In-home Holiday Pop-up Shop For Art and More

My display at the Holiday Pop-up Shop at a neighbor's home

     In early November, I participated in a Holiday Pop-up Shop at a neighbor's home. I offered landscape and seascape paintings and hand-painted silk scarves for sale. The event was my neighbor, Cheryl's, idea, and she had invited me some weeks before to join her and other sellers she knew for the one day event in her home. Although the price point of my paintings made selling them in that setting unlikely, I thought it would be a way to connect with some new people. Since my scarves are in the $60 - $70 range, I thought a sale was possible, but was quite ready to make the effort and to enjoy the experience--sales or no sales.

     Your response to previous posts about Open Studio Receptions I have held at our home (those posts are perennial favorites for visits) means I expect many readers to be interested in the planning, process, and set-up of the Pop-up Shop. Cheryl, our host, who has begun creating lovely watercolor/calligraphy greeting cards and other items recently, said that remembering those receptions at our house was one of the sparks for her pop-up shop idea. 

     With all the information I could cover, I'll write more than one post about our Holiday Pop-up Shop. Today, I'll begin at the event itself and back up to the details of preparation(that post here) at another time. Besides Cheryl and me with our art works, the sellers were a portrait and family photographer, a Younique makeup representative, and a woman who sells Paparazzi jewelry. The group provided a nice variety of offerings, and our guests/customers very much enjoyed the event. Many of them spent a fair amount of time circulating, chatting, and enjoying water or coffee with cheese, crackers, and grapes as well as shopping. 

A guest asking about my painting process

     The photo above shows my area, with a table provided by Cheryl, my own tablecloth and some paintings displayed on a mantel behind me. Oh, and by the way, I did sell a few scarves. More important, I think, is that I met wonderful people. Cheryl had encouraged us before we opened to focus on people and on our interactions with them more than on sales. She was right; we and our guests had a very enjoyable few hours, and sales did flow for each of us. Also, many people who spent time with me took my card and may contact me for paintings or scarves in the future.

Question of the day: Aside from on-line purchasing, what is one in-person holiday shopping experience that you especially enjoyed or gift purchase that felt extra satisfying?

     

Around the World Blog Hop Entry--My Creative Process

   

Outside a back yard at Jacksonville Beach, FL

I was invited to join an Around the World Blog Hop (google that and be amazed!) by fellow artist Mary Paquet, whose work and blog I always enjoy and admire. Please visit Mary Paquet's blog to see for yourselves and for her Blog Hop entry on December 1. In turn, I have invited Jo Castillo, a delightful, talented artist and prolific blogger to post on Monday, December 15. All the past blog hop entries I have visited are fascinating as a variety of artists each answer four questions about their work and creative process.

     The invitation is welcome both because 1) I am a relatively new artist and 2) my blog is a mix of posts about both acrylic landscape painting and silk scarf painting AND lots of other aspects of creative living, including travel, cooking, exploring coastal North Florida, and more. I am honored that more established artists with more art-focused blogs to include mine. Thank you, Mary Paquet. My thoughts on the questions appear below (and, to spare you a truly endless post this time, will continue in a second post in a few days). Here and there a link will take interested readers to related posts on this blog. 

1) What am I working on? After a break from art due to travel, time with family and, well, the rest of life, I have several projects going now:

Matanzas River Bend

• finishing touches on a gift for a friend--a 12" x 6" piece picturing a Matanzas River scene, just off the Atlantic Ocean. My friend has always loved the Matanzas Inlet area, near St. Augustine, Florida.
• deciding what's next on a half-finished silk scarf with a purple iris motif; it needs more tonal contrast and/or some other revision (not pictured--stay tuned).
• designing and making a scarf for a friend who wants it as a Christmas gift for someone special to her. She has a color scheme idea, and is trusting me for the rest. How scary is that?



A favorite scarf, painted in March

• Finally, something new for me, planning a couple of paintings based on photos and memories of a recent time in Tuscany. Normally, I interpret scenes here in coastal North Florida because I know this area in depth. Can I capture the essence of a place only visited? Perhaps not, but I am hoping to convey my own impressions and appreciation of its beauty.

