Archive for the ‘Mixed Media’ Category

AIX WORKSHOP

October 20, 2011

After a week in Paris we flew to Marseilles to meet up with the people on our workshop. It was great to catch up with friends from previous workshops and meet up with the new students. A coach took us to our luxury hotel, Le Piggonet, on the outside of the old town of Aix en Provence.

The hotel was a beautiful old building set in magnificent gardens. We could have happily spent a week painting in the gardens, but the town of Aix had a lot to offer so we split our painting time between the hotel and the town.


Le Piggonet


Hotel Gardens


Painting in the Hotel gardens


Dining at Le Piggonet


Flower markets Aix en Provence


Street Markets

We were introduced to some fantastic restaurants in the town. One of our students lived in the country side not far from Aix and had a great knowledge of all the best restaurants. This was one of our favorites – Le Patio, a small family run restaurant with a great atmosphere, good service and fantastic food.

The little town of St. Remy is not far from Aix en Provence. We spent a day there, painting and visiting the Asylum Van Gogh spent time in. We were privileged to paint in the garden of the asylum, where Van Gogh would have often sat and sketched.

Although the asylum surroundings were idealic, life inside must have been horrific. These bath tubs were filled with cold water into which troublesome inmates were immersed and trapped under these wooden boards.

In the town of St. Remy, the main square provided a quiet, spacious area surrounded by ancient stone walls and wooden shutters. We spent an enjoyable afternoon painting there before heading back to our hotel for drinks under the plane trees.

Blue Shutters – St. Remy

Cassis is a small fishing town on the Mediterranean coast not far from Aix. The busy harbour and backdrop of old buildings made a great painting subject. We shared the park across the harbour with the local boules players, cigarette smokers and baguette eaters. Under the shade of a grove of casuarina trees, we painted the changing vista of the harbour.

Cassis Waterfront

Paul Cezanne lived and painted in Aix en Provence. His house and studio have been made into a museum, crammed with his old coats, umbrellas, paint boxes, skulls, bones and still life props that feature in his paintings.

Cezanne had the house built to his design – living area downstairs, large studio upstairs.

The studio ceiling is about 5 metres high and the Northern wall, almost completely glass. The walls are painted a mid tone, neutral gray and there is a 4 meter x .5 meter corner hatch to remove large works from the studio. It’s a fantastic studio, unfortunately no photographs are allowed inside. Below is the front door to the house.

MOMA NEW YORK

September 17, 2011

One of the most amazing places in New York is the Museum of Modern Art. It houses an incredible collection of 20th century art, carefully selected and beautifully displayed. These are a few of my favorites.

This painting of Morocco by Henri Matisse is pared down to simple abstracted elements, perfectly balanced and unified by contrasting black marks. The color arrangement is simple and compressed and the repeating circular shapes carry the eye around the painting, echoing the confusion of, what appears to be, mid day Morocco. This confused movement is balanced and directed by the stripes and grids. Notice how the diagonal stripes in the top left lead the eye back into the painting, as does the grid at bottom center. I love the scattered, repeating yellows and the way he has tied the big slab of pink  to the rest of the painting by carrying it through to smaller marks to the left.

Another painting by Matisse, again the subject is reduced to simple abstract marks, beautifully arranged to lead your eye up to the focal point of fishbowl and lemon. Matisse has halted the strong upward movement created by the tapering diagonals with the two white horizontal marks behind the fish bowl. The eye then wanders out to other carefully placed fragments of  repeating warm colors before being drawn back to the focal point. The only curved lines in the painting are also arranged to hold interest around the focal point, circling it  like a cloud or thought bubble, and contrasting with the hard geometric shapes in the rest of the painting.

In this painting called “The Piano Lesson” Matisse depicts his son being watched over by his piano teacher as he practices in front of an open window. The scene is lit by candle light so Matisse has used a number of large grey shadow shapes to separate and intensify the muted colors. The color arrangement again is kept very simple – warm shapes concentrated at the bottom, being led down to by a stripe of pale warm orange. Matisse has placed this stripe of orange alongside it’s complimentary blue. By matching the tonal values of the parallel stripes, Matisse has created a strange shimmering effect that almost hurts to look at. As you follow these stripes down to the head of his son, the sharp dark wedge over one eye seems to confirm the strange optical effect.

The following four images are of small collage paintings by Kurt Schwitters. Beautiful arrangements of colored paper, cardboard and printed matter – they have an aged, weathered look about them but still seem fresh and vibrant.

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Robert Rauschenberg “Bed” At first glance this painting just looks like a heavily textured Abstract expressionist  painting, but after a few seconds the heavily painted support sneaks up and hits you. According to the accompanying notes the bed was Rauschenberg’s. You wonder what wild dreams he had beneath these covers.

