Mid-show Night at the Muck

"Scrubber"

"Steel Bundles"

"Colored Tanks"

“Scrubber”
"Steel Bundles"
"Colored Tanks"
watercolor on paper, 2016
6” x 8” (15.24cm x 20.32cm)

Here are my other 3 paintings I have in the NWS Plein Air Exhibition and sale at the Muckenthaler Cultural Center. Today, Thursday March 3rd from 7:30 - 9:00 pm the Muckenthaler is hosting a mid-show gallery tour.
Several artists including myself will be there doing demo's and/or talking about our work. It will be a perfect night to attend if you can make it.

These 3 are the most orderly of my six. Part of that reason is the view I choose and the way I presented them, straight on and compositionally horizontal. Industrial subjects often are chaotic but even when so I can usually find the view that is less chaotic.
When the subject is busy as in "Colored Tanks ", with so much going on in the painted surfaces the straight on view as well as simplification helps make a better painting.

My other 3 in the show are made up of more angles and diagonals compositionally, which I usually favor, but they are simpler to begin with so they needed the perspective views to keep them more interesting.

“Scrubber”
We see these attached to every industrial building. Seen in endless configurations these kinds of machinery are called scrubbers. They clean or scrub the air inside the warehouses, factories and industrial plants. Very similar to my power pole series there is a lot going on with them. With their boxy structures, angles, valves, pipes, wires and ducts it’s their forms that attract me. Sometimes oddly proportioned, gangly in appearance, rusted, worn and weathered they can take on an anthropomorphic character and are irresistible to me so I must paint them.

"Steel Bundles"
Bundles of steel girders, wood haphazardly stacked on top and overlooked by most. I find these kinds of repeating forms a great subject to paint, especially when the stacks are not perfectly arranged. In the simplest form they represent the industrious and hard working as well as both organization and chaos.

“Colored Tanks”

Industrial subjects have more color than most realize. The colorful palette of hues can range from the more earthy to the bright and highly saturated. Then they take on the rich patina of the time worn and sun faded. This one had the two sides of its gates painted at different times and in two different reds. The blues tanks too were faded, its paint water stained in various degrees. I waited for a full sunny day to paint these to accentuate the lively palette.434,435,436

Rusty Haze

"Oil Plant 11 (Rusty Haze)"
oil on panel, 2014
6" x 6" (15.25cm x 15.24)

Number 11 in my series of the Oil Plant, actually an oil pumping station from the 1930's or 40's I think.
(I've done more than 11, some were not titled within the numbers) Unfortunately it is gone now but my series will continue. It is a hazy memory.
I left out quite a bit of the pipes and such in the background, more than I usually do. I reached a point and it just felt right for this one. It was more about the thick atmosphere.
But then I take another look and think it may have been better with just a whisper of them here and there.
Who knows. It's probably better to move on to the next one.292

Erasure

"Catalina Pacific Concrete (Demolition 1)"
watercolor on paper, 2014
9" x 12" (22.86cm x 30.48cm)
For sale at Daily Paintworks, CLICK HERE

Here is another from the series.
The old Catalina Pacific Concrete Plant, which I recently found out was built in 1939 if my source is correct, moves one step closer to being erased from the landscape, becoming transparent as its corrugated skin is slowly removed.

It will be odd when it is gone, since it is the only tall structure where it stands and can be seen for blocks in all directions. The skyline will have a noticeable void in it.

Although it has sat untouched for a while it won't be long now. It is going to become a parking lot for the current business that operates there now.

I painted this view with the skyline in mind, showing how the building is (has been) seen against it by leaving it nearly white, a blankness interrupted by the block of a building.
This version has more warms and cools interspersed throughout over previous ones (below), giving it some life just as it is being razed.267

See other versions of it here, here, here, here.