2) How does my work differ from others of its genre? Most bloggers, including me, regard this question as a stumper--hard to answer for oneself. Even some relative strangers have said that once they see a landscape I've painted, they recognize others as being my style, so the work does have distinctive elements. However, defining those elements is difficult. I'll mention a few common threads in most of the landscapes. Making scarves is simply too new for me to have developed a personal style; "experimenting" is the current mode in silk painting. (See posts on the week-long "art camp" silk painting class I enjoyed).  My landscape paintings usually include:

Another silk scarf favorite

• A realistic style--although I "edit" actual scenes for good composition; they are far from photographic.
• Many portray out-of-the way places that most people would pass without noticing. Prowling back roads, urban pocket parks, and nature preserves with my camera, I find quiet charm and beauty--painting ideas abound.
• Water appears in a fair number of works. Here in Jacksonville, Florida, we enjoy the Atlantic Ocean (from a surprising variety of beaches), the mighty St. Johns River and a number of other rivers, quirky creeks (some of which would be called rivers in other regions--they are wide!), still ponds, and our bewitching, ever-changing salt marshes. I love both being near natural bodies of water and the challenge of painting water.



Marsh in Fort Caroline Preserve

• Finally, the works reflect an effort to establish a clear focal point and visual path for the viewer.

Clear focal point, "Summer Reflections" 

3) Why do I create what I do?

4) How does my creating process work?

This post is long enough, so--hoping the blog hop police won't mind--I will post again in a few days with consideration of the last two questions.

   Don't forget to visit the delightful blog of fine artist Jo Castillo, who has agreed to be "tagged" as the next Monday blogger in this creative chain. Don't miss her post on December 15! 

Again, I am truly thankful to Mary Paquet for providing this opportunity. Given the many incredible blogs I have discovered following the chain from one creator to another, it took real self-discipline to stop browsing and post on time :).

Question of the Day: What are some delightful discoveries of people/ideas/visuals/blogs you have encountered recently as you browse the web?    

Favorite Paintings Part II--Works from 2008 & 2009

     In this reflective end of the year time, we will look back today. Several months ago, I posted some of my personal favorites among older paintings and will continue that theme today. Since painting is relatively new in my life, the "oldies" don't go very far back. However, it feels as though I have learned  and grown significantly in the last 3 or 4 years and (although others may not notice a dramatic difference) can see improved elements in some more recent work. Of course, art works always have a mind of their own, so that unexpected results--for good or ill--can come along anytime. The process, the journey, and the sheer scary fun of trying are worth the ride no matter how various pieces turn out. I never fail to learn from every painting session.


     I won't repeat the background and reflections from the earlier favorites post. However, one insight from my mentor Linda Blondheim is worth recounting today. I once told her that a painting teacher had said to us students that she was sometimes ashamed of her early work and didn't like to think of the pieces people had bought back then still being on display. Linda agreed with me that the artist's feelings seemed sad and shared her own outlook. Of course, Linda has learned a great deal and grown as an artist over the years, but every time she has painted, she did the very best she could at the time. So, she is pleased if those works were appealing to buyers--or even if not--and truly values each of them. A healthy, motivating outlook, I think.

     The earliest of these three pieces is the 18" x 24" vertical creek view with the egret seen above. As the piece developed, I liked the fantasy feeling of the under painting in the streaky water and not-quite-realistic trees, so kept that aspect intact and called it "Creek Bend Fantasy". The second is the largest piece I have made so far, on a 22" x 28" canvas, called "Serenity"--also showing a creek bend where it pools. Both have garnered fans and favorable comments over several shows and in shops. The third painting, an 18" x 24" work called "Hanna Park Heron" sold at the very first Open Studio Reception in our home to friends who treasure it as a reminder both of many years of happy family outings in North Florida's Hanna Park and as a tribute to the majestic great blue heron who frequents the large pond behind their house. Descriptions of the process of creation for each piece and other details are in earlier posts; simply click on the links if interested.

     Thank you, dear readers, for your patience with my uneven posting schedule in recent months; I am recovering very well from hip replacement surgery and hope for more conversation with you in 2013. That partly depends on circumstances beyond my control; i.e., ME and my love for procrastination. I will do (some version of) my best :>). 

     May all of you enjoy a hopeful, peaceful Christmas and a joy-filled New Year.

Question of the day: Are you able to manage Linda Blondheim's positive, encouraging view of your past efforts? 

Favorite Paintings from 2007 and 2008

     Thinking back on the relatively few years I have been painting, I browsed the photo file, viewing earlier works, and spent some time feeling grateful for this rewarding pursuit. A few favorite early paintings stood out, although each and every piece has some interesting features, and each represents creative learning and growing experiences.

