Rabbits Everywhere and Looking Forward...

Posts here on my blog may start getting rather sparse as I finish work for the upcoming show at the Randy Higbee Gallery October 1st 2011. Click here and here for earlier info on that show.

I'll do my best to post something at least once a week, but even doing that requires time to assemble and write and that is time better spent on painting. I will post some random images of work for this show as it approaches, so stay tuned.

The amount of work always seems like a daunting task with research, preparing panels, and all the other details I seem to forget about before I can even begin putting down paint. Even with all the help I get with calendars, schedules, gallery contacts, framing, accounting, archiving current work and too many other mundane tasks to mention it can seem overwhelming.

Some chores like cleaning and re-organizing get left out though, my studio is becoming choked with works in progress, materials strewn about and stuff I call 'Rabbits'... those little odd things laying around that seemingly come out of nowhere and multiply when I'm not looking (you know, clutter). Sometimes I have to hopscotch thru my studio. Bummer dude.

I am however excited, already have some work done, several larger works in progress and am chomping at the bit to begin others. This kind of nervous energy is always positive thing. It's the energy that feeds and drives me towards a goal. I like deadlines, I find I'm much more decisive with less time for second guessing. Those gut instinct decisions are usually right. My best work is usually born out of necessity.

One Man Show - Coast Magazine ad

Here is the first formal announcement for my show at the Randy Higbee Gallery this fall. Above is the ad for Coast Magazine.
More info on what I will be showing here.
The above image, "Catalina Pacific Concrete (View from North)", blog post here.

Click on image for larger view

California Brown Pelican

"Pelican #1"
oil on panel, 2011
6" x 8" (15.24cm x 20.32cm)
private collection

The California Brown Pelican is found all up and down our coast and in the 1970's was in danger of becoming extinct due to DDT, a pesticide.

Pelicans with their huge beaks appear gangly but are so graceful in flight. Simple subject, simple design.
The challenge with the single object is trying to avoid the  'clump'  or  'bullet hole' smack dab in the middle of a composition.

Fortunately birds, with their wings especially, make the design easier to manage. Even centered this configuration allows for a more dynamic composition of angles and interesting shapes.

After that not much more was needed. I put the lightest value along the bottom to put air underneath the pelican and provide a visual 'lift' and subtly echoed the head and feather shapes in the darker clouds to set up an opposing angle to the two wings.
Cool light from above, warm shadow or reflected light from below.126


Click on image for larger view

Update-Previous Posts

*Updates
Here are three updates to previous posts.
Sometimes at the time of posting images I am either too busy or haven't yet collected (written) my thoughts to include them in the post, or I've rather hurriedly put down incomplete thoughts. Whenever possible I'll go back to update those to round out my blogs original intentions of putting down my own insights relating to my work, whether individual, series, or in general.


Click on titles to see update.
"Chandlers - Study #1"
"Harbor Line#70 - Study #1"
"Power Plant Interior - Study #1"

OMA Store 3

"Sulfur Pile #1"    SOLD
watercolor on paper, 2011
5" x 8" (12.7cm x 20.32cm)

Here is another of my paintings at the Oceanside Museum of Art Store.
This one is framed and ready to hang, shown here unframed.

These sulfur piles were to hard too resist, bright lemon yellow in the middle of all these earthy, rusty browns, grays and blues. Clean pure high chroma colors are unusual in industrial settings.

I'm sure they are at least 30 feet high, so they reflected the sunlight like a beacon. Impossible to miss.125


Click on image for larger view

OMA Store 2

"Encina Power Station Nocturne"    SOLD
oil on panel, 2011
4" x 5" (10.16cm x 12.7cm)

Here is another of my paintings at the Oceanside Museum of Art Store.

No moon, the darkness of night slowly consuming the fading light.
The lagoon for now still visible, but just barely. Soon the only interruption to the inky black will be a thin strand of smoldering embers at the horizon, nothing else till morning.124


Click on image for larger view

OMA Auction Paintings SOLD & OMA Store 1

I'm happy to report that my two paintings for the Oceanside Museum of Art sold saturday at their 'Summer Soirée'. Links to previous posts on this here and here or see below, a couple posts back.

I'm also fortunate to have some of my paintings offered in their museum store. 7 small oils and one watercolor.
The 3 below currently on my blog here, here and here. The train used for my Avatar/Favicon/Photo URL in a cropped version.
The others will come in (near) future posts.

Early Announcement - Fall Show

Besides recent and current projects, I am incredibly busy preparing for an upcoming show in the fall at the Randy Higbee Gallery.
Up to 50 works, paintings and drawings in various mediums including mixed media, at assorted sizes from the smaller 5" x 7"s up to at least 24" x 36" maybe larger.

I plan on showing several current series; my favorite assorted industrials, trains, burnscapes, seascapes and especially the bridge series which the show will center around and one I haven't yet really shown other than a couple of 6" x 6"s at previous shows. I'm also going to try to include a small percentage of works (hints) of new series which have been rolling around in the back of my head for some time.

As the show nears I'll post a few random images of whats to come, so stay tuned...

OMA Auction Paintings

Top:        "OMA #1"            SOLD

                oil on panel, 2011
                10" x 7.5" (25.4cm x 19.05cm)

Bottom:  "OMA #4"            SOLD

                oil on panel, 2011
                10" x 7.5" (25.4cm x 19.05cm)
View the complete art auction online; Oceanside Museum of Art Blog
For more info or to place a bid on any artworks in the silent auction call 760.435.3722
or email ; danielle@oma-online.org.


Here are my two paintings for the Oceanside Museum of Art Auction/Fundraiser. See previous post for more info.
Having visited the museum during the day as well as after dark to really study the architecture I decided to focus in on its entrance instead of a panoramic view, choosing two slightly different views, each taking advantage of that time of day and night.


"OMA #1"
This is the most dramatic nocturnal view of the Oceanside Museum of Art entrance. Lit up from inside, the architecture has a completely different character with an emphasis on it's warm interior.
Diagonal lines of light, the stairwell and interior corridors converge on the museums strong signature "O" located prominently at the center base of a pyramid shape formed by the lights of the upper hall and highlighting the reception area.


"OMA #4"
This is my favorite view of the Oceanside museum of Art; it transforms the formal architecture into diagonal planes and highlights the strong lines in the windows.
The reflected light off the unseen side of the glass provides extra drama against the dark marine layer.
The Museums strong signature "O" logo is prominently featured against the dramatic glass architecture of the entrance and draws in artists, art patrons and the public.122,123


Click on images for larger view

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