The Oceanside Museum of Art 'Summer Soirée'

The Oceanside Museum of Art, a hidden gem in north San Diego County California, recently held the artist donor reception (June 26th) for their 'Summer Soirée Art Auction 2011'. I had the pleasure of meeting lots of interesting people, including other artists whose work is also part of the auction.
Events like this are always a treat because it gives us artists a chance to give back to the museums, the venues that in turn support our love of creating and earning a living through art.
The auction/fundraiser is June 28th through July 23rd, culminating in their Summer Soirée held Saturday July 23rd at the museum. All proceeds from the sales of art go to support the museum. Bidding is open to the public.

I had the honor of painting two pieces for the auction (bottom photo), choosing to focus on the stunning architecture of the museum.

As you can see from the first two photos, the huge plate glass windows are actually sliding doors that allow them to turn the museum reception area into an open air event, perfect for the summer.

For more info on the art auction click here.
Click images for larger view

Update-Previous Post- "Value Thumbnails"

*Based on a comment from a follower (Thank you Erin) I have posted an update to the "Value Thumbnails" post here.


Something that did not occur to me at the time was to go back and update the original post as well as link the finished paintings back to the thumbnails. All relevant posts now link back and forth.


This shows part of the process artists go through in creating images, whether they are paintings or other mediums. Part of the process because sometimes there are steps in between thumbnails and finished work, on these I felt further study wasn't needed.

International Survey 2011

The Crussell Fine Arts International Survey 2011 that I am included in and mentioned in an earlier post here is now available here on Lulu.

Jeffrey Crussell  Fine Arts has been exceptionally generous in promoting all the artists represented in the periodical by passing out the above postcard at art fairs, galleries and gallery openings around the US, including Miami, NY, LA, San Francisco and Orange County California. Additionally they have been showing the book to galleries, collectors, curators and various industry professionals including architects and developers.

My Thanks to Crussell Fine Arts for all their hard work.
Links: Crussell Fine Arts website. Crussell Fine Arts blog. Jeffrey Crussell Books on Lulu.

Click on images for larger view

Park Nocturne

"Tree Nocturne (Park Hillside)"
oil on panel, 2009
7.75" x 7.25" (19.685cm x 18.415cm)
For Sale at Daily Paintworks, CLICK HERE

The nocturne... its origin, mid 19th century French from Latin, nocturnus, meaning 'of the night'.

From my Tree Nocturne series. This was painted in one sitting or alla prima. Alla Prima, derived from Italian meaning 'at the first'.
I very rarely complete a painting in one sitting since I prefer working in layers but sometimes the image just 'falls out onto the surface' as it did here.

Painted from my imagination having seen so many urban and suburban parks. Hints of buildings, a walkway and sloping grass was enough.121

Click on image for larger view

Figure #4

"Figure #4"

pencil on paper, 2010

10" x 8"(25.4cm x 20.32cm)
For Sale at Daily Paintworks, CLICK HERE

Here's a linear figure sketch done from my head, no model or reference. Something I plan on doing more of in the near future, getting back to the simple pleasure and joy of drawing. It does not take all the preparation of painting. A surface and a marking tool of some kind is all that is needed. Easy. Give a child paper and a box of crayons and they dive right in.

I sometimes forget to draw for drawing's sake alone. It really is relaxing when I don't have to focus so intently on 'making it right', when there is no end purpose as studies for paintings can be.

Ironically, even when I'm too busy with paintings for shows, commissions etc. and I don't think I have time, drawing this way is actually therapeutic and has a way of clearing my head, allowing me to refocus on work and deadlines. So the busier I get the greater the need for drawing.120

Click on image for larger view  

Urban Seascape 2

"Seal Beach 2"    SOLD
oil on panel, 2011
6" x 8" (15.24cm x 20.32cm)

Seal Beach is quietly tucked between the two more well known Long Beach and Huntington Beach. Long Beach known for it's Grand Prix race every year and Huntington Beach, a major surf town, for it's surfing competitions.
This is the second painting of Seal Beach and is a variation of the first, "Seal Beach" click here. The first focused more on the water, this one features the sand more prominently.
Both are of the same time of day. A hazy, warm summer day, late afternoon. Silvery surf and bronze sand set against the backdrop of the LA Harbor. Visible are the harbor cranes, an oil drilling island, downtown Long Beach and the Palos Verdes Peninsula in the distance.
The beach is fairly empty after some kind of event earlier in the day and a few of it's remaining denizens lazily head for home.119

Click on image for larger view

Crussell Fine Arts-International Survey

I am excited to announce and honored to be included in the 2011 Crussell Fine Arts International Survey, a reference journal for curators, gallery directors and collectors.
My painting "Oil Plant Backside (w/ Storage Tanks) will be featured in the journal along with my contact info.

