Wednesday, July 27, 2016

Feature in Niji Magazine

I have been featured in the art section of Niji Magazine.  Thank you to Lisa Salerno for writing a nice piece.  Click on the hyper link for the full article.  

Monday, July 25, 2016

New Plein Air Paitings

Prospect Park Lake, Three Islands, 2016, oil on linen, 10 x 16 inches 

These two paintings are from June, and I'm finally getting around to posting them.  Lots of going on during the first half of this year which has prevented me from doing much painting, but things are slowing down and I'm getting back into the groove.  This painting (above) is another one from Prospect Park, Brooklyn, a place I'm enjoying to explore.  This part of the park was ideal, it reminded me of something Monet would have painted.  Not that I'm comparing myself to such a genius, but if you come across something Monet would have enjoyed painting then why the hell not give it a shot?  It turns out I'm very happy with this piece, and I may go back to the same area and make a few more paintings.  There are some grander views of the lake if you were to move back from this spot and look towards the right.

On a Cloudy Summer Day, Olivebridge, 2016, oil on linen, 9 x 12 inches 

As always, this view in Olivebridge never gets old!  There are so many colors in this area and they keep changing as the day progresses.  Just like in this painting the clouds above float in such a majestic way, sometimes they seem to come down and engulf the mountain to the point that it becomes invisible.  The different qualities of light according to the seasons changes the color of the mountains.  Sometimes they are an intense blue, other times earthy orange with lavender, then deep grey on rainy days, and on a day like this one the mountains were a crisp blue green.  It's hard not to keep painting this scene when it is constantly providing so much inspiration.  I'll be back there in two weeks, can't wait to see what other surprises this mountain has for me.  More to come.

Friday, July 01, 2016

June Monotypes, Part 2

When Evening Falls, 2016, monotype, image 6 x 8 inches, paper 8 1/2 x 11 inches 

These are my latest prints, all accomplished during the all night Draw-A-Thon at Salmagundi Club last friday.  It was such a fun night, even better to see such a great turn out of artists who worked through the night on figure drawings, portrait painting and monotypes.  As with any monotype party at Salmagundi, I went into this all night event with a goal in mind.  Get as many prints done as possible.  A few days prior I was able to make a print per hour, so I figured I could do the same on this night, which would put it at a total of nine prints.  But early in the night I could tell that it would be close to impossible, so I lowered the goal number to six.  Mission accomplished!
Olivebridge Nocturne, 2016, monotype, image 6 x 8 inches, paper 8 1/2 x 11 inches

Not only did I go in with a number of prints I wanted to finish, but I also wanted to print with a warm black ink, something similar to what I had done on a previous print.  After asking for advice I was told that the black ink I was looking for was a mixture of black and Van Dyck Brown.  Not sure why I hadn't thought about it before but I was suggested that I should play around with different ink mixtures…again, why has it taken me two years to figure this out.   
Colorado Hike, 2016, monotype, image 9 x 6 inches, paper 11 x 8 1/2 inches, Private Collection


I mixed Charbonnel Soft Black and Sepia and the two created this rich, deep, beautiful brown black which yielded these very moody prints.  This was not the original color I intended to work with but I'm glad I arrived at it.  I have been working continuosly with straight Sepia in the last six months that it was time for a change.
Tuscan Hills, 2016, monotype, image 6 x 9 inches, paper 8 1/2 x 11 inches 

Changes are all around, I used to consider myself a painter but recently I added printmaker to my artist description on my Instagram account.  It felt strange because this is still new but I know that making monotypes will remain a big part of work.  The thing is that I'm also having a hard time with this because the monotypes are being well received by people, sometimes better than my paintings.  I feel like I'm cheating on my painting and the new mistress is offering that something that was missing in the relationship.  I'm not painting as much as I used to, to be honest it's sad to see the last few brushes I used either on the easel shelf or studio floor, abandoned and unclean.
Country Landscape, 2016, image 6 x 8 inches, paper 8 1/2 x 11 inches

The great thing about being an artist is that you are constantly evolving, growing, and one thing in your current work takes you to another idea or discipline, and eventually they all start communicating with each other.  I know that these monotypes will eventually bring another layer to my painting, but for the moment they are not seeing eye to eye.  Only time will tell if they will meet half way or will they keep on their separate ways.
Arbolado, 2016, monotype, image 8 x 6 inches, paper 11 x 8 1/2 inches