Art-A-Fair Huntington Beach 1

"Huntington Beach 1"    SOLD
oil on panel, 2015
5" x 7" (12.7cm x 17.78cm)

Here is a painting currently in my booth at Art-A-Fair and another from my Urban Seascape series. Late afternoon in Huntington Beach, which is south of the previous two Seal Beach from the series. If you look closely it shares the same background of the LA/Long Beach Harbor as the others, the reason I refer to them as urban seascapes.

This was one of those extremely windy days when the sand and ocean mist fills the air and the heavy surf is a continuous unrelenting roar as the waves pound the shore one after another, too much for swimming. It is those conditions that make for a great opportunity to paint the coastal atmosphere which really is the intended subject.
The figures provide the interest in what would otherwise be a simple and too-horizontal composition without them. It's the figures which link the horizontal bands together , a design device I learned from studying the work of Winslow Homer, one of the supreme seascape artists.

As a footnote I will say this is not the best photo and is not showing the warm/cool subtleties or saturation of color. The nearest figure is wearing a cad red coat which is not showing up well and should read with a bit more saturation and the upper left corner should be a cool pure white.317

Press Telegram #2 - Pile

"Press Telegram #2 (Pile)"
watercolor on paper, 2013
5.5" x 7.5" (13.79cm x 19.05cm)
For sale at DAILY PAINTWORKS
Direct link to painting here

This is what was left of the Long Beach California Press Telegram, a pile of rubble.
Shoveled into a nice neat pile is the remains of peoples former lives. The paper itself, as it once was, is the story now.

Like many of my industrial subjects the fascination here is all the various shapes.
Whether it is a pile of debris or a hillside in nature does not always matter to an artist. Instead we focus on its artistic values. So this is more of a study for the series. When I figure out what else to say I will use this for another painting.257

"Press Telegram #1" here.

Amtrak

"Amtrak Bridge Oceanside #1"

oil on panel, 2012

3.5" x 5" (8.89cm x 12.7cm)

For Sale at DAILY PAINTWORKS, CLICK HERE

Direct link to painting here

I painted this after a visit to Oceanside California in the late afternoon.

The bridge passes over the Loma Alta Marsh near the Pacific Ocean.

The late afternoon light makes for a dramatic image with the landscape dropping into shadow and the bridge catching full sun.

This one was done then a I did another version at 5" x 7" which has the train on the bridge and figures on the right.244

* I am still having difficulty with some images uploading in blogger. The image quality if off a little but is the best I could get.

**I have updated this post with a 'fixed' photo. This is how it should have looked in the first place.

Marina Towers Oceanside

"Marina Towers"    SOLD
oil on panel, 2012
7" x 5" (17.78cm x 12.7cm)

I did this after a visit to Oceanside California in the late afternoon
just as the tower was beginning to drop into shadow.
I love this time of day.239

Gutted Like a Fish

"Press Telegram #1"
watercolor on paper, 2012
9" x 12" (22.86cm x 30.48cm)
For Sale at Daily Paintworks, CLICK HERE

This is the first in an intended series although I sometimes get so busy that some series don't go past 2 or 3, we'll see.

The old Long Beach (California) Press Telegram building as seen from the backside.

The end of an era and a local newspaper, at least as newspapers once were. At one time the four story building housed the entire news operation, including the presses which could be seen at street level.

This building is being refurbished, opened up and gutted like a fish. It is urban renewal. It is not getting knocked down but certainly has been, the last few years, and currently is a shell of its former self.

On the left is the former, being removed, deleted and swallowed by the dumpster. On the right is the revamping as shown by the machinery at the ready and the slung ropes. Right in the middle, the transition, the pile I intentionally shaped like a dead fish. The holes punched in the side of the building painted nearly black like hollow lifeless eye sockets.229

Other similar themes of Long Beach California urban renewal here, here and here.
One from San Pedro California here.
Two from Oceanside California here and here.

Corrugated 3-watercolor

"Corrugated-Sulfur"
watercolor on paper, 2012
6" x 9" (15.24cm x 22.86cm)


The challenge on this one was the street since it takes up so much of the picture plane, about as much as the sky, and has the same colors so I made sure to vary the texture.
My favorite parts are the corrugated fence caught in a half light, revealing its buckled shapes, and of course the bright yellow accent of the sulfur pile.228

Long Beach Landmark-Breakers

"Breakers"
watercolor on paper, 2012
8" x 6" (20.32cm x 15.24cm)
For Sale at Daily Paintworks, CLICK HERE

Here's a simple watercolor of a notable building in nearby Long Beach California that has had a roller coaster history. It's 14 stories, was built as a luxury oceanfront hotel in 1926 and designated as a Historic Landmark in 1989. Its seen more than its share of ups and downs over the years and never quite maintained its luxury hotel status for very long. It now operates as a retirement home.