See my original blog post for this painting here.

Click on image for larger view

Washed in Gray Green 2

"Tree in Rain/Fog"    SOLD
oil on panel, 2011
7" x 5" (17.78cm x 12.7cm)

I have always liked rain images, washing over the landscape
in grayish green tones. Even the most mundane scene
becomes far more interesting and worthy of pause. The middle
of a street takes on different patterns of light while wet and
can easily become the central focus. Although the tree in
rainy foggy weather was my original intent, it's the wet street that shines.118
To see another similar painting click previous post here Washed in Grey Green
For others click rain or weather Labels below this post.

Click on image for larger view

...Port in a Storm

"Union Pacific 4259"   SOLD
oil on panel, 2011
6" x 8" (15.24cm x 20.32cm)
Randy Higbee Gallery, randyhigbeegallery.com 

The 4259 headed into the port and right into an approaching storm, the last bit of sunlight illuminating the well worn bright yellow locomotive. I like the lightening bolt red stripe of the Union Pacific and that is what inspired me to portray the locomotive charging head-on into a storm.117

Click on image for larger view

Subdued Energy 2

"Tree Nocturne (2 Figures, City View)"   SOLD
oil on panel, 2010
5" x 4" (12.7cm x 10.16cm)


The nocturne... it's origin, mid 19th century French from Latin, nocturnus, meaning 'of the night'.

Like most from my Tree Nocturne series this is from my imagination and maybe distant memories.

Being more of a night owl I love the faint buzz of the nighttime air. As Ray Bradbury so perfectly described in one of his books... it's  "... the gentle hiss of distance...". I could not say it any better than that. It is not quite silent, but you can't really hear it either. It's just there.
Although it dominates the composition the tree is not the main focus. The figures overlooking the city, silhouetted against the bright lights, command the attention, even if small.
I designed the foliage of the tree to radiate outward from the center and pushed the color saturation a bit to give the scene more life, that subdued energy of the suburb and urban setting.
This is what I had in mind for this painting as well as the other one under the same post heading 'Subdued Energy' here. 116

Link to value thumbnail here.

Click on image to enlarge

*Update - previous post original value thumbnail here.

Studio Pics-Gallery

Here are a couple pics of the gallery area of my studio where I receive clients. The interior designer did a beautiful job setting up the gallery to be warm, inviting and showcase my art.

Bird Study-Greater Pewee

"Greater Pewee"
pencil on paper, 2011
image area 5" x 3.5" (12.7cm x 8.89cm)
For Sale at Daily Paintworks, CLICK HERE

This drawing is a bit more 'studied' than previously posted bird sketches, here and here.
The focus is more on the values in the bird (hence the transparency of the branch) and it's soft feather texture.115

Click on image for larger view

Desert Bridge at 6 x 6

"BNSF 7318  Bridge"   SOLD
oil on panel, 2011
6" x 6" (15.24cm x 15.24cm)

The BNSF 7318 at the top of the El Cajon pass on a cold, foggy day on one of many small desert bridges that hop over culverts and access roads.

The square format was a challenge to keep the locomotive substantial due to it's horizontal shape without resorting to an end view. Placing it high in the composition atop the bridge helped achieve that. The painting is now about both the train and bridge; the train due to it's brightness against the subdued desert palette, the bridge due to it's central position within the composition.

The zig zag line of hill, concrete, and vegetation on the right feeding into the road and leading the eye back up to the bridge and locomotive.114

Click on image for larger view

6" Squared Show Video

A video has been posted on the Randy Higbee Gallery Blog of the recent 6" Squared Exhibition and Sale.
This wasn't even the busiest part of the night. At some points you could hardly get through the crowd.
I managed to make a couple of unknowing appearances.
A fun night night meeting other artists, collectors and talking art. I even bought another artists' work and was fortunate enough to be able to hear her thoughts behind the painting... something you don't always get... and oh what a story! When I saw the painting I knew it was mine... some things you just know.