     About nine years ago, a week-long painting course at the John C. Campbell Folk School in North Carolina awakened a whole new pleasurable undertaking for me. I had expected to relax, stretch my mostly analytical mind beyond its comfort level, have fun making some messes, and come home refreshed. Well, with an excellent teacher, all my expectations were met--except one. The paintings were not total messes at all. Not that they were great art, but they were pleasing to me beyond anything I had ever thought possible.


     Since then, I have learned much more and refined my painting skills with occasional local classes, guidance from my painting mentor, Linda Blondheim, and lots of practice. Painting is a whole new, unexpected source of joy.

     So, as I looked back, I  found three photos to show you, each representing a particularly pleasing achievement for me. Each work has elements I would do differently today, but they were the best I could do at the time, and that's good enough. No need to be overly self-critical about them (or to whine to you about the short-comings I see in them now). 

     It's interesting how differently artists view their own earlier work. In one painting class, a very good teacher said that she sometimes cringed when she saw some of the paintings she had sold years ago. She was somewhat ashamed of those earlier works. That seems a pity; clearly they appealed to the buyers (and probably to others). Further, regardless of other peoples' opinions, they represent a stage in her creative journey which contributed to where she is now. Linda Blondheim's attitude strikes me as healthier and more self-affirming; she enjoys looking back and values every one of her paintings, convinced that each was the best she could do at the time.

     So, without apologies, here are three personal favorites from 2007 and 2008. For each, clicking on the link will pull up an earlier post describing their creation in more detail. "Look to the Hills", an 18" x 24" landscape, interprets a meaningful visit to a retreat center in Warwick, New York. The 12" x 16" marsh scene recalls a delightful day kayaking with my husband and one son (and later became an engagement gift for our son and his fiancee). The 9" x 12" "Magnolia on Purple" was based on photos of magnolia blossoms on some neighbors' trees. Each work brought frustration as I confronted its challenges, and each was a significant learning adventure. 

     Life's journey is always surprising--what if I had listened to my conviction that I had zero artistic ability?--what if I had never tried painting? By the way, I also value other less successful (or even totally bungled) ventures along my journey for the contribution they have made to the person I am today.
Question of the day: What surprising discovery have you made about your own abilities?

New Artist's Statement--Landscape Paintings in a Gainesville, Florida Shop

Tomorrow, we will deliver a collection of eight landscape paintings to Paddiwhack, a delightful shop in Gainesville, Florida. I have been working hard to prepare the pieces for the exhibit; they will hang in a featured nook in the front of the store for six weeks. Two new publicity pieces are also ready, a flyer for people to pick up, which I will show you in the next post, and this framed artist's statement. You should be able to click on it to make it larger.

New Painting--Lyons Club Park Boardwalk on the St. Johns River

Join me on a spring walk in Lyons Club Park along the St. Johns River in Jacksonville, Florida. This new painting is nearly finished, but rather than waiting to post it, I decided to show it to you today. The revisions I still plan to make are so minor that the differences are unlikely to be noticeable in a blog photo. The piece is a 16" X 20" acrylic painting on gallery wrapped canvas, so can be hung without a frame. The scene wraps around the painted edges.

Today, I am showing you the painting and one of the reference photos I used. Next post, I will include some close-up photos of details in the painting and more information about the painting process.

You can see that I departed from the reference photo in terms of the viewpoint, the palette (colors), and some other details. The painting's viewpoint is a bit further away at a higher point along the walk by the marshy river bank.

Among the Jacksonville area's many lovely parks and preserves, Lyons Club Park is a well-kept jewel. Birds sing along wooded trails, and fish and other water creatures are abundant. We saw a number of people fishing along the bank while others paddled up to shore in canoes and kayaks. The water currents are varied and interesting as the St. Johns River runs straight north (unusual in the Northern Hemisphere) just before it turns east to flow to the ocean. We are on the east bank of the river looking north. The Trout River flows in from the west (out of sight from this view), and both rivers rise and fall with the ocean tides. So, the water is almost always in motion--sometimes lazy and sometimes powerfully choppy. Ripples and waves can run in nearly any direction, changing throughout the day, and sometimes swirling in eddies caused by the confluence of outgoing rivers meeting an incoming tide. It's a perfect place for a refreshing and renewing walk.

Question of the Day: Does your area treasure and preserve its natural habitats and beauty?

