Pencil Shavings

2012-01-13T14:43:00.002-05:00

The second work for the new year. This one will most likely be going to an early spring show at the Maritime Gallery at Mystic Seaport and measures 9" square. This work and the first one done this year are both from reference material gathered in Florida last January on my week long trip along the west coast of the state with three other artist friends. You can never have too many pelicans!

2012-01-04T11:22:00.002-05:00

The first work off the drawing board for 2012, though begun in the last days of December. Image size on this one is a tad under 7" x 17".

There are still a number of works available from my last posting at offer of 25% off retail so if there is something that catches your eye, drop me an email. The 'sale' lasts through the end of this month.

2011-12-22T10:42:00.005-05:00

In the spirit of the season, I am happy to offer the works shown below at a discount from now through the end of January 2012. I am offering these works at a 25% discount from retail and will be happy to quote prices upon inquiry. Shipping to US destinations only, please. I can except Pay Pay payment or personal check, or make arrangements for credit card payment through an artist friend who has that capability. My email address is linked from my web site so if there is a piece you are interested in, click on the link to my web site, shown in the listing to the right, and go to the 'Studio News' page and you can find my email at the bottom of that page. I've included a wide range of sizes and subject matter so have a look!

2011-12-17T15:00:00.002-05:00

Since it was done, I took advantage of this recently completed drawing to use it on this year's Christmas card. They were mailed out last week, but for my blog followers, here is a web version.
Tis the season, so find something to be jolly about and enjoy!

2011-12-13T15:39:00.002-05:00

Just completed, this one measures 8 1/4" x 18 1/4" and it
will head to my Annapolis gallery next month for their winter show.

2011-12-12T16:32:00.002-05:00

Productive work time over the weekend and a bit over four hours today have brought the work to this point. I think one more day's worth of work and then it will be ready for a mat and frame. I'm feelin' the chill!

2011-12-11T08:57:00.001-05:00

A rather thought provoking essay on art and beauty, well worth an hour's viewing.

2011-12-09T16:29:00.000-05:00

Work continues.

2011-12-07T11:42:00.002-05:00

A portion of what is happening on the drawing board right now. With a prediction for possible snow/rain mix this evening in these parts, this work, the second on the same theme as the last one, seems rather appropriate. Lots of noodling going on with all the grasses and vegetation/trees; just the sort of textures that I relish having fun with.

2011-12-03T14:03:00.003-05:00

Apropos to upcoming wintery days, this one is the first of several works based on a similar theme.
Image size is 11 1/4" x 10 1/2".

2011-12-02T13:55:00.001-05:00

2011-12-01T12:39:00.000-05:00

A quick shot of the drawing board as studio time begins today.

2011-11-30T12:38:00.003-05:00

I have been working the
last four days on
something new, the first work
of a series with a particular theme.
As I always do, I am
enjoying playing with contrasting
textures in this one.
So, here is a slice of what
is going on.

2011-11-26T12:52:00.002-05:00

The day before Thanksgiving, there was a knock on my door late in the afternoon. It turned out to be my mail carrier with a package that would not fit through the mail slot. It was not a surprise package as I was expecting a large envelope, but the thrill of surprise was there nevertheless.

The package contained a copy of American Coastal Art: The Collection of Charles J. and Irene Hamm by Genetta McLean, Ph. D. The volume, 240 pages in heft, documented this incredible collection of art, amassed over many decades, with the maritime world as its theme. I am humbled to say that it includes three of my works.

As I took a quick scan through the book, page after page filled with striking reproductions of the collected works, I was humbled even more to see that my works rubbed elbows with those of the likes of Fitz Henry Lane, Edward Moran, William Trost Richards, Alfred Bricher, John Henry Twachtman, Guy Wiggins, and a host of contemporary artists including many names known to me and especially my good friend, Cindy House with one of her magnificent pastel works.

Later in the evening, I took time to dig a bit deeper, stopping to read some of the accompanying text but leaving much of it for a fine winter's afternoon yet to come, when I can relax with a glass of wine and indulge, losing myself in the incredible beauty of this book.

To know that ones art has been added to a significant collection such as this, is a big feather in the cap. To know that the collectors saw something within my work that struck a chord similar to that struck by work of those 19th Century masters noted above, is overwhelming. It is the kind of recognition that all creative people seek as a way of validating our daily efforts and I am, indeed, honored and humbled to have my work included in this collection and in this volume that will hold that validation for years to come.

2011-11-23T11:17:00.002-05:00

A drawing done many years ago, it is the only one I have ever done with turkeys as subject matter. I happened to have a couple of good reference shots of some turkeys from a farm in northern Virginia and so made good use of them. I figured this would be an appropriate way of sending thankful wishes out to all.

Holding Pattern

2011-11-20T08:37:00.003-05:00

Holding Pattern: a state of inaction with no progress and no change; the state of being inactive.

I guess I've been in a sort of holding pattern this past week since returning from the Waterfowl Festival late last Sunday evening. I've not sat at the drawing board except to do a bit of clean up and to wash down the surface of my table; it tends to get a bit grimy with graphite dust puddling here and there and especially at the points where I tend to lay pencils down.

With the recent push to complete new works for the show over the last couple of months, I've just taken some time this week to relax, refresh, rethink and realize that sometimes a few days of R&R are needed to get the old brain into a new frame of mind.

With the coming of Thanksgiving and the rapid-fire thrust of the Christmas season already upon us through massive retailing efforts and Christmas carols already being heard in stores, it plays up the fast approach of the close of yet another year. I can't say I will be sad to see it go as this one has been a rough one for many. Times are tough, and many of us who fleck little pieces of our inner being off each time we complete a creative work, have struggled to find new homes for those works; works whose ideas and images act as the culmination of inspirations that represent our very souls and how we see the world around us. Kind words of appreciation for what we do, though, continue to be heard and we rejoice in the realization that by brushing paint on canvas or putting pencil point to paper or molding clay into beautiful dimensions, we can elicit such emotional responses in others.

As the days have passed by this week, watching the leaves continue to fall outside my window, feeling the ever increasing approach of winter as the days grow cooler and the sky fills with the unique forms of fall clouds, I have begun to think about my work, to think about what inspires me as an artist, to think about what might be ahead and how allowing myself to be open to new possibilities lurking just around the next corner might surprise and enliven my creative soul.

There are ideas floating around in my head that will need time to gel, time to be visualized as a whole and not just bits and pieces mingling, now, in amoebic form. One thing is certain though, I foresee some new directions in what will come off my drawing board over the next weeks and months. No major shift, but a slow progression of fresh ideas to keep the old creative juices flowing at their strongest. What is an artist if not someone who does not constantly endeavor to push limits, open new doors, test the waters of the untried?

I know that by being in this current holding pattern and taking advantage of this temporary period of inaction, as time passes and formative ideas continue to consolidate, progress and change will again come to the fore and sitting down to the drawing board will, as it always has, let the muse of creativity take over.

2011-11-14T08:38:00.002-05:00

Last week, before heading over to the eastern shore of Maryland and this year's edition of the Waterfowl Festival, some out of town artist friends and I spent a warm fall day wandering around Washington DC. We Metro'd downtown and started at the beautiful Library of Congress. I had been in the building maybe forty years ago but had forgotten just how beautiful the interior spaces were. Next, we headed underground to the recently completed National Capital Visitor Center with yet more interesting interior spaces, including a spectacular underground view of the Capital dome. As we headed out of town later in the afternoon, we walked the grounds of Capital Hill and passed the Supreme Court building catching the glow of late afternoon fall warmth.