HB Power Plant Backside

"HB Power Plant Backside"
watercolor on paper, 2013
6" x 9" (15.24cm x 22.86cm)
For sale at DAILY PAINTWORKS
Direct link to painting here

The Huntington Beach Power Plant may be getting torn down soon so I present it from its backside and in the background, the marine layer moving in to engulf it, a device I have used before to indicate an eventual disappearance from the landscape. We get so used to some landmarks around us they become a fixture in our lives and we will notice them more when they are gone one day.261

*The color of this pic is a little off, a bit too pink, but when it leaves my photo editing app it looks right.

Dusk, Dawn, Light and Dark

I have done series and themed works then written about them here on my blog. Most of these ideas have been expressed through the vehicle of the industrial motif, a subject largely ignored since it is most often not pretty.
That is a mistake. It is the idea entrenched within the picture and not the picture itself that is (or should be) important.
I know the risk of doing this means a narrower audience and yet I push on. I can't give it up because it is part of me.
I try to show others what I see and hope they too will see it but only some can, or slow down enough to  pay attention.

I have used the end of the day as a metaphor for ideas.
Aging Relic: "L. B. Plant (Arco Oil Plant)"
The Dying Day: "Catalina Pacific Concrete"
Ponto Storage: "Ponto Storage #1"
Urban River 4: "Santa Ana River #4"
Absorbed by History?: "Linden and Broadway"

I have used light and dark for the same.
Yin and Yang: "Oil Plant #4 (Sunlit Grass)"
"Dark Rain"
"Light Rain"
Melancholy: "Harbor Line #50 (Catalina Pacific Concrete)"
Curtain of Rain: "BNSF (Cajon Puddle)"
Spot-Lighted: "PHL Sulfur Pile"
No House of Cards: "Catalina Pacific Concrete (Storm)"
Crushed By The Sun: "Warehouse Rooftop (w/ Palm)"
Beast of Burden: "Harbor Line #61 (Dusk w/ Engineer)"

And I have used the dead of night too.
Terminated: "Oil Plant Nocturne"
Subdued Energy: "Tree Nocturne (19th St.)"
'Of the Night' 2: "Nocturne - Night Owl"

Lately I have been exploring the beginning of the day and the potential themes of it.
Tied Up Dog: "Relic Sunrise"

Like night and day the dusk and dawn are opposites but also complimentary. They are moving in opposite directions but they share the same moments of light, the day or night ending or beginning.

They are divisions that mark the day and carry their own meanings and associations and can be different to us all. The beginning, the end, but of what?
Neither the beginning nor the end is really tied to any one meaning, it is a matter of personal experiences and perception and most importantly observation. It can be but is not always cheery.

It is not necessarily one of hope, that idea is too common and obvious, just think of all those motivational posters, slogans, images etc., too much and it becomes trite. The new day can also represent despair, for some, as each new day IS another beginning of something. That idea I tackled in the above Tied up Dog: "Relic Sunrise"

It does not always have to be that extreme either, sometimes it's the small melancholy incidentals that are just part of life... the things we encounter daily but ignore, those small incremental changes in the landscape, things we notice briefly then forget, an abandoned object or building.

We are already conditioned to see beauty in nature, the figure etc but you have to look for it in the unpretty.......You need to stop and take notice or you'll miss it. It's there if you look hard enough.
It is the job of the artist to point it out.

I should say I am not a depressive person, never have been, I am happy and like it that way, but many of these things I examine are just part of life and I think examining them is worth doing. Not all artists want to do nothing but happy snappy works so although I don't live mired in it I can still put down my observations on it. That point of view is just as valid.

I am not even being needlessly negative, or needlessly happy for that matter, instead I am recording what I see and doing so consciously.

I might even say that to know one side you must look at its opposite to really understand, so being the content person I am means it is perfectly logical to stare at the 'unpleasant' to fully realize and appreciate who I am and what I have.

You can't really know the darkness until you have stood in the sunshine otherwise you get along thinking 'this is how it is' and 'it' is normal. That would be abnormal or at least naive.

