Stony Plain ArtWalk and St.Albert Square One Show

I must apologize, for I should have posted about these events before they happened instead of after. Life has been incredibly busy. Blogging often displays the vicious cycle of my busy productive life.

 

  On June 1st I participated in two shows on the same day. The first was the Stony Plain ArtWalk, then in the evening I was at the St.Albert Art Gallery's Square One with my 12"x12" piece titled 'Painter's Touch'.

 
   The Stony Plain ArtWalk went well. It was a good dry run for me in preparation for the large Whyte Ave Art Walk in Edmonton which I will be at July 12-14th in front of the Princess Theatre.

Above is the Work in Progress painting I was working on during the Stony Plain ArtWalk 2013.

 

'Painter's Touch'

12"x12"

Oil on Cradled Board

May 2013

For the Square One Show at the St.Albert Art Gallery.

 
 

My 'Painter's Touch' painting can be seen at the top between the heads of this group. It was a fantastic event. There was a live Jazz Trio that was amazing, they set a wonderful tone for the event. The art was incredibly intriguing (and cheap!). Next time I will definitely have to bring more cash. I recommend this event for all aspiring art collectors. The artists have 12"x12" works for sale at either $150.00 or $200.00. I am quite sure that for many of the artists there this is a significant drop in their prices but all for a good cause and great exposure. The event was packed full of interesting people and art. It was a great place to meet new people. The food was delicious and meticulously perfect. It made me feel like I fell into something important. If you get a chance to go next year I highly recommend it. You're guaranteed a great time! You I still have a chance to see and purchase some pieces until the end of this week (June 21st 2013). I have not yet heard if my piece has sold yet, so it may still be available.

These last two paintings were done for two very important people, Mary and Marianne two very important early ed. teachers. They encourage young children to put up their hands in order to ask questions, stick up for themselves and others, to say 'Yes I Can!', to hold hands with others, to give high fives, and pats on the back. For all they do, I thank you!

 

 

Rejection and Inspiration, the ups and downs of being an artist

Here I am working on my response to rejection and being fueled and inspired by Patrick Finn's article

'Artists are Dangerous'.

 

Collecting Reference Material: Self Portrait

2012

Oil on Canvas

22"x 28"

(was entered into the National Portrait Gallery of London's BP Portrait Awards 2013)

 

Olina Ballerina

2013

Oil on Canvas 

11"x 14"

(was entered into The Portrait Society of America's International Competition 2013)

This past Wednesday was a difficult day full of ups and downs and was all too typical a day in the life of an artist.
As my day drew nearer to it's close, it ended up taking an inspiring turn that I would like to share with you. The following is a good portion of an email I felt absolutely compelled to write:

Dear Patrick Finn,
I am writing to you because I just read your fantastic article 'Artists are Dangerous'.

I am a painter. My name is Daphne Cote. I live in Stony Plain, Alberta. I have just had an all too typical day of an artist where I received two letters of rejection from two major international art competitions and a phone call saying that the classes I am teaching got enough enrollment to make them possible. Ups and downs. I decided to take these large rejections and a small thumbs up and let it fuel me to work even harder. Before going into the studio I decided to get pumped up by looking at art and reading some articles on the web. Your article 'Artists are Dangerous' serendipitously was the first one I came across. I found in your words a description of exactly who I am and what I think it is to be an artist.
   I found your article inspiring and that it reaffirmed the fire that burns within me telling me after each rejection letter to work harder and after each success to think bigger.
Thank you for putting your words out there and I hope you consider allowing me to use/reference your article with the intention of inspiring others.
With gratitude,
-Daphne Cote

Patrick Finn generously wrote a response within a few hours encouraging me to go ahead and post his article, I hope it inspires you as much as it did me...

