Carousel Day, Two Biennials, and another Unlikely Dance finished

Unlikely Dance: Beethoven Oaks
Unlikely Dance: Beethoven Oaks – 30 x 48 in., oils on canvas

Got a lot to catch up on, here!

I’ve been back to the Roberson Regional twice, but both times was so bowled over by the art I neglected to take photos. I didn’t win any awards, but I’m honored to have work in such a superb show. That’s award enough! The show runs through October.

July 27 was Johnson City Carousel Day, my village festival — instead of setting up for on-the-spot portraits, which seem not to be very popular anymore (I made a living with them when I was in my early twenties), I worked on a demo painting… between tying things down and retrieving things the wind had blown down.

Working on Cutler Maples at Johnson City Carousel Day. Photo courtesy of Darlene Clark Photography
Working on Cutler Maples at Johnson City Carousel Day. Photo courtesy of Darlene Clark Photography
It was a lovely day despite the wind, and again I won two prizes, one each for booth presentation and for my artwork. The demo painting was a lot of fun — I do enjoy teaching, and there was lots of interest. The kids were wonderful — full of questions and very impressed. Some said, “I want to paint too!” so I had to explain that these were grown-up paints, and not safe for kids to use. I’m so grateful for the help and good company of my friends at the next-door FASST (Fine Arts Society of the Southern Tier) booth, and of course for my sweetie, Leo, who fetched and carried and helped put up and take down the tent.

Spurred on by the submission deadline for a themed FASST exhibit at the Broome County Public Library, I finally finished Unlikely Dance: Beethoven Oaks on July 31… JUST in time. In fact it was still a bit tacky in spots when I dropped it off, despite having a fan on it for 48 hours, applying a hairdryer, and using a ton of Liquin drying medium in the last paint applications. It looks marvelous on the wall of that cavernous room. I had to remove it for a day to photograph it for printing, for a customer’s gift request (after editing the heck out of an on-site photoshoot and ending up with an unprintable image).

AND… today I received word that two of my paintings have been accepted for the Northeastern Biennial, in October! They’re Princess Royal and Puppet Parade. (The acceptance of Puppet Parade in particular is a sweet vindication, for me.)

PrincessRoyal, PuppetParade
Accepted for Northeastern Biennial Twenty Thirteen: Princess Royal and Puppet Parade, each 16 x 20 in., oils on canvas


The “Unlikely Dance” project was made possible by a grant from the Artists Fund of the Community Foundation for South Central New York

To follow my progress in Unlikely Dance, just click on the “Unlikely Dance” link under TOPICS, on the left of any page in this blog.

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Back to Beethoven Oaks: fun with whites and lights

Unlike Dance: Beethoven Oaks (unfinished) -- 30 x 48 in., oils on canvas
Unlikely Dance: Beethoven Oaks (unfinished) — 30 x 48 in., oils on canvas

After a few days off, I’m back into Unlikely Dance: Beethoven Oaks (actually, the least “unlikely” setting in the series so far). Really enjoying playing with the white clothing in the clear spring light — whites are seldom actually white. I’ve used cool colors — cobalt blue, cobalt violet, alizarin crimson, plus titanium white and some cadmium yellow medium to tone down a bit — in the shaded parts of the whites, and sparked it up with a complementary yellow-white mix for the lights. These whites are poppin’! Tree branches are roughed in, to be defined further by eventually painting the sky in between them — meanwhile I’ve begun to establish a bright blue “color trail” amongst the branches to lead the eye back into the center of the composition. I’m trying to paint more in value ranges than in color matches, and so far I like it.

River Willows - 20 x 16 in., oils on canvas
River Willows – 20 x 16 in., oils on canvas

I’ve finished River Willows, but something about it is bothering me. Too weighty, too dark, too something. I may have overworked it.

Once again a “bridesmaid” at the Fine Arts Society Members’ Show, in May I won an Honorable Mention for Dance Study: 2 and 1. It’s a nice recognition nonetheless — and I’m happy for the award winners, several of whom are good friends.

Dance Study: 2 and 1 - 11 x 16.5 in., colored pencil on laid blue pastel paper
Dance Study: 2 and 1 – 11 x 16.5 in., colored pencil on laid blue pastel paper


The “Unlikely Dance” project was made possible by a grant from the Artists Fund of the Community Foundation for South Central New York

To follow my progress in Unlikely Dance, just click on the “Unlikely Dance” link under TOPICS, on the left of any page in this blog.

Unlikely Dance: Entry Hall finished, Golden Clouds and Green Skirt accepted!

I’ve finished Unlikely Dance: Entry Hall, though I haven’t yet done a “formal” photo of it — glare from the large area of black is giving me some problems. Some last-minute resolutions, such as a cool, thin glaze defining the profile of the central figure, and a more finished rendering of the face — along with the successful re-rendering of figure #1’s face — make me very happy with this painting.