Another Festival has come and gone and I enjoyed catching up with artist friends and speaking with interested visitors all weekend long. Now, it is time to regroup, consider new ideas and inspiration and flesh out ideas that have been floating around for some time for new works. With my wanderings around DC last week, I have no doubt that some of what caught my eye that day will inspire some interesting possibilities in the near future.

2011-11-06T08:50:00.002-05:00

A portion of the work that will be going to the Waterfowl Festiva l this coming week. My living room looks like the back room of a gallery! Paperwork is done, briefcase is packed with necessaries, all is in readiness. I now have the luxury of taking a few days off and enjoying some down time from the studio. Looks like the long range forecast for the eastern shore of Maryland is for a beautiful Festival weekend so come on down!

2011-11-03T13:30:00.002-04:00

As I have noted several times over the last few weeks, this year's Waterfowl Festival opens a week from tomorrow in beautiful and historic Easton, Maryland. This will be my 20th year of exhibiting there, time sure has flown! The town will be awash with wonderful things to see and do. All artworks will be located in the Armory building this year, carvings across the street in the Art Academy and sculpture will be on display across the street at the Church as well as on the fourth corner in the big white tent; everything within a short walking distance right in downtown Easton. $10 will cover the cost of a three day ticket so you can come and go as you please. It's well worth a drive from any location surrounding Washington DC/Baltimore/Delaware/northern Virginia. So, plan on spending an afternoon in the beauty of a fall day on the lovely eastern shore of Maryland. Check out the link above for directions and information on all the weekend's activities.

2011-11-02T12:28:00.002-04:00

I was absolutely stunned, delighted, shocked, knocked off my feet yesterday when my copy of Strokes of Genius 3: The Best of Drawing - Fresh Perspectives arrived and I found one of my works gracing the back cover of the book. I had no idea it had been selected for such an honor and am thrilled to say the least. The book, which I avidly dug through last night, is rich with wonderful works by almost 100 fantastic artists including quite a few of my creative friends. I doff my hat to all who made the final cut for this beautiful volume as I am sure the selection process of winnowing down the finalists from thousands of submitted works was not easy. My grateful thanks to Rachel Rubin Wolf, who edited the book, for honoring my work on its cover.

2011-10-31T13:08:00.003-04:00

I thought I had finished with Africa for the upcoming Waterfowl Festival but, apparently, Africa had not quite finished with me. As a result, here is one more small work just off the drawing board. This one, measuring a tad over 4" x 6", is of my favorite big cat subject matter. He's pretty regal and that just might become the title for this work!

2011-10-30T09:51:00.002-04:00

I've recently been informed that the latest installment of North Light Books' ongoing series, Strokes of Genius: The Best of Drawing, has arrived in the warehouse and should be available, shortly, for purchase. Two of my works will be included in this volume and I am anxious to see what works by other artists were selected for publication when my copy arrives. I was delighted to have works included in the 2009 edition of volume 2 of the series and will have several works in next year's publication of the 4th volume. Fresh Perspectives should be on sale in the next several weeks so check around for it.

2011-10-27T16:35:00.003-04:00

The days are spinning by as this year's Waterfowl Festival approaches in just about two weeks time. I'm on the home stretch of getting a last few works done, this being the latest off the board about twenty minutes ago. Image on this one is 5 1/4" square. As the Festival web site states, a real bargain this year as they are selling tickets that cover all three days of the show for only $10, same price as almost twenty years ago! Can you say that about anything else these days?

2011-10-23T11:30:00.004-04:00

Another new, smaller work
scheduled for
the big Waterfowl Festival
next month.
This one was finished up late yesterday.
The image measures about
8" x 3 3/4".

2011-10-20T16:11:00.002-04:00

As the days grow shorter, studio time seems to grow longer. As I continue to prepare for next month's Waterfowl Festival here in Maryland in Easton on the eastern shore, I just finished this small, about 4 1/4" x 4 1/4", work. I've been developing a host of small works knowing that the art market is still rather in flux and that small and inexpensive might be advisable right now. Even though the last dozen or so works off the board have been, in general, 5" x 7" or less, I'm still trying to work out some interesting compositions that I hope will have broad appeal. Three weeks from today will be the teller!

2011-10-12T12:15:00.002-04:00

This Saturday, October 15, Howard/Mandville Gallery in Washington State will host the reception and Intent to Purchase Draw for their 21st Annual Invitational Small Works Show from 5:30 to 8PM. All the artworks from about 90 of the country's finest artists are now shown on the gallery's web site and I have three works included on page 7, as linked above. Take a look and perhaps there might be something of interest. I am sure the gallery can take phone inquires.

2011-10-08T08:59:00.002-04:00

I received word that the 'Eastern Tour' portion of this year's Society of Animal Artists' members' exhibition will include my work, Up for the Challenge. Upon the close of the premier of the show in Michigan, the 125 piece exhibition is being split into two groups, one half going on tour through several venues in the eastern portion of the country and the other half traveling to venues in the mid and western portion of the country. The two venues for the tour east are, The Peninsula Fine Art Center in Newport News, Virgina from January 21, 2012 through March 25, and then on to The Appleton Museum of Art in Ocala, Florida at the College of Central Florida from April 12 through June 12. The idea to split the entire exhibition into two parts and tour them to different venues across the country is a good one and it will allow a great number of people to see some fine animal art.

The 'Western Tour' will travel as follows -
November 19, 2011 - February 19, 2012: The Wildlife Experience, Parker, CO
March 15 to April 15, 2012: Dunnegan Gallery Of Art, Bolivar, MO
May 26 - September 3, 2012: Milwaukee Public Museum, Milwaukee, WI

2011-10-07T11:34:00.013-04:00

A little divergence this morning from posting what is on or coming off the drawing board. As I was toggling through Facebook postings this morning, I stopped at a very familiar photo image posted by a long time acquaintance of the famous Baines Baobabs in Botswana. Almost immediately memories and images and even smells of a long ago journey came flooding back to me.

It was the summer of 1999 . . . I and a host of other artists and collectors traveled to South Africa and then on to Botswana for a fabulous week and a half of roaming through the Okavango Delta region. Overnighting in very gracious mobile tented camps, we enjoyed a feast of wildlife and landscapes. I had traveled to eastern Africa many times before, but these new landscapes and the beauty of the Delta were new to me and I was busy soaking up everything in sight.

On one very special morning, we were given the opportunity for a long, several hour drive out to the edge of the Nxai Pans, part of the vast Makgadikgadi Pan system of central Botswana, to see the famous group of baobab trees made so by the English nineteenth century painter, Sir Thomas Baines. I'd heard of the trees before this trip but knew nothing about them beyond some minor reading I had done previous. I expect that I never thought I might have the opportunity to see them in person and, of course, was one of the first to raise his hand when asked if I would be willing to rise up very early in the middle of the night for the long drive.

As I recall it now, not everyone of the group opted for the trip but certainly enough for several vehicles full. Now a bit of back story here, we were traveling through Botswana during a cooler season so the evenings were certainly sweat shirt and sweater worthy. So, on the given night, we all prepared for very early 'wake up calls' and bundled out of cozy and warm cots and into very cold and wide open vehicles. As you can see in the picture below, shot at one of our brief stops along the way, we were all bundled up to the ears with blankets and layers of clothing and even some with gloves on! I recall that long, long drive in the dark of night, barreling along the roadway with nothing to protect against the onrushing cold air that blasted us in the face as we sped south away from our overnight camp. We drove and drove and drove and froze and froze and froze! Riding in open vehicles with all that cold air slapping us in our faces was, I guess, sort of like ridding on the wing of an airplane!