Oil Plant at 6 x 6

"Oil Plant #7"
oil on panel, 2011
6" x 6" (15.24cm x 15.24cm)
For Sale at Daily Paintworks, CLICK HERE


From my Oil plant series, it was an oil pumping station. I'm told it collected oil from local wells then pumped it, via underground pipes, to various oil refineries around the South Bay. It looked like it was built in the 1930's, although that's an educated guess. I wish I knew more about it.

Th oil plants dead and lifeless state emphasized by the climbing vegetation. The pipes or valves also seem to be sprouting from the bottom, adding to their anthropomorphic manner along with the two lights atop the the wooden structure that appear to be looking down.113

Click on image for larger view

6" Squared Show Pics

Random show pic

Random show pic

Random show pic

Random show pic

Fellow artist Vicki, myself, gallery staff member Terry

Gallery photographer Jessica and I think....   Don King

Gallery staff member Terry and her son in front of my paintings

Here are some pics sent to me from the Saturday night 6" Squared Artists Reception. Thank you Erich.

It was an exciting and enjoyable night.

Click on images for larger view

6" Squared Show Packed

This reception at this past weekends' 6 x 6 show was quite packed.
I had the pleasure of meeting and talking to many artists and collectors.
There was lots of great art hanging, including some of my favorite artists.

The show itself will hang through May 6th so it's not too late to get down there and see for yourself.

Waiting for some pics from the show taken by their photographers, when I get them I'll post them here so stay tuned...

BNSF at 6 x 6

"BNSF 6631 Rain"   SOLD
oil on panel, 2011
6" x 6" (15.24cm x 15.24cm)

My fourth painting juried into the 6" Squared Show at the Randy Higbee Gallery. The 3 others here and here and here. If you are in the area it's worth checking out. The show promises to have lots of great art on display and for sale.

The BNSF 6631 near the top of the El Cajon Pass headed to the high desert in Southern California pulling a short string of passenger cars instead of the usual freight cars and cargo containers. Seen here punching out of the mist and into a clearing.
With it's lighter than usual load this train was moving pretty fast and despite it's climb up the steep long grade it rolled around the corner and was gone in a flash, traveling with a sense of urgency.112

Click on image for larger view

Refinery at 6 x 6

"Refinery #1"   SOLD
oil on panel, 2011
6" x 6" (15.24cm x 15.24cm)

Here is the third painting in the 6" Squared exhibition and sale April 16th at the Randy Higbee Gallery in Costa Mesa California. Two other's here and here.

One of the many reasons I love industrial subjects is the palette of colors usually found. The blues, greens, grays, earthy and rusty browns, ochres, creams, whites and black. This struck me for the taupe of the refinery and the clean crisp white steam set against the stormy gray blue sky.

Refineries are very complicated to paint but fascinating to study. Although made from simple forms they are incredibly complex in their construction, a seemingly endless configuration of pipes, tanks, towers, catwalks, poles, lights... miles of steel, aluminum, asphalt and concrete. Formally arranged, hard edged and grid like contrasted by the softer organic forms of steam and clouds.111

Click on image for larger view

Vincent Thomas Bridge at 6 x 6

"Vincent Thomas Bridge #2"   SOLD
oil on panel, 2011
6" x 6" (15.24cm x 15.24cm)

Here is a second painting that will be in the 6" squared exhibition and sale at the Randy Higbee gallery April 16th. For more info see my previous post below.

From my Vincent Thomas Bridge series.

Here’s a view of the bridge from below the roadway looking west toward the towers, the far tower barely visible behind the scaffolding being erected on the near one. It takes about six months just to wrap a tower for painting, first in scaffolding from the ground up, then wrapped in a white tarp to contain the work. The maintenance of the bridge is a constant job, never finished. This series will show not only the grandeur of the bridge itself but also serve as a tribute to those who maintain and keep it beautiful.110

Click on image for larger view

6" Squared Show - Randy Higbee Gallery

Click here and here for previous posts on this show.

