went along.  Some time ago a friend was generous enough to give me quite a few oils that she no longer had an interest in using, and cobalt blue was among the colors.  It's been fun mixing it with white and the other blues to find new colors, and I am loving the brightness of it.  

Ultramarine

Deepening Blue 20x16 oil, copyright 2012

Finally this painting is dry enough to photograph, though it's still a bit tacky in places.  I love this color, ultramarine blue, but I'd forgotten how dark it is, and how much oil is in it, slowing the drying process. For some reason the darker and more saturated or "pure" colors tend to have more oil.  

It was inspired by the same photo as the previous painting, and was painted the same day.   While I often start with a photo, which leads my color palette, once I get started the photo is largely ignored and the painting becomes intuitive.  It's a different way of thinking for me, and I'm rather enjoying the freedom it allows.

In other news, the brownstone that was being auctioned went to a friend of mine, one who was with me  in NYC when I took the reference photo.  A check is on its way to Red Cross and the painting is on its way to Cleveland, so it's win-win all around.  I love it when that happens.  Thanks Tracey!

Blue skies

Searching for Serenity 16x20 oil on panel, copyright 2012

After a series of failed pastel paintings, I decided it was time to switch it up a bit.  Oils have been neglected for the past nine months or so while I worked on my pastel technique but recently I've been feeling a bit burnt out on the landscapes.  I won't abandon pastels altogether but instead will take the opportunity to explore a few alternatives.  

One of my favorite past times as a kid was to stare up at the sky, watching the ever changing clouds and shifting blues.   We lived near the airport, so contrails would some times crisscross the view, and I often wondered about the people on the planes, where they were going and what they were thinking.  In fact, my first sky painting was titled Where Are They Going?  I played with a few more paintings, but none came out quite as well as the first and the idea was ignored for quite awhile.  But it's always been in the back of my mind to paint a whole series of skies and I find myself rather compulsively photographing sunrises and sunsets, clouds and storms.

A few weeks ago a decided to paint a little acrylic as a get well gift for a friend, which worked out  quite well for both of us.  It really got me contemplating sky paintings again, and a few days later I painted two in oil, one right after the other, over the course of several hours.  It had been a frustrating, stressful day and the work became an almost meditative exercise, and a very satisfying one.   I think I'll have to keep a stack of panels on hand, ready to be used when needed.  I'll post the second one once it dries a bit more.

Don't forget, the art auction to raise funds for the Red Cross is still going on; you have through Friday to bid on my brownstone!

Early Morning Flight

Early Morning Flight 12x16 pastel, copyright 2012

I wonder how many of my paintings have been inspired by my early morning walks?  One of these days I will have to count them up, adding this one to the list.  What makes this one different though is that it is not based on a photograph.  I neglected to take my camera with me, and so had to stare and memorize the constantly changing scene, then quickly get it on paper before it was forgotten.  It's the first time I've tried working from memory, and I think it worked out well.  And of course you just can't go wrong with lots of blue.

New York skies

July 20 24x36 oil, copyright Erica Keener

A quick trip back to Manhattan for this one.  Actually, it was painted several weeks ago, but the paint is so thick it has taken a long time to dry.  It's been awhile since I've done any of my abstracted sky paintings, and this one didn't start out that way.  Based on a photo I took from the terrace of our hotel, I originally intended to include a building under construction.  It was a beautiful clear day and the clouds were reflecting in the windows and showing through the unfinished skeleton of the structure.  But as I started layering the blues, they just sort of took over.  Usually a two hour stretch at a time is enough for me - my back gets tired and I start to get bored - but this time I went for about 3 1/2 hours before I quit.  The paint just kept getting thicker until I was almost sculpting it.  Too bad I didn't think about using a palette knife - I'll have to try that next time.