At several points along the drive I recall thinking to myself whether this was going to result in something of importance or why on earth had I decided to go! All of us in my particular vehicle were trying to keep up the most positive attitude and expectations and kept joking about it all, meanwhile staying as bundled up as possible and trying to keep the wind off of exposed skin surfaces.

At some point, I think I lost consciousness and took a brief nap, only to wake to the continuing cold. Then, somewhere in the distance, and to the east I assumed since that portion of the sky seemed to be beginning to brighten up and the beauty of the night sky, which in that part of the world always struck me as being so much brighter and more filled with stars than I could have imagined, the dawn seemed imminent. I strained my eyes to see the landscape and it was pretty flat with very low growing shrubs and lots of yellow grasses.

Suddenly, someone up front spoke up and said they thought they saw something up ahead and on the horizon. I lifted up my cold, cold head and thought I detected something too. Now, we had gotten up at that unholy hour and drove through the coldest part of the night because our tour leaders said we could reach the famous trees at sunrise if we did that and that sunrise was a time of magic at Baines. Well, by this time I had just about frozen up and thought I would never make it upright and out of the vehicle!

The landscape around us began to thin out, fewer and fewer shrubs and plants and more of that endless yellow grass and then more sand and flatness. And then . . . up ahead and just to the left of the direction we were traveling, I saw them . . . standing stark still on the flat horizon, seemingly floating across an expanse of water which in actuality was the endless sands of the dry pans which were once a huge lake bed . . . Baines Baobabs.

Their naked branches stretched to the sky which was now brightening very rapidly and the great yellow/orange hot ball of the sun was beginning to peek over the flat line of the distant horizon. The trees vibrated with hot red color and as we got closer the shapes of the individual trees began to expose themselves out of the jumble of twists and turns and bulbous shapes that, seen from a further distance, looked like a big blob of broken toys.

We came to a stop on the endless flat sand that surrounded the little island of grass and trees and all managed to unwrap from layers of blankets to stumble out onto the ground and marvel at the sight before us. I recall, even now, just how quiet it was. I don't even remember hearing any bird songs, just the slight whoosh of a gentle wind blowing across the vastness of the pan and the muffled conversations as we all stood in amazement at this little brood of ancient trees.

I don't know how long it actually took me to pull my camera out of its bag and even begin to think about taking some photos, but eventually I found myself standing off some distance so I could take in the entirety of these beautiful, living things. They stood out in the middle of nowhere it seemed for as I looked around in all directions, there was little but flat sand and endless views off to the distant horizon. I could sense this little island of vegetation once, a long, long time ago, being surrounded by water and the vast ancient lake and began to move around amid the jumble just relishing all the twists and textures and the weather beaten shapes.

As I look through my photos now, prints as this was BD, before digital for me, I easily must have shot two rolls of 36 exposure, maybe more for the ones that got thrown away after first review after development, and the images are every bit as magical today as they were a dozen years ago. It has been many, many years since the last time I really dug into this material and am so thankful for the Facebook prod this morning to once again be able to bring to mind, so fresh and so strong, the memories of that incredible morning in the summer of 1999.

I am a very lucky guy to have traveled to Africa seven different times, let alone once. And, I am even luckier that I had a morning like the one that let me stand at the foot of the Baines Baobabs and think to myself that every moment of cold, rushing wind against my face and every moment of being bundled up and bouncing along dark roads for hours and hours in the middle of the night in Botswana, allowed me to have memories like this.

I have yet to draw these wonderful trees, have not found the right composition to emphasize their uniqueness and majesty, but someday!

2011-10-03T08:54:00.002-04:00

I know it is just early October, but it is never too early to begin thinking along these lines. This year, why not consider a fine piece of hand made, creative work by a local artist, sculptor or craftsperson as one or more of your Holiday gifts. You will not only be lending a hand to those of us who rely upon the generosity of others (as Blanch once said!), but you will be giving something that has more than simple intrinsic value; an item that will represent a singular moment in time and the creative endeavor and spirit of the maker, an item that will have long lasting appeal. Or, why not consider commissioning a work that would be something very special for a very special friend or family member? Now is the time to consider this, with a lead time of a couple months, any artist would be pleased to add a commissioned work to their work schedule.

2011-09-29T17:07:00.003-04:00

I did say that I probably would be doing more elephants before mid November. This one, fresh off the drawing board, measures 5 3/4" x 6 3/4" and is one of the smaller works that will accompany me to this year's Waterfowl Festival on Maryland's eastern shore in a bit over a month and a half.

2011-09-27T12:34:00.002-04:00

Delivered nine works yesterday to the beautiful Halcyon Farm in northwest Baltimore County for this coming weekend's big Art for Land's Sake art show/fund raiser for the Valleys Planning Council. I am most pleased to have been invited to participate, for the first time this year, in this every-other-year event. Open to the public on Saturday, October 1 and Sunday, October 2 from noon to 4PM, the weekend should be very fall-like out in the countryside and you will see some fine art works by local Maryland and close by artists. It will be well worth a drive out to the country on either day!

2011-09-25T13:39:00.002-04:00

Here, then, are two more smaller scale works off the drawing board in the last couple of days. I have not delved into Africa too much of late but just had to include several elephant works for the big November show. I've not done elephants, my favorite subjects, in quite a long time and found working on these two pieces to be so compelling in pulling up all sorts of memories of time spent in Africa; much needed reminders of just how much I love that place. I have a feeling that these will not be the only two works to include my favorite subjects that shall come off the old drawing board over the next month or so.

2011-09-22T08:29:00.004-04:00

This weekend marks the opening of the 32nd International Marine Art exhibition at the Maritime Art Gallery at Mystic Seaport on the Connecticut coast. My work, Pennies From Heaven, will be one of over 100 works included in the show. The exhibition/sale runs through mid November so there is plenty of time to see some fine maritime oriented works. The reception and jury selection for awards happens this Saturday.

(Addendum Sunday, September 25 - Received a call from the gallery to inform me that Pennies From Heaven was recognized with an Award of Excellence during the judging last evening. I'm delighted, needless to say!)

2011-09-21T12:00:00.002-04:00

I've been a busy worker bee the last five days preparing for the upcoming mid November Waterfowl Festival here on Maryland's beautiful eastern shore. I've lost track but feel sure this will be my 19th year of doing the show. These three smaller sized works are all under 5 x 7 inches in size and are the first batch of small scale works that will be coming off the drawing board over these next five weeks. Larger works for the show are already inventoried and set aside, but I hope to complete at least a dozen more of these miniature works for the Festival. Long hours ahead in the studio!

2011-09-20T09:54:00.002-04:00

I was pleased to receive word over the last 24 hours that two of my draft horse works have been warmly received out there in the big, cold world. All Dressed Up, which was a part of this year's Western Visions Show at the National Museum of Wildlife Art in Jackson, WY, was sold during the Intent to Purchase sale on Friday evening. Up for the Challenge, a part of this year's members' exhibition of the Society of Animal Artists which opened in Michigan over the weekend, received an Award of Excellence on Saturday. I'm pleased that my equine efforts have been well received!