Savoring--Completed Landscape Painting--"A Sunday Afternoon in May"

"A Sunday Afternoon in May" has proven to be a satisfying project. Last post, I showed you some aspects of the planning process, beginning with the reference photo, which is posted again here so that you can see the ways in which I have changed the original scene to create an effective composition for a landscape painting. The St. Johns River actually flows behind the bushes in the photo, but was not visible from that point of view. However, I wanted to use the point of view in the photo because of the lovely patterns the foreground shadows made--as well as the interesting verticals of the tree trunks.

Rather than go on about the painting process from last post's sketches through to completion, I will just let you join me in this delightful park-like spot on a private school campus in Jacksonville, Florida. I built the bench just for you.

Question of the day: Wouldn't it be fascinating to time-travel to scenes painted by the Old Masters and compare the actual location to their interpretation of it?

Growing--Planning a Painting Composition--Jacksonville Park Scene

A new 18" x 24" landscape painting on gallery wrapped canvas is nearing completion. I am pleased with the way this scene is turning out and will show you the final version soon. In the meantime, here are the original reference photo, an early line sketch on the canvas, and the first painting stage--blocking in the darkest areas.

As we explore our wonderful coastal North Florida scenery, I take a variety of reference photos for landscape painting. Some photos, like this one, comprise an overall view of a place I might paint in the future. Others record odd bits of information: everything from close-ups of particular tree trunks, to interesting cloud formations, to ripple patterns on our rivers or ponds. One wise word of advice for landscape painting I have heard from more than one instructor is, "Don't make it up." Of course, we do use artistic license to move elements around or to add, say, an appropriate water bird to one of its favorite habitats. However, for me at least, it is crucial to see and photograph the actual water bird or examples of a particular variety of tree in order to paint them convincingly.

While studying reference photos, I make rough sketches of possible compositions based on that location. I try the horizon fairly high, then lower; place only a few tree trunks in the scene, then sketch it with more trunks in a different pattern. In the sketches (often with 5 different grey to black values of markers on cheap paper), I also vary the values, placing the darks, mid-tones, and lights differently each time. A composition with equally distributed values is usually much less interesting than a composition with mostly one value, some of another, and just a bit of the third main value.

For the scene in this photo, I decided to leave out some of the bushes behind the grassy area to reveal the river running behind them. A bench or chair would appear near the riverbank to invite the viewer to enter the scene and rest awhile. Choosing what seemed the most promising small sketch, I outlined the major shapes on the canvas with vine charcoal, which rubs off easily later and which acrylic paint covers well. In some compositions, I begin by "sketching" with a brush and paints in the family of colors I plan to use (more about the palette chosen for this piece in the next post), but for this one, the balance and rhythm of the lines seemed important to place first.

In the top photo, you see a beginning placement of some of the values, especially some of the darkest areas. The foreground shadows first attracted me to the scene and will provide a visual path to the focal point (the bench and its surroundings). The other darkest elements will be some of the tree trunks and the hanging branches at the top of the canvas. Unlike some paintings, this one was pleasing even in the early stages; the composition and value "map" felt right.

Question of the day: As in other creative pursuits, including problem-solving in work and daily life, we are all very different regarding the degree to which we plan ahead. Clearly, I am a planner--how about you?

Growing--A New Home for a Painting, a Surprise Sale

"Look to the Hills", one of two versions of a lovely view at a conference center in Warwick, New York, has been displayed at Trends Home Decor on Hendricks Avenue in Jacksonville, Florida, for several months. Some of you may recall a post several months ago about the two versions I painted of this scene, based on a peaceful, renewing place we love. On Saturday, I phoned Lori Taylor, the Trends shop owner, a very sweet person and wonderful supporter of her artists, offering to bring in a new piece ("Spring Breeze", a Jacksonville Beach scene finished and posted on this blog a couple of months ago). Knowing that she has mounted an "angel wall" of special pieces for the season and that the shop is fairly full, I suggested that I could take one of my other paintings home for awhile to make room for the new one. That worked for her. A note: you can use the search box in the upper left corner of this blog to enter terms like "Trends Home Decor", "Look to the Hills", "Spring Breeze" or "paintings" for more photos and information.

