Break time

I've been working on the as yet unnamed abstract piece and flipped in horizontally to see how it looks.  I think I prefer it this way.  I've added more intensity to the colour through glazes which add dept, but am not finished yet, there's still more to go as I wait for some cold wax to arrive.  I want to achieve a translucent look to the piece and the cold wax may do what I envisage.

Meanwhile all will have to wait for 10 days while I take a break.  I'm heading to Prince Edward Island, New Brunswick and Nova Scotia to kick back on the beach, explore, eat, relax, sketch and find inspiration for new pieces.  I'm leaving tomorrow first thing and haven't even begun to pack yet.  I guess I should get a move on with that, shouldn't I?  Then again, I can usually pack within an hour or less and travel as light as I possibly can.   As I don't plan on painting as such, I'll take some sketchbooks and perhaps my watercolour set, a few pencils and pens and I'll be ready to take on new views as they arise.

I likely won't be posting on the blog during this time, but will be providing updates on Facebook.  If you haven't 'Liked' my Artist or personal page there and would like to keep up with my travels, please join me there.  The link is on the right hand side of the blog.

Luxury or frugality?

This is about the half way mark of a so far unnamed abstract piece that's 8 x 16 on canvas panel. Its multimedia but predominantly oils and texture added with modeling paste and various gels that I'm experimenting with.  I love the texture that pastes give and how paint grabs the edges and scatters down of the surface.  Paint goes on thickly as do other mediums here.  I add, I take away, I add again, not with a particular method of end in mind, but as the feel of the painting presents itself.  I am never happier than when at the end of a tube of paint or tub of paste.  It shows progress and production for me and means I've created.

Most artists have a stash of paper, canvasses, paint, sketchbooks and all the paraphanalia that goes along with producing art.  What I have noticed is that some keep paper or pencils or paints sitting on a shelf without ever using them.  Some believe the paper is too good to use.  I understand hesitancy in embarking on a sheet of paper that costs $10 or $20 a sheet, but everything else is fair game and the artist is denied the pleasure of exploration into a new realm if supplies are not used.  Oddly enough there never seems to be the same fear embarking on a canvas, just paper.  Some decorative papers are beautiful enough to be framed as they are, but have the potential for creating even more beautiful art if used but canvas remains fairly static in appearance.  Of course, there's the risk of botching it, but that is there no matter what surface is used to create on. Often the repair and transformation turns out much better than what was originally planned.

Then there are the frugal painters who squeeze out a dime of paint on the palette and dilute it so much it never provides the covering power or the impact that it could.  Coloured pencil artists have fear of the sharpener as it uses up their pencils too quickly.  But isn't that what they're for?  To create texture, colour and depth? The frugal pastellists eke out strokes of dust onto paper to preserve wrappers and their sticks of pigment.

I understand the need to be frugal and not waste supplies or money, but when it comes to creating art, you really do get what you pay for, which applies to the artist and the collector.  What does scrimping on paint or supports do?  It frustrates the artist, who cannot create the vision that is in their head as they haven't allowed themselves to paint what they feel and really use their palette.   It supplies a mediocre product if cheap paper or canvas is used that warps or has an inferior surface making it difficult to apply the medium.  And the collector can tell. The gallery can tell. You can tell that its not what it should be.

Art is a luxury item and needs to look luxurious to attract a collector.  Be generous with paints, supports and framing as it always pays off in the end.

27.8

Its been warm for the last few weeks which is a blessing after the abysmal summer we had last year.  I know heat here is probably cool to many who live further south and are experiencing heat waves with temperatures over 100 degrees.  Here the temperatures are moderate, usually not getting up to more than low 80s at most.  The benefit and curse of living on an island.

And of course its all relative to what you're used to.

Sunday afternoon was hot in sun and in the shade beautifully cool.  27.8C = 82.4F  For me, a fabulous temperature to retreat to the gazebo or the shade of the trees in the garden.  This is the view looking towards the meadow at the back of the house.  The sun later in the afternoon was brilliant, bleaching out colour in contrast to the shade of the trees.