2011-09-16T10:45:00.002-04:00

Hard to believe that one week ago, I was landing at Central Wisconsin Airport about now, enroute to the opening of Birds in Art! My, how time flies. Well, I've been back at work this week needing to complete the last of three works to head out to the Pacific Northwest shortly for the Howard/Mandville Gallery's 2011 edition of their annual Small Works Show next month. So, here are the three ladies I have had on the board this week. This one is just over 7" square and will be available at the gallery on October 15th during the 'Intent to Purchase' box drawing that evening. If you would like a chance at this work, you can contact the gallery.

2011-09-14T10:39:00.014-04:00

It's mid September, I've just returned from the opening weekend of this year's edition of Birds in Art. So, that must mean it's time for a quick overview of some of my favorite works from the exhibition. I've spotlighted 18 works from the 112 pieces but that does not mean, by any stretch, that these are the only works that caught my eye. I could, indeed, show every single work and speak about my impressions and joys at seeing them in person, but . . . in the interest of time and space and the fact that I do have to find time to sit at my drawing board yet today, I shall focus on these few works as a very good representation of the overall intensity and highly creative approach that every single juried artist touched upon this year.

Bravo to the jury of three who dug through entries from hundreds and hundreds of artists from all across the globe to select what they considered to be the cream of the crop for 2011.

I guess the best place to begin is at the beginning, with a diminutive work, just 9 x 12 inches, that sits at the top of my top ten list . . .

Artist September Vhay, a second timer first included in the 'cut' in 2003, painted this stunning, soft and sophisticated rendering, above, of Black-capped chickadees. I heard many of the attending artists comment about the beauty of this work, which hung at the entry to the main galleries at the Woodson Art Museum. It is no wonder that this piece was on loan for the exhibition from the collection of the National Museum of Wildlife Art in Jackson, WY. Small in stature, yet incredibly captivating, just like its subjects!

Michigan artist, Canadian born Catherine McClung who has made the cut 7 times before, drew me in with her beautiful watercolor of a Yellow-shafted flicker. Another relatively small work, this one being just shy of 11 x 17, it held the same sort of impact for me as Vhay's work. Though more detailed in feeling than the chickadee work, this piece, for me at any rate, carried through the same soft instantaneous capture of a moment in time.

The 2004 named Master Artist, Canadian Chris Bacon's acrylic of a Barn swallow, below, was another work that stopped me dead in my tracks. At once soft yet striking, I really enjoyed seeing how Chris developed his compositional idea and it really touched me as it certainly was the sort of idea that might have occurred to me, had I thought of it first! Very monochromatic in character, it surely would have read just as strongly in shades of black, white and grey!

Englishman Karl Taylor, in his acrylic painting of Indian house crows above, captures almost the same sort of feel that Chris Bacon did on his canvas by deftly incorporating a very 'busy' background with the more subtle poses of his subjects. As in Bacon's rendering, the strong linear quality of the hanging chandeliers here, duplicate to some degree the curvilinear lines of the reeds and reflections in Bacon's work and act as a very interesting yet non-disturbing background.

Below, in 2006 named Master Artist Andrea Rich's masterful woodcut of Red-winged, Yellow-headed and Brewer's blackbirds, I was struck by the vibrancy of the piece as well as the overall subtle variations in texture and color. It reminded me very much of the kind of intensity seen in a Pollack.

In his 13th year of making the cut of the juror's selection, Colorado artist Ned Aldrich painted a stunning portrait of a Barn owl. Only 14 x 11 in size, it certainly grabbed my attention with its intensity of bold color and bold movement of the subject. Embodying the character of a plein air work, with its very deliberate brush strokes and seeming spur-of-the-moment capture of movement in the flurry and fuzzy quality of the wings, this work really spoke to me. Another of the works that was small in size, yet large and commanding attention.

New Englander Cindy House, whose works I always seem to get lost in, certainly did it again this time. In her tenth year of inclusion in Birds in Art, she has once again presented one of her gorgeous pastel landscapes where the birds, as they do in nature, just seem to suddenly appear and for an instant, command our attention away from the beauty of the landscape and once they have flown on, we return to the subtleties of the colors of the grasses and trees and clouds.

Friend, Matthew Hillier's oil of White Ibis, a large work at 24 x 48, reminded me much of my January trip to the west coast of Florida with his deft use of the soft blues and greens of the Gulf. I can not think of many who can make water come alive with sparkle and movement like Matthew does. It is little wonder why his works have been included in the exhibition ten times before this year.

Jenny Hyde-Johnson, from South Africa, brushed a beautiful acrylic painting of White-breasted cormorants perched on a nesting branch. Again, reminding me of time spent viewing rookeries in Florida back in January, I was struck by her wonderful use of light in this work. I also very much enjoyed her compositional design and placement of subjects; a work very much akin to the sort of balanced ideas that I like to work out in my own works.

2005 Master Artist Nancy Howe, always embodies such a soft and warm and subdued character to her works that I can not help but to be drawn into the little worlds that she creates in her oils. Her own Cockatiel acted as the major subject in this work, a 15 x 22 canvas.

Minnesotan Brian Jarvi's oil portrayal of a Bateleur eagle snagged me as I walked into the gallery in which it was hanging. The bird is posed simply yet the way in which Brian chose to light the subject and flesh out the feathering on the bird's back, giving it great depth and dimension, was what did it for me in this simple rendering.

Zimbabwe born, South African Peter Gray's oil of Greater flamingos captured me, again, because of his very unique compositional approach. As I have spoken of time and time again in postings here, composition and working out subject balances and arrangements in a pleasing, interesting, unique and appealing way is what always gets my creative juices flowing. I relish seeing that same sort of ethic in the works of other artists and never fail to be drawn into those sorts of compositions. The fact that the work is handled beautifully on other levels, technique, color, anatomy, light and shadow etc., just acts as that much more in my view and this work had it all.

First timer, Dena Kirk of Colorado, really grabbed me with her oil, above, of a Black-billed magpie. Even before I knew, by reading the little blurb in the catalog, that Dena did plein air work, I had the feeling when I first viewed this painting, though it was a studio work, the brush work and immediacy of the capture of the moment just cried of plein air experience and rushed through to my eye.

Wes Hyde, another Colorado painter, certainly made a Splash (coincidentally the title of the work) with this gorgeous 8 x 10 oil of a Ring-billed gull. Another one of the small gems that seemed to jump off the walls in every gallery at me, the subtle simplicity of the background really set the stage for the spot on rendering of the gull. (As of Sept. 15, I've also heard that this work was picked up by the Woodson for its permanent collection.)

Fellow graphite artist, Cole Johnson's piece of a Ruby-throated hummingbird certainly caught my attention. Knowing that Cole uses a lot of soft, powdered graphite in his works made my admiration for his deft use of it in this work just that much stronger. The intensity of the lights and darks and the crisp separations certainly added to the overall sparkle of the work. Sorry you weren't there in person, Cole, for me to pat on the back!

Fourth time making the cut, Suzie Seerey-Lester caught me as I walked the galleries with her very moody acrylic of Tundra swans. Another of those sorts of works that really speak to me through their interesting and unique compositional elements and design, this one, another relatively small work at just 12 x 16, held my interest just as much as some of the much larger paintings hanging on the same wall with hers.

This year's named Master Artist, friend Jim Coe, had a lovely assemblage of almost twenty works in the spotlight gallery. I was hard pressed to point to my very favorite, but after a second look at all, this work above, one of the smaller oils at 16 inches square, kept hold of me. I don't know if it was the color, the design of the work or what, but it turned out to be my favorite of his mini exhibition.