BEND WORKSHOP

July 25, 2011

As usual the Bend workshop was a lot of fun. It was great to catch up with friends from our previous Oregon workshops, and to finally meet people we had only spoken to via email. Tracy, Jan and Cindy did a fantastic job keeping things running smoothly and Tracy’s husband, Bob, drove up from Depot Bay one day to treat us to a feast of Dungeness crab and fresh fish –  Yum – fantastic! We had students from as far away as Florida, Hawaii, Canada and even Russia

The big studio at the Pheonix Inn is well set up with an overhead camera for demos and large tables for all students

Two color demo using Indigo and a transparent, Burnt Sienna like color mixed from Quinaceradone Gold, Alizarin and a touch of Ultramarine

Making sense of a complicated subject

A simple subject made interesting by shifting the emphasis away from formal symmetry to a more dynamic diagonal thrust.

A workshop in Bend, Oregon wouldn’t be right without a painting of Mirror Pond.

Cheese cloth, rice paper, pastel, ink and gesso were used to build up the interesting textures of this Italian Hilltop Village.

In this painting of Monterey Wharf, Ultramarine Blue gouache was used to give maximum impact to the focal point.

This simple subject is a lot of fun to paint and a great way to work with positive and negative shapes.

We are looking forward to coming back to the US for more workshops in the not too distant future.

NZ CRUISING WORKSHOP

February 25, 2011

On Feb. 7, Artists Greg Allan and Amanda Hyatt joined me on board the Sun Princess to take 60 painters on a cruising workshop around New Zealand.

I had never been on a cruise ship before and could not believe the scale and efficiency of this floating giant. With 2000 guests and 900 staff, I imagined long cues for everything , but I’d never seen anything run so smoothly!

We sailed from Sydney to the Bay of Islands then hopped our way down the East Coast of New Zealand, stopping at all the major ports.


Anchored in the Bay of Islands, we were ferried ashore by the ships tenders


Our first day painting ashore was in the small town of Russell in the Bay Of Islands. A sunny day under a shady tree with cafes and bakeries close by – what luxury!


Painting on board was in the large, plastic wrapped disco with panoramic ocean views.


On board demos took students through a number of techniques we would use once ashore.


On board Hawkesbury River demo, showing how to simplify a complex subject.


We found a busy boatyard on Auckland Harbor and spent a day painting there. They say Auckland has more boats per head of population than any other city in the world.


Napier was an interesting town – destroyed by earthquake in 1931 then completely rebuilt in the Art Deco style. It has been proudly maintained in that style ever since

We spent an afternoon painting in the central park, the interesting architecture and tall palms making great subjects

A warm sunny day greeted us in the beautiful city of Christchurch. This is the side door to Christchurch cathedral. It is hard to believe, just a week later the city was hit by a devastating earthquake. The cathedral spire crashing to the ground where we painted.


One of the few bad weather days on the workshop. Dunedin was overcast, cold and windy, but it somehow added to the character of this old tug and the jetty below.

Fiordland on the southern tip of New Zealand was spectacular in the early morning mist. Later in the day we sailed into Milford Sound. The clouds had lifted and the sun was shining. It looked amazing, but I cant help wondering what it would have looked like through mist and rain. Some things need lousy weather to look their best.

Milford Sound

For our final demo Greg, Amanda and I worked simultaneously on this large, three sheet painting. The finished work was auctioned for charity and the winning bidder kindly donated it to be hung on board the Sun Princess.

Life on board a cruise ship is pretty luxurious, good food, amazing service, lots of entertainment, bars and restaurants everywhere. Would I do another cruising workshop? You bet!

TALL TALES

October 21, 2010

One of the great things about the International Artist workshops is the chance to travel to interesting places and accumulate information and ideas for exhibitions. Recent workshops in Italy and Sicily provided an enormous amount of inspiring ideas.

After gathering and sorting information, putting together a collection of paintings for an exhibition is a lot of hard work. It becomes an obsession for four or five months – sometimes frustrating and annoying, other times, satisfying and inspiring.
I like to have a theme or unifying element to an exhibition. It helps with the creation of the work and presents a cohesive and more engaging package to the viewer.
My current exhibition, “Tall Tales” is based on the loose interpretation of fascinating incidents, customs and beliefs witnessed in Italy and Sicily. Rather than try and find out the truth, I relied on my own interpretation of what I experienced. Not speaking the language, or understanding many of the local customs allowed for a much freer interpretation. The truth is fine for history books and anthropological studies, but for me, tall tales make much better paintings.

Tall Tales opens at Moulton Galleries 777 Military Rd Mosman, Sydney 6:00pm 29th October and runs for one month.

Here are a few of the paintings from Tall Tales

“Palermo Geraniums”
On a dusty window sill in the rundown center of Palermo, a small pot of geraniums are lovingly watered each day as the city slowly crumbles around them.