She had decided to keep the Florida scenes I was showing in her shop and to rotate this New York landscape out for awhile, so we took it down. I set it aside on a chair while we chatted. Then, a couple came in to ask her about buying two brightly painted Adirondack chairs displayed out front (she sells unique home accessories and furniture in addition to moderately priced original art works). The woman came in to browse while her husband arranged payment, and she spotted my painting propped sideways on a chair. "Oh, I love that!" she said, "Don't tell me you just bought it, and I missed out." I was happy to say that is was still for sale, and we began to talk. Discovering I was the artist who painted "Look to the Hills", she described what it meant to her in more detail, how peaceful she felt it was, and how well it would fit in their bedroom.

Talk about serendipity! The pleasure of meeting the couple who took this piece home and of hearing how it spoke to them was delightful. And if I had taken it straight home instead of chatting with Lori for awhile, we would have missed each other, and that particular piece would not have found its new home.

Question of the day: Where would we be without the occasional perfectly magical connections and moments that sparkle in otherwise ordinary days?

Growing--Landscape Painting Experiment--Tranquil Creek Bend

I first showed you this painting about six months ago and am repeating that post for newer readers. Two photos show portions of the painting for more detail (and as always, you can click on a photo to enlarge it). Once again, the location is a spot that many people would walk by without stopping to look. A small bridge on Hogan Road crosses Little Pottsburg Creek near our home on the south side of Jacksonville, Florida. On the lookout for scenes with water features, I pulled over to explore and was especially taken with the view in one direction, where the creek widened and curved out of sight around a bend. A thickly wooded bank on one side was countered by oddly charming, spindly trees rising above bushes on the other. The trees reminded me of children experiencing a sudden growth spurt practicing in dance class, somehow combining awkwardness and grace.

This is the second painting to emerge from photos taken that day. I decided to push myself away from my favorite palette and began with a pinkish sky. Although the sky was actually a pale overcast grey, the pink tones somehow captured the bright, warm haze of that morning--the kind of light that requires sunglasses in spite of pervasive cloud cover. One painting goal was to let the sky set a certain mood and to continue experimenting with a limited palette of ultramarine blue, cerulean blue, Paynes grey, cadmium red deep, burnt sienna, yellow ochre, and white. All greens, browns, and blackish tones are mixed from these colors. The second painting goal was to try to evoke the tranquility of the moment and the feeling of mystery as the creek glided around a bend and out of sight. The reflections in the water seemed central to portraying the stillness of the scene.

As usual, pursuing the goals of this piece gave me fits along the way, and it was even more difficult than usual to decide when to stop revising and to declare the painting finished. For some reason, I continued to tinker with small details, to wish it looked a bit different (but not knowing precisely what to change), and to put it away repeatedly to pull out days later for more tinkering. Of course, this can be the ruin of a decent creation, and I finally had to exert some self-discipline and just STOP. Have you seen news features about chimps, elephants, or other non-human animals who paint amazing abstracts? One commentator remarked that the unseen co-artist is the person who pulls their work away and gives them a fresh canvas. Left to themselves, they would happily continue slapping on more and more paint--producing, presumably, a less interesting result. I can definitely relate to the chimps who might not be the best judges of when to stop painting. However this piece, now signed and finished with a light coat of medium, has been declared officially complete and has hung on our bedroom wall for a few weeks. And, as it catches my eye in lamplight or as morning brightens, it has definitely grown on me. Update since the first time I posted this: This painting and several others are now available at a lovely local shop in the San Marco section of Jacksonville, Trends Home Decor. If you visit there, you will be amazed at the variety of distinctive art, home accessories, and furniture at affordable prices.

Question: What experiences have you had with the art of knowing when to stop?

Savoring Our Home--Creative Use of Space--Art Studio

The reason my last post said that you might chuckle when I showed you my new art studio is that it is located . . . in our master bathroom! Again, I must credit my caring and creative husband for this genius, though unorthodox, idea. He also did much of the preliminary work to create the space for me. That was no hardship for him, however; give Mark a sledge hammer and something to demolish, and he is a happy guy.

Previously, I had been painting in the kitchen and frequently taking down and putting up all my gear because it was in the way otherwise. Workable, but not great, especially as I began to paint more and more often. Also, the large west-facing window often required the unsatisfactory choice of either enduring a glare on my work or closing the blinds.

We had planned some fairly extensive work in our master bath anyway, had the money saved up and our plans in the works. One day this plan came together in Mark's mind with his concern that I needed a painting studio. In our down-sized home, the master bedroom is a comfortably large enough room without being over-sized, and the master bath & walk-in closet are exceptionally large for this size house. Like many master bathrooms, it boasted a huge so-called garden tub which I had used only once in the six plus years we have lived here. When filling it completely drained a good-sized water heater, I decided that using it was WAY too wasteful. There is a normal tub/shower combo in the second bathroom for my occasional soaks.