Artists are Dangerous

Author:

Patrick Finn

Calgary is a city of visionaries. To inspire us to reach greater heights through our planning process, we have engaged a number of people to provide their personal views on the future of the arts in Calgary. This article presents the views of Patrick Finn.
Artists are dangerous.
Don’t be deceived by the fancy scarves and all that kissing on both cheeks stuff. Artists are dangerous creatures who go straight for the jugular… actually, that’s what those scarves are for: protecting the neck from other artists.
Make no mistake: artists pose a direct threat to life as you know it. People in power are aware; artists are the first to be silenced when tyrants seize control. Throughout history artists have terrified Kings and Queens, CEOs and Generals, Popes and Prime Ministers.
Thinking of becoming an “Arts Champion?” You better know it means. The following is a public service announcement of sorts… a warning for delicate souls out there.
Artists work harder than you. They don’t take breaks, don’t have casual Friday, and they don’t have conferences in Miami. They punch in once, and don’t punch out until you put ’em in a box. If you complain about how hard you work to an artist, they won’t even have time to laugh in your face.
Artists are better with money than you are… and they work for less. You can’t bring in foreign workers to replace them, and you can’t outsource their jobs, because even the oppressed don’t want their spot. An awful lot of governments and businesses plan and spend like drunken teenagers, but artists deliver on time and on-budget every time. Ever hear the phrase “the show must go on?” It’s a blood oath.
Artists are fearless. People talk about tolerating risk in order to be innovative or entrepreneurial. Artists eat risk. They see comfort and walk the opposite way. They run into the fire. You cannot scare an artist. And if you could, it would only make them stronger.
Artists are not artsy. Being artsy is like being a kid in the suburbs who dresses like a gangster from South Central LA. Artists don’t have time to be artsy just like gangsters don’t have time to play at being gangsters.
Artists are drop-dead sexy. It doesn’t matter how rich and powerful you are; it doesn’t matter what you drive, or who makes your clothes; your partner has an artist fantasy. Heck, so do you. Seriously, no one dreams about running away to Paris with Jenkins from accounting. But don’t worry; artists are too busy steal your partner.
Artists are time travellers. Freud said that every time a scientist makes a discovery an artist has been there first. Artists look into today and see the future. Forget economists, astrologers and weather forecasters – artists are the only ones that glimpse the road ahead.

Heroes are those who relentlessly pursue a journey in order to fully realize the quest that is the complete expression of their lives. That’s a word-for-word description of what it means to be an artist.Artists are heroes. Heroes are those who relentlessly pursue a journey in order to fully realize the quest that is the complete expression of their lives. That’s a word-for-word description of what it means to be an artist.

Artists don’t need you. We often hear people talk about funding the arts as if it were something artists need. They don’t. They will work with or without your money. We fund the arts for our children and for ourselves. There is no such thing as a society without artists. You should fund the arts for your own self-interest. Just know that if you do, no matter how much you give, you will never own even one percent of an artist. The only artist worth funding is one you can never buy. And that’s exactly why we should fund them.
Artists manipulate your brain. We live in an age of rapid change that continuously speeds up. The only defense is to develop a nimble mind. Artists are experts at challenging the status quo and shaking up minds. They can navigate the depths. There are stormy seas ahead, and artists are deep-water specialists.
Artists will tear your heart out. True artists make you feel. Sometimes, they make you feel more than you want. They will rip your heart to shreds and leave you pulverized. But when your heart heals, it will be stronger. Then, when life brings the real tears, you’ll be glad they prepared you for the genuine tests of the heart.
Artists are not entertainers. It’s nice to be entertained, but every moment you commit to entertainment is a moment your brain is taking a break. It is running in old ruts… following patterns from the past that will not serve your future. Art will move you, change you, and challenge you. Entertainment is for moments when you are too weak to face the world and need a time-out before continuing your quest. Once you’re rested, come back to art, and get back on the trail.
Artists are warriors. A lot of people go to pretend boot camps these days. You want boot camp? Artists will boot camp your heart, mind and spirit. Come on, tell the truth: would you rather be lusted after for the song in your heart or for the relative density of your buttocks? In time, all bottoms fall, but with art, the spirit endlessly ascends.
Artists are Calgarians. They are mavericks, ranchers, pioneers and adventurers. “Titans of Business” and true government leaders align themselves with artists. They recognize fellow travellers. Champions march side by side.
Artists do not criticize. Their work is out ahead. You don’t have to be book-smart or in the know to connect with art. You don’t have to “get it.” The only requirement for embracing art is full-stop bravery. Real artists don’t lecture you or pretend to know what’s best for you. They are on the field, not on the sidelines yakking.
Artists are dangerous. They are there before the first-responders. They are “the abstract and brief chronicles of the time.” They are unafraid of things that keep you up at night… and they are everywhere.
Those who support artists commit themselves to lives of courage, adventure, and discovery. The faint of heart had best stay home.
So, if you want to be an “Arts Champion,” by all means saddle up, but you better be ready for one heck of a ride. And don’t say I didn’t warn ya.