This time of day the sun reflects from nearby glass buildings creating interesting patterns across the side and illuminating the bottom half while leaving the top in shadow.

It is these kinds of atmospheric effects I look for, and quite often add to a painting myself, for turning what would otherwise be an ordinary image of a city building, into one with some life and vigor.207

iPad Landscape Study

"Landscape Shape Study"
Digital, Brushes App

I am still working on various pieces so without much (traditional medium) work ready to post I figured I had better get something up on the blog.

This is practice, exercising my design muscles, done on my iPad with the Brushes App. Drawn relatively quick focusing on the design of the big shapes and simple composition as well as the distribution of soft edges.

I also managed to get some quality of light into it by adding some texture of the vegetation.
I like it when simple drawings 'spill out' easily. Enough said.202

NWS Award

SOLD  National Watercolor Society

I am pleased to announce that my painting "PHL Sulfur Pile" won an award, "Kanuga Watermedia Workshops Award", this past weekend during the opening at the National Watercolor Society 92nd Annual Exhibition here in San Pedro California.

The painting will also be part of the traveling show, touring the country for 12 months following the exhibition.
I was also accepted for NWS Signature status after submitting 3 additional paintings for review.
The show will hang September 29th - December 2 2012. Check previous post (below) for gallery hours and map.

Previous post on this painting here.
Previous posts on this show here and here.

NWS website link
NWS facebook link

Click on image for larger view

Otherworldly Mountain

"Nocturne Sulfur Pile Detail"
oil on panel, 2012
2⅜" x 2" (6.01cm x 5.08cm)
For Sale at DAILY PAINTWORKS, CLICK HERE

Yeah, it's small but I really enjoyed painting it, It was tough to photograph it accurately so the original looks far better with a subtle depth and richness I could not get with the photo.

I have been doing a lot of experimental work along with a new body of work lately and this was one of those little excursions I decided to do on a whim. Small and quick is satisfying sometimes.

All my previous paintings of sulfur piles are generally of the whole pile, in the background as another element.
Zoomed in for a detail like this and the pile looked otherworldly, more like a mountain from another planet.188

Click on image for larger view

Junk Yard Dog

"Truck at Rest"
watercolor on paper, 2012
8" x 11" (20.32cm x 27.94cm)
For Sale at Daily Paintworks, CLICK HERE

Here is another recent watercolor, very different from the last.
When I saw this old rust-spotted, well used dump truck it begged to be painted and in a manner that gave it some reverence for years of service, although it is not yet done.

So I painted it almost matter of fact, almost.
Instead I represented it in its natural environment, gave it plenty of air or space around it and a nice big dramatic cloud overhead. It deserves this bow of appreciation.

It reminds me of a loyal junk yard dog, not pretty but always anxious and ready to go.180

Click on image for larger view

Apparition-like Flash

"Amtrak Bridge Oceanside #3"
oil on panel, 2012
5" x 7" (12.7cm x 17.78cm)
For Sale at Daily Paintworks, CLICK HERE

I painted this after a visit to Oceanside California in the late afternoon.
The bridge passes over the Loma Alta Marsh near the Pacific Ocean.

The late afternoon light makes for a dramatic image with the landscape dropping into shadow and the bridge catching full sun.
I added the train after watching several pass by and noticing that at this time of day they move so fast they appear as a quick, almost apparition-like flash, a nice contrast to the earthy landscape.176

Click on image for larger view

Boulder in Burnscape

"Burnscape #3"
watercolor, graphite on paper, 2007
9" x 12" (22.86cm x 30.84cm)

Here is an early watercolor from my Burnscape series.
I liked this view for the boulder and rock ledge in the foreground.
The white ash was put in more opaquely since there was no way to retrieve the white of the paper or effectively spare it out and build the forms of the hillside properly.
I do not mind this however. The ash sits on top and really pops out or forward, giving the scene greater depth, helps define the topography of the hill and gives it a cool blueish color against the warms of the hillside.

I could have tried a masking fluid but had none at the time and wanted to dive right into painting. In fact I never really use masking fluid anyway.
As other artists know, sometimes you need to strike while the iron is hot, jump right in when you have a sudden inspiration, no planning, just throw down paint and see what results from it.
Not all work out this way but when they do it can be satisfying.

