Tall Grass - Part 2, The Gathering

It seems like a lifetime ago when I took a bearing and set sail on my career as a painter, pushing aside my "regular" job (or getting fired to put it bluntly) to focus on my "real" job. As with any extended voyage, there have been many times of uncertainty, fear, and yes... even triumph. Though fear and uncertainty still patrol these waters, they don't seem to board my ship as often as they used to. Triumph, on the other hand, seems to regularly fill my sails with victories both large and small.

There is a great deal of solitude in what I do, both in the studio and the field. In my little creative vacuum, there's very little opportunity for personal interaction with other artists. That lack of creative feedback is often amplified when I'm mired in a project that seems to be draining all my energy without much sign of progress. It can be a nasty cycle of depression and self-doubt when things aren't going well.

 

This year's crew of usual suspects: Cindy House, James Coe, Jim Bortz, Sue Adair, Stephen Quinn, Michael DiGiorgio, Sean Murtha, Barry Van Dusen, Lucia deLeiris

So I was both honored and excited when renowned New England painter, Jim Coe, invited me to attend the "Gathering." Not really knowing what to expect, I cleared my calendar for the proposed dates. I couldn't possibly pass up the opportunity and the 7-hour drive to the Catskills was a small price to pay. From the beginning I knew I'd likely be the first to arrive and the last to leave.

Break time!

I've written before about the energy surrounding a group of likeminded people. It's both exhilarating and exhausting. As it turned out, this was basically a show and tell session for artists... and pretty damned high level artists at that! This included thoughtful critiques and helpful advice... all of which I took to heart.

The entire time I was there, I kept thinking back to a conversation I'd had with Paul Rhymer more than a year ago when he told me, "You've been walking in some tall grass, my friend!" There is however, danger in that tall grass. There is a rush of pure joy that comes from being included with such accomplished artists, each with their own specialties and areas of expertise. Along with the inspiration of talking to and getting advice from such a proficient group, there is a humbling sense of admiration and an almost paralyzing fear of inadequacy. It's easy to take a look at Barry's sketch books and wonder what the hell I'm doing! Tall grass indeed.

I expected to come away with a need to pause and reassess my plotted course, but seem to have instead caught a wave and good wind for my sail. I'm sure my course will shift... as it should... but the direction is "forward"... even if the destination is unkown.

 

 

Be Brave!

"The Long Way Home"

One of my favorite paintings of years past was in need of an overhaul. James Coe once told me he doesn't consider a painting "finished" until it sells and constantly reworks his art. With that in mind, I decided to take the red fox out of "The Long Way Home" and replace him with a trio of gobblers. I also added a splash of morning light behind the birds drawing the viewers eye to the bend in the road. This kind of adventurous update is something I would have never attempted earlier in my career. There is always some fear involved that I might screw up an otherwise decent painting, but confidence in my ability to correct any missteps allows me the freedom to try all sorts of cool stuff.

"Long-Beards of Steckler Hollow" 20x30 acrylic

Now that I have the images side by side, I've also noticed how much better the photography of my paintings has become. The image of the updated painting is much more accurate to the true colors.
Complete with a new title and soon to have a brand new frame, this painting is destined for the Waterfowl Festival in Easton, MD in November.

Time on the Road



History Meets the Arts Preview Party

 Funny how busy life seems to get as I tack on the years. June was never one of those "busy" months unless you include the time I spent fishing. This month seems to be passing by in a blur, though I'm not complaining.
Last week, I had the privilege of displaying my work in Gettysburg during the History Meets the Arts show. My host was the Lord Nelson's Gallery and the event was a huge success. I was fortunate to spend some time with the likes of John Buxton, Robert Griffing, and Michael Godfrey. It was a wonderful experience. Of course preparation in the days leading up to the event, travel time, and the five days I spent there wipe out about ten days where I just don't get any painting done.

Green Heron Study by Jim Coe

Later this month, I'll be on the road again. This time travelling to paint with my good friend, Jim Coe. I'll get lots of easel time while I'm there, but very little (if any) work on potential finished product. We'll be working on some plein air pieces and spending some time in Jim's studio. I learned a lot the last time I worked with Jim and I'm sure this trip will be no different.

2011 Year in Review

Looking back on another year, the chair in front of my easel is showing a lot of wear. It’s been a rollercoaster ride of ups and downs… from having the Woodson Museum add my Birds In Art painting “Shimmer” to their permanent collection, to a crippling mid-summer sales slump that had me looking for a “real” job (I know! It was really that bad). Not only was 2011 my most prolific year painting, it also ended as my best year for sales… which isn’t saying much, but it’s been a slow steady improvement from one year to the next… and that’s always encouraging.

• The plein air workshop I attended in September taught by Jim Coe has been a springboard for my art. My color choices are more adventurous. I’m getting more comfortable working with oils. And of course, I’m loving painting outdoors! I’ll be doing more of that in 2012.



• The fly fishing bug of my youth has bitten me once again. I’m finding the hours I spend on trout streams even more enjoyable than I did when I was a youngster. It’s also led me to some interesting and beautiful places I would have otherwise passed by.



• Both the Southeastern Wildlife Expo and the Waterfowl Festival were sparkling successes for me. These shows give this old hermit a chance to make new friends, catch up with the old ones, and sell a painting or two. I really look forward to those events and hope to be a fixture there for the foreseeable future.



• Many thanks to Phillepe at the Lord Nelson’s Gallery in Gettysburg for taking a chance on me. I hope this is the beginning of a long and prosperous partnership.



• There were occasions when I found myself in out-of-the-way places with the most remarkable people. An extended road trip with master carver Larry Barth is high on that list. I also spent a morning waist-deep in a Maryland swamp, duck hunting with sculptors Paul Rhymer and Walter Matia. Nice J



• And lastly, I’d like to thank all the folks that take a moment out of their day to occasionally read this blog. The popularity has been humbling. Hats off to you.

So as the book closes on yet another year, I file it away for happy reflection. At the same time, I scan an especially ambitious list of goals for 2012. It looks like the coming year will be a wild one! Stay tuned…

"Mouser" 6x8 acrylic

After spending some time painting with plein air master James Coe, I’ve been experimenting with some new techniques. The freedom to apply oil paint and manipulate it for an extended amount of time is something I really enjoyed about the plein air painting. Though I must admit, I found myself rushing to clean brushes, soften edges, etc. fearing the paint will dry… something I’m constantly aware of working with acrylics. Nonetheless, I’ve been pushing myself to work faster with my acrylics, smearing and blending edges before the paint has a chance to set. Not an easy task, but not without reward.