Tuesday, May 03, 2016

New Plein Air Painting

Lullwater Bridge, 2016, oil on linen, 10 x 15 inches 

Spring is here, we were off to a good start with very warm temperatures a few weeks ago, and then all of the sudden things cooled off.  Regardless, warm days are under way and that can only mean one thing...it's time to paint outdoor!  Two weekends ago I was able to paint in Prospect Park, Brooklyn, a place that is not very familiar to me but it has been on my painting radar for a long time.  I finally made it there and I think I found my new painting destination in NYC for the summer!  The park was designed by Frederick Law Olmstead, the mastermind behind Central Park.  Many years ago I read somewhere that this was Olmstead's favorite park he had designed, and I can see why.  There is something more organic about Prospect Park, which in the end yields more surprises as you explore it.  This painting is the first of my Prospect Park series, and to be quite frank I think this is one of my strongest paintings yet.  I can't wait to see the work I get done by the end of summer.  More to come!    

Friday, April 15, 2016

New Monotypes

Single Tree, 2016, monotype, image 8 x 6 inches, paper 11 x 8 1/2 inches 

These are the most recent monotypes created during the Salmagundi Monotype Parties in March and April.  As always these can bee challenging to make due to limited time, but they are even more fun to make than anything else.  I am offering these, and many other monotypes, on my Etsy shop.  Unlike paintings, these prints are more affordable, and they are still one of a kind images.  So what are you waiting for, get yours soon!
The Fence, 2016, monotype, image 6 x 8 inches, paper 8 1/2 x 11 inches 

A Lake in Goodwin, 2016, monotype, image 6 x 8 inches, paper 8 1/2 x 11 inches 

Young Birch Trees, 2016, monotype, image 6 x 8 inches, paper 8 1/2 x 11 inches 

Monday, April 11, 2016

Progress Report

I have been working on the large landscape I began in January, and although I have managed to get a lot done in a short amount time there is still plenty more work to do.  What has been taking me long are the clouds, I have been obsessing over them, trying to get them to feel natural and with some color variations in them, but at the same time retaining some of the cool darkness.
At this point in the painting (pictured above) I thought I had a break through and was happy with that night's work.  Looking at it the next day I felt more needed to be done, but I know I was in the right path. Something was coming to the surface, textures were building up and the looseness of the paint application was more apparent.  There are few things I'm doing different with this painting, to start with, the size and format of the canvas.  As I had mentioned before I have not painted this large in over twelve years, and the panoramic format brings a lot of challenges that one does not come across a regular rectangle.  The linen I'm using has more texture which has made use larger hog bristle brushes to be able to create some texture.  I normally use smoother linen with small sable brushes, and that has worked perfect for me with the smaller work, but this is a whole other beast and I needed to switch up my routine.   
This is a close up of the mid section showing the clouds, which have been developing organically.  Things take shape as I work and move paint around.  I have been looking at Constable a lot, his buildup of paint and surface has been the one thing I have been after.  In his clouds he was able to capture movement and light, there is a lot of energy to his brush work and I'm trying very hard to capture some of that.  
Recently I became obsessed with a show from the BBC, Fake or Fortune, and in it leading connoisseurs and art historians try to authenticate lost works of art by masters.  There is a lot of research involved, provenance is traced back to the creation of the works and each painting goes under scientific analyzes.  In one of these episodes two paintings by John Constable were featured.  In this episode the conservator mentions the fact that Constable used egg whites with his oil paints, that's why his whites have a chalky aspect.  The use of egg whites or yolks in oil painting is not a new idea, it's a practice that goes back centuries but it's not commonly seen.  I've read somewhere that it is believed that Rembrandt may have used egg yolk or other type of protein to create textures in his canvases.   After hearing that bit of information about Constable I decided that night to crack and egg and mix it with paint.  About two years ago I attended a weekend workshop with the George O'Hanlon and Tatiana Saytseva of Natural Pigments.  I saw firsthand how Tatiana mixed pure egg yolk with premade oil paint and automatically the mixture thickened to form an impasto like paint.  Being an art materials geek, I was mesmerized!      
Just to make sure I was doing the right thing, that night I went online to see if I could find more information about this.  I don't want to run into any problems in the future because I acted on an impulse without having the necessary knowledge.  I found different types of recipes, most were the traditional egg oil emulsions which makes oil paints workable with water.  This is more of an egg tempera application, which is not what I was after.  I finally found a simple recipe which call for equal parts of stand oil and egg yolk.  I have been using sun thickened linseed oil for this painting and used that instead, not that it matters much since both stand and sun thickened oils are made of linseed, just a different process of polymerizing them.  But I like to keep consistent so sun thickened it was.  The thought process behind the yolk and oil mixture was that the paint film would be a little more flexible as it ages due to the oil.  Yolk alone might prove to brittle the paint latter on, at least this is the problem that another painter online encountered.  I used the mixture as a medium with Lead White, which was too transparent and I needed it to become more thick and "chalky" like Constable's white.  After a few minutes the mixture began to set and the lead white became fuller and more opaque, and I was able to use a palette knife to spread it on the linen, giving me the opacity and texture I was looking for.  Because the yolk acts as a drier and lead white is a fast drying pigment on itself, it was imperative that I use this mixture on the first layer, and not in between because the different drying rates of the oil paint layers could cause this whole thing to crack in the future, and as Whitney once said, crack is wack!  
I have continued work since the egg yolk night, I'm actually getting more details done in the landscape bellow.  The image above is a three picture collage of the painting as it looked last week.  Progress is going steady and more has been done on the foreground.  I'm finally starting to see this thing come together nicely.  More to come.