Dr. Patrick Finn is a performance expert who found a home in the Department of Drama at the University of Calgary. He has worked as a professional musician, writer, designer, programmer, as an artist/academic and consultant. The central theme of Patrick's work is Human Performance and Information Technology, where technology can be everything from vocal technique and colour palettes to alphabets and computer code.

Showing at The Parlour in Spruce Grove

(notice all their awards!)

 

You can now find my work in The Parlour Salon in Spruce Grove. The kind beautiful gals there are providing me with a fantastic opportunity to show my work on rotation at their chic salon. It is such a privilege. The exposure is fantastic.
I highly encourage everyone to go into The Parlour where they are always doing something new. Every time I go in I am pleasantly surprised by their ever changing and inspiring decor. Thank you Parlor Beauties for allowing me to be apart of your cultural hub. You not only make me look gorgeous but you make my work look stunning as well.
All my gratitude for your amazing support.

The Parlour
102, 314 McLeod Ave. Spruce Grove, AB

Soft Flattery

Soft Flattery

January 20, 2013

8" x 10"

Oil on Canvas Board

For Sale (Contact Daphne [email protected])

 

 

   In November I was on a roll with a balanced painting schedule. I was afraid that in the New Year I might lose the routine and momentum I had going. Me and my silly fears. I decided to shut that voice off in my head that was questioning my ability of being a successful artist. I am quite sure everyone comes into contact with that ridiculous voice that can be so persistent and if not confronted promptly, can often make us doubt our selves for no rational reason. We are amazing creatures. If we put our heart and souls into positive things that we are naturally drawn to we can do things that even amaze ourselves.

   What I find amazing with the portrait above is that it only took me a couple of hours to do. I did this painting as an exercise. I went looking through reference material from adverts and found this one. I was interested to see if I could create the emotional sense that it conveyed. The woman isn't quite blushing but it is like she was just told she had done something extraordinary. Everyone needs to be told how amazing they are every once in a while. Even if it is just for the small things they do. It is often those small things you don't think twice about that are the most important.

   I appreciate the simplicity of truly genuine smiles that I encounter that can change my whole day around. For instance: I am disturbed by the amount of time I spend, on a regular basis, in the grocery store. I am definitely a cave woman gatherer at heart that loves to cook for my loved ones, but sometimes it can make me want to scream. When I have no food in the house, a time limit, during a busy grocery shopping traffic hour, with kids that would rather be playing on a playground and no amount of bribes of bakery cookies could change their energy level as they scale and hide in the toilet paper isle in the hopes of building forts out of it's contents, while wheeling a cart so loaded and heavy which constantly reminds me of all the work I still have to do with packing it all up and carrying it just to go home and unpack it all again. Then when I am close to throwing in the towel and one upping the kids by throwing myself on the floor kicking and screaming "I don't WANNA!" I pass a complete stranger that smiles a true genuine from the heart smile. They are not annoyed but amused and enjoying the catastrophe that's rolling by. They see the precious beauty in the life I'm leading no matter how messy with my paint clothes and kids smothered in some unrecognizable goop. Their smile is contagious which makes me stop and smile and see how fleetingly wonderful this haphazard moment is an how fortunate I am to be able to experience it. It makes me want to take a moment and close my eyes and just feel all the warmth and loving energy that is surrounding me no matter how loud, fast, and calamitous it all is, I am fortunate. It took that honest smile to make me see the beauty in it all.

