Abandoned

"Art is never finished, only abandoned." Leonardo da Vinci. (I could have sworn someone else said that, but the internet would have me believe it was Leonardo, so I'm going with it--the internet's always right, surely?) At any rate, I've decided to call this painting abandoned, or, that is, finished. We'll see how I feel about it in the morning. I would dearly like to be done with it, but I left the set up in place, which is never a good sign where actually being finished with something is involved. It's called "Delicious Monster", by the way. Because that's the awesome name of a plant, and although this is in no way a plant, I felt this was a delicious mess of a monstrous thing to try to paint, and I wanted to steal the plant's name and use it for a painting. So there. Also, I apologize for the quality of the photograph--during a bout of apparent madness this summer I hid my tripod from myself and despite tearing up a good portion of the studio, I have yet to find it.

Thank you

A warm thanks to everyone who came out to Waltham Mills Open Studios this year!

It's that time again

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Delicious Monster

This piece has been kicking about the studio for months, somewhat neglected, largely because I usually have a Sebbie to be working on as well (still do!) and several other things to boot. But it's my delicious monster--I set up a still life deliberately so full of junk I'd have to change my usual way of painting to approach it. It's ridiculous, and that's why I love it. It's still not finished (blame Sebbie), but it's getting closer. It's taking longer than it should because I was super lazy with the drawing in the beginning and am now playing for my sins by having to fix everything (students, n.b. here you'll find me illustrating what NOT to do, please learn from my frustration). Anyway, that's what's on the easel at the moment, or at least what's on THAT easel.  

Figure painting extravaganza

Yikes. Where to start? I spent the last week immersed in figure painting. It was kind of wonderful. The Academy of Realist Art here in Boston hosted a figure painting competition: ten artists from around the country (and Paris, but let's pretend that's part of our country, too--think of all the time we'd save in customs), one model, forty hours of painting over five days, a reception and awards at the end. I was lucky enough to be one of the artists along with Ryan Brown, Kerry Dunn, Joshua Langstaff, Rachel Moseley, Carlo Russo, Camie Isabella Salaz, Shane Wolf, Elizabeth Zanzinger and Emanuela De Musis. It was so very inspiring to paint around these fantastic painters, to learn from their techniques and be inspired by their talents and visions. I couldn't post during the week as the work had to remain anonymous for judging purposes, so I'm posting a series of progress shots as well as my finished piece. In the end, Shane won first place, Camie second, and I am totally honored to have won third.

Finished piece (best picture I have of it at this point):

Day one: 

Day two:

Day three:

Day four:

Day five:

Update: all the finished pieces can be seen here.

Let the hilarity ensue!

I know I already posted about this but, I am participating in a figure painting competition next week, here in Boston--that's right, starting tomorrow!  The competition is being hosted by the Academy of Realist Art (112 South Street, Floor 2, Boston MA 02111--n.b. use zip to google map or you'll end up in JP) and parts of it will be open to the public.  There are ten artists from around the country and we will all be painting on the same size canvases, the same model, in the same pose, for 35 hours over the course of a week.  At the end of the week, on Saturday, August 1st from 1-4 there is a reception and awards presented at Sloane Merrill Gallery on Charles Street in Boston's Beacon Hill neighborhood.  Each day from 1:30 to 2:30 the public is welcome to come in and check out our progress at the Academy.  Here is a link http://www.araboston.com/events  with all the specifics and anything I left out.

I went to Maine and left my oil paints at home

I love oil paints. There's something about the tactile nature of them that appeals to me. I love the depth of their colors. I love that they take hours or days (or longer...) to dry. I can paint with other paints, even make beautiful things with other paints, but given the option, I will pick oils every time. I love oil paints. But. I don't love traveling with oil paints: they are messy, and heavy, and clumsy, and involve lots of "stuff" to pack, and the TSA in fond of confiscating them. I have a system, of course, because I have traveled with them often, but it's still always a hassle. So I decided to try a new paint (okay, not a new paint, an old paint, but new to me): gouache. In a nut shell, they are opaque watercolors: you get to paint on paper, they wash with water, they dry quickly. They sat in my studio giving me the stink eye for weeks..."You're ignoring us," they said. I ignored them; I had oil paint. But I did think they might be the solution to my travel painting, and I knew the only way I would use them, would practice with them until I was comfortable with them, was if I took them somewhere and left my oil paints at home. So I went to Maine, left my beloved paints at home, and tried out this gouache business. I don't hate them. (I'm queen of the understated compliment.) They are not oils. But. They might make a close second, which is pretty exciting, and totally worth it, then, to travel with a close second that weighs next to nothing and simplifies your travel baggage immensely. So here's a peak into my sketchbook from Maine, gouache and all: