Sunday, January 31, 2010

Sheep and Olive Trees in Portugal - Oil on Copper



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I remember the sheep on the farm in the summer baaing to each other on the hillsides as the sun went down. I loved the sound. Those sheep had cropped tails, though. The sheep in Portugal had long tails.

I think my fondness for sheep came from being chief bottle feeder of orphan lambs that didn't get adopted. That was fun too. I must confess that I am very fond of sheep cheese, especially with membrillo. Although I have never milked a sheep and think it hard enough to milk a cow,I have made membrillo paste as a young girl on the East coast where we had quince trees. There is nothing that smells as wonderful as ripe quince. Memories...

Sunday, January 24, 2010

Azure Streak and Bainbridge Island Gets the Sun



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How strange to see this intense azure streak on the Bainbridge Island side of the sound. It seems to be a reflection of blue sky that we can only just glimpse a bit of, at least that is my guess. I was intrigued enough to want to paint it. The water was pretty flat, no sailboats out, but a dark cloud had just sailed over us here in Seattle. When you live near water, all sorts of weather happens, often fleetingly.

I feel this work is more abstract than representational, hence, a more abstract stand. In fact, this is my favorite meditation piece as it seems so calm. What do you think? Have you seen this kind of light on the water before?

Sunday, January 17, 2010

Puddle Original Oil Painting on Copper Sheet



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I love dirt roads, but not when they are dusty. They are at their best when damp but not muddy. I have spent a lot of time walking and driving these roads in many places. They intrigue my interest and make me wonder what would I find at the end of the road?

I have found many treasures to paint along or at the ends of dirt roads. Growing up in the mountains, I was more at home with these roads than the interstates. Now I live in the midst of pavement and must drive a while to find an interesting road. So perhaps they are better in memory than in actuality.

Sunday, January 10, 2010

Hilltop House Original Oil Painting on Copper



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It is the quality of light and the shapes that move me to paint something. I love the light on houses that have a simple shape.There is just something so solid about the shapes revealed in this way. The trees of winter are a different proposition. Without their leaves, they are less solid and more of a challenge to paint without getting into painting every single branch. There are some artists that will paint every detail, but I am not one of them. I only wish to paint enough to let the viewer complete the idea for themselves.

Once again, I have shown the painting in two very different lighting situations so that you can get more of an idea how the copper gleaming through the semi-transparent oil paint changes with the light.

This particular stand is my very favorite as it looks like a rocky outcropping on the hillside.

Sunday, January 3, 2010

Dawn in the Spring Fields Original Oil on Copper



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Can a painting look this different under different light? Yes! If you view this painting on copper by morning sun, the copper gleams pink from under the pale blue gray oil paint. When viewed by lamplight, the colors are more muted. I love this effect of mutability in a painting. It captures more of the reality of the light on the land. In the early spring, the air is cold, but the light is so warm as the sun rises. When the sun is higher in the sky, the light grows colder as the earth warms. I think that is magical.

These Skagit fields often have tulips or daffodils in them. Sometimes they are left fallow, other times they have a vegetable crop in rotation. Every year is different.