And last, but certainly not least, this stunning work by Robert Bateman, named Master Artist way back in 1982, stopped me dead in my tracks. Even now, in his eighth decade, his work continues to amaze and enliven, and spark inspiration.

I say it to myself every year after returning from the weekend's festivities . . . what do I do next year? I'm already thinking along those lines, like I am sure are many of the other 66 artists who attended this year's opening of Birds in Art. Little did I consider 20 years ago, when I first submitted a work for jury, that I would ever have been privileged enough to have not only gotten work into 20 almost consecutive (did not make the cut in 1997) years of this well respected exhibition, but that I would have had the chance to meet and mingle with, and share ideas and talk about art and all sorts of things with the likes of Robert Bateman as well as excited and wide-eyed first timers like those that I enjoyed conversation with in Wausau this past weekend. Cheers to all who made this year's 'cut' and to all . . . well wishes for 2012!

2011-09-13T14:12:00.002-04:00

A reminder that this coming Friday evening, September 16th, is the opening of the Western Visions Miniatures and More show at the National Museum of Wildlife Art in Jackson, Wyoming. I'm pleased to have one of my works included in the show this year. All works are available for bidding and the draw will happen Friday evening. Lots of great work to see and possibly own!

2011-09-12T14:23:00.003-04:00

Back from the whirlwind weekend that always is such a flurry of activity at the opening of Birds in Art at the Woodson Art Museum. Seems like, as the years go by, the weekend festivities go faster and faster with hardly time to catch one's breath.

This year, 66 of the 112 included artists were in attendance and it was, as it never fails to be, a great time to catch up with artist friends who I generally don't get to see except the occasional posting from them on Facebook throughout the rest of the year. Also, it is great to meet and make friends with 'first timers' and there were a host of them this year.

Jim Coe received the Master ribbon this year and one of his gorgeous oils graced the cover of the catalog. And another past Master, Jim Morgan, named in 2008, and I shared facing pages in the beautiful catalog. Adding it to the previous 19 catalogs from my, now 20, years of inclusion in the exhibition, brought to mind just how many of these wonderful weekend events I've been privileged to attend since my first year of making it through the jury back in 1991.

Of course, now it is time to get back to 'reality' and the work at hand, preparing for upcoming gallery events and the big Waterfowl Festival in mid November. Not the time for reflection but for moving on with work. Of course, being at the opening and seeing all that terrific art in person will certainly continue to act as ongoing inspiration in the studio over these next weeks and months as it always has upon my return from this internationally recognized, well respected and coveted exhibition.

As I've done a number of times in the past, I will post some of my favorite works from the exhibition in a day or two.

2011-09-07T13:52:00.002-04:00

' Chincoteague Ponies ' 6 1/4" x 6 1/4"
Headed to McBride Gallery in Annapolis next week for the opening of the next big show, Best of the Chesapeake on Sunday, September 18, reception from 1 to 4 PM.

2011-09-06T12:19:00.003-04:00

Back to non-Labor Day labors. I did manage a couple of hours of time in the studio yesterday and here is where this new work stands after an additional hour and a half of work on it this morning. It's earmarked for gallery delivery early next week, so need to scurry with it.

2011-09-05T13:13:00.003-04:00

It's Labor Day . . . so, why shouldn't I be laboring? Well, maybe an hour or two in the studio this afternoon at any rate.
Here is something that was started over the weekend.

2011-08-31T15:56:00.002-04:00

I'm delighted to announce my participation in a very special, every-other-year, invitational art show as a fund raiser for the Valleys Planning Council in Baltimore County, Maryland. This is their third installment of the show and my first time as one of the invited artists. 9 of my most recent works will be available during the three day showing which opens on September 30th with a gala Preview Party, and continues to hang on October 1st and 2nd. Saturday and Sunday tickets are $5 and available at the door both days. More information can be viewed here. This year's event is being held on a beautiful 100 plus acre horse farm, Halcyon Farm, just north of Greenspring Valley in Lutherville, Maryland. Take a look at their site, linked above, and check out the listing of the exhibiting artists, the location and times and if you are nearby, plan to come and see some wonderful art being offered to help sustain the organization's major goal of controlling growth and wise land conservation in Baltimore County.

2011-08-29T15:13:00.003-04:00

Taking a mini break today to clean up branches and leaves from the yard and will be back at the board tomorrow. In the meantime, considering the wet weather over the weekend, I wanted to note this wonderful work by friend, Matthew Hillier, that he had posted a week ago on his blog page. Such a departure, as he noted, from his more traditional works but a work that certainly made my eyes pop. The fly addition is just so wonderful, the kind of quirky thing that I often like to do with some of my works, so it hit home. Check out his story about this piece by clicking on the link to his page in my links list, posting for August 20.

2011-08-27T13:33:00.002-04:00

As we in the Washington DC metro area await the full force of hurricane Irene, I was cleaning up the area around my drawing board a little while ago and came across this invitation to the opening weekend of Birds in Art at the Woodson Art Museum in just a couple of weeks time. The invitation had been sitting on the drawing board for the last week or ten days and I had not really taken full note of it when it arrived in the mail, just a quick glance and review since I am going to be there for the opening weekend as one of this year's included artists. In any event, as I picked up the invitation and it unfolded open, I caught sight of something that looked a bit familiar. Ah ha, there was a detail image of my included work, Intimate Circles, just below the square cut out on the top fold of the invitation. I guess I had not noticed it when I first opened it up two weeks ago. What a very pleasant surprise! I'm not only honored to be included in the exhibition again, but more so that my image was used on the invitation along with several of this year's named Master Artist, friend Jim Coe. I can't wait to see all the selected works in person during the opening festivities and will have, no doubt, more to say on all that after my return.

2011-08-25T13:25:00.002-04:00

Did not have a chance to photo this last night when completed, so did just that ten minutes ago. Image size on this one is 7 3/4" x 12 1/4". It is going to join the work finished right before this one at a gallery show of small works in mid October.

2011-08-23T11:28:00.002-04:00

As I walk into the studio today, here is where the current work stands at 11:30 this morning. I hope to have it completed by the end of the day tomorrow, time's a flyin' and I have much to do before the end of August.

2011-08-21T15:56:00.001-04:00

Here is another slice through
the current work -

2011-08-19T16:11:00.000-04:00

Here is a slice of what is currently on the drawing board.

2011-08-16T12:37:00.002-04:00

Finally finished this work up a half hour ago. Image is just a bit over 7" x 11" and it will be off to a special small works show in October.

2011-08-13T15:40:00.002-04:00

The last day of the fair and traditionally the morning for the horse pull competition. So, I was at the fair bright and early, well not so bright as it was rather overcast and threatening but the horses didn't mind! Big and bold and beautiful . . . not much else to say. Enjoyed my three days at the fair and now it is time for me to get back to the studio and finish up what is on the board and consider my next move after that. I wonder . . . !

2011-08-12T14:07:00.003-04:00

As noted yesterday, today was the day for Quarter Horses at the Howard County Fair. A great morning with these beautiful animals and even better, more wonderful new resource material for future drawings. Years ago, someone said I must be the 'elephant man' as it seemed every other drawing off my board was of elephants. Well, they were and still are some of my favorite subjects to work with. But, since I have not been back to Africa in ten years, almost eleven now, and since I have been exposed to so many new and inspiring subjects during those years, perhaps my new moniker will be the 'horse man'? I am beginning to really enjoy having these animals show up on the drawing board more and more often now. And, when you have access to such wonderful reference material . . . well who can resist?

