Stem Cell Research

Oil on canvas 5x7 n/a

The last of our 2008 Delicata crop. I noticed a little rotten spot near the stem and realized that its modeling days were numbered. When I found this tomato at the store, I bought it more for the stem than anything, although it does look promising, tastewise. In honor of Valentine's Month (what? it's only a day?) I arranged them to create a bit of a heart. See it? Then I turned on my ipod to listen to the Violin Concerto by Philip Glass and something strange happened. Some Glass piece that I've never heard before started playing. It was great, but I can't find it on the ipod and guess I might never hear it again. So, things were going pretty well. Then my order arrived from Dick Blick with some new Michael Graham oils. I got a cad yellow deep and a cad red light which I immediately opened and slammed onto my painting. JUST what it needed.
So far, I love this paint!

Thanks for reading all the way to here. Leave a comment!

Titling work

SOLD
I am the first to admit that I am not an organized person. Last year these two paintings sold from a gallery. One was named "February Life". The other "Spring Soon". Unfortunately, I titled them as I stood in the gallery. And when I got home it didn't occur to me to go into my computer files to label them. So, which is which? Any idea? Do you think I have since figured out a more organized way to record things?

Thanks for stopping by.

Onions, squash

Elizabeth's Onions Oil on linen 12x16


E's Onions + 1 SOLD
Oil on canvas 5x7

This was inspiring. After years of gardening, I hadn't taken the time to figure out how to grow onions. That will change in the coming season. If anyone has pointers to share with me, please leave a comment. I have put a few sets in across the gateway to deter bunnies and it seems to work. But the thought of a few varieties is pretty appealing.

Gershten & McCarthy

Oil on Linen 14x18

Started with midwinter dreaming of warmer places. Remembering books about same. Wanting to include an old peeling-paint window. A glass hot pepper, a wishbone, and pomegranate juice waiting for a slice of lime.

Sunlit Sunkist

oil on something. 5x7

In an ideal world I might subscribe to the "eat local" philosophy that began at least 20 years ago. In that ideal world I'd be spending the winter in a place that supports the growth of oranges. Until then, hooray for trucking.

Lilacs/Glove/Clippers

Half way into it.


Oil on board 8"x10" N/A

Here's the lilac redo that I mentioned 2 days ago. The glove was a challenge, as was the bunch of lilacs, the white cloth, the copper chocolate pot, and the green spurge. The clippers were fun, though. :-) Oh, and the background was also problematic. Originally black, I wiped the flowers and background off completely and redid them. Better, believe me. I was going to show you the first rendition but can't quite manage the technology.

Two Tries at Tom Torak's Tableau

In March, 2008, I had the window of opportunity to attend Thomas Torak's ( www.dammiicolori.blogspot.com ) Still Life Workshop at his (and his wife, Elizabeth's) studio in Pawlet, VT. What a great weekend. An easy and beautiful commute over dirt and next-step-up roads to their place. The studio is fabulous with cathedral height, two rooms with small gas log stoves and easels. I was a little late so took the remaining easel which was worth the price of admission on its own. Maybe Tom will comment and give you the accurate provenance, but it was OLD and HUGE. I think if I had one like it my painting would exponentially improve. Elizabeth (www.etorak.blogspot.com), having been displaced from her studio for the workshop, brought us delicious tea, coffee, scones and cookies. Sound like the last workshop you went to? I didn't think so.
It wasn't until I got home with my painting that I realized, duh, that using Tom's easel meant I had the same view of the piece that he'd had. Check his link, above, to see. Well, I didn't like my composition, really. I had way too much drape on top. I'd already fabricated some white drape on the upper left which I think was an improvement over the brown burlap, but the green needed breaking. Time to trash the closets, looking for the right addition. I think the ropey braid works.......
So, now I wonder what the proper etiquette is for paintings done at a workshop. Do I title it with that info? 'T. Torak Workshop Still Life' or 'Pitcher and Pears from TT's Easel'? Or do I put it away and not show it? I know some exhibitions don't permit paintings done at workshops. I (probably regretably) wiped off the grapes that Tom painted on and painted my own, so it's all my paint. But, certainly, I had guidance from him and his easel. After he showed me the way that he approached the cloth with lace, I wiped my initial effort (dark on light) and started with dark, which worked better, I think.
Comments and advice are appreciated.

"Torak's Arrangement" Oil on Canvas 24"x30"

On and off the French Plate

Oil on board 5"x7"
I'm going to post as many as possible today. Practice, etc. Even though I have a Lady's Mantle and Painted Lady seeds to get into the ground. First, though, I need to get the lattice attached to the side of the house. I stand outside trying to imagine how strong the support needs to be to withstand an August T-Storm.