Tuesday, March 01, 2016

Recent Monotypes

 The Old Barn, 2016, monotype, images 6 x 8 inches, paper 8 1/2 x 11 inches 

It's March 1st and I can already feel Spring is very close!  The afternoon light is changing, it has more gold undertones, especially as I see it hit the buildings in SoHo.  Temperature is rising again, and the days are a little longer.  This can only mean one thing, plein air season is coming soon and I can't wait!  
Trail Through a Field, 2016, monotype, image 6 x 8 inches, paper 8 1/2 x 11 inches 

In the meantime I keep working in the studio and once a month I attend the Salmagundi Club's Monotype Party.  These two landscapes are from the February party.  I continue to work with Sepia color ink on light grey paper and I think this is working for me.  Due to the immediacy of the medium it keeps me alert and allows me to work fast and make decisions quicker than when I work in the studio on a painting that can sometimes drag for months, if not years!  The frequency of printing two  monotypes a month also forces me to come up with compositions and images at a faster rate.  I have gone back to drawing more in my sketchbook, making thumb nail sketches that will be used to make prints.  In all, the excitement for printing has yet to fade, and to my great pleasure I'll be producing more and bigger prints thanks to my friend Rob who will be getting his etching press delivered to his studio in the next month or two!  More work and fun times ahead, that's for sure.  

Saturday, February 27, 2016

8th National Juried Exhibtion

Luis Colan, Panoramic View, La Valdichiana, 2015, oil on linen, 6 x 20 inches 

In December I had announced that I was one of sixty four artists to be included in the 8th National Juried Exhibition at Prince Street Gallery.  Juror Graham Nickson, a well known painter and Dean of the New York Studio School of Drawing, Painting and Sculpture, selected an eclectic number of works and artists out of 215 submissions.  I am very proud to have been included in this group, especially after finding out from a friend, who happens to know him, that Graham Nickson has a very discriminating eye.  With this in mind, a big pat on the back to all sixty four artists who participated.  Below is a selection of some of the work that has been on view from Feb. 2 - 27, 2016.  
 
Meryl Blinder, Vermont Reflection, gouache on paper, 17 x 18 inches


 Michael East, Jar, Plastic Bag, Cinder-blocks, and Cellophane, 2015, oil on linen over board, 19 1/2 x 15 1/2 inches 



 Margaret Leveson, Along the East Branch, oil on panel, 14 x 18 inches

 James Celano, Pruning Shears, oil on panel, 16 x 12 inches 

 Megan Kico, Blue House, oil on canvas, 20 x 18 inches 

 John Lee, Squeezebox, oil on linen, 14 x 18 inches 

 Karen Bonanno, Green Field, oil on masonite, 24 x 16 inches 

 Christopher Dolan, 05-14-2014, oil on paper, 10 x 12 inches 



 Liam Corcoran, Self Portrait #1, oil on panel, 15 1/2 x 12 inches 


Friday, February 26, 2016

Landscapes & Cityscapes, the Natural & Manmade

 David Kammerzell, Interlude, oil on canvas, 18 x 36 inches

Here are some images of last week's opening reception of Landscapes & Cityscapes, the Natural and Manmade, a group show presented by Dacia Gallery.  The show has been up for two weeks and it comes down tomorrow.  A big thank you to Dacia Gallery for including me in the show and for getting this group of talented painters together.  It has been an honor and privilege to be in such good company.        

Jim Ebersole, Fabius, NY, 2015, oil on panel, 9 x 12 inches

Painting by Jackie Clark

Luis Colan, Olivebridge Early Morning, 2014, oil on linen, 8 x 12 inches

My group of three onions being exhibited in the landscape show.

Installation view of my onions next to David Pullman's landscape 

Adriano Farinella, Equilibria 12, 2015, oil on canvas, 24 x 24 inches



Alexandra Evans, View from the Studio, 2015, oil on linen, 11 x 14 inches

David Pullman, 3 Trees, Lat Autumn


Painting by Boris Tyompkin

Alexandra Evans and I standing next to our paintings

Walter Lynn Mosley, Gapstow Bridge in Winter, 2015, oil on panel, 9 x 12 inches

Thursday, February 18, 2016

Landscapes & Cityscapes, The Natural & Manmade

http://daciagallery.com/exhibitions/2016-04-the-annual-landscape-exhibition.php
Hello everyone, I'm pleased to announce that I have been included in this landscape group show at Dacia Gallery in NYC.  Show will run until Feb 27, and opening reception is tonight!  If you're around the Lower East Side of Manhattan swing by and have a look at this group's work.  More information can be found by clicking on the image.  

Thursday, February 11, 2016

Prince Street Gallery Exhibition


Hello all, I have one painting included in this group show, 8Th National Juried Exhibition at Prince Street Gallery in New York City.  Opening was last weekend and the show runs until Feb. 27th.  If you're in the NYC please stop by and have a look a this group of artists who were selected by juror and painter Graham Nickson.  Information about the gallery can be found on the two images above.

Wednesday, February 03, 2016

Working on a Big One

This is the year of challenges and growth, and I am not waiting too long to get this ball rolling.  Last week I began work on a large canvas, 20x60 inches, the larges piece I have done since I used to paint larger abstract paintings over eleven years ago. 
This will be a landscape with emphasis on space and with a more abstract approach.  A great part of the surface will focus on the vastness of the Colorado sky and it's immense cloud formations, something I have not experienced anywhere else. 
The images in this post show the first three days of work, which happened rather quickly.  Last night was the fourth session and my vision has become more clear.  For the moment I will leave the painting alone until next week, it will dry while I travel back to Colorado to collect more inspirational images that will help me finish this painting, or help me start a new one.  Who knows what I will see this time around.  More to come!