How can you know joy unless you have tasted sorrow, we must experience both.

I simply must do this, have some target, something to drive me in my work otherwise I am merely painting pretty pictures and will get bored to death. To me, that would be depressing. There must be something in it or I end up feeling a bit hollow as I work.

Vincent Thomas Bridge #3

"Vincent Thomas Bridge #3"    SOLD
oil on panel, 2011
7" x 5" (17.78cm x 12.7cm)

Here is an early painting from my Vincent Thomas Bridge series that I never posted.
It is an unusual view that is not immediately recognizable as a bridge but that for me is part of its appeal.

Bridges carry a certain civic pride much like state and country pride. Their primary function may be utilitarian but for locals they are a source of pride.

This view from the catwalk underneath the roadway shows the scaffolding being erected around the tower base. Painting the bridge is a job that's never finished. It’s a 6 month process to wrap the tower from the ground up in scaffolding and then plastic sheeting to contain the work. Then the painting can begin.230

Urban River 6

"LA River #4"
oil on panel, 2013
2" x 2⅜" (5.08cm x 6.01cm)

I know I know... it's really blue...
probably should have thrown some other colors in it!

This is another tiny painting, fun and quick to do. I like to do these when I am in the middle more demanding works. Works that require lots of time and lots of sessions layering, drying, layering, drying. It gets long and drawn out so I find myself wanting some 'finished' satisfaction. That is the case right now. I'm working on several paintings in oil and watercolor, two of them commissions.

This is a pipeline bridge and there are several along the southern end of the LA River in Long Beach California where much of the harbor industry is located.
I love these huge sheets of concrete. All they do is carry the pipes across the river, but are very simple and dramatic.220

Urban River 5

 "LA River #3"
oil on panel, 2013
2" x 2⅜" (5.08cm x 6.01cm)
private collection

Here's another for my Urban River series, although on a small scale at only 2" x 2⅜". Not really sellable but I do have my reasons for painting these mini's.
This is the LA River in Long Beach California looking north at the Willow Street Bridge. Viewed laying down on the sloping concrete bank makes for a strong angular composition and a nice sweeping line from corner to corner. With landscapes typically being in a horizontal format I am always looking for verticals, and especially angles to either counter or compliment the side to side landscape.

I used a similar compositional device in this locomotive painting, making the subject, here the bridge and the BNSF engine in the other, smaller within the design yet still the primary subject.

The sloping wall takes up more than half of the picture frame but due to its architecture the bridge gets the attention. This also lends a good variation to the blue sky shapes in the arches so each is different and is not so repetitive.210

6x6 Machinery

"Machinery 2"
oil on panel, 2012

6" x 6" (15.24cm x 15.24cm)

Here are two of my seven paintings I submitted to the recent 6x6 show that weren't accepted. I had four in the show.

I bring this up because I did all seven as a group with an overall theme of light. Not a new idea, artists have been doing it for centuries, but in each of the seven I really made a point to capture different qualities of light. I worked on the group simultaneously, working up each without really finishing any one until I was about 75% done.  Other than these two, the seven (actually ten) were not officially a series together so the simarlarities end there. No attempt was made to using the same palette, design etc. So they do not look like a series other than a common theme of light.

I like machinery and sometimes its function preempts design. Its look or design born out of its function instead of a design based on aesthetics.
In this one, a really bright day, the sun bouncing off the ground or any light surface is blinding, without sun glasses you end up squinting all day. The colors are true to the site, industry subjects like this often lack color beyond silvers, rusty and metal grays, the small blue color note of sky serves as reminder of that.

I loved the composition of this the moment I saw it... the variety of shapes and their arrangement. It's that variety I see in industrial subjects, their size and texture differences, the scale of them that I respond to initially, that's what first gets my attention... here there are the ellipse', cylinders, flat and angled planes, linear pipes and wire conduit... all neatly arranged within the picture plane. After that I look for what it says to me, what is present beyond the artistic and design observations. That is part of seeing. Seeing really is observing and asking yourself questions and it's not always obvious.

