One down

Figure Study of Kat, oil on panel, 12" x 9"


Darn it, I should have waited until this afternoon to have posted the last post... because now, with a morning of painting she seems to be done... right? I worked from memory on the figure, and from life for the background today, and I think it's come together nicely. I think she deserves a 'real' name now, don't you think?

Nude Studies in my Garage

Figure Studies, oil on panel, 12" x 9"

I've had one more model session with each of my Southern Draw'l figure studies. I also took some really blurry photos that helped me work on them a bit more after the models had departed. The photos were unintentionally blurry, but in fact, this was a real positive in my progress, because I didn't get as bogged down with details as I would have from a crisp photo. I relied quite a bit on my memory and used the photos only as a brief reminder. It's a very hard thing to switch to photo reference from direct observation mid-stream in a painting, and I hope I've managed to keep the freshness that I was getting from working directly from life. I would like to have both of these models return one last time to tweak, finish and fix certain areas. So here they are still unfinished.

Bo Bartlett Workshop

Bo Bartlett, The Triumph of Romance, 2009 oil on linen 76 x 90 inches

It's getting closer! I've signed up for a 3 day workshop at Pennsylvania Academy of Fine Arts with Bo Bartlett in October. I am so thankful for my ever supportive husband for being brave enough to let me take a weekend away. He's all ready told the kids that that means they are going to be in vacation mode (ie. staying up late, eating whatever they want, and getting into assorted bits of trouble).

I am (almost) as equally excited to explore Philadelphia. I'll share with you my first impressions upon my return. From a far, I am all ready looking forward to being in a city that has a multitude of quality fine art, as well as history. (Raleigh is really lacking in both of these categories for me lately).

Bo Bartlett, Manifest Destiny, 2006 oil on panel 33 x 33 inches

I first came across Bo Bartlett's work at a group exhibition at my college's gallery while I was still a student there. His work captured my attention by being at once calm and quiet, yet hauntingly powerful. You can see how Andrew Wyeth (a mentor and friend) has influenced him yet his work retains a character of its own. His compositions are often slightly unconventional, for example with low vantage points and his colors seem muted with subtle greys. I recently received the materials list and was amused to find a key component is a yoga mat. I'm looking forward to learning about his process and studio habits. I'll be sure to take notes and distill them into some kind of knowledge that I can share with you.

Bo Bartlett, Sweetness, 2008 oil on panel 24 x 24 inches

You can find more images on Bo Bartlett's website as well as some interesting writings in his Message section.

Rebel Magazine

I am pleased to share with you that I have been asked to be one of four visual arts Jurors this year for Rebel Magazine's Arts and Literary competition hosted by East Carolina University. The other judges will be Ceramic Artist Victoria Sexton, Graphic Designer and current President of AIGA Mike Joosse, as well as Greenvill Museum of Art's Director Charlotte Fitz. ECU students, bring us your best. Click here for a brief article with more details (for those interested in submitting).

Southern Draw'l

Figure Studies, oil on panel, 12" x 9"

Once a month since June, I have been hosting a shared model experience in my studio for some wonderful artists that I've become fast friends with. We happen to be all women, but it's just by chance, not so much by choice. Some of us draw, or some paint depending on the mood. I haven't taken any 'in studio' shots of the group, but perhaps next weekend they will allow me to. I would like to share with you links to some of their sites because they have been so supportive of me, and their work deserves a good look. In no particular order: Kiki Farish does these amazingly complex graphite on panel drawings that usually incorporate text in a sometimes hidden way; Jill Eberle is a Fine Arts teacher at East Carolina University and does some wonderful figurative paintings; Diane Feissel is another Massachusetts transplant to the Raleigh area via San Francisco, who paints beautiful animals and figures on patterned fabrics; Lisa Beth Robinson, another ECU teacher and uber detailed book artist and print maker (who doesn't work from the figure), often comes for our after chats, critiques and yummy food; and our other artist friend Jackie Ogden, draws and paints the figure in a wonderfully expressive, over sized manner but she unfortunately, doesn't have a website to share (get ON that Jackie!)

For me, its the experience of these days that is most rewarding. I never get 'finished' paintings from these sessions, but having the opportunity to paint the figure directly from observation and to share thoughts and ideas with hilarious folks is always a gift. I so enjoy my Southern Draw'l Saturdays.

To Post, or Not to Post...

I know I've asked this question before. I still don't have any solid feelings on whether I should share publicly paintings or series of works that are in development. I have finished two little beauties, that I'd love to post here, but my gut tells me to hold out. Stingy bitch that I am... No, it's not that really. These 2 paintings are the first of a new series for my solo show that is coming up sometime in the fall of 2010 at Sullivan Goss in Santa Barbara, CA. In all honesty, I should be much further along on this show... but with things like relocating to a new state, and family health issues and the loss of a beloved pet... you know LIFE... I'm woefully behind. Initially, I also had started painting in a direction that my heart was not interested. It took me several months to find a new direction that suited my head, heart and past images. Perhaps it's my inner narcissist, but I tend to see all my work as a single continuum, a single thread. That one leads to the next, or relates to another from further in the past and that there should be symbols (even if only apparent to myself) in one that relates to another. I imagine retrospectives or hard bound books that could easily show that progression... yeah, like a said, inner narcissist dreaming... Any thoughts?

Organs for Art

I want to introduce to you a young artist I recently discovered in San Francisco at the John Pence Gallery. In my humble opinion, Jeremy Mann is a virtuoso. His paintings have a wonderful sense of atmosphere, and sophisticated control of color. He has no trouble painting any subject whether figure, still life, landscape or cityscape. He also seems to be quite prolific. If this beautiful square composition had not been sold, I would have seriously thought of selling off one of my kidneys to have been able to look at it always.


Jeremy Mann, City in Saffron and Grey, oil on panel, 36 x 36 in


He currently has 25 compositions at the Christopher Hill Gallery in St. Helena, CA and is a featured artist in the O & S: Artists and Poets Magazine which you can read online HERE.


Jeremy Mann, The Cathedral at Sunset, oil on panel, 20.5 x 20.5 in, 2009



Jeremy Mann, Lindsey in Red and White, oil on panel, 36 x 48 in


Lastly, Novemeber 13th will be the opening for a show of his paintings at the Principle Gallery, in Alexandria Virginia. If you would like to be in the 'know' and follow this rising talent's lift off, then you should sign up on his web site for announcements and upcoming events here. Enjoy!