   So now how do I translate feelings like those visually? Well this is a small exercise to test and push my skills to see if I can do it. Sometimes the exercises are larger, longer, and mapped out; and some are quick little tests. All are valid, significant, and needed to succeed. That is why I do what I do. I can always get better and there is always something new to learn.

 

First painting of the year, Magic Carpet

 

Magic Carpet

January 13, 2013

3' x 4'

Oil on Canvas

 



   This Magic Carpet painting has been coming into bloom for what seems to be an unreasonable amount of time. It's birth was relaxed and it appeared to flourish on it's own schedule, not mine. I started this painting in September during the Alberta Arts and Culture Days. Due to the layering techniques I used to create Magic Carpet with it require extensive drying time. Therefore, I have been working on three fair sized paintings simultaneously. Working this way helps distract me while one painting is drying I can work on another. Without this distraction I might have tried to sneak in a few brushstrokes ruining the entire thing into a muddied mess of polluted colors caused by my impatience.

  I date all my paintings. The date that I include is the date that the painting is finished, when the last brushstroke  is placed. I finished this painting this past Sunday. Though as a whole it's creation was lengthy but it's end was finished quite unexpectedly. I thought that I had several more hours to put into it but it seemed to just all come together to it's final state. The things I thought needed more work actually just needed a slight tweak and some areas needed to be left as is. I was making mental notes the last time I laid my brush to rest and called it a night coming closer to the paintings completion, when I came back to it they all seemed to be superfluous. I knew I needed to build the knee up and work on the face, and after I had accomplish that it didn't seem to need much more. I had started this painting months ago. For those that follow my blog, you may recognize it's early beginning in previous posts including a picture of a detail portion of it's texture in my last post and in a different posting about my studio. I have also done a small, what I would now call, study of this same pose at a minuscule size in comparison with this larger painting.

   I have resorted to titling it Magic Carpet because in it's early state I worked quite a bit on just the cloth the figure is laying on and I had for the longest time left the two triangles on the bottom corners blank giving it the effect of being a floating carpet. My Significant Other started to refer to it as the Magic Carpet Painting and he was constantly pointing out this one area I had yet to work on, so it is hard for me to think of it as anything but the name he gave it of Magic Carpet.

   I feel like I am repeating myself a bit when I say, the painting looks and feels nothing like what this photo captures. It was terribly difficult to photograph. Standing in front of it it seems to take up much more space than it measures. It has a significant presence.

   I am quite excited about this painting because I have pushed myself and explored the juxtaposition between thin scuffy layering where I used thin washes and often used rags to wipe away layers into thin veils of color. Then I took different tools to slap on and vigorously push thick dragging layers where the different colors and shades of paint don't just sit on top of each other but intertwine, play, and blend creating a completely new surface plain for light to reflect off of. This creates a major problem to photograph and to capture the feel of this image through a lens because when you move and interact in front of this painting you can see it differently in new light, rediscovering the painting over and over again.  That is why I love original paintings.

Upcoming Classes and Workshops 2013

Happy New Year!

 

I stayed out of the studio for much of the month of December after painting my heart out in November. Honestly, I tried hard to stay out of the studio but I did end up sneaking a few hours in here and there. I just couldn't help myself. Why would I force myself to take some time out of the studio? Well, I wanted to come back to my paintings with a fresh set of eyes. Sometimes paintings are like puzzles where you need to take a break and come back and then you start to notice things or solutions that you may have missed before. You can often lose your grasp of the big picture or tiny things that effect the whole because you were looking or working on them for such a long time. A month is too long for me, but it was a good exercise, and taught me a lot. By the time I came ,back to paint I couldn't get in there fast enough. I couldn't squeeze my paint tubes and pour my mediums fast enough. I am so fortunate to be able to do what I love! What a great way to start the new year.