I saw industrial might or brawn, this is industry flexing its muscle but on a small scale, a microcosm of industry. All the rust and dust seemed to add to its tough physique instead of conveying degradation. It is a weight lifter sweating in a gym or a cowboy roping doggies on a ranch.

I love the work of precisionist artists, like Charles Sheeler, and while that influence crept into the treatment of this painting I still remained faithful to my own artistic vision. I don't want my work to look like it belongs to a particular school of painting. Instead I am constantly striving to allow these influences without simply rehashing them.

"Machinery 1"    SOLD

oil on panel, 2012

6" x 6" (15.24cm x 15.24cm)

This painting is in direct opposition to Machinery 2 as far as its anthropomorphic character. The configuration of these two is not as muscular. That was my impression so as an artist it is my job to communicate that idea. In Machinery 1 I chose a broader view while in Machinery 2 a zoomed-in one. Those compositional choices helped support each impression.

It is also part of the old retired Sunkist packing plant in Orange County California, so it is no longer operational.

It is rich winter light when the sun is low, closer to the horizon, in the afternoon, softer light diffused by the glass, a rich cool shadow with warmer edges. It is not the showy light of Machinery 2. It is the end of an era. It is the final flicker of a candles flame.200,201

See previous four posts for the other 6x6's

No House of Cards

"Catalina Pacific Concrete (Storm)"
watercolor on paper, 2012
8" x 11" (20.32cm x 27.94cm)
For Sale at Daily Paintworks, CLICK HERE

Here again is the old shut down concrete plant, with its gangly proportions, facing an incoming storm.
I sometimes find that a subject can have different faces, a persona about them that can shift as I see it from different views and/or in various lighting or weather conditions.
I then have to decide how to present that perception through design of composition, value and other art elements.

As I said in my post of this similar view, the building seems precarious when seen from its narrow side.
The difference here is I've bracketed it between the railroad signal and power pole which support it and hold it upright, the verticals providing a stability to the shaky structure. And shown it in a 3/4 view so the side adds some solidity, giving it more of a sound brick feel. Shifting the perception from a house of cards to one that can withstand anything.179

Click on image for larger view

PHL - Weeds

"Pacific Harbor Line - Weeds"    SOLD
oil on panel, 2011
6" x 8" (15.24cm x 20.32cm)


Pacific Harbor Line Series:
The Pacific Harbor Line, the workhorse of the LA Harbor. These black/white one's are part of the low emission line of locomotives for the move towards a greener port. Black and Shiny as tar with striking graphics, they don’t blend in, they stand out. Not graceful looking, they look like they mean business. The back end diagonals point down, the front point up to distinguish front from rear when seen head on. Its side panel graphics angling forward. So a nod of beautiful work to the designers of these burly beasts of burden.

This locomotive is pulling a string of empty intermodal rail cars.171

Click on image for larger view

Futility

"303 S. Pacific #1"
watercolor on illus. board, 2012
12" x 16" (30.48cmx 40.64cm)
For Sale at Daily Paintworks, CLICK HERE


Here is another watercolor in the same style or technique as this Vincent Thomas Bridge painting, a landmark that will remain.

This painting is named for the address in San Pedro California. I felt it was important to show a local scene, the little story, one of our constantly changing urban landscape.

An unassuming tire and automotive repair shop, but on the other side of the facing wall... proudly marking our city of San Pedro is (was) a painted sign on the brick wall, one that seemed to be a fixture of sorts and stamped its place in a time when signs were painted on brick walls more often.
I've often wondered who painted it, was it the first owner of the business? Proud of his business' location, his own civic pride?

I was both sad to see it go and fascinated watching the CAT so effortlessly but indiscriminately chewing away, without prejudice, at the carcass of someones formal livelihood, taking with it all it's stories. Wiping the slate clean.