Unlikely Dance: Entry Hall - 30 x 48 in., oils on canvas
Unlikely Dance: Entry Hall – 30 x 48 in., oils on canvas

And yay! Both of my submissions to the Roberson Regional juried biennial exhibit — Unlikely Dance: Golden Clouds and Unlikely Dance: Green Skirt — have been accepted into the show! Now to figure out whether/how to frame them…

Unlikely Dance: Golden Clouds; Unlikely Dance: Green Skirt
Unlikely Dance: Golden Clouds; Unlikely Dance: Green Skirt – each 30 x 48 in., oils on canvas

I’ve also entered — and will enter — a few more biennial competitions; will write more about those as jury results come in.

Here’s the final progression of Unlikely Dance: Entry Hall:


The “Unlikely Dance” project was made possible by a grant from the Artists Fund of the Community Foundation for South Central New York

To follow my progress in Unlikely Dance, just click on the “Unlikely Dance” link under TOPICS, on the left of any page in this blog.

A successful festival, shadowed by sad news

My booth at Window on the Arts
My booth at Window on the Arts

Saturday’s Window on the Arts Festival was a smashing success, both for the festival itself and for me personally. I was a bit concerned about how large (or small) a crowd it might draw, with this year’s relocation away from the central town square to a nearby but not-so-central park; and the night before, the winds and rain came crashing down on the early set-up gazebo tents (mine amongst them). However, the local Binghamton newspaper had given the festival the front cover of its Thursday “Good Times” supplement, the Friday night storms stopped in time, and all began — and continued — well.

Parade of the Puppets opens the Festival
Parade of the Puppets opened the festival, just before the sun came out
End of the Festival Parade
End of the Festival Parade

I showcased my “Feathered and Feline” series of art about birds (mostly owls) and cats — along with a few other pieces, and had matted art prints and art cards of most pieces, as well as many not hanging at this show. I was so busy selling prints, cards, and earrings that I never did have time to set up for on-the-spot portraits. It was so gratifying the way people responded to my cats and birds, and I even sold a larger print of The Flood,

The Flood
The Flood: 10.7×8.3 in., pastels over ink underpainting on fibered buff paper

a pastel piece of last year’s flooding Susquehanna River.

And beyond the sales, everyone wanted to interpret and discuss the art. I just love hearing people’s interpretations of some of my images, especially when they’re not speaking directly to me. “Oh, look,” said one man to his wife about Window, “it’s a cat looking into a mirror, and he sees himself as an owl.” Wow. That’s the one that’s stayed with me.

Window
Window

In the early afternoon, Sweetie brought food, the dog, and a break (after calming me down and packing the car for me in the morning — not to mention helping me set up the gazebo tent the night before). We were both impressed by the quality of the arts and crafts there, as well as the quantity of fifty artisans… and Sweetie is not easily impressed!

Alan Crabb 1942-2012

As I walked around the festival on my break, he took over the sales for a while but called my cell phone, after checking Facebook on his phone, to tell me that Alan Crabb had died. It was not unexpected; Alan had been in the UPenn hospital for a couple of weeks, suffering open-heart surgery and severe complications after a risky heart procedure, but it was still a shock and a sorrow. He was friend and maestro to so many, a beloved high school music teacher in his working years not so very long ago, a gifted world-class tenor, and one of a kind. He was a manic, maddening, arrogant, rude, distracted, and self-centered Welshman with an aura a mile wide: a demanding but gentle mentor to all who sang under his direction, a warm and loyal friend — father of two adult sons from his first marriage (to the first — and so far only — woman mayor of Binghamton) and of a two-year-old son from his recent second marriage to a lovely young violist. Sunday, I felt consumed by exhaustion and grief, and laid low for a day. Rest in peace, Alan Crabb — 1942-2012.

This week I have several projects to start or continue: finish unpacking the car (and clean it), mat and frame my two entries for the upcoming Rude and Bold Women show, get back into the new still life (calling to me now from its easel across the room…), replace the traded-out still lives in the Acme exhibit, design and build the Acme business window, photograph contra dancers for Unlikely Dance, sing Diamonds in the Rough‘s “Eldercare Tour,” and — as if that’s not enough — start a call for images of Alan, with which I plan to build a commemorative/interpretive painting of him. More on that next.

New camera, and a (possible) new experience as an artist

Finally, after much asking of advice and online research, I decided on a camera to use in my grant-funded Unlikely Dance project. And yesterday I bought it, along with a tripod, an 8GB memory card, and an extra battery pack. Woohoo! I’m not a photographer, and have no ambitions to be one, but I have needed a better camera for quite some time, for shooting reference photos and for photographing art for reproduction, online posting, and entry applications for shows. Think I’ve found just the thing. It’s a Canon ELPH 110:

Canon ELPH110
Canon ELPH110 – my new camera
the size of a pack of cards, shooting 16-megapixel images, good in all light situations, with a very good “auto” setting and “burst” (rapid shooting) and slo-mo video functions for action shots — and all within my budget. I’m thrilled. On with the project!