I am not only painting, but getting my submissions ready for upcoming art competitions and shows, and finished putting together the classes I am going to be teaching for the next 6 months.
If you are interested in my work you can either subscribe to my blog by entering your email address into the box on the right side of your screen (remember to click the link in the email that is sent to you in order to confirm your subscription, you will not get anything but my new blog posts -no spam). You can also email me and ask to be added to my emailing list where I send out email invites to to both public and private upcoming shows, demos, and classes/workshops. [email protected]

Upcoming Art Classes and Workshops
(Side Note: These classes are listed for Adults, but I will accept teens 14+ in the weekly oil painting class and feel comfortable working next to adults.)

Drawing the Human Figure
In a positive and encouraging atmosphere learn different ways to draw the human figure and learn tricks and tips to create interesting compositions out of the human form. We will also cover proportion, shading and capturing drapery of fabric. Supply list available at the gallery.
Instructor: Daphne Cote
Saturday, January 26
10 a.m. – 4 p.m.
Cost $40

Painting the Human Figure
In a positive and encouraging atmosphere learn proportion, lighting, skin tones, composition, while using your choice of either oil or acrylic paint. We will also be touching on how to handle clothing and backgrounds. Supply list available at the gallery
Instructor: Daphne Cote
Saturday, June 8 and Sunday, June 9
10 a.m. – 4 p.m.
Cost $80

Exploring Oil Painting
In this six week session , through the use of still life and other reference material (i.e. photos), explore oil painting in a supportive, positive and creative atmosphere with one on one instruction focusing on what makes up a painting. Completing one painting per class. All skill levels welcome. No toxic solvents. Supply list available at the gallery.
Instructor: Daphne Cote
6 Thursday Evenings:
1st session:  April 4 – May 9
2nd session: May 16 – June 20
7 – 10 p.m.
Cost $115 per session


You can register for classes by contacting:
The Allied Arts Council in Spruce Grove
We are located in the heart of Spruce Grove within the Melcor Cultural Centre which also houses the Spruce Grove Public Library (East Side of King Street Plaza).
Address:
35 – 5th Ave, Spruce Grove, Alberta
(in the Melcor Cultural Centre)
Contact:
Phone: (780) 962-0664
Email: [email protected]

NEW Gallery Hours!
Monday to Friday: 10:00 a.m. to 5:00 p.m. Saturday: 10:00 a.m. to 5:00 p.m. Closed Sundays and all Statutory Holidays.

Thank you for reading! And I hope you have a wonderful day.

A Deep Study of Anatomy

   Over the past month and a half I have had the great opportunity to attend an in depth drawing anatomy course. I have been painting and drawing the human figure for more than 15 years. Sure, I know about the general concepts of anatomy, more than most, and enough to teach figurative drawing and painting classes. I have a bit of a library when it comes to Anatomy for the Artist books. I did not know all the names of the actual structure, beyond the major bones and muscles that makes up the human form (well, not committed to memory), and I didn't really know why this bulges when that's bent, or how the muscles in our body operate (especially the feet and hands). Sitting in a class, focused on something that I am extremely interested in and hearing and following a lecture and watching someone else tackle and point out details is more informative than trying to figure it out on one's own. What do all those lines that are depicted on the muscles really indicate in my anatomy books? Well, now I know. During my university years and after I have been focused on color theory and studying tonality. I have studied them so much that all that information is lodged into my subconscious and I can mix any color quite precisely without thinking about it. I would like to be the same way with anatomy and my understanding of the human form so it comes automatically. There are so many images that I wish to paint and so to speed up my process I am educating myself where I sometimes get hung up. The human form is difficult and I don't think it will ever be easy to portray, but I can educate myself to get a better understanding of it. The reason I enjoy painting the human form is because I find it so intriguing. Everyone is so different and we are more than just our bodies, we are alive full of spirit, personality, and life experiences. I will never know everything about painting people. People are amazing creatures.
   The course was interesting in so many ways. It was taught by Justin Ogilvie who is a vast pool of knowledge concerning portraying the human figure. I found his lectures invaluable. I could have listened to him all evening. For those who already have quite a bit of figurative experience I highly recommend his courses. He is very informal in contrast to his structured complex curriculum. I soaked it all in. I made sure I went to the washroom and had everything I needed before the class started because I didn't want to miss a single word. It was fast paced and intense. Time whipped by.
   The body of students in the class I attended was interesting as well. I haven't been in an art course with so many men since my university days. There were about 6 tattoo artists and a bunch of graphic artists as well. It was interesting to see different art forms come together. We all work with the figure in our artistic careers but in different ways. I love learning from others and to go around the room at the end of class to see how others interpreted the same figure while given the same instruction but with different life experiences and artistic careers was inspiring. Also being around men covered in tattoos made me want to paint their portraits. I wish that I wasn't constantly pressed for time, I would have loved to hang around after the classes to chat with them. (If you are reading this and are from that class and would be interested in modeling for a portrait, please send me an email.)