Perhaps being an artist helps me reconcile this sort of emotional conflict by recording it in paint.

I like the arm of the excavator against the stark sky, which I painted with a certain amount of upheaval.
The worker washing down the excavator and wetting the debris to keep dust down really emphasizes the scale and power of our machinery as well as our own self-imposed futility of preserving everything for posterity.170

See other paintings with similar themes here (Villa Riviera) , here (Acres of books)

Cat excavator model 320B

Click on image for larger view

A Gasp of Air

"Vincent Thomas Bridge #9 (Channel)"

oil on panel, 2011
9” x 6” (22.86cm x 15.24cm)
For Sale at Daily Paintworks, CLICK HERE


Bridge Series:
Bridges carry a certain civic pride much like state and country pride. Their primary function may be utilitarian but for locals are a source of identity.

This view of the bridge from below and outside the roadway is breathtaking. With nothing to visually hold you up its like a huge gasp of air. Showing very little of the bridge itself, with the focus on the channel it emphasizes the drama, height and span of the bridge.

I should point out this is one of those paintings I had great difficulty photographing. Even doing some editing/color correcting I could not get it right, specifically the dock. The original looks far better.167

Click on image for larger view

Portrait of an Oil Plant

“Oil Plant # 9 (Broken Pipe)"
oil on panel, 2011
6” x 6” (15.24cm x 15.24cm)

This is the third of my paintings in the  6" Squared Exhibition and Sale at the Randy Higbee Gallery , Saturday December 3rd through Thursday December 22nd.
The opening was packed as usual with lots of little painted gems. The real joy of a show like this is the wide variety styles and artistic approaches among the 500 or so artworks, including some fabulous watercolors and pastels. Impossible to pick a favorite. In addition to the art, meeting the collectors and other artists is always a highlight of the evening.

When I have a visceral reaction to something I sometimes have to pause, really look and figure out what it is I’m seeing. It is not always obvious. I initially responded to this view of the storage tanks for its clean, neat and tidy nature. Not too cluttered, no scattered remnants of the broken plant other than the broken pipe, which was my own invention.
What I eventually saw in this view was an industrial version of an old face, wrinkles and all... a portrait of the oil plant ... solemn, dignified. It reminded me of a man with most of his years behind him, who had a well lived life, worked hard, but is still vital, still fastidious and loaded with silent stories.153


Click on image for larger view

Industrial Purgatory

“Old Dredge”
oil on panel, 2011
6” x 6” (15.24cm x 15.24cm)

Here is second of my 3 paintings in the  6" Squared Exhibition and Sale at the Randy Higbee Gallery tonight, Saturday December 3rd, and hangs through December 22nd.

An old relic, left in the cold shallow waters, listing to the right, about to face another winter storm, half heartedly covered by the yellow tarp.

Hung up by the dock and unable to sail it’s stuck between two worlds in a state of purgatory. It’s no longer needed but not pulled ashore. It can’t sink anymore but is contained by jetties in the protected harbor so no storm will be able to put it out of its misery by dragging it to the bottom where at least marine life would have it as a home, an artificial reef.

Too outdated for work but neither is it salvaged to be put back into service in some new form. It is forgotten in plain sight.152


Click on image for larger view

Tiger Stripe Shadows

"Train Bridge (w/ Shadows)"

watercolor on paper, 2011

6" x 8" (15.24cm x 20.32cm)

For Sale at Daily Paintworks, CLICK HERE

I love this late afternoon view of the bridge. The shadows from it and the unseen section stretching across the pavement resemble tiger stripes, giving it a nice linear aspect. It makes for a busy composition so a limited palette serves it better than a more colorful one, which would have made it too chaotic.150

Click on image for larger view

Encina Power Station at Dusk 1 & 2

"Encina Power Station-Dusk 2"

"Encina Power Station-Dusk 1"

"Encina Power Station - Dusk 1"    SOLD
oil on panel, 2011
6 5⁄8” x 10” (16.83cm x 25.40cm)