Click on images for larger view

Bird Sketches

each-pencil on paper, 2011
4.5" x 5" (11.43cm x 12.7cm) "Small Bird Dark Background", top.
For Sale at Daily Paintworks, CLICK HERE

5.5" x 4.5" (13.97cm x 11.43cm) two birds unframed


Here's a couple more quick little bird sketches.
Framing as always, is best done by professionals. I'm ok at it but these people do it everyday and have a far better eye for it.
The frame was selected by an interior designer and one of the staff  at Art and Frame Company in Costa Mesa California (Randy Higbee Gallery).108,109

Graphite frame and gray matte really compliment the simple drawing rather than overpower it.

Click on images for larger view

Last Kiss

"Sunkist Packing Plant (w/ Contrail)"
oil on panel, 2010
8" x 6" (20.32cm x 15.25cm)


A section of the Sunkist Packing Plant in Orange County California, recently shut down and I feared was slated for demolition. Fortunately it looks like it will survive, a local college has begun taking over the site.

It served the citrus industry since 1945, collecting fruit from local farms, processing and packing it for shipment onto trucks. Here, the west side of the plant along the Amtrak rails receives the last kiss of sunlight, the wind raking away at the contrail.107

Click on image for larger view

'Of the Night' 3

"Nocturne-Lucy (Cat)2"
oil on panel, 2010
5" x 7" (12.7cm x 17.78cm)
private collection

The nocturne... it's origin, mid 19th century French from Latin, nocturnus, meaning 'of the night'.

A perfect subject for the nocturne, the cat. Surreptitiously slipping through the hushed night without a sound. Low to the ground, quick light steps with a purpose. It's shadow the only thing to keep pace.

My sister's cat Lucy. I spent what seemed like forever trying to capture the night shot, no tripod, handheld, just clicking away... far more challenging than the daylight, especially a moving subject. I would get the shot but not the action, the action so familiar to us... fleeting, almost unseen.

She finally had enough running around then just sat there watching me, with her curiosity, tilting her head and staring.106

Click for "Nocturne-Lucy (Cat)"
Click on image for larger view

Snowscape

"Burnscape Color Study"   SOLD
watercolor/ink on paper, 2009
12" x 9" (30.48cm x 22.86cm)

This watercolor is from my Burnscape series. Living in southern California and seeing so many wildfires it would be easy to focus on the destruction. My attraction for the burned landscape isn't for it's destruction but instead how it modifies the landscape, turning it into a charcoal terrain... it is rebirth, the stripping away of old layers for a fresh start, the way Mother Nature intended.

The fascinating thing about some burned areas is the white ash from certain types of vegetation. It appears like snow. I sometimes refer to these as California fall or winterscapes. A bit eerie to walk through.

This was a color study done on a sheet of 12" x 9" paper, hence the color test splotches.
Experimenting here with finding that balance between the image looking like a snowscape initially then the realization that it is a burnscape.105

Click on image for larger view

Monoliths

"Oil Plant #8 (w/ Tree)"   SOLD
oil on panel, 2011
6" x 6" (15.24cm x 15.24cm)

This painting was just excepted into the 6" Exhibition and Sale (show) at the Randy Higbee Gallery.
The Gallery reports the show promises to be an even greater success than their December show with twice as many artists entering this one. I don't doubt that, there was some terrific art at the last 6" show.

From my Oil Plant series, it was an oil pumping station. I'm told it collected oil from local wells then pumped it, via underground pipes, to various oil refineries around the South Bay. It looked like it was built in the 1930's, although that's an educated guess. I wish I knew more about it.

Here it is seen from a distance, framed by a dead, leafless (read lifeless), tree. The tanks or towers, I'm not sure of their technical name, remind me of ancient stone monoliths from bygone civilizations, silently standing long after it's inhabitants have left, the structure slowly decaying around it.104

For others in this series click 'OIL PLANT' in labels below this post or in 'LABELS' column at right.

Click on image for larger view

Burnscape

"Burnscape w/ Staircase"   SOLD
watercolor on paper, 2009
9" x 12" (22.86cm x 30.48cm)


This watercolor is from my Burnscape series. Living in southern California and seeing so many wildfires it would be easy to focus on the destruction. My attraction for the burned landscape isn't for it's destruction but instead how it modifies the landscape, turning it into a charcoal terrain... it is rebirth, the stripping away of old layers for a fresh start, the way Mother Nature intended.