The following are some of the drawing that I did during the course. Note that they are just exercises and not, what I would consider completed work, and done in the span of 5min to 45min each.


  

 

The Artist's Studio

Since the Studio Show and Sale in October I have been finding time to paint almost everyday. Honestly, even I am amazed. I don't foresee myself slowing down either. I feel like I have been given a really fast car that runs on air and I want to stick my head out of the window and scream WooooHoooo! I am thoroughly enjoying myself. I am extremely grateful that my significant other has supported me, encouraged me, and has sternly told me that I must pursue my career as an artist/painter. Without him I wouldn't be able to focus or be on the successful path that I am on now with my work. He has given me the push and shove that I needed. I get a rush and a grin that must make people think I'm crazy when they ask me what my profession is and I get to say "I am a professional artist". When I was a child and I didn't really know you could draw or paint pictures for a living (and most adults currently don't think it's possible either), I would say that I wanted to be a professional chocolate taster by day and an aerobics instructor by night. My life has turned out close to that. I do have a bite of dark chocolate with my tea when I am on a break from painting and I think I get the same high from the act of painting as I would off of eating chocolate for a living. Then I get to chase and play with my children, which in my opinion, is similar, if not equivalent to aerobics.

I finished a self portrait last month and I am currently working on two large paintings both of a reclining female figure, with two more paintings lined up and I am eager to start their under paintings.

I have included the photo of my studio as a bit of a gift. I have recently watched two wonderful films about practicing artists. Beauty is Embarrassing, about Wayne White. The other, Gerhard Richter Painting. Both were very different and fantastic. If you get a chance to rent either, please do. If anything you get a really good look into their studios and how they work. There were things in both films that seemed to tell me that I am on the right path, which is always encouraging. Not often do we get to see a painters studio, or a painter working in one. There are not many professional painters in the world. Also, a painters studio is often their most private space where they create a den or cave that they work the best in. It reflects a lot about an artists inner most being. I've seen studios that are  spotless and meticulously organized with labels on everything. Then there are studios (such as the late Lucien Freud's) that are beyond a health and safety concern. So here is mine, read into it what you will.

Daphne Cote's Studio

A view from standing in front of my desk.

Successful Show and Sale

Thank you to everyone who made it to my studio for the Show and Sale on the 19th and 20th. I was pleasantly surprised at how wonderfully it went. I feel so encouraged by how successful the weekend was and the amazing outcomes that came from the event.
Since the show and sale I have been working hard, painting every free minute I have. Letting the creativity flow. Emboldened with courage to pursue my passion.
I would like to turn the studio show and sale into an annual event.

I know that several people wanted to attend but were unable, you can always make a private appointment to come to my studio and check out either past or current work, or to discuss commissions (by the way I am still accepting commissions to be done before Christmas).
You can contact me by email at: [email protected]

Here I am taking a photo of the two portraits I did in December 2011.

Studio Show and Sale October 2012

Studio Show and Sale
October 19th 4pm -7pm
and
October 20th 10am - 4pm

I will be hosting a Show and Sale at my personal studio. I have covered the walls of my studio with all of my past work that is still in my collection. I am putting most of the work up for sale at discounted prices. Why am I doing this? -To raise funds to ship a portrait to the International BP Portrait Competition in London, England. The other reason is that I need space in my studio to work.