10" x 10" on canvas panel in oils.

And, I've noted that for some peculiar reason, all the content from the Followers gadget on this blog has disappeared.  Poof!  The piece is still there, but no names and I'm not sure why.  I shall have to investigate further. Hmmm...

Bait

The poor capelin is often relegated to being a bait fish and there always seems to be something much larger chasing it besides humans.   Cod feast on capelin and humpback whales rise up from the deep waters, capelin jumping out of their open mouths as they breach.

I have a fondness for the underdog in most species, and the capelin is my favourite fish.  I don't eat them bacause I find the flavour a bit strong, but I do love to paint them.

This is the completed piece that I experimented with using silver and gold leaf.  I added oil glazes over the leaf to tone down the shine which was like looking in a mirror.  Now the silver and gold metals shine through the glazes and give a different appearance depending on the angle its viewed.

This piece is 8 x 16 on canvas panel.

Printing texture

Pinot Noir

A friend, Brenda Rowe, suggested some printing practice at her studio this morning, so I packed up some supplies and headed over.   I used a gel plate and brought water based and oil based inks with me, as well as some pieces of plant and feathers to add texture to the prints.  This first print is of a grapevine leaf, the variety is Pinot Noir, which I have growing in the greenhouse.  This was printed using Caligo Safe Wash etching ink, carbon black.

It was really odd as the weather was warm today with a breeze which was making the inks dry almost faster than I could print.  The paint was being picked up from the plate onto the roller and it became quite frustrating for awhile.   I switched to the oil based inks and had a few issues but they resolved themselves.   I'll be working on some monotypes for the future when I have time to manipulate the inks on the plate.  This time I worked on textures and printed on subi and rice papers - mostly because I forgot to bring my other papers with me!

Threadbare

I used a combination of cheesecloth and thread for this second print.  This is the ghost print which I prefer to the original, shown here.

 Neutral colours in these prints remind me of etchings, especially when the detail is finer.

 Hanging on by a Thread

I also used colour in some prints and this second 'thread' piece I like as well. 

Pouch Cove Highway

I keep meaning to do some night time paintings but never seem to get around to it.  Living in the country means that the dark is reallllllllly dark with very little lighting besides the odd streetlight and the adjustment of your eyes to the light levels.   Of course on the road, there are passing cars which are a blessing and curse as they go by in terms of lighting.

This painting was done as the sun was going down.  Its amazing just how quickly it does go down and how little time there is to capture that exact moment in light. Its part factual, part memory and part a wish and a prayer.

The sky was dramatic over the sun drenched clouds at the horizon and the lights of the passing car added interest and life to the scene.  

This view of the Pouch Cove Highway is the one I travel daily and the main route off the road I live on.  No sidewalks, lots of trees and the road stretching on to the sea in several directions. 

Under the influence

 Under the Influence  SOLD

I am physically close to the ocean, likely emotionally too.  Its ceaseless motion is a constant factor and is influenced by wind and weather.  Its colour by light or lack of light.  Its sound influenced by the surface of the earth that it rolls its waves over.  Sand has a soft sound as the water retreats; pebbles clatter as they tumble with the movement of the wave backwards to its source.

This painting has all those influences in it.  An average sized wave making contact with the shoreline, a mix of gravel and sand.  Light giving shape and colour and the movement of wind and tides showing the water where to go.

It is 5" x 7" in oil on a canvas panel.

All that glitters...

I've wanted to try a combination of oils and metal leaf in a painting for awhile and thought I'd attempt it with a little capelin.  Fish always have a sheen to them so were the obvious choice, at least for me.

Metal leaf is a fine layer of silver, copper or gold, either a pure form or composite material that is laid on a prepared surface.  The result is quite dramatic and near impossible to photograph well due to reflected light.