“Lovers Beach”
A small corner of Southern Italy where the day to day life of traditional fishermen mix with the opulent lifestyle of a five star Hotel. Walking along the beach before sunrise reveals fresh graffiti, religious icons and a discarded pair of red stilettos – all the ingredients for another tall tale.

“Dreams of The Open Sea”

(480×530 watercolor on Arches 300gsm paper)  In a tiny sea side village a Sicilian fisherman lovingly coaxes life back into a small wooden boat.

“Rain birds Whirl”
The spiraling arcs of rain birds echo the ornate flourishes of opulent Italian pre war architecture.

“Notes On a Door”

The Sicilian village of Taormina has some beautiful old buildings. This doorway to an ancient church was pinned with hand written notes, all scribbled in Italian. I could have deciphered them with the phrase book, but that may have ruined the tale that they were the guilty confessions of many strayed parishioners.

“Creatures in the Bay”

(900×1200 mixed media on watercolor canvas) The quaint and picturesque villages of the Cinque Terre attract crowds of magnificently decorated visitors.

“Under Gina’s Window”
Life goes on in Palermo, a city whose colourful history doesn’t seem to affect the daily life of its inhabitants. Pigeons are fed and an unlocked bike defies the history of theft, murder and corruption.

“Canal Life”

(530×760 mixed media on 600gsm paper) Tiny glimpses of life in the milky backwaters of Venice. This painting was done on heavy paper and mounted down on a gesso primed board using acrylic medium. It was finished with a satin acrylic varnish

“Stolen Fruit”

(590×630 mixed media on board) The risk of jumping the orchard fence makes even the greenest pears taste good.

“On a Dry Sicilian Hill”

(600×760 Watercolor and mixed media on watercolor canvas) A Sicilian farmer coaxes lemons, olives and cabbages from a dry dusty hillside.

“Pigeons in a square”

(530×760 watercolor, ink, charcoal and Gesso on textured paper) A flock of pigeons cut spiraling arcs against the formal, geometric facades of ancient buildings.

If you happen to be in Sydney on Friday 29 October 2010, drop in to the Moulton Gallery (777 Military Rd, Mosman)  for a glass of wine and a chat.

WATERCOLOR CANVAS

August 15, 2010

While we were in Italy one of the artists in our group, Lety Herrera, from Mexico, asked if I had ever tried Watercolor Canvas. I hadn’t, and she suggested I should, so when I arrived home I picked up a pad of small sheets. I was amazed how good it was to work on and how well the washes reacted to the primed surface. I did a couple of small paintings then ordered a roll of the canvas.

It needs to be stretched or mounted securely to a board before you paint on it or it will buckle and twist badly, making it impossible to work on. The paint tends to sit more on the surface than it does on paper, and can easily be washed back to clean canvas. This may sound like a problem, but you soon get use to gently working over underlying washes so as not to disturb them. Eventually, the ability to easily lift off pigment becomes an advantage, allowing tones to be adjusted and whites to be retrieved at any stage.

You may wonder why work on watercolor canvas when there are so many excellent watercolor papers. For me, the big advantage is not having to place the finished painting under glass plus the option to work on a larger surface. Once finished the paintings need to be treated with a suitable varnish.

Palermo Geraniums

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Sorrento Breeze –  Marina Grande

I still love the feeling of painting on watercolor paper but this watercolor canvas offers a new way of working and different way to present your work. I see it as an extension to the traditional format of watercolor on paper. Acrylic, ink and pastel can also be incorporated into these paintings.

Fredrix Watercolor canvas is acid free, 100% cotton canvas, primed with a patent pending, specially formulated Gesso for all water based paints. It is available in pads, boards and in a 58″x 3 yard roll.

PAINT RECYCLING

July 7, 2010

Do you have a collection of dried up paint tubes you just can’t bring yourself to throwing out?

Here is a way to bring the paint back to life.  I found a small pestle and mortar hidden in the back of a kitchen cupboard. It turned out to be the perfect device for grinding the contents of all those dried out tubes into a fine powder, ready to be brought back to life.

The first thing to do is cut open the tube and empty the dry lumps of pigment into the motar

Next step is to grind them to a fine powder. The pigment sticks to the pestle, so a metal palette knife is handy to scrape and loosen the pigment.

Once the pigment is a fine even powder, slowly stir in some water. Just enough to make a thick, creamy consistency. Keep grinding the paste for a few minutes to make sure there are no small, unbroken lumps left.

The final step is to scoop the recycled paint into a container. These little plastic sauce containers come from the local Thai restaurant – a couple of dollars for a plastic bag full. A piece of masking tape with details identifying the brand and color is a good idea before you throw away the empty tube.

WARNING

Some pigments contain heavy metals such as Cobalt and Cadmium (check the warnings on the tube). Be careful not to breathe in or swallow the dust off these. Wear a suitable mask if in doubt.

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