This is a great opportunity to add or start your art collection. Prices range from $50.00 to $3,000.00. Much of the work in the Studio Show and Sale is posted right here on my blog website (though there are several older pieces being shown that are not posted). I encourage you to browse through my many paintings posted on my blog. I post the dimensions, when they were created, medium, and price (but that price will likely be discounted during this sale), and if the work is already sold. When browsing through my blog keep in mind the versions you see on your screen lack much of the energy, texture, and overall quality that can only be experienced in person.

I really look forward to this event. I am sure that many will find it interesting to see this large body of work that spans over a decade. I love answering questions and talking about art. I will also be be working on a painting in progress as well. I encourage all that are interested in art to come and take a look. Children are welcome to come.

If you would like to attend or have any questions, please email me and I will send you an invite with directions. [email protected]

These are just a small sampling of what you can see in the studio.

Alberta Culture Days and upcoming events

Alberta Culture Days

I will be at the Stony Plain Public Library this Saturday September 29th from 10am-3pm showing and working on paintings live. There will be other arts and cultural figures from the community there as well.
You can come down and see my latest painting in progress, chat and ask me about art, and find out more info about my upcoming studio show and sale being held on October 19th and 20th that is raising funds for me to ship my work to an international portrait contest. You can also inquire about commissioned work as well ( I am still accepting commission requests for Christmas).
I am really looking forward to it. I love sharing my passion of painting with others. I had a great time last year and I know I will this year as well.

The above photo was taken by my 4 year old daughter. In the photo I am working on my latest painting that I will continue working on at the library this upcoming weekend.

I hope everyone gets a chance to celebrate art this upcoming weekend.

Confluence - The Sleeper and the Insomniac Series

 

Confluence

(from The Sleeper and the Insomniac series)

September 11, 2012

Oil on Canvas

20" x 16"

$400.00 CAN

   This painting is a continuation of The Sleeper and the Insomniac series. I started this painting before my son was born and have been dabbling on it ever since.  I finally got to finishing it. I constantly think about furthering the series. I have to find somewhere to show a larger collection of the work and find willing models (if you are interested in filling either of those roles email me! [email protected] ). I itch to paint another set of sleeper paintings.
   Now that the dawdling lazy pace of my care free summer is over, I am finding a consistent painting/working schedule. I didn't even realize how relaxed my summer was until September hit and the rigid schedules and routines of the school year commenced. It caught me quite off guard this year. I found myself waking up and laying in bed questioning why we have to be at school right at 8:30, would 8:34 be ok? This whole summer I was late and early by whole hours with not a care in the world. I marched to the beat of my own drum. Now the drum is pounding down the minutes and I swear my life is run by timers, alarms, calendars, and reminders. I know in my rational thought process it will become an easy routine that will feel more natural and in the near future I will need less caffeine and wine.
   I have started to schedule in my working/painting time. Creating a solid routine has already been beneficial for my growing painting career.  It's hard work being an artist. It's not just playing with paint all day, although luckily some days it is. I have to do a lot of correspondence work, which is often quite encouraging and inspiring.
   I feel so fortunate to have this opportunity to pursue my art career as a painter. Thank you to all the wonderful people in my life that support me especially my Significant Other and my many patrons that make what I do important. I hope you stay tuned as to what happens next. The sky's the limit in my heart and mind. On and Up!

Painting Fire

   Portrait of Lt.Billy Cummins

August 27, 2012

30" x 30"