For this piece I'm using composite silver so I can work out the kinks without investing a lot of money in purchasing sterling silver or 24 karat gold leaf.   An adhesive is applied to the surface and let to sit to achieve a degree of tackiness.  The leaf is like fairy dust its so fine.  It comes on sheets of tissue backing ranging from 1.5 inches up to 5 or 6 inches square.  The metal is laid on the surface and gently brushed on, a similar technique to printmaking in some ways and you hope the leaf has adhered as you pull up the tissue.   Patching is always a given and is fairly seamless.  I use a template to mask the shapes I don't want covered in silver leaf, using tracing paper or similar to act as the shield.

In this piece I have some lumps and bumps where I was impatient in putting down the leaf when the adhesive was too wet.  The adhesive remains tacky up to 36 hours so there's lots of time to apply but only one chance to apply a sheet.   Over some areas that didn't adhere well, I added some gold leaf for interest in random, organic shapes.

The fish is a capelin and painted in oil.  The piece is still in progress so looks rough at the point, as expected.  It will be refined as I continue.   I'm not sure if I will leave the silver/gold leaf as it is and seal it or apply glazes in oil paint.  A glaze could be interesting as the silver would add another dimension in light reflection, not usually seen in transparent oils.  As its an experiment, perhaps I will try it to see what the effect is like.  I will wait until the oil paint on the bottom half of the image is dry as I want a cohesive glaze of colour over the whole piece.

Usually if left on its own, a sealer is used to prevent the metal leaf from tarnishing.  Again, another experiment of some with sealer before oil and without to see what the results are.

If it works well, I'll invest in some sterling silver and 24k gold leaf and work up some ideas for other pieces.

Sketches

I had been neglecting my sketching and drawing lately, so am trying to rectify that. I do sketch most days, but not of scenes that I seek out.  My sketches are more utilitarian, sort of like taking vitamins.  You do it because you know its good for you.  I bought a lovely little hard cover sketchbook in Ottawa last month, one that fits nicely into a bag or purse without you noticing much that its there.   I've pulled it out over the last couple of weeks and sketched various subjects.  Sometimes I only have a few minutes and just get basic shapes down, other times I have longer and can work more on shading.

Today was beautifully warm and the water was calling me.  This boat, tied to a wharf fit the bill.  I spent perhaps an hour on this in total.  Thirty minutes wharfside and the rest filled in at home.  I'm still deciding whether or not to add a little colour to it.

 
This was the view of part of the garden at the rear of the house on Canada Day.  I sat in the gazebo and sketched part of the back of the house and shrubbery leading off to the woods.   I added a wash of colour to it after the initial sketch to provide a bit more interest. I would like to do more sketching outdoors and I  hope to get out this weekend.  Its a great way to capture some ideas for new paintings and drawing from life always is more fun, especially if you have people stopping by to see what you're doing.

I have an advantage of not having to go far to see pretty much any range of subject from water, trees, buildings, flowers, animals, fields, etc., etc.  One of the benefits from living in the middle of the woods!

Forging ahead

My schedule's been crazy lately and I haven't had a lot of painting time, so I steal time from either end of the day to work on pieces.  Its just how life is when you want to produce, but feel time chasing you.  There's not a huge amount of progress here, but I'm refining the fish and starting to block in the paper bag.  Its starting to come together now.  There is that turning point in a painting when you just 'know' whether its going to forge ahead or be wiped.  Its undefinable, that moment of knowledge, its when the painting talks to you.

I always make time for art in some form, no matter what else is happening.  Sketching in airports and on planes, photographing ideas for new pieces, working out ideas in a small sketchbook I keep next to the bed, drawing at lunchtime etc.  For me, its how I need to work to ensure that I can produce new pieces as well as work a full time day job.  Somehow it all fits in.  But isn't that the way if you really want to do something?  Anything can be done if you want to do it badly enough.  We can all throw up excuses about why we can't do something, but can we put the same effort ensuring we make enough time for creating art instead?  

There has to be selfishness in it, as well as the craving to succeed.  One won't happen without the other.  There has to be the discipline not to be swayed by less important things - television, surfing online, etc.  There has to be a well of inspiration that you can draw from, fueled by experiences, surroundings, art and people. 