The garden tub was set into a 5' X 8' nook around the corner from the shower stall with a wonderful, large, north-facing (perfect for painters) window. I won't take you through all the stages of the decision-making process, but simply will say that the sledge hammer performed its magic, and I gained a lovely art studio. For quite awhile, I used it with wall board patches around the tub area, the original ugly wallpaper above that, and an exposed concrete floor beneath (we tore out the worn carpet from that area--why would anyone carpet a bathroom?). It worked great, but was not very attractive, as you can imagine.

Now, we have completed remodeling the master bath and are delighted with the results. Large stone-look porcelain floor tiles laid on the diagonal unify the bath, little toilet room, and closet; the walls are a tranquil, warm caramelly color; we raised the vanity (which did not need replacing) to a more comfortable height on a plinth base (Mark and a handyman did that together) and gave it a new terra cotta colored counter top with vanilla sinks. I apologize if this is more information than you are interested in, patient readers. It's just that I am truly thrilled with our new master bath/art studio.

Question of the day: What has been your most unusual, creative use of space to make your home function uniquely well for you?

Growing--Painting Done to Study Tree Structure

Although I don't have much time to post tonight, it has been too long since my last post and tomorrow looks even busier than today. So, I'll show you a study of a slash pine, done in acrylics on an 8" X 10" canvas board without my usual longer description of the painting process. This is nearing completion and is on a stand on my dresser so that I can look at it in varied light conditions over the next few days. It may get some revision in the foliage, but it may be that the wisest thing to do is to declare it completed before I overwork it.

This twisted slash pine, a very common sight in North Florida, stands like a sentinel in our neighborhood. It has been instructive to work on the trunk and limbs as they appear in strong sunlight late in the afternoon. I hope you enjoy seeing this little study.

Question of the day: Where does the time go?

Growing--Two Versions of a Landscape--New York Hills Painting

This pair of paintings represents a rare undertaking for me--creating a second version of a landscape I had already painted once. You have seen the painting on the right before, on the November 5 blog post, along with the following description: " . . . Look to the Hills, II, recalls a deeply renewing visit to Warwick Conference Center near Warwick, NY a few Octobers ago. Our long-time friends, Ken and Arlene Tenckinck, manage the center and direct all its programs. As I type this, I find myself smiling and breathing deeply with pleasure--they are remarkable people, Our too-infrequent times together are always rich, meaningful, and full of laughter."

The original Look to the Hills painting, on the left above, differs in the painting palette, in the appearance of the large tree, and in the degree of detail developed in various areas of the composition. It remains a personal favorite as a reminder of that wonderful visit with treasured friends and for the tranquil feeling it gives me. Although I am open to selling most of the paintings I currently have on hand, I plan to keep the first version of this scene.

Why did I decide to create another painting from the same reference photos? I guess part of the reason is the attachment I feel to this scene. I also like an occasional break from Coastal North Florida scenes and felt like a return to the mountain vista of the Warwick, New York area. Finally, I was curious to try a second version with a different palette, a more limited group of basic paint colors from which I mixed all the colors you see in version II.

There may be some truth to the saying that "You can't go home again", as the second version proved to be much more difficult than the first. It simply refused to come out well and is still a distant second to the first in my opinion. However, hearing the response of other people to the two pieces has been interesting and instructive. At my Open Studio Reception in November, several guests really liked Hills II , and at least one of them is still considering purchasing it. Their opinions serve as a good reminder that taste and preference in art are very individual and that I should not assume that viewers will always rank paintings the same way I do. If any of you want to vote for one or the other, that would be fun, and I would love to hear the reasons for your preference.

Question of the day: What experiences can you recall that illustrate the wide variation among people in their taste in art?

Learning--Winter Beach Painting--Patterns in the Sand

Not too long ago, I posted an entry about winter walks on the beach. This painting, Tide Pool Patterns, evolved from photos on a winter walk several years ago. That day, the Atlantic was in a rare indigo mood (the water color is never exactly the same from day to day, changing sometimes subtly, sometimes quite dramatically), and the waves were crashing very white. The receding tide had left shallow pools and interesting patterns and ridges in the sand. I think the earlier hours had been fairly windy, because the beach was more stirred up than sometimes. The view was interesting to me almost in an abstract sense, and I hoped to create a very simple, somewhat empty (if that's the right word) scene where the tonal contrasts, some strong, some subtle, and the abstract design would be the focus.