And then last night, fresh from the triumph of getting my camera, I had an interesting encounter. Sweetie and I were out for a date night at our favorite bar, Number 5. I’d brought a sketchbook, as usual, to keep myself occupied while he watched sports on TV. Art Show sketchNext to me at the bar was a former colleague from Broome Community College, with her date. They were quite interested in my sketches, even taking my sketchbook to look at while I was busy eating, oohing and wowing over the faces I’ve sketched while sitting at art shows. Art Show sketches“Would you be interested in doing courtroom sketching?” he asked. “I’d LOVE to do that!” I answered. He, it turned out, is a state police investigator. I’ve always been fascinated by courtroom sketching, and I wasn’t exaggerating. We exchanged business cards. Later, as they left, he leaned over my shoulder to see the sketch I was working on. “Who’s that?” he asked. It was a woman over at the opposite corner of the bar.More art show sketches “The one in red?” he asked. Yep, I said. He looked at the woman, looked at the sketch, and said “I’ll be in touch.”

The woman in red, and a pretty bartender
The woman in red, and a pretty bartender
Okay, it was an encounter at a bar. And though I find that friendly people at bars are generally sincere, at the time, about getting in touch, it seldom happens. But what a nice possibility! What an adventure that could be.

Showing some of my sketchbook work at the public library

My show, "Up 'til Now," at the Broome County Public Library
My show, “Up ’til Now,” at the Broome County Public Library

Today I hung a solo show at the Broome County Public Library — it was a LOT of work; I’m pretty tired. But I’m happy with both the way the show looks and the new work I’ve included.

For several months I’ve been taking a sketchbook with me on date nights with my sweetie — I do like to talk to people at the bar with us, but I’m not into watching sports on the bar TV, as sweetie is, so I divert myself with a pencil (or sometimes a pen) and paper as I sip on my scotch and water. Sometimes I draw people at the bar — both patrons and bartenders — but have done quite a few “extended doodles,” abstract images out of my head which just happen on their own, with no thought or planning. I’ve been quite pleased with many of them, and decided I’d like to include some in my August show at the
public library in Binghamton. The conference room which doubles as the library’s gallery is quite large, and I felt the need for some new pieces to supplement the tried and true.

Most of my work is realistic to the extent that it’s clear what objects I’m depicting, so the abstracts are a bit of a departure. Some people are uncertain how to regard abstracts, but here’s my feeling about it: once a non-objective abstract piece is shown to the public, any meaning imbued by the artist is no longer relevant. It’s now up to each viewer to decide what the picture might show, how it makes him or her feel, and what it means. So to promote that ambiguity, I’ve titled all my sketchbook pieces with heteronyms — words which have two or more pronunciations and meanings, with the same spelling. How do YOU pronounce the title? What do you see? What do you feel when you look at it? What does it mean to YOU?

Wol is finished, and the Lost Dog show is hung

Finally finished Wol and the Stone Goddess yesterday, and got it framed in time to add it to my Feathered and Feline show, which I hung this morning in the Lost Dog Cafe.

Today proved to be a bit of a bad art karma day; when I got to the Lost Dog, there was already art on the walls, and complications ensued — which included my discovery of a broken piece of framing glass on one of my pieces. Delayed by the brouhaha and confusion, I hung the show as quickly as possible (whew — what a simple way to describe a LOT of work!), took the broken piece back home, re-framed it, and ran it — along with the missing tag for Wol — back to the Dog, only to find a jam-packed restaurant. I do hope Nicole was able to put the drawing and the tag in place when the crowd thinned out!

So here’s the finished Wol and the Stone Goddess. It’s also now available as prints from my Etsy shop — just click on the photo to go there.

Wol and the Stone Goddess
Wol and the Stone Goddess - colored pencil on painted hardboard, 24 x 24"

And here are some photos of the show in place, before the onslaught of diners. It’s such a popular place, and the people are so nice; I love showing here.

Feathered and Feline now hanging at Tranquil Bar/Bistro

My Feathered and Feline series has been moving along, and though there was more I wanted to do, and to hang, I had plenty for this show at Tranquil.

I love the art space at Tranquil — and the place as well: so nice for a post-First Friday Art Walk cool-down, or a fine dinner out.

So here’s my show, as hung Thursday. prints of all these pieces – and the originals of many – are now available at my online shop, GreenBoat Gallery.

Feathered and Feline, at Tranquil Bar/Bistro
Feathered and Feline, at Tranquil Bar/Bistro