There has to be support for your art - and not from family - unless they're paying for you to be the artist you want to be by providing living expenses that let you stay at home and create.  Support to create art is different from support for your art.  Family is not objective, has little understanding of technique, subject matter, art markets, collectors and the business of art.  Surround yourself with your peers, with other like minded artists and galleries who support and understand what you are trying to achieve and who can help you reach your goal. 

And it all takes time.  It takes a huge amount of effort and there are giant stumbling blocks that are thrown in your way constantly.  It takes money to buy quality supplies, to frame paintings, to market your work.  Sometimes it feels like a revolving door.  Money comes in from a sale and there's someone with their hand out waiting to take it to frame the next piece or buy the next set of business cards.

So why do it?  Because its amazing and only when you've struggled with blood, sweat and tears through  learning technique, practicing the requisite 10,000 hours plus, and learning from each and every piece you create, will you realize how amazing it can be. How much are you willing to sacrifice to get there?  Everything or nothing?  That is what separates those who make it and those who sit on the sidelines thinking up reasons why they can't do it.

Fishy exhibition

I attended the Reflection on Cod exhibition opening this afternoon.  It was a very warm, humid day and the gallery was wall to wall people, making it uncomfortably warm, but not a complaint, as I want heat!

I had three pieces in this exhibition, all gyotaku, one of salt cod, one fresh cod and the other an ocean perch, an alternative fish harvested after the cod moratorium was enforced 20 years ago.

Five Island Gallery is set in a lovely spot, overlooking the five islands in Tors Cove.  When I arrived today, the fog was shrouding the islands before the sun burned it off, making them look mysterious.  Fog and islands make for interesting photographs, but unfortunately I didn't have much time to take more than a couple of shots.

Richard Cashin was the guest speaker for the opening.  A former politician and fishery union man, he amused the audience with stories of his adventures in politics and the fishery and provided some insight into the decision around the moratorium and its effects throughout the province.   Being near the front of the room, and with Richard poised in front of my gyotaku images, it was too good a photo op not to take.

This room shot was taken before it was very crowded at the exhibition and the heat mounting by the minute.Shortly after the speech and conversations, I headed out to get some air and make my way home.  The slight coolness of the sea air against skin was so pleasant after being inside.

The exhibition runs until July 27th daily, so if you're in the area, drop by have your own reflection on the cod fishery and the moratorium.

Monotypes

I'm working on improving my printmaking techniques and trying my hand at reductive monotypes, using a gelatin plate.  Today I worked on a couple of pieces that didn't have the detail that will come in future ones, but the softness and roughness also has its appeal.

The first is Back Pasture, which is the view across the grass to the woods beyond.  The play of sun and shadows of the trees on the mowed grass interested me.  I inked the plate with Caligo  Safe Wash ink then removed - or should that be revealed - the lighter sections of the piece with rag, cotton swabs and fingers then printed it using a japanese paper.

The second image was from imagination, spurred on by a small painting that I'm working on of the sea.  I wanted a dark sky this time and a bright moon on the water.  The same process was used as the previous print, moving ink from the plate.

When the ink dried, which was fairly quick on this absorbent paper, I thought I'd add some colour and used oil sticks.  I also took a ghost print of the water piece and may add colour to that with a different medium, perhaps watercolour.

I think both coloured and uncoloured have appeal, but for these subjects I prefer the uncoloured version.  Which  do you prefer?

Taraxacum Duet

 Taraxacum Duet   SOLD

4" x 6" gozen paper

Available for purchase on Etsy

I was experimented with ideas for printmaking using plant materials.  I have a vase full of 'weeds' sitting beside me in the studio.  Of course to me weeds are just the opposite, as a herbalist.  Each represents a form of relief from a symptom causing distress, but I know that to most people, they're just weeds.

One of the plants in my vase is dandelion - taraxacum officianale, a common garden plant usually growing where you don't want it.  However, its a very useful herb and farmed as an alternative green which are used in salads or cooked before the leaves are large, the roots have been used to make a coffee-like drink  and it has been used for centuries as a medicinal herb.  Dandelion root is a registered drug in Canada, sold principally as a diuretic. The plant is known for its ability to treat jaundice, cholecystitis and cirrhosis. The dandelion also affects the digestive system by acting as a mild laxative, increasing appetite, and improving digestion.