Here it exposes a long staircase previously hidden by years of growth, like a bony spine down the hillside. The only life is the green vegetation capping off the top of the hill, protecting the unseen home from being lost.103


Click on image for larger view

Puddles

"Long Beach Cityscape #1"   SOLD
watercolor on paper, 2009
12" x 9" (30.48cm x 22.86cm)
private collection

A Long Beach cityscape looking west at sunset. Recently sold, an experimental watercolor, one not in my usual method. Here I laid down the paint in puddles of color to build the forms and shapes. This allows me to see in terms of color, value and chroma instead of being too concerned with rendering surfaces and textures.
Every so often it's good to practice other means of working. It reminds me to always remember the fundamentals and ends up strengthening my work.
I did do some scrubbing out in areas that were becoming muddy in order to keep the painting fresh and originally planned to bring some areas to a higher degree of finish but decided that unnecessary considering my original intent.102


Click on image for larger view

New Series Teaser

untitled work in progress
watercolor on illus. board
10.75" x 8" (27.305cm x 20.32cm)

Being out sick for  3 weeks has put me a bit behind. With a million things to do... well you know, it happens to us all.
For my 101st posted image, a new series for 2011... a teaser of what's to come (Thanks Bill).
Numbered posts include only images posted for the first time, so this does not count posts with repeated images due to an update or an all text post, photo post, gallery or show announcement.

This will be an extensive series with many images in various media... pencil, graphite, charcoal, watercolor, oil, mixed media. I'm anxious to really get into this one, especially since I've been 'sitting on' this since early November '10 but had other projects to finish up first.
It's one I have been looking forward to for some time.

This series of the Vincent Thomas Bridge will also include some views of the surrounding harbor as seen from the bridge itself even though you may not see the bridge in that image.

Shown uncropped since it is a work in progress. Not the first in this series but representative of the beginning of it (see another here). Starting from the ground up. Apropos I think.
Most of the time I have a pretty good idea of the finished image, but as sometimes happens, I reach a point in the process where I'm not sure what direction to take it... like here... I did at the start but as sometimes also happens that changes midstream, not a bad thing...

So here you go, a little more than half done. I'll post the final image when it's finished.101


*Update - The finished painting here.

Click on image for larger view

Studio Pics

I spent most of February with the flu so I wasn't back in the studio much. I don't get sick but every 3-4 years so when I do get it, it knocks me out.

I'm now back in the studio working hard on commissioned projects, upcoming shows, and other misc work. Here's a couple of pics of my studio and works in progress.

Click on images for larger view

Thank You Followers!

To all of you who have joined/followed my blog so far, Thank you!
My intention was to thank each as you began following but alas I can not figure out how to 'send a message' via Google Friend Connect...

I hope you all enjoy my art and I always welcome your comments.
Been busy, hence the lack of posts lately. That will be changing soon. As I produce work in groups there will be flurries of activity, so stay tuned.

David-

Spring 6" Squared Show

Another exhibition and sale will be held at the Randy Higbee Gallery in Costa Mesa California.
Like the one in December it will feature art all sized at 6" x 6" from artists all over the US and who knows, maybe other countries as well.

I will post a couple teaser 6" x 6" images of my work as the show nears.
The December show was a great success and it was exiting to see so much diverse art in one place, all for sale at affordable prices, so if you can make it I highly recommend attending.

An open call for any and all representational artists, for more info check the two links below.

http://randyhigbeegallery.blogspot.com/
www.Onlinejuriedshows.com

TERMINATED

"Oil Plant Nocturne"   SOLD
oil on panel, 2011
4" x 5" (10.16cm x 12.7cm)
davidteter@att.net

My 100th posted image. Numbered posts include only images posted for the first time, so this does not count posts with repeated images due to an update or an all text post, gallery or show announcement.
I originally planned to feature an image from a new upcoming 2011 series on the Vincent Thomas Bridge as the 100th but upon discovering the recent demise of the oil plant I decided it would finish out the first 100. The new series starting at 101.

Although this nocturne features trees, it is from my Oil Plant series. This building was on the same site as the oil plant and served as the office.
Now shut down, the windows boarded up, the only signs of life are the trees and the lone light needlessly illuminating the parking lot.