As in many paintings, this one did not look right for quite awhile. When I painted the wavy patterns in the sand as they actually appeared, it did not work on the canvas because they slanted so sharply that they gave the impression of going steeply downhill. Not wanting to lose the texture and diagonal interest and yet needing a more realistic look, I fought the angles and patterns for several painting sessions until the sand appeared flatter. In the foreground, I sprinkled salt on the wet paint to create some sparkly dimension on a few of the ridges of sand. Even clicking on the detail photo probably doesn't show you that texture, but it's kind of nice. I feel fairly pleased with the final result, which I hope conveys a feeling of peace contrasted with the energy of the background waves.

Question of the day: Isn't it interesting what makes for visual interest and how central a part different kinds of contrasts play in what is pleasing to the eye?

Learning--Romanticized Creek Painting--Color Mixing and a Cerulean Blue Palette

Looking back, I realized that I had never posted this painting for you. Creek Bend Fantasy, painted several years ago, is a personal favorite--not completely sure why--just like it, that's all. As with many of my landscapes, the reference scene is a humble place that many people would pass without giving it much notice. We look from a small bridge over Hogan Road toward a bend in Little Pottsburg Creek, not far from our home. The piece is 18" X 24", acrylic on gallery wrap canvas.

The painting developed in an interesting way. The original intention was for something more direct and realistic. The resulting composition still builds on the actual scene, but is romanticized somewhat. As the painting developed in early stages, through block-in and then the truly ugly stage many pieces experience, I somewhat wildly stroked in what were intended as base colors and movement in the creek and then didn't want to completely cover them. The dark woodsy area on the left seemed sort of mysterious and fairy-like, and I also hated to lose that feeling with too much detailed development. So the result blends realism and fantasy.

The palette was based on cerulean blue and cadmium red deep, an unlikely pairing that produces some very interesting neutral purply tones. The rest of the palette consists of sap green, burnt sienna, white, and black, with very minor touches of yellow ochre and ultramarine blue. Except for brilliant flowers, I seldom use the intense colors of acrylic paints straight out of the tube. They are especially unsuitable for landscapes without some modification. Besides, mixing colors is such fun and can produce such gorgeous and surprising results. I have a number of pieces of paper and card stock on which I have played with color mixing in a whole range of palettes. Here in North Florida, we have an amazing range of colors and tones in the sky, the ocean, marshes, creeks, rivers, forests, and meadows, constantly changing with the seasons and our changeable weather. So, as long as I remember to label the paint colors I used for each set of mixes, they form a valuable reference bank for a variety of paintings.

Question of the day: Where would we be without color?

Growing--New Landscape Painting--Tranquil Creek Bend

This is one of my newest paintings, completed just in time for the Open Studio Reception. Two photos show portions of the painting for more detail (and as always, you can click on a photo to enlarge it). Once again, the location is a spot that many people would walk by without stopping to look. A small bridge on Hogan Road crosses Little Pottsburg Creek near our home on the south side of Jacksonville, Florida. On the lookout for scenes with water features, I pulled over to explore and was especially taken with the view in one direction, where the creek widened and curved out of sight around a bend. A thickly wooded bank on one side was countered by oddly charming, spindly trees rising above bushes on the other. The trees reminded me of children experiencing a sudden growth spurt practicing in dance class, somehow combining awkwardness and grace.

This is the second painting to emerge from photos taken that day. I decided to push myself away from my favorite palette and began with a pinkish sky. Although the sky was actually a pale overcast grey, the pink tones somehow captured the bright, warm haze of that morning--the kind of light that requires sunglasses in spite of pervasive cloud cover. One painting goal was to let the sky set a certain mood and to continue experimenting with a limited palette of ultramarine blue, cerulean blue, Paynes grey, cadmium red deep, burnt sienna, yellow ochre, and white. All greens, browns, and blackish tones are mixed from these colors. The second painting goal was to try to evoke the tranquility of the moment and the feeling of mystery as the creek glided around a bend and out of sight. The reflections in the water seemed central to portraying the stillness of the scene.

