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Archive for the ‘Abstract Landscape’ Category

 

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The second exhibit I have coming up next month is at the Barn Gallery, home of Ogunquit Art Association. I will be one of the Showcase artists for our last exhibit of the season. The exhibit runs from September 12 – October 8, 2018. There is a gallery talk on Thursday, September 13 at 6pm and a reception on Saturday, September 15 from 5 to 7:30pm.
I’m very excited about this exhibit. It was a chance for me to take some time to explore and experiment with a few of the ideas swirling around in my head and some already on paper. I’ve been working on my Land Project paintings off and on for a number of years. This was a chance to do some concentrated work on my abstract take on the landscape.
Paintings of my family farm include bits and pieces of family history and make me think of a treasure map more than anything. Other paintings are a combination of aerial view and map view. These depict geographic variances as well as the “imaginary” boundaries of property lines and political divisions. Some are more sketch than anything else. Some are relatively realistic and others are just whimsical.
Although, it’s been fun to just play around with these ideas, it’s daunting to figure out where to go next. I want to explore all these different paths, but in what order and intensity?

 

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I have two exhibits coming up in September. Kind of odd, since I haven’t been doing much exhibiting the last couple of years. But that’s another story……

Postcard_ColorLove_Cropped

I’m really excited about both of these opportunities. The first one is at The Gallery at WREN (Women’s Rural Entrepreneurial Network) in Bethlehem, NH. I’m exhibiting with two other NH artist friends, Rosemary Conroy and Ann Trainor Dominque. Although I’ve known both Rosemary and Ann a long time, this is our first group exhibit. “Color Love – 3 Artists, 3 Visions” will run from September 7th through October 1st. Our artists’ reception is Friday, September 7th from 5 to 7pm.

And let me tell you, it’s all about the color! There will be a roomful of vibrant color for you to check out. And in quite a range of sizes. I can pretty much guarantee that my pieces are the smallest, most of them ranging from 4 inches square to 8 inches square, the perfect size to tuck a bit of color and inspiration into a corner, a bookcase, or a nightstand. Ann and Rosemary will both have larger pieces, strong enough to hold the focus of your room. I think this is going to be an incredible exhibit with lots to offer both buyers and viewers.

Come on the evening of the 7th to meet the artists or come later in the show when it might be a bit quieter.

 

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First week of the month and it’s changeover time at a lot of galleries. New Hampshire Art Association is no exception. On Tuesday, I joined about 6 other artists to hang Prints of the Year and also repaint and rehang the Small Works Gallery. (OK. I didn’t help with the painting, but I helped with the rest.)

Because of the rather nasty winter weather, the reception has been postponed until next Friday. When you go to the gallery, you’ll find the main galleries filled with prints from some of the best print makers in the state. Parker Potter’s Prints of the Year includes all manner of the printmakers art – wood cuts, silk screens, monoprints, etchings, and various combinations. You’ll find work by Don Gorvett, William Scolere, Kate Higley, Victoria Ellbroch, Scott Schnepf, and many others.

The East Gallery is full of lovely black and white photos by the Seacoast Photo Group. And the South Gallery will have Carol Van Loon’s black and white photos of Barns.

The Small Works Gallery is now repainted and rehung with new work! So check it out.

You’ll find two small pieces of mine on the very far wall of the Small Works Gallery. (That is unless they moved them after I left on Tuesday.)

These are two pieces from my Shelter Series. This series started years ago with some very small paintings with a stylized house image. Some of these initial paintings turned into hand painted cards that were sold to benefit the York County Shelter Program. Hence the name – Shelter Series. Through an event that I ran for years at the Notre Dame Spiritual Center in Alfred, ME, I began a relationship with the shelter program and helped to raise money for their food pantry.

 

 

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I’m excited to be in the current show at Twiggs Gallery in Boscawen, NH. “COZY: NH Artists celebrate the joys and comforts of home” will run from November 21 through December 20, 2015.
Please join us for the opening reception: Saturday, November 28th from 3 to 5 pm.