“Encina Power Station - Dusk 2”  
oil on panel, 2011
7” x 5” (17.78cm x 12.7cm)

You won't see this palette from me very often. I have an aversion to pinks and most purples. However it was unavoidable here to accurately depict the time of day.
In "Dusk 1" I pushed the pink/purple as far as I could towards a slightly dirty earthy color, by adding burnt sienna, so it was not Easter lavender (yuck!).
In "Dusk 2", which I prefer over the two, zooming in allowed me to loose the pink altogether and again the purple is earthier, more like a dusty desert chaparral color. I then substituted an orange for pink at the horizon. The black helps to kill the 'pastel' palette too.

These are from my series on power plants.
Two elements of our coastal landscapes and a common motif in my work. The mix of industry and nature. Not beautiful to some but in scenes like these I see themes that go beyond the mere industrial or nature images alone. Themes in the tradition of Homer and Hopper.

Man and nature side by side. Industry has to be placed somewhere so it’s impossible to ignore. Since we like to live in beautiful areas we end up with power stations becoming part of the landscape.


Dusk 1 - This one shown in a panoramic view encompassing the lagoon with the station at it’s center.

Dusk 2 - Set in a palette of soft muted colors but contrasted with black. A calm lagoon and clear sky, it’s all there... maybe even therapeutic.148,149

See the nocturne version of Encina Power Station here.

Click on images for larger view

Atomic Number 16 & Caterpillar Yellow

"Sulfur Piles #3 (w/ Palm)"    SOLD
watercolor on paper, 2011
6" x 8" (15.24cm x 20.32cm)

"Cat Hydraulic Excavator 320C"
watercolor on paper, 2011
6" x8" (15.34cm x 20.32cm)


Two of my recent watercolors, and different approaches, in the industrial genre.
On top is another view of the sulfur piles in the port. The high chroma bright lemon, sometimes cad yellow piles are quite a sight among the more earthy and somber colors of industry. A subject I simply can't pass up.

Below, in this one I let go of an absolute realistic depiction, having some creative fun. Wanting to give it something extra I decided to place it in a setting that looked more like a play in both lighting and staging, imparting some drama. A dark background and artificial type lighting to accentuate the bright yellow Cat and orange web fencing.141,142

Click on images for larger view

Harbor Line - Bridge Shadow

"Pacific Harbor Line 20 (Bridge Shadow)"    SOLD
oil on panel, 2011
5" x 7" (12.7cm x 17.78cm)

The Pacific Harbor Line, the workhorse of the LA  Harbor. This newer one is part of the low emission line of locomotives for the move towards a greener port. Black and shiny as tar with striking graphics, they don't blend in, they stand out. Not graceful looking, they look like they mean business. The back end diagonals point down, the front point up to distinguish front from rear when seen head on. Its side panel graphics angling forward. So a nod of beautiful work to the designers of these burly beasts of burden.

My Pacific Harbor Line series. This one, the #20, is a remote control locomotive and is often parked here near the base of the Vincent Thomas Bridge.
Here it sits in the afternoon at the shadow of the Vincent Thomas Bridge as the marine layer begins to settle in over the port.136

Click on image for larger view

Vincent Thomas Bridge #5 - Color study

"Vincent Thomas Bridge #5 - Color Study"
oil on panel, 2011
9" x 6" (22.86cm x 15.24cm)
For Sale at Daily Paintworks, CLICK HERE

Here is another version, in oil, of the watercolor / gouache study from an earlier post.

On this one I experimented with a different color and value scheme to cut back the amount of lime green that shows in full sunlight. Throwing a soft shadow across part of the bridge allowed for multiple greens, from the lime green it shows in bright light to its signature chrome green and into a deep bluer green. The roadway a chocolate brown, the foreground structure a warm olive green.
Doing that also changes the design of the value distibution. With the towers in light and shadow a stronger more dramatic composition is achieved.134