2011-08-11T15:03:00.002-04:00

A little time out today . . . I spent the morning at the county fair. It was Appaloosa Day in the show arena with lots of beautifully patterned and colored horses. Got some terrific material to work from and I expect some of these beautiful animals to be showing up on my drawing board before to far off. Tomorrow, it's Quarter Horse Day!

2011-08-10T16:51:00.000-04:00

A few more hours worth of work . . .

2011-08-09T16:48:00.000-04:00

Step 2 - let's make hay!

2011-08-08T14:57:00.002-04:00

I am working! I've got several small/medium sized pieces to get done for an early fall show, so those pieces are up next. There might just be a sort of 'theme' running through them too, so maybe you'll be able to guess somewhere along the trail!

2011-08-07T08:44:00.004-04:00

The National Museum of Wildlife Art in Jackson, Wyoming, has posted, on their website, the works that will be available for bidding/intent to purchase in this year's forthcoming edition of their annual Western Visions - Miniatures and More show. On Friday, September 16th, the doors to the sale will open and intent to purchase slips will be available. I see that this year, they are also making it a lot easier for those out of the area to be a part of the show by enabling digital bidding from smart phones . . . Ah technology!

For the second time, I have a work included in this wonderful assemblage of art and here is a link to my listing. You can then easily navigate through the rest of the listings to find some outstanding works or find out how you can make an intent to purchase or place a bid on biddable works.

There are some terrific works from some outstanding artists here, so take a look and perhaps you will find something you feel you would like to try for!

When **IT Happens

2011-08-06T08:52:00.002-04:00

Sometimes in the course of events, 'It' happens. 'It', meaning that moment when something tells you that things are just not going right; that the trajectory of your efforts are taking you down a road that has no end; that instant when the light bulb goes off over your head and you see, more clearly, how mistaken you might have been to set out on that course in the first place.

Such a moment occurred the other day when, after having spent several days working on something on the board, I stood up, scratched my head and wondered out loud to the walls, who were listening with great interest, what was I thinking? I had started down a road that I thought was pretty clear and distinct only to find, at a point where there seemed to be only a couple of hours worth of work left to complete the piece, that it all seemed for naught. I just felt that things were not as they should have been at that stage of work. I muttered and sputtered and went to make a cup of tea and to cogitate for a bit about what was staring at me from the drawing board. I didn't like what was staring back at me.

I can probably count on the fingers of one hand the number of times in the last thirty years that this sort of thing has happened, but I knew rather quickly after returning to the studio with a cup of tea in hand, that this was one of those times. It was apparent to me after having walked away and stood in the kitchen for ten minutes, upon my return to the work at hand on the drawing board, it was something that, in the end, I would most likely not want to have put my name to and that was the teller. Before I had any chance of having second thoughts, I quickly tore up the work and that was that. No lingering thoughts of 'wasted time' for having worked on it for several days, no nagging thoughts of what might have been, no pressing thoughts of remorse! I just did not see a way of 'salvaging' what seemed to be a losing battle. Unlike my painter friends who can wipe clean their canvas and start over, my only recourse is to tear up and maybe, yes maybe at some future date, give it a shot once again.

In the intervening days, I've moved on to the next work on my list and am six hours into it and feeling like things are moving along quite well. I've hardly given any thought to the work that occurred earlier in the week or how it failed; it's simply time to get on with things. The material that sparked that failed idea is still somewhere floating around, and the idea might have a second chance sometime down the road, but for now, my head is elsewhere and other than the bits and pieces of that torn up work still sitting in the trash can beside my drawing board, there is little evidence of that episode.

Yes, there are things to be learned from this. Yes, I will certainly have taken away something from this experience that can be applied in the future to maybe avoid making the same error in judgement. And yes, now that I can look at it from a few days removal, there are the slightest twinges of doubt. But it's all part of the process; we make mistakes, we hope to learn from them, we hope to improve, we hope to be able to accept doubt and move beyond it.

The creative process is not a stagnant process. It bends and curves, pulls and twists. If it is allowed to take complete control, it can result in wonderful things; you just move with the flow and follow wherever it takes you. Sometimes, the process hits snags, walls may get thrown up to stop you dead in your tracks or to force you to look for ways of circling around them to continue on your way. So, earlier this week, I encountered one of those walls, looked at the options, thought about the possibilities and made a choice. I believe it was the correct choice and have no reason to look back . . . only ahead.

2011-08-05T08:22:00.002-04:00

An interesting bit of news arrived late yesterday. I was informed of the works that had been selected for inclusion in next year's publication of the 4th installment of North Light Books ongoing series, Strokes of Genius: The Best of Drawing. Two of my works have been chosen, Up for the Challenge and The Waiting Game. I am, needless to say, thrilled to once again have my work spotlighted in this great series of books on drawing. I have several works included in this fall's publication date of the 3rd book in the series and had five pieces represented in the 2nd book that came out several years ago (see the listing for Strokes of Genius 2 to the right). I am very gratified to have my works selected from the thousands of images sent in for jury and congratulate all the other artists whose works have made the cut in all three of these volumes.

2011-08-03T08:31:00.003-04:00

'The American Lighthouse', hanging through September 18th, has opened at the Maritime Gallery at Mystic Seaport on the Connecticut coast. It's a wonderful group of artworks depicting this most iconic symbol of maritime travel and I am pleased to have a work of mine included. Click the link and take a look at some fine work. When this show closes in mid September, the gallery will be rehanging for the end of month opening of this year's edition of the Maritime International, the annual jury competition in which I shall also have a work included. So, here are two outstanding exhibitions of some of the finest of maritime art available for your viewing over the next three or four months. The Seaport museum is well worth a visit from any distance!

2011-07-28T15:55:00.002-04:00

This new, small work (image size 5" square) was commissioned as a wedding gift. I hope the happy couple will enjoy it.

I'm now digging into work for upcoming fall shows. It's never too early to begin work for October, November and December events/exhibits/gallery shows. I mean, it's almost August!

2011-07-22T10:33:00.002-04:00

July is scortching away here outside of DC, we're all feeling like Salvador's melting clocks about now. Anyway, taking a break from the drawing board for a bit but new work will be starting again soon.

2011-07-15T08:04:00.002-04:00

Word arrived, yesterday, of the safe arrival of the recent commission works. I am pleased to say the client was very happy with both works. It was fun working on them for her. It was a challenge, working on an animal with such specific coloration and characteristics, but from the first when I went to study her and get photographic reference, I knew it would be a fun process.

2011-07-14T17:10:00.000-04:00

Quick work finishing up this one this afternoon.
Image size is 6" square.

2011-07-13T17:03:00.002-04:00

This afternoon's work . . . concentrating on the shadows.

2011-07-12T16:43:00.002-04:00

The commission works are on their way and as soon as I have confirmation that they have been received by the client, I'll post them. Meanwhile, I've begun work on a small piece for a fall show, proof that I am actually at work! Too hot outside to be doing much else.

2011-07-02T08:54:00.002-04:00

No, I've not run off to Tahiti like Gauguin, though the thought has entered my mind a number of times. And no, I've not gone into hiding either. I am at work on several commission pieces at the moment and will post when completed and accepted by the client. I don't generally accept commission work, but in this case, the subject matter was too good to pass by. I hope the two works will turn out to the client's liking. Meanwhile, Happy Birthday, America!