Acrylic on Canvas

sold

   I was given the wonderful opportunity to create this commissioned piece. I was unable to post anything about it until today, which is the fire lieutenants birthday. This post is published to coincide with the receiving of his portrait ( his wife and I didn't want to ruin the surprise).
   This portrait of  Lt.Billy Cummins was an absolute joy to work on. As soon as I saw the reference material that Billy's loving wife Megan showed me I knew that it was something I had to do. Immediately my eyes started to draw out how I was going to make the composition, which type of canvas I was going to use, that it would have to be done in acrylic paint, and which colors I was going to use.
   What I love, just as much as creating the painting, is the reaction it has gotten from first time viewers. I know that I have done a good job when a piece renders people a bit speechless at first and I can see that it hits them with emotion before their language skills can even calculate what is going on. Many viewers first physical reaction to this painting was a slack jaw. It always makes me shout "YES!" inside, knowing I have gotten it right. It is very hard to judge one's own work, so I have to rely on others. When people have a bunch of comments to say right from the start, then I know I have more painting and tweaking to do to complete the painting.
   I just wish that I could take a photo of this painting that does it justice, but it's impossible. That is the great thing about owning original paintings is that they are there to be physically experienced. I did several layers of paint and acrylic gloss to create the fire in contrast to the figure which was left matte. When you walk in front of the painting from one side to the other the fire shimmers and the figure stays stoically still in it's midst. This helps to give an illusion of movement.
  Thank you to Megan Cummins, you were a joy to work with and I hope that the painting brings as much joy to your family as it did me in creating it.
   (Thank you, also to all of Billy's co-workers that helped by sneakily taking photos of his new Lt. helmet so that I could accurately portray it.)

  

My Sketchbook

Laying Female Nude

Sketchbook graphite drawing

Summer 2012



I have always had a sketchbook. I don't really remember a time in my life when I didn't have one. I think the first 'real' sketchbook I received when I was about 9. Well I think it was my 9th birthday when my parents gave me a pink hard plastic briefcase full of 'real' art supplies. There was nothing with Crayola on it. There were 'real' brushes, a 'real' pencil set, 'real' paint, 'real' artist paper, and a 'real' sketchbook. Before that I had little notepads that I jotted down drawings and ideas or practiced my writing skills. I started keeping a sketchbook long before I had any titled art classes.
Recently, I have been reading the 'Ramona' series of books by Beverly Cleary to my young children. I remember reading them myself as a child. No wonder I loved them and felt liked I connected to the Ramona character. I was not boisterous and I never got in trouble at school but I did feel the same passion for art as Ramona did. I loved her commitment to originality and self expression. Like Ramona I was fortunate to have parents that encouraged my need for self expression and made sure I could seize every creative opportunity that came my way.
I have filled so many sketchbooks over the years that I have lost count of how many I have. I have also gone through a variety of types and sizes over the years. I am greatful to my parents for funding and providing me with so many sketchbooks. I don't know how I would live without a sketchbook. I would probably write on various pieces of paper and staple them together. I have in the past been without a sketchbook and then find any scrap of paper, napkin, kleenex, or anything that I can draw on and later attach it into my sketchbook.
Now I work in three sketchbooks. I have a small sketchbook that fits into all my bags easily (the drawings shown here are from this small sketchbook). The small one I take with me everywhere, it holds all my random ideas, quick sketches, names of artists I need to look up. It also documents inspiring experiences I have had that fuel my work. I have a medium sized bound sketchbook that I take with me when I know I will have time to draw. I take it on vacations, pull it out to study various still lives, I take it when I know I may have a chance to do at least 5 drawings. Then I have a large, higher quality paper sketchpad of paper that I can easily remove the sheets from. I use this for longer model sessions, extended drawings, softer pencils, or preliminary sketches for large paintings.
I have been teaching and painting so much that I have found, when looking back, that I started putting more notes in my sketchbook than actual sketches. This summer has been full of family and kids so while I am working on a commissioned piece (that I can't share yet as it's a surprise for the client's spouse), I can share this little project I've been working on. I have been making time to sketch. I have been trying to draw more often to exercise my skills of seeing. I have been looking at other artists drawings and copying them in order to learn from them.

(Included are images of drawings of myself and my significant other -the cheap models, the rest are studies I drew of artwork done by other artists - Daniel Graves, Steven Assael, Juliette Sristides, Pierre-Paul Prud'hon.)

Self Portrait

Sketchbook graphite drawing

Summer 2012

Portrait of Wes

Sketchbook graphite drawing

Summer 2012

Female Seated Nude

Sketchbook graphite drawing

Summer 2012

Water Glass

Sketchbook graphite drawing

Summer 2012

Self Portrait

Sketchbook graphite drawing

Summer 2012

Standing Female Nude

Sketchbook graphite drawing

Summer 2012