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!

Getting a hang of landscapes... maybe

This weekend was a glorious time for me. I got to get away from the monotony of motherhood for just a wee bit, while enjoying some of the beautiful nature of my new state and some even more beautiful 'old' friends. I drove west to Asheville, NC to stay with a childhood friend, Amanda as well as visit a college girl friend, and fabulous artist Angela Cunningham (who I haven't seen in about 5 years because she's been rockin' the big apple). Angela is in her 3rd year of study at the Grand Central Academy. We spent most of the day Saturday on a hike and painting a beautiful spot along the Old Laurel Creek in the Pisgah National Forest. We then had a fun night with a few more friends in Asheville eating well and drinking some local brew, while listening to some great Blue Grass music. Fun, Fun, Fun.

Old Laurel Creek
oil on panel
10" x 8"

Summer Figure Drawing

Here is an array of figure drawing from July and August. Thank you to Mike who lent me 5 sheets of paper last night at ArtSpace because I forgot all my stuff (those drawings are the last three done with ball point pen that I dug out of my purse, uggh).

Share the love (again)

I wanted to share with you all another blog that I enjoy reading now and again. The Hidden Place holds a phenomenal collection of great artists, primarily painters (with representational tendencies). Do any of you know who does all the work over at The Hidden Place? I must admit, I do love that this blog doesn't have an obvious author. It somehow takes the ego out of the equation. It even is hard to know how to say thank you to this blogger. He/she has posted some great artists, most recently my very favorite sculptor Nicola Hicks.

I discovered Nicola Hicks work way back when I was in undergraduate school in Laguna Beach, CA (LCAD). At the time there was a Flowers West Gallery at Bergamot Station (which was once a train depot, now turned into a huge complex of several galleries and a small museum). Flowers West no longer is there, which is a great loss for the Los Angeles art scene, as this was one heck of a gallery (Flowers East still remains a constant presence in London). As a student (well still really) all I could afford were the beautiful catalogues they produced for her shows. In fact, at one time shortly after graduating, my husband and I seriously considered selling our Volkswagen to be able to purchase a life size sculpture of a child from her series about Little Red Riding Hood. I really wish we had been able to make that work. I still think of that sculpture and not being able to see it (except in photos) is heartbreaking. It really is a bummer when reality and the practical issues of life (like how to move a life size bronze around the country with you as you relocate, let alone the ever present issues of $$) win over the power of Art to move you. As an added treat for you here is an Art in America article on Nicola Hicks from Jan. 2000 that will give you a clear picture of her work.

Museum of Fine Arts, Boston

I had an opportunity to draw with other artists at the Museum of Fine Arts, Boston while I was on my trip to Massachusetts. I was under the impression that it was going to be from a live model, but apparently, once a month, they choose to draw from the collection (and this happened to be that day). I was quite disappointed at first, but not for long, as it gave me time to go thru the museum and visit some old friends (like the Sargent murals that were specifically made for this museum). Some of my favorite paintings are housed in this building (a sacred place for me). I can't believe how spoiled I was to grow up looking at these works. The MFA is undergoing an extensive renovation, adding on an entire new wing to house their American Collection, so only a few American greats were on view while the others are faithfully being restored and kept safe.

Here are a few of my favorite paintings and sculptures that were on view. Please visit the MFA any time you are in Boston.

John Singer Sargent, Murals for the Museum of Fine Arts, Boston MA

Take a close look at the ladies laying at Atlas' feet above and then marvel at Gustave Dore's large scale, multi-figural, high relief sculpture which is just at the end of the hall from the Sargent Rotunda.

Gustave Dore, Maenads in a Wood, 1879, plaster, 47 1/4 x 77 3/16 x 9 7/8 in. (and detail shot)

Another example of wonderful exhibition design can be found around the top of the stairs (which brings you closer to the Sargent Rotunda) behind a colonnade. There you can find some of the finest paintings by Sargent's contemporaries and rivals such as...

Thomas Eakins, The Dean's Roll Call,1899, oil on canvas, 84 1/8 x 42 in.


Aunders Zorn, Martha Dana (later Mrs. William Mercer), 1899, oil on canvas, 27 x 20 in.


Gretchen Woodman Rogers, Woman in a Fur Hat, about 1915, oil on canvas, 30 x 25 1/4 in.


Cecilia Beaux, Charles Sumner Bird and His Sister Edith Bird Bass, 1907 oil on canvas, 94 5/8 x 53 1/2 in.


Other favorite works of mine that are else where in the museum are as follows:
Edmund Charles Tarbell, Reverie (Katharine Finn), 1913, oil on canvas, 50 1/8 x 34 1/8 in. (and detail shot)
Edmund Charles Tarbell, New England Interior, 1906, 30 3/8 x 25 1/4 in.



Ellen Day Hale, Self Portrait, 1883, oil on canvas, 28 1/2 x 39 in (and detail shot)

I had not previously seen the painting below before. I am so attracted to this painting, as several years back, I had painted a similar scene which you can view here. Of course, I realize my Music Maker pales in comparison.
William H. W. Bicknell, The Violin Maker, 1888, oil on canvas, 40 1/4 x 50 in. (and detail shot)
Jules Desbois, Le Printemps, 1893, black wax over plaster, 18 1/2 in. high
"Jules Desbois collaborated on occasion with Auguste Rodin, who praised Desbois by saying that he practiced sculpture with a fever that bordered on the religious" (quoted off the description card on the wall).