2011-06-27T08:27:00.003-04:00

This new work, done on 4 ply kid finish Bristol Board, was completed yesterday afternoon. The image size on this one is 10" x 20" and as I mentioned before, a rather large work for me. It is another work that will now be put aside for a forthcoming special fall show at the end of September, an invitational event that I will be doing for the first time and so want my works to make a good impression. Including the human form in several of these works, like the recently completed The Line Up posted a couple weeks ago, has been a challenge for me as I have not done people to a great extent till just recently. I am beginning to feel a bit more comfortable about incorporating people into my compositional ideas, especially with such a lot of fine reference material from my day at the Virginia Gold Cup Races back in early May. If someone had told me a year or more ago that I would be inspired to, occasionally, bring people into my work I would have responded as I have always responded by saying, hardly! That is one of the things about being an artist that not only surprises but keeps the spirit alive; discovering the unexpected inspiration. As I have talked about times before, prior to my move to semi-rural Maryland ten years ago, the thought of doing a work with cows or barns or sheep as subjects never entered my mind. Being exposed to such images and views and available field study on a daily basis after my arrival in Maryland, certainly opened up an entirely new avenue of inspiration to me. I am thankful for that as the challenge of these new possibilities of subject matter have certainly made an impression on me and have led me down some very interesting and gratifying paths as an artist in the last decade. Who knows what is around that next corner?

A Word - About a Word

2011-06-26T11:30:00.003-04:00

"A hasty or undetailed drawing or painting often made as a preliminary study.

(Fine Arts & Visual Arts / Art Terms) a rapid drawing or painting, often a study for subsequent elaboration

(Fine Arts & Visual Arts / Art Terms) to make a rough drawing (of)

[from Dutch schets, via Italian from Latin schedius hastily made, from Greek skhedios unprepared]

Noun1.sketch - preliminary drawing for later elaboration; "he made several studies before starting to paint"

a rough plan, drawing or painting He made several sketches before starting the portrait.

sketch - describe roughly or briefly or give the main points."

A word or two today about a word - Sketch.

In a series of recent comments on the current work on my drawing board, the word 'sketch' was mentioned with reference to the image posted, followed by several comments alluding to a perceived misuse of that word with regard to the work at hand. So, I dug around on the net this morning and found a few examples of definitions for that word, including some derivational history, and felt I might want to make a few comments regarding all this.

First off, let me say that this is not in any way intended to belittle a comment or to take to task anyone's use of that word in a less than appropriately defined manner, nor do I mean any of what is to follow to single out any individual for an unintended misuse of the word. I simply wanted to make a few comments on how I, as an artist, feel about that word.

As noted in the spotlighted definitions above, I've always, personally, used the word 'sketch' in the manner defined: to connote something in a rough, preliminary stage or a starting point; a plan; a conceptual idea simply worked out quickly with no intention of it representing a final, finished work. As an artist myself, I guess I have always just understood the true meaning of the word but at the same time, have a realization that anyone not intimately involved in creative endeavors or with a more encompassing knowledge base, might not share that same understanding of the meaning of the word. There are indeed, many words that have association with other professions or uniquely connected situations that I have a less than complete understanding of and have found myself, from time to time, misusing or inappropriately referring to them. It's all relative.

I stopped counting the number of times in the past, when I would hear someone comment to me at an art show or large exhibition event just how sincerely they had an appreciation for my 'pencil sketches' and knowing that it must have taken me hours and hours of hard work. I suppose there was a time, back when I first started to show work in a professional setting with other artists, that sort of remark made a little dent in my skin, but I always understood in the back of my mind that the remark was never intended as a put down or a way of diminishing my work and that person's sincere respect for it. They just did not have a fuller understanding of the appropriate terminology for a finished drawing on paper. It's a bit easier to look at a painting and be able to refer to it as a 'painting', no matter what the paint medium might be - oil, watercolor, gouache, acrylic - with a full understanding that it is a finished work of art even if you are not an artist yourself. It's easier to look at a photograph and have a complete understanding that what you are looking at is a 'photograph', again no matter whether it be a black and white, a sepia tone, or color image.

A finished drawing on the other hand, for many, may not be understood to command a similar quality of completeness since the historic, general understanding in many people's minds is that of a 'drawing' as being rough in comparison to a painted work. The casual art viewer, leafing through a quality book of art reproductions, might come across a drawn out study for a painting or a page from a famous artist's sketch book showing simple line/shadow/gestural notations and make a connection between those pencil works and the simplicity that a study entails and then, naturally, bring that information forward and define, in their own minds, all pencil work to be of a study nature; a 'sketch' unrelated to what might be a fuller, more involved and complete work.

To my way of thinking, there is nothing 'wrong' with someone going through that informational process and making connections between what is seen and what might be understood, as long as there is an openness to a fuller and more accurate line of knowledge down the road. As an artist then, I feel it is part of my responsibility to guide and inform and impart the knowledge that I have to anyone who asks or seems the least bit interested in having a more appropriate knowledge. Those same individuals who might refer to my 'pencil sketches' with appreciation will often follow up that comment by apologizing for maybe not knowing the appropriate way of describing my work or asking if that is what I call my work. There's always that teachable moment, that instance when a correction can be offered and explained. I've never felt I had a situation like that, after politely and respectfully defining my work as a finished drawing rather than a simple sketch, when a person then, walked away feeling like they had been put in their place or felt like they'd just been belittled. They generally thank me for clarification and leave with, I hope, an increased knowledge that will come to mind the next time they encounter a work of art that might not be of total familiarity from a medium standpoint or technical style, and perhaps they will not fear showing a lack of knowledge and ask again for guidance.

So, does hearing my work described as being a 'sketch' bother me? Not totally. I understand what is being implied by the comment and can simply and respectfully insert a redefinition of it as being . . . a finished drawing!

2011-06-23T16:39:00.000-04:00

Another day, another couple hours of work.

2011-06-22T17:13:00.000-04:00

This afternoon's work.

2011-06-21T16:59:00.000-04:00

More people!

2011-06-20T16:08:00.001-04:00

Work progresses. This is, for me at any rate, a pretty large work, 10" x 20" when all is said and done, so the going is slow.

2011-06-18T16:17:00.000-04:00

Something new taking shape on the board. Holy cow, it's people!

2011-06-15T16:56:00.002-04:00

Yet another remarkable morning spent with the National Zoo's lion cubs. They are now approaching 10 and 11 months old and are still just as entertaining as when I first saw them a bit over three months ago. Need I say how many images were shot today? I will be anxious to sink my teeth into this material later in the fall.

2011-06-09T13:19:00.001-04:00

The ladies are done. Image size is 10 3/4" x 14 3/4".

This is another work that will be set aside for a special fall show and more on that, later.

2011-06-07T16:57:00.001-04:00

Been pushing graphite around again today!

2011-06-06T16:50:00.003-04:00

With 4 hours into it today, I'm starting to make certain that there is going to be a good balance across the entire composition between lights and darks, textures and shapes.

2011-06-05T16:42:00.001-04:00

A bit of work time today and the ladies are progressing . . .

2011-06-03T16:31:00.000-04:00

So far . . .

2011-06-02T10:38:00.002-04:00

Perhaps I've been horsin' around enough for the time being and now it is time for something a bit more bovine! Horses will be back soon enough but for now, cows it shall be.

2011-05-29T14:22:00.002-04:00

Finished up ten minutes ago, this one is 9" x 11". It will be tagged for a very special show coming up this fall that I shall be doing for the first time. Just the first of several works to be based on material gathered on that wonderful day at the Virginia Gold Cup Races earlier in the month. For someone not known for tackling people in my work, I decided to just jump in and see what the result would be. I'm pleased!

