Salt and Pepper

Within the world of watercolor artists, there is a dogma among many that black pigment should not be used. The idea behind this is that black deadens colors, and that more lively darks are better mixed from deeply pigmented colors, such as dark red and green. There is truth to this, and I use that method often myself. Yet many esteemed artists use paints such as sepia (brown mixed with black), or indigo (blue mixed with black). In this painting of our salt and pepper shakers, I used both. It seemed to me that they would be just the thing to convey the pewter like finish on the shakers. And I think that they were. Conclusion: Used carefully, black has it's place. After all, Renoir called it the "queen of colors". Incidentally, the cloth the salt and pepper are sitting on is a rag table mat that I wove back in my floor loom hand weaving days. 

Mugs

In 2013, I began to experiment with gouache, an opaque cousin to transparent watercolor. I had done a horse and a small landscape, and then moved on. Earlier this year, I started a daffodil painting in watercolor, introduced a bit of gouache into the piece, and then carried right on to completion with gouache, since it was such fun to work with. It was time to further explore this often overlooked medium. Working with different kinds of paints, with all their various quirks and considerations, is to me similar to learning and speaking in different languages. All are expressive, but say things differently. I find that when working opaquely, I don't push for as high a degree of realism as I do with watercolors. It is interesting too, in a way, to sit back (so to speak) and watch my own style emerge.

Cherry Tomatoes

I usually like to paint in bright, clear, vibrant colors. Here I was after something fresh that would just about pop off the wall. Sometimes an urge for color like this is like a food craving. But what to paint? This is an example of working with what you've got around the house, and before long I had my composition set up and shot. Complete with that wonderfully rumpled tablecloth. Ironing it would have taken away so much of the intriguing texture. This painting took longer than usual to complete, due to the many layers of glazes applied, and to the intricacy of the cut glass.

When Life Gives You Lemons, Make Lemonade

Life gave us lemons, you might say, in March of 2014. My husband, Art, sustained an injury during a cross town move which led to quadriplegia. He was hospitalized for five months, during which time I sold the home we had just bought, bought a new place in a different city, and completed the move with the help of movers. I stayed with my dad, and visited the hospital nearly every day. Although some artists work out their emotions through painting, for me, it was not a time to paint. I toyed with the idea briefly, of painting wistful nerve endings trying to reconnect, but I had nothing to give. Anyway the contents of my studio were packed away in boxes, like the rest of our stuff, waiting for the start of the 'new normal'. Sometime during the two years when I didn't paint anything at all, I envisioned the composition for the above painting. I knew that whenever I was ready to get back into it, that I would have to paint that first. It is an important piece for me, and very personal. I believe that life is a test; that there are reasons things happen, as horrible as they may be. As God gives me strength, I choose to make lemonade. 

My Sweet Pie

Of all the pets that I have painted, for nearly 15 years, Friskey was my favorite special friend. I am surprised that it took me this long to finally paint her. She was a close companion especially in that we shared a great love of books, she being an enthusiastic book sitter. This made reading rather awkward, but we did spend a lot of time together in that old wing back chair. She could be counted on to find the best sun beam, and had the most soothing maternal purr. Her son, the orange tabby Orville, has made his way into several of my paintings, including Journeys Through Bookland, and Catnap in China. Doing this painting brought back a lot of memories, and I do miss my old friend, my Sweet Pie.

Catnap In China

Moments like this don't come along very often. It's one thing to arrange teacups, but quite another to pose a cat. So when I chanced upon Orville as he is seen here, I had to find the camera fast.
My goal in this painting was to capture the glow of the sunbeam, as well as the warmth of the areas in shadow.

Cobalt Blue

Although this is not a large painting, measuring only 7" x 11", it is a tribute to my brushes and paints. In fact, you could say that I used these brushes to paint these brushes. As for the paints, the few shown here are a primary color representation of the dozens of tubes that I own. I confess a weakness for collecting paints. To me the tubes are like seeds of color waiting to grow into a vibrant painting.

Update: On June 29 I received notice that Cobalt Blue has been accepted for exhibit in Open Water 2009, the 84th Annual Open Juried Exhibition of the Canadian Society of Painters in Watercolour. The exhibition runs from September 5th to October 24th at the Leighton Art Centre in Calgary, Alberta.

Only 63 paintings were accepted out of over 300 images that were submitted!

Tea Cups and Yellow

While working on the previous two paintings, I kept thinking of yellow. It was something like a food craving; I needed to paint bright sunny lemon yellow. Perhaps the time of year had something to do with it. There won't be daffodils for another month, and winter has been so long and drab. The landscape all around is a monotone of yellow ochre, or the color of mouldy straw. But that is okay. I can paint yellow. I can paint in colors that sing like canaries until the spring comes.

Blue China and Glass

As soon as I finished Bookland, I wanted to do another still life. There is something especially rewarding in painting my own arrangement. Painting the things that I own deepens the experience as well. For example, the tea cup on the left is special; it was a wedding shower gift given to my grandmother some eighty years ago.

Late winter may be a dull time of year overall, but there is brilliance and beauty if you take the time to look for it.

Update: In May this piece was one of 48 out of 188 entries selected for Woodstock Art Gallery's 51st Annual Juried Exhibition, Visual Elements. This was a thrilling first for me!

Journeys Through Bookland

I have been collecting china tea cups on and off for years, planning to do more still life compositions similar to the first painting that I did over thirteen years ago. Tea cups and books. When I found the old children's book "Journeys Through Bookland", (printed in 1922) in a thrift store, I had the inspiration I needed.

This is a personal piece for me, representing some of my favorite simple pleasures. A pot of tea, something historical to read, a winter sunbeam and a sleepy cat. The title of the book is important as well, since nearly every day for me is a journey through book land; I work at two libraries.

Practically speaking, this was probably the most detailed piece I have ever done, taking many hours to complete. Wicker again! What was I thinking?! It measures 16" x 30", which for me is large.

And thank you Orville (the cat) for holding your pose while I arranged the pieces.