I had a closed flower and a seed pod together, placed on tin foil to give more reflected light.  I reduced the image to basics in a photo editing program then printed the bones of it onto Japanese paper - gozen.  This is a very thin translucent paper that's lovely to work with.   After printing I started adding colour using a very dry watercolour wash in select areas of the the flowerheads to provide a stronger shape and finished with a few flecks of silver leaf.

I printed two of these on the gozen paper, but worked out my experiments on the first image.  Always a useful habit to ensure you have back up when something goes wrong!   This piece measures 4" x 6" with an approximate 1/2" border on the sides and 1" border top and bottom.

July 1st

 
I haven't painted for about a week and it makes me feel a little unsettled, as if I'll forget how to unless I keep at my daily routine.  I've sketched and photographed however, so that makes up for it a bit and I have ideas in my head that will come out on paper or canvas soon enough.

July 1st is Canada Day, but Memorial Day in Newfoundland, commemorating the Battle of the Somme and the July 1st battle at Beaumont Hamel which wiped out most of the Newfoundland Regiment in 1916.  This video clip paints a picture of just how it all unfolded. 

Reflections on Cod

Back in the winter I had three pieces of gyotaku accepted into a summer exhibition that is opening soon at Five Island Art Gallery in Tors Cove.  Reflections on Cod marks the 20th anniversary of cod moratorium on July 2, 2012.

The moratorium has had a huge impact on the culture and livelihood of many people in Newfoundland with 35,000 people suddenly out of work, the largest industrial closure in Canadian history.

This is one of the gyotaku pieces, Fisherman's Cut which I will have available  in the Reflections on Cod exhibition.

I'd encourage you to visit the exhibition which runs from July 2 -July 27th.  The public reception will be on Sunday July 8th from 2 - 4pm.  Opening remarks by Richard Cashin.

This exhibit will feature more than 40 original works by local artists including watercolour, acrylic and oil paintings, pastels, ceramics, mixed media, hooked rugs and art figures. 

On Friday, Tara Bradbury wrote a piece on my gyotaku for The Telegram, the newspaper had two full pages and a cover shot and there was this shortened online version.  It brings the art of gyotaku to a broader audience.

Capelin season - in progress

Its that time of year again when the capelin roll in on the beaches to spawn and the public make spectacles of themselves watching and gathering them and taking them home.  Some people falling into the cold water, others with scoop nets or cast nets, dogs biting at the water and hoardes of children fascinated by the little silvery fish that cast themselves into their little hands.

Capelin are my favourite fish.  I love their little shiny iridenscent cigar shaped bodies and how they curl and flip before succumbing to net or bucket.  They are the perfect fish for painting.  Small, easy to handle and position for composition and plentiful enough that replacement twins are easily found when they need to take their leave.

So over the last 48 hours the capelin have spawned on local beaches and of course I have to celebrate the season with a painting.  This is the start of a painting of capelin ready to be dredged in flour in a paper sack before heading to the frying pan.  No, I don't eat them, but others do.

So far shape and values are being blocked in and are starting to take form.  the composition is fairly simple, as is the lighting.  Its on a 12 x 12 canvas panel in oils.

But it will have to sit for a couple of days while I head to Ottawa for a few days for work.  Hopefully I'll have another post lined up to roll while I'm away, so stay tuned.

Duck feathers

SOLD

I tried some more prints with the gelatine plate today.  I was trying some capelin that I defrosted but they were still a little too cold and damp to work well so I hunted in the barn for other things and while filling up the water bucket for Lucky and BD I picked up a few of their feathers and thought I'd try them.

These are the results.  They do make great imprints for the plate and I loved that turquoise blue colour as the base, providing contrast but not too strong.

One other print from last night's gyotaku prints with the star fish didn't work out as well as I wanted, so I played around with adding some colour to it today.  Shots of bright pigment in watercolour overlaid the original acrylic.  Despite the dark blobs of original error, I like the potential for adding additional colour overlays for these prints.