Two of my farm/land paintings are included in this exhibit. “Home on Pine Hill Road #1” depicts the home I grew up in and the area immediately surrounding it. It includes my mother’s favorite maple tree, the huge sycamores in front of the house, the lady slippers and yellow violets which grew in the woods across the street. All the little items on the painting represent a memory from my childhood, a memory of my family, or sometimes just a memory of the stories we grew up with.

“Our Street” is much more explicit. The notes about the neighbors and my family are still visible on this painting. The neighborhood is a checkerboard of land, houses, and families. And some of the little stories that connected us all.

 

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I’m starting a new series and am finding the circumstances and ideas swirling around are really interesting. I want to share some of that with you. I want to put this in some sort of framework to make it easier to understand.

Let’s start with some generalities. I’ve identified 4 things that factor in to what I’m working on and how I tackle it. I’m not sure if this list is complete though.

  • Previous work – Almost always there’s some connection to earlier work. It may be really obvious if it’s just the next piece in the series. It might be more subtle if it’s just a color combination from an earlier work or even a discarded idea from a failed painting.
  • What’s going on in my head – Well that makes sense doesn’t it? Whatever I’m thinking about is going to factor into my current creations. This can be really interesting, because it’s often not visually connected. For example, when I was in the
    Hills Farm - Applehouse 11" X 15" Watercolor

    Hills Farm – Applehouse 11″ X 15″ Watercolor

    process of settling my mother’s estate, I started a series of farm paintings which combined family history with physical geography. My head was swirling the difficulties of clearing out the house and particularly the barn. The barn took on epic proportions in the earliest of these paintings.

  • What’s going on around me – This is often connected to what I’ve been reading, what I’ve been discussing with friends, what I’ve been looking at. For example, when I first started doing the small collages on panels, I had seen a fabulous exhibit of collage at the Portland Museum of Art. Although I took copious notes, I think the new ideas simply came from seeing LOTS of possibilities and different approaches to collage.
  • What I have available for resources – Sometimes what I work on and how I work on it is connected to what I have for materials & resources. For example, I first began doing landscape collages during a time in my life when I only had short periods of time for art. I couldn’t do big wet & juicy watercolors when I had only 15 or 20 minutes to spend in the studio. My art practice reflected these limitations.

This is just a general introduction to where my ideas come from. In the next post, I’ll discuss these factors in relation to my new series.

 

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Although my work sometimes looks like it’s all about color, that’s only part of the story. Fundamentally, it’s about landscape, abstraction, emotion, and memory.

A little background – As a child, I loved the little details of the landscape – patterns made by the lengthening shadows in the woods, the ripples on a pond, or the intricate swirls made when water freezes in a brook or puddle. Long before I knew anything about art, I was viewing the world in terms of pattern, movement and simple intimate compositions. I was noticing abstract design elements, not just objects. I had landed upon a way of looking at the world that would stay with me and inform my work years later. As my work moved further away from realism, my use of color became stronger and bolder. I developed a passion for intense colors, colors that still bring me joy; colors that still make me feel good.

Why landscape? I believe we are more connected to land and place than we realize. We carry with us the memory of places we have known intimately, places where we felt safe, places where we felt joy or peace, all those special places that continue to elicit an emotional response many years later. This connection between landscape, emotion, and memory is the basis for my paintings. The small-scale mixed media paintings that I now create reflect my passion for color, my semi-abstract take on the world, and my use of landscape imagery. These elements contribute to my goal of producing paintings that remind the viewer of their own connections, their own memories, their own special places.

  • Can you see beneath the color on these pieces?
  • What do these paintings make you think of?
  • Do they evoke any memories for you?
  • Do any of these just make you smile?

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The last exhibit of the season is up at the Barn Gallery in Ogunquit, ME. The reception is Saturday, September 12th from 5 to 7:30pm. The exhibit will run through Columbus Day.

I’ve included two small black & white abstractions.

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