Auguste Rodin, Psyche, 1899, marble, 29 x 27 x 15 in.

I did manage to use a bit of the time to do one quick drawing of a marble youth from between 1cBC - 1cAD.

Study of a Roman Youth Sculpture
graphite on paper (in sketchbook)

Masscapes

I just returned from a 12 day trip to my home state of Massachusetts. The south shore of Massachusetts is a place that at once can evoke feelings of longing and the desire to find an escape. It's a complex reaction I find I have with each return visit. It is an incredibly inspiring place with beautiful vistas, homes, and people. But at the same time, these things can sometimes become oppressive. Eventually, the need to disentangle myself from a place that holds too much of my past overpowers the beauty and charm of the area.

This trip held a first for me. It was the first time I wanted to celebrate this area through paint; To do it justice by capturing its inherent beauty as well as some of the honest, ugliness that occurs here. I did not get the time I dreamt of, but I did manage a few feeble attempts to capture some of its ever changing beauty in a few, tiny shoreline paintings.

(**the quality of these photos may be poor as these were taken from a cell phone. Until the paintings are dry enough to ship, this is all I have to show.)

Rocky Nook

oil on panel

4" x 5"

Tidal Waters (view of Cordage Rope Company)

oil on panel

8" x 10"

Studio Chores while Mother's Reading

This week is all about necessary studio chores. I have shipped my paints (except a tube of Raw Umber) to Massachusetts in hopes that I can carve out some painting time in my beautiful home state, between family business. So I have been framing, photographing and underpainting this week (thus the need for Raw Umber). I am feeling the pressure of time sneaking up on me for my solo show which is most likely happening in the fall of 2010. The underpaintings are for that body of work. Also, I am in need of models. If you are in the Triangle area NC, and willing to pose nude or semi-nude, please send me an email.

I finished up Mother Reading last week, or was it the week before, but I am now getting caught up on photographing works. So here she is. Shameful, I know, that it took me so long to finish this one. I needed space and time and better reference to finish this one up; none of which came easily. I've included a detail image as well. Hope you enjoy.

Mother Reading
oil on panel
20" x 16"

In Flight

These sketchbook drawings were done on my trip, as well as the painting below. They were inspired by my artist friend Diane Feissel's Bart Drawings that can be seen on her current blog here or her bart sketches blog. I hope you enjoy!

Passenger 12C
graphite on paper
9.75" x 7.5"



















Passenger 18D
graphite on paper
9.75" x 7.5"

Rocks, Water, Trees and Sand

We just returned from an all too quick family vacation to Yosemite National Park in California. We had three idyllic days there, visiting friends and taking in all the grandeur. Yosemite is one of the most amazing treasures this country has preserved. I have had the great fortune to see it in winter covered in crisp snow (my favorite time to go), in spring while in full bloom, as well as in summer during peak tourism season. I usually would be bothered by all those other people, but for some reason, in Yosemite I am more willing to share the vistas (this place definitely brings out the best in me). The National Park Service has done a phenomenal job of controlling the congestion that once filled the valley floor with diesel fumes, by installing Hybrid buses with efficient service to all destinations. No longer are lines and lines of tourist buses stuck in traffic while circling the valley floor for those postcard perfect shots of the falls. We were able to rent bikes (with trailers for the kids and the gear) and were therefore able to see much more than if just on foot. We hiked, we swam, we ate delicious picnics, and I did get to paint... one small painting.

While the kids played on the beach and in the water, I got to listen to their sounds of joy, while creating a little bit of my own. I'm always humbled by nature and trying to represent it justly. I've heard tales of what artists must endure in nature to try to capture it's beauty (mosquitoes, lightening, cold, rain etc.) but I don't think I've come across a story of bandit squirrels and children with fists full of sand. I set up my (new) pochade box in a shady corner of the beach near a rock outcropping. Instead of looking out at Mirror Lake, this spot offered me a chance to look back at the beach and shallow waters of the shore. Living in this rock outcropping were a couple of pesky ground squirrels. They had absolutely no fear of humans. Unfortunately, these rodents have become quite adept at opening backpacks and stealing bits of sandwiches and apple cores. While I was sitting there, they had no problem coming right under my leg to check out what I had in my Ziploc bag (paints). They obviously know these bags usually contain food. So for awhile I let them investigate, thinking they would go away when they realized there was no food involved. But after many distracted moments (thinking they were going to crawl up my shorts... uggh) I finally gave one of them a light whack with the handle of my brush. It was surprised, and they didn't bother me after that. But then, the children on the beach (my own and others) often would wander up to see what I was painting. Children have a different sense of personal space. They dripped water and sand into my paint while getting their noses as close as possible to the painting. Their questions were fantastic and I didn't want to stop their own discovery, so I just made do and excepted these small bits of nature as part of the experience. But then, my daughter, who always try to be so helpful, saw a squirrel approaching me from behind. She scooped up two fists full of sand and thew them at the approaching varmint. It may have worked, if my face, my pochade box and painting were not in the way... Now there is more grit in this painting than I would have intended, but c'est la vie.

Rock at Mirror Lake

oil on panel (and sand)

8" x 10"