5/4 Time, Five Artists, Four Bodies of Work

Left,'Last Lights' 24"x48' in oil and right,'Redwood' 48"x36" also in oil. Click on images to enlarge.

5/4 Time at The Durango Arts Center

'Big Trees' 36"x46".
Click on images to enlarge.

From Taos to Durango

I barely made it home from Taos, loaded up the van, my daughter Curran (acting as my roadie) and headed West to Durango to join four other artists of note for our "5/4 Time" show at the Durango Arts Center. All 5 artists met in Durango Wednesday morning for the first time (face to face), to hang the show that has kept us working and focused for many months.
We synced immediately and the work went up in good order. Everyone was generous and helpful; even the Arts Center staff was amazed at how quickly and happily 5 artists with such diverse work could put it all together. It looks GREAT! Now for the fun part- the Party!
The Artists Reception is this Friday night, May 9, from 5-7 pm. The show will hang may 9-30 at the Durango Arts Center, 802 E. 2nd Ave., Durango and the gallery houts are Tues.-Sat., 10 am.- 5 pm.

Paintings in the foreground are Tess Corrinne