We finally have coverage at our house that seemed cleverly sited to hide from every cell phone tower in the area and now I have a phone! This is relevant because evidently phones have cameras now – very fine cameras indeed – and I can post documentation of works in progress without dragging the Canon down to the studio. I apologize in advance for the art-spam coming your way, have a spruce tree at the Bass Harbor Light to start:
The houses in Stonington, Maine continue to be an inspiration. Snow melts and blows away quickly this close to the ocean so I haven’t managed to get out painting on a day with both sun and white stuff, but that’s the next project. Meanwhile, a small painting (16 x 12) of a house with blue awnings on the west side.
On day last October I meandered down the coast and finally settled on a view across the harbor to the Town of Stonington in the late day sun. It was cool and clear and I managed to dodge the group of photographers with HUGE lenses who were also hunting for the perfect light; that trophy view of little white structures gamely climbing the hill above the ocean.
Many thanks to the Stonington Free Library for providing shelter and a place to check my email. The librarian was endlessly patient with folks who couldn’t remember the last name of the author (Wilder) or the title of that series about Merlin (which turned out to be the Arthurian Saga by Mary Stewart). It was a wonderful day.
Little White Town I, Stonington, 18″ x 36″, oil on panel
Maine Farmland Trust and the Falcon Foundation are collaborating on a project called “Paint the Farm” to create paintings of farms and farm life in Maine. I chose the Peggy Rockefeller Farm, which operates as part of the College of the Atlantic, in Bar Harbor. This is the road to the hay barn off Norway Drive last week.
March Thaw, oil on panel, 20 x 16
I’ve set up the pastel corner of the studio and decided to try out my new idiom in that media. My new effort is centered around allowing information to accumulate: marks that describe color and volume coming together over the entire surface of the work. I’ve been working at this in oils for a few months and it makes a kind of perverse sense that it is an easier thought process in chalk.
Frenchboro, Wharf with Fishing Gear, 18 x 24, pastel on board
August in Maine is by turns bright and stormy, and always chock full of cars, camper vans, and people. We have family and friends visiting, phone calls and g-chat, and people in expensive cars from out-of-state pulling over to the side of the gravel road to ask about the garden and take pictures. All this will start to taper off after Labor Day and disappear entirely before Thanksgiving so I’ll take the crowds now as antidote to the barren landscape when it comes. Meanwhile, in the moments in between visitors, we paint.
This is the matching piece to last month’s small painting done in Frenchboro titled “Shade Trees”, 20 x 16, oil on panel. Both pieces are currently hanging at the Artemis Gallery in Northeast Harbor, and look lovely glowing under the good lights against the white walls there.
There’s probably a label for the blogging disorder of allowing photos to lapse past their freshness date. . . I go out into the garden these days to gather visuals and am immediately distracted by ripe blueberries, carrots that should be pulled to make room for a second planting, and slugs in the zinnias. On the other hand, our new studio building is making it much easier to be disciplined about painting.
This painting of Frenchboro harbor is one of two that will be hung as a set at Artemis Gallery in Northeast Harbor for a show opening August 14. 20 x 16, oil on panel, finished last week – pic of its other half coming soon.
This site has been very, very good to me. . .something about the stacked layers of rocks and water going straight out to the horizon that is visually compelling. Right now in late June and just past the longest day it’s like a desert down there on the rocks, but I took a long hike along the shore on Mother’s Day when the snow still extended down to the water’s edge and made the start to this painting.
By popular request, here are some details. . . the far reaches are under water at high tide and are covered in rockweed and barnacles, turning them a lovely warm sepia color even in the dead of winter.
Detail of the rotten snow along the tide line:
And finally, the drawing stage from the site. This is Ivory Black oil on a tinted board.
If you live on the island, you’ve noticed that the rocks at Compass Harbor are black basalt, bleached with salt-grime and truly spectacular in the late afternoon sun. If you also said to yourself, wow, I bet that view would be very difficult to paint, you would be correct. Here’s a first attempt:
View from Compass Harbor to the Porcupine Islands, late afternoon. 24 x 18 inches, oil on panel