I saw this in the day time but turned it into a nocturne, so I needed to figure out or imagine how it would look at night with the light on and other ambient light at the horizon and the left side.
About the time I painted this, I revisited the site and much to my dismay it was gone, the plant razed to the ground (actually a pumping station I recently found out), nothing left but a lot scraped clean and piles of dirt. TERMINATED.

So with that in mind... it's final night.
The power pole, with it's wires, function as a cross much like you would see on a grave site. Although it is usually considered bad design to split compositions in half, sometimes I will do so just to see if I can 'break a rule' and still make it work, a challenge I enjoy. See three others with the same premise here and here and here. In this case I made it work by keeping the dissector, the pole, the same value as the tree so that it did not prominently show the near mid composition split.

Then deciding the distribution and the balancing of the warms and cools; the front of the building cool, the back warm, via the light (which probably wasn't actually working since I doubt there was power to the site). But in making an image, changes can be made to strengthen an idea or composition, so on it went. With the focus on the lower right corner, typically another design no-no, the taller tree was lit by another warm but unseen light source, to set up a diagonal and give it balance.100

Click 'Oil Plant' label below for more from this series
Click on image for larger view

"Chandler's-study #1"

"Chandler's - study #1"
Graphite on paper, 2010
8" x 10" (20.32cm x 25.4cm)
For Sale at Daily Paintworks, CLICK HERE

A study of a cement retaining wall at the backside of a rock quarry. Perhaps one I will turn into a painting at some point. With a couple of commissioned projects in the early stages, so many current series going as well as some new ones planned for 2011... I'll be busy. So as of now I don't know if this will see the light of day in paint, but we'll see.

Vigorously drawn, focusing here on the arrangement of values, referred to as a value comp or sketch.99

Click on image for larger view

*Update
A study of a cement retaining wall at the backside of a rock quarry.
Focusing here on the arrangement of values, referred to as a value comp or sketch but with a bit more information than a thumbnail.


The key to making this otherwise simple subject of concrete wall and railing exciting was to instill some action in an inactive, static image by using vigorously drawn strokes swirling around the center and not being too literal with the depiction of trees and surrounding landscape.

Jackson Hole Wyoming-Horizon Fine Art Gallery

There is tons of snow in Jackson Hole Wyoming. If you are headed there to ski don't forget to stop by Horizon Fine Art Gallery at 30 King Street, it's latest location.

Click here or above for a preview of all the great art featured at the gallery.
With over 70 artists, painters and dimensional, there is plenty to see.

Flycatchers-Sketches

"Eastern Phoebe"
pencil on paper, 2011
5" x 4" (12.7cm x 10.16cm)
NFS

"Eastern Wood-Pewee"
pencil on paper, 2011
3.75" x 3.25" (9.525cm x 8.255cm)
NFS

Here's a couple quick little sketches of flycatchers. Called flycatchers due to there manner of feeding or hunting, perching in one spot then flying out to catch insects out of the air. Both are rather plain or even drab in their color and markings but no less beautiful than more fanciful species. The Eastern Phoebe (top) is a slim flycatcher that perches low along streams. The Eastern Wood-pewee perches high among foliage in forests and is rarely seen.97,98

Click on images for larger view

Update-Previous Post- "Water and Power"

*Most of the time when paintings are done and framed they are out of my hands so I don't get a chance to photograph them framed. Occasionally I do. I've posted a photo of the painting "Water and Power" on the original post 'Concrete Facades' from the May 2010 archives.

Click on 'Concrete Facades' above or the label 'update' below to see original post.

"Figure Study-Hips-Legs"

"Figure Study-Hips-Legs"
oil on panel, 2010
7" x 5" (17.78cm x 12.7cm)
private collection

A quick figure study. My focus here was more a study in paint application than an anatomical study, so an experimental study. When it comes to the figure I am still searching a bit for a 'visual voice' in all it's forms.
I usually prefer to have something to say or represent about the subject. Some kind of impression or response that helps guide decisions or gives me direction when it comes to the elements of art and design. Elements like paint application, value, edges, color etc. as well as the more emotional and conceptual responses. This is one of my goals for 2011... to really start working more with the figure until something begins to emerge, to search out some kind of expression then find a way to articulate it visually.96


Click on image for larger view