As usual, pursuing the goals of this piece gave me fits along the way, and it was even more difficult than usual to decide when to stop revising and to declare the painting finished. For some reason, I continued to tinker with small details, to wish it looked a bit different (but not knowing precisely what to change), and to put it away repeatedly to pull out days later for more tinkering. Of course, this can be the ruin of a decent creation, and I finally had to exert some self-discipline and just STOP. Have you seen news features about chimps, elephants, or other non-human animals who paint amazing abstracts? One commentator remarked that the unseen co-artist is the person who pulls their work away and gives them a fresh canvas. Left to themselves, they would happily continue slapping on more and more paint--producing, presumably, a less interesting result. I can definitely relate to the chimps who might not be the best judges of when to stop painting. However this piece, now signed and finished with a light coat of medium, has been declared officially complete and has hung on our bedroom wall for a few weeks. And, as it catches my eye in lamplight or as morning brightens, it has definitely grown on me.

Question: What experiences have you had with the art of knowing when to stop?

Growing--Art Studio Reception Preparations Continue

We are very excited as we prepare for our Open Studio Reception this coming Sunday afternoon. If you can make it, we would be thrilled to see you. This painting will be one of those on exhibit. The specifics once more:

North Florida Landscape Paintings

by Mary Lemmenes

Sunday, November 8

2:00 - 5:00 PM

7364 Secret Woods Drive

Jacksonville, FL 32216

Fresh organically grown produce from Down To Earth Farm

Live Piano by Greg Spiess

Food & Drink--Casual Dress

For information:

lemmeneslandscape@bellsouth.net or

904-945-0458 UPDATE: I have now added an index of all blog posts about planning and holding an art reception. Access it here.

Although a number of tasks are complete, there are still plenty of details to attend to in the next few days. Mounting a show in our home poses interesting challenges. Besides labeling and displaying the paintings, setting up the business end of things, preparing everything from guest book to drinks and food (the latter will be relatively simple for this event), the most challenging aspect of preparation is that after sending out a number of invitations, we have no idea how many people to expect. I think it will be somewhere between 10 and 150. An interesting adventure, no?

The painting pictured above on my studio easel, Look to the Hills, II, recalls a deeply renewing visit to Warwick Conference Center near Warwick, NY a few Octobers ago. Our long-time friends, Ken and Arlene Tenckinck, manage the center and direct all its programs. As I type this, I find myself smiling and breathing deeply with pleasure--they are remarkable people, Our too-infrequent times together are always rich, meaningful, and full of laughter.

I am hoping that family and friends will take some pictures of Sunday's event so that I'll be able to share them with you next week. In the fun and stress of the countdown, I am encouraged and buoyed up by the support of all of you, dear readers and fellow bloggers. Thank you, thank you.

Question of the day: What recent avenue for sharing your creative projects or thoughts has been especially meaningful for you?

Growing--Landscape Painting Studies--Salt Marshes

These small (5" X 7") studies are based on the two salt marsh photos I posted last time. Several other photos taken that early January day also informed my interpretation of the scene on canvas. Although I love exploring and looking out over the marshes any time of the year, there is something especially tranquil and spiritual about winter marshland. Thus, these little pieces have been a joy to create. You will notice a few modifications from the actual scenes in the photos, especially some simplifications to improve the composition for this small format. When viewed next to each other, these paintings provide a panoramic view. But each can stand on its own as well.

I am working on a 12" X 16" version of the view in the study on the right. The egret is nice, but the complexity of the waterway patterns in the other study is even more appealing to me. Achieving a good tonal balance and a believable distance perspective in the larger painting have been more demanding than expected, but I hope to be able to show it to you soon.

Again, I am struck by the extent to which painting has sharpened my ability to see, to really see, the variety and complexity of nature--even in an apparently simple scene. Art instructors always say, "Paint from what you see; don't make it up," and every turn at the easel proves them right. Even when we change the scene--or even partially abstract it--working from what we think things look like instead of from the reality throws the work off. Yet, maddeningly, I sometimes find myself falling into the habit of working out of my head, even when the photos are right in front of me. The goal is continual growing and learning from each project.

For local readers, a reminder of our invitation to one and all. Mark and I would love to welcome you to our home for Harvest Delights, an Open Studio Reception Sunday, November 8, from 2 - 5 p.m. Food, drink, paintings, sustainably grown produce from our friends' farm, live piano music, and fun people--drop in and enjoy! Please scroll down to the October 10 post for address and contact information. Or email me at lemmeneslandscape@bellsouth.net with questions.

Question of the day: If you paint, sketch, take photos, or pursue any other creative outlet, do you find yourself seeing much more acutely than before--even if you have always loved nature?