2011-05-28T08:31:00.001-04:00

Have been unable to post the last couple of days but finally can update this morning. I should be finishing up this piece this weekend, maybe even later today, but here is where things were left on Thursday . . .

2011-05-25T16:21:00.005-04:00

Time Out! Rudely waken before 5 this morning by the resident neighborhood crow family who were just screaming to wake the . . . well, wake the sleeping, my day began way too early. Second cup of tea drained before 6, I wondered if I could accomplish anything as I wondered half asleep here and there. I had decided, since the weather forecast for the remainder of this week was dry and sunny, that I would try and make another run into the National Zoo in DC to get some more reference on the lion cubs that I spent time with a couple months back. The group of seven are now 8 and 9 months old and growing fast, so I thought I needed to get more material before they started getting too big and gangly. Well, I figured since I was at loose ends by 10 this morning to just get the gear and get in the car and head into the Zoo. I was glad I did as I spent about three hours and wound up saving about 475 images, having deleted about an equal number. Thank goodness for digital photography. Anyway, here's a nice little group of images pulled out as I earmarked some for future drawing ideas. No work on the current piece up on the board today, but will return to it manana.

2011-05-24T12:53:00.000-04:00

I got a couple of hours of drawing in yesterday afternoon . . .

2011-05-23T12:51:00.002-04:00

As I sit to work this afternoon, here is what has occurred so far on this piece. It's been a slow go with life intervening. Yard work responsibilities and other demands on my time have left little time for work over the last few days but it's getting there.

2011-05-21T09:24:00.003-04:00

Work time yesterday was devoted to attempting to get the texture of that coat to read correctly. As I have mentioned before in working in black and white, I feel defining variations in texture is key to making a work, work. Developing interesting layers of textures, one upon another, is what, I think, makes for an interesting graphite work and draws a viewer into the work. So with that in mind, I spent the better part of four plus hours yesterday, slowly and methodically layering subtle gray tones with a combination of 5H, 6H, 8H, 9H, 2H, a smidgen of H, a dab of F, cross hatching, circling and softly laying down combinations of all those graphite grades to accomplish a soft, even texture to represent the wool/felt of the coat. Some of those leads were quite pointed, some had rather blunted ends. Using a very soft touch, barely grazing the surface of the Bristol Board I work on, I first established an even, overall undertone as sort of indicated on that right sleeve now. Then, slowly added either softer or harder gradations over that base done in 8H building up layers to indicate the subtle texture of the cloth. All of those marks just caressing the surface so as not to leave any distinct linear appearance. It's a slow, laborious process but one that will, I hope, result in the appropriate texture in the end. Since this large area of the composition is going to be front and center in the finished work, it has to read very strong and so I'm taking my time to make certain that it will carry the importance that it needs to in the finished work.

2011-05-19T17:19:00.000-04:00

And so, it begins!

2011-05-18T16:41:00.001-04:00

I
see
something
'racey'
in
my
future!
Stay
tuned.

2011-05-17T13:48:00.002-04:00

As anticipated yesterday and after three hours work today, this work is done. Earmarked for and headed to a special summer show in a couple months, with of all things lighthouses as the theme, this work measures 17" x 7". Considering that many artists do lighthouses and also taking into account the very well known imagery of this particular lighthouse at Pemaquid, I wanted to attempt a work with a slightly different take on the subject. By focusing on the rock formations and the very linear quality of some of the 'sinews' of the various rock types, I hope I have succeeded in coming up with a work that has a bit of an atypical viewpoint and slightly more interest as a work of art. I guess I'll know in July!

2011-05-16T16:59:00.001-04:00

At quitting time today, here we are. I expect this one to finish up tomorrow.

2011-05-14T14:54:00.001-04:00

Studio time accomplishment for today.

2011-05-13T14:57:00.005-04:00

Seems like Blogger was having problems over the last 24 hours so my post from yesterday disappeared. So here, above, is the image of a new work that has been taking shape as it was posted yesterday after a couple of days work on it. Again, as I commented in the original post, I seldom work in this more vertical format of compositional idea. As this work progresses it will become apparent why I have composed this one very vertical.

And here, below, is the work so far today. Pretty rocky stuff!

2011-05-08T08:16:00.003-04:00

With a wink and a nod toward the Marx Brothers raucous movie, A Day at the Races, I spent a wonderful 6 hours in the heart of 'horse country' in northern Virginia yesterday with three artist friends at the Virginia Gold Cup Races. I'd never been to a hurdles race before and it was indeed a spectacular afternoon. Gathering reference material for upcoming work, we wondered the grounds and found much to be enthralled with. Here are just a few images of the hundreds I shot just to hint at the colorful, intense excitement that surrounded us all afternoon. I won't know quite where to begin in digging into this treasure trove of material, but suffice it to say, there is much here to work from and have no doubt that dozens of new works will spring from this experience.

2011-05-07T06:41:00.002-04:00

Coming on the heels of the notifications on who got into Birds in Art this year, I read this morning, the good news, that my work Up For the Challenge has been selected for this year's edition of the Society of Animal Artists annual member's exhibition opening in Michigan this fall. Needless to say, this is quite a nice way to be ending the first week in May!

2011-05-06T08:57:00.002-04:00

If it's the first week in May, it's jury time for the internationally acclaimed annual exhibition, Birds in Art. With a flurry of postings this morning on Facebook, word has been sent out today on those lucky enough to have made the cut this year. I am quite pleased to report that my work, Intimate Circles, will be included this year, my 20th year of making the cut! Thanks to the jurors and the Woodson Art Museum for making this Friday morning a very special one for many artists, including yours truly!

2011-05-01T13:38:00.002-04:00

As it is drizzly and chilly and plain old yucky outside today, I could not do the outdoor things I wanted to so, instead, I sat down to the drawing board and completed this work in the last couple hours. Image on this one is a touch under 8" x 7". It is earmarked for this fall's Western Visions Miniatures and More at the National Museum of Wildlife Art in Jackson, WY.

2011-04-30T15:40:00.003-04:00

Art works and sculptures included in the 32nd Annual Modern Marine Masters show is up and available for viewing on the Maritime Gallery at Mystic Seaport's web site. Hit the link above to see a marvelous array of fine works, including two of mine. The show hangs through June 12 but the images should be on line for a bit after that.

_______________________________________

Here is where things stand with the current work this afternoon. Another two or two and a half hours and it should be ready for a frame, perhaps on Monday.

2011-04-29T12:07:00.002-04:00

More of that 'stuff' going on. One or two more drawings of draft horses and I might actually be able to rig one up in person! All those straps and buckles and leather and such, oh my.

2011-04-28T12:45:00.002-04:00

Sometimes I wonder what possesses me to consider a close in composition such as this, with all its attendant detail. Well, I know pretty much that it will make for an interesting work, strongly focused encompassing a lot of interest. But, it is not usually until I am a day or two into a piece like this that the initial 'why on earth?' goes away and I begin to feel that 'ah, yes!' has taken over.

Working in black and white, as I have said many times before, I feel I have to rely upon the variations of surface material, texture and structure to get my point across. I see it as being akin to a painter's desire to see what happens when they put blue beside orange or any other cool against warm tone, or they vary their brush stroke to make a specific separation or to show less or more detail. And so I will continue the noodling on this one, picking out details that need emphasis and softening those that I want to just 'be there' but not draw attention to. So far, I think it's going pretty well!