I've put a few of the pieces up on Etsy for sale.

Gyotaku gel prints

 Polar Star

I had seen the new Gelli Arts gel printing plates for sale and read more about them online.  I made a gelatin plate from scratch years ago and while it worked well and lasted reasonably well, it was time consuming and a bit fiddly.  Also, they're not the best things to use in summer.  If we had any heat that is, but that's another story. These gel plates are reusable indefinitely with a little care and I wondered if I could incorporate some gyotaku into them, so I ordered a 6 x 6 one to experiment with.

Acrylic paint is used as the medium instead of ink and any object placed on the wet surface then removed will also remove the paint, leaving an outline, so I figured it would be a type of reverse gyotaku.

I gathered a few starfish that I had lying around, as fresh fish were in the freezer (yes, I know that's a contradiction - fresh and freezer :) but you know what I mean.


Applying the paint to the gel surface is simple but very easy to arrive at mud.  The first print was a bit like that but the imprint of the Northern Sea Star and shells and bubbles contrasted well and some shots of colour still came through.  Every mark or ridge in the paint shows through and adds to the interest in each piece.

 

 Movement North

I pushed for more colour with the second print and got more of what I was looking for and the large and small sea stars came through well.

 

41^o46' N, 50^o 14' W  SOLD

The last prin,t shown at the top of this pos,t is my favourite.  A polar sea star which has nine legs and is purple, is an amazing beastie.  I went with prussian blue with a little cerulean and a touch of orange.  I like how the orange becomes a light source, but very subtle. The variances in value and colour are much better in person as is usually the case.


These are all 6 inch square printed on Kinugawa Japanese paper with a generous border on all sides.

Study of clematis bowl

I've been in a bit of an artistic slump lately, likely due to the fact that the day job keeps me fully occupied and often spills over into off time, either physically or mentally. Its funny how much mind set and the ability to clear thoughts plays in the act of creating.  At least for me.

I'm also sitting at a crossroad of wondering where I want to take my work.  I've been on the water theme for awhile now, as well as gyotaku and while I do enjoy them, I seem to be void of new ideas around that theme right now.

When ideas fail to materialize, I find it useful to look at other artists' work as well as look at different subject matter.  Reflections are one of the things that draws me to fish and water and the spill over into hard objects such as glass uses all the same principles as does creating water, which is probably why I enjoy it too.

Early this morning I played around with an idea for a new, detailed painting and this is the resulting study.  Rough yes, but the concept is what I was looking for.   This little bowl is a piece made by Maling in the UK between 1934 and 1940 and belonged to my grandmother. Its no more than 3 inches across and the same in height.  The swirls of blue lustre on the inside and the transfer panel of clematis on the outside always fascinated me, but I balked at the idea of painting it because of the detail.  Right now, the detail is what I need to clear my mind.   I put the bowl on top of a little liquor glass to balance and it became the composition without thinking too much more.   Once I find the right lighting and get a drawing in place I'll be on my way.

Cape St. Mary's

I've finally made progress in the studio.  In the clean up part anyway.  I've even found things I was looking for months back!

On the painting front, its been slower going, but you simply trade off one thing for another, don't you?  This past weekend I went to Cape St. Mary's Ecological Reserve to photograph the nesting gannets there.  Its a 1.4km hike over the cliff trail that is a bit rough in parts, but you end up overlooking the nesting site, Birdrock and are literally 10 or 20 feet away from thousands and thousands of Northern gannets.

I don't do heights and cliffs well, so for me this was a little heart in mouth at times, but I managed and got some great photos.  The weather cooperated with sun there which helped a lot, as its so often foggy there on the edge of the southern shore.

There were herring gulls and several types of murres there as well, but the gannets outnumbered them all.   They are unique birds and I love their pale ochre heads and that wonderful blue eye ring.  Last year I completed a painting of  a gannet flying over the ocean - Vertigo.  Now I have lots of resource material for new pieces.