I was happy with this one because I managed to achieve a certain richness of tone and color relatively effortlessly.
I did not have to fight the usual watercolor battles ending up with an overworked painting.173


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

OMA #6

"OMA #6"
oil on panel, 2011
6" x 10" (15.24cm x 25.4cm)
For Sale at Daily Paintworks, CLICK HERE

A simple frontal view of the Oceanside Museum of Art. To compliment the straight lines of the architecture I set the museum against the organic shape of shifting clouds sweeping overhead dropping soft shadows across it’s facade.169


Click on image for larger view

Urban River 4

"Santa Ana River #4"
watercolor on paper, 2012
8" x 11" (20.32cm x 27.94cm)

Number 4 in this series. This view looking north shows more of the power corridor that runs along the river and the straight vertical concrete walls instead of the sloping walls of previous versions.

This is the time of day, late afternoon, when the light is blue looking east and that certain pale green and yellow looking west, just before the golds, oranges, reds, pinks and purples take over at sunset.
Much more peaceful and introspective than the fiery finish of sunset I think.168

#3 here
#2 here
#1 here

Click on image for larger view

Urban River 3

"Santa Ana River #3 Footbridge"
watercolor on paper, 2012
7" x 10" (17.78cm x 25.4cm)
For Sale at Daily Paintworks, CLICK HERE


Here is the third painting of this river. The other two, here and here.

Each explores the man/nature theme.
This one showing the man made structures of pedestrian bridge in the middle ground, two traffic bridges and the power poles and towers in the distant background. So more of this composition is of the man made vaguely looming over nature.

I experimented by placing the more saturated color across the middle with the top and bottom nearly monochromatic and more loosely painted.
This one was done on hot pressed paper which takes the watercolor differently. Besides being untextured (like cold pressed) watercolor washes heavy with pigment tend to go down slightly softer around the edges, as though the surface has the slightest bleed. It also seems to dry to a more velvety finish. I like the difference but it will take some time to get used to it.166

Click on image for larger view

Urban River 2

"Santa Ana River #2"
watercolor on paper, 2012
8" x 11" (20.32cm x 27.94cm)
For Sale at Daily Paintworks, CLICK HERE

Looking forward to a new year as I have set many goals for 2012. Of course that now means signing the date '12. Darn, the two ones of '11 were so much easier. Oh well.

Here is my first finished piece of 2012, literally done on January 1st. This is the second of this urban river.
Much like the first, done in oil, it's the juxtaposition of the natural and man-made world that I find fascinating to study.
The lazy meandering river takes its time moving through the frame from right to left. The razor sharp line of the highlighted bike path slicing across the picture, the verticals of power poles and towers and the flat plane of the river bank contrast nicely with the organic flow of water and vegetation. 164

Click to see "Santa Ana River #1"
Click on image for larger view

2 Watercolor Landscapes from Series

"Burnscape #9"
watercolor on paper, 2011
8" x 11" (20.32cm x 27.94cm)
For Sale at Daily Paintworks, CLICK HERE

"Oil Plant #10"
watercolor on paper, 2011
7" x 10" (17.78cm x 25.4cm)
For Sale at Daily Paintworks, CLICK HERE

Here are two recent watercolors done near the end of 2011.
I'm still searching for my own 'visual voice' in watercolor. Up until the last six months, I had not painted with it much the last couple of years, at least in a more traditional direct approach.

I have a love/hate relationship with (this kind of) watercolor. I do enjoy it's direct, fast dry properties over oils but often I'll lay down a color wash and later realize it's wrong and I'm stuck with it. Or an area that got too dark and I can't lighten it enough. That is tough to take since I've invested the time and may otherwise like the painting, but it is essentially ruined by that.
It takes a different kind of planning I know, but it generally goes against the way I prefer to work.

I also dislike the early stages, the first few steps or washes. Mine always look so ugly and I have to remind myself to push through these initial steps and not give up. I don't have that issue with oils.

In both of these my initial intent was to work looser. They ended up tighter but that's okay for now. It is going to take a conscious effort to get to that goal without loosing the substance and solidity I want. That said, I'm still happy with the way they turned out.162,163


*Update:
I found this quote from Jamie Wyeth that best sums up the last paragraph above. I'm happy that even the greats face(d) the same predicaments.


"Painting to me is constant searching.  I can see what I want, but I can’t get there, and yet you have to be open enough that if it goes another way, then let it go that way."         Jamie Wyeth.

Click 'LABELS" below to see more from each series
Click on images for larger view

Industrial Drapery

"CHOC Drapery #1"
oil on panel, 2011
7” x 5” (17.78cm x 12.7cm)

My Containment series on modern construction techniques. These days everything gets wrapped in heavy plastic or tarps to contain the work, a sort of cocoon, keeping dust and materials from contaminating the surrounding environment.
Twenty or thirty years ago it was not done and open construction was more prevalent. Modern green thinking has changed our approach to not only recycling but how we do everything.

This painting of the new Children's Hospital Orange County also gave me an excuse to tie together my industrial subject paintings and the long tradition of classic drapery in art history.154

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