Tapper's Cove complete

I've just finished this painting tonight.  I hoped I'd have it ready to go to the framer with eight (!) others but it will have to wait for the next batch - or a buyer who would like it unframed.  My studio walls are quite bare now - a  good complaint I'm sure, but one that puts pressure on me to produce more.

The water is a myriad of colours of reflected light from above as well as the glow of pale rocks sitting on the ocean floor even if the photograph doesn't do justice to the colours and values here.  The clarity of the water never ceases to amaze me and I should count myself lucky to live in a place where pollution is more the rarity than the norm. The turquoise blues really are that rich in real life and often the water looks tropical instead of being the Atlantic Ocean.  As always, the photograph does not provide justice to viewing a piece in person.

There may be a few tweaks, especially in the forefront timbers of the wharf, before the painting is signed off and ready to go but for now I'm letting it sit.

What's in a name?

Some paintings seem to name themselves, while we struggle with others forever before finally slapping something, anything on them to differentiate them from the last one painted.

So how important is a title to a painting?  Its pretty important for both artist and viewer.  For the artist it becomes a part of the piece, describing an emotion, a place, a memory and it serves well as a reference point in inventory.  How many "Red & Blue"  or "Untitled # 8"'s can you have without having a clue what they are visually in the future?  Its a gallery nightmare to have untitled paintings in stock.

For the viewer it becomes a direction signal into the process and placement of the painting to help them understand the piece more, even though they will create their own story around it.

Titles for most paintings fall into place at around the halfway mark, when the direction of the piece is known and coming together more clearly.  Sometimes a title comes first, then a painting to represent it, but that's less the norm.  And then there are those orphans who end up as completed works but with no name attached to them.  Those are the challenges to name without reverting to 'Untitled' again.

Painting titles  range from sentimental phrases to obscure references with meaning only to the artist. Whatever the association, its helpful to have something that gives the viewer a direction without revealing too much of the thought process and allows them to create their own thinking around the image.

The above painting, Metamorphosis, is 24" x 36" on gallery canvas.   The image isn't wonderful, taken early in the morning withe sunlight filtering across it through the blinds.  But the colour is fairly true and the final image will be taken in better light soon.

It is quite abstract, but still represents water.  I used a palette knife to apply thick layers of oil paint and to give texture and a split of hot colour to contrast the blues.

Why is it called Metamorphosis?  I'll let you create your own story around that...

Honey jar

 
Nothing I turned my hand to this weekend in painting worked out well on a large scale, so I've abandoned the bigger piece and tried my hand at a small painting. 

When I was in Manitoba last month, I had an hour or so between meetings and took advantage to walk through the Forks Market and found a stall selling unpasteurized honey.  They had brought a glass sided box of bees and honeycomb on display so you could watch the honey making action.  Not being a bug person, I stayed clear of that.  But I thanked the bees and the beekeeper for the honey and brought a small jar back with me.

Honey is a very useful substance besides adding to tea or putting on toast.  Unpasteurized honey has antiseptic and antibacterial properties and has been used for centuries to soothe sore throats and coughs. its is also believed to assist in relieving allergies by eating a tablespoon a day and is good for topical use in treating sores and ulcers in individuals who have diabetes, as well as treating mild burns.

5 x 7 in oil

Killick Coast

Available for purchase from my website

According to the Dictionary of Newfoundland English, a killick is "an anchor made up of an elongated stone, encased in pliable sticks bound at the top and fixed in two curved cross-pieces, used in mooring nets and small boats." In other words, it's a homemade anchor. The Killick Coast stretches from St. Thomas to Logy Bay on the northeast coast of the Avalon Peninsula and includes Bell Island.  It winds through fishing villages, farmland and a mining town.  And it passes through the town where I live, Flatrock. 

The coastline is rough in most places in Newfoundland and if you are in the right place at the right time, as I happened to be, the light is just right and you can capture the sun starting to break through the fog and reflect on the water.  This painting is 8" x 10" in oils.   I wanted to capture the essence and light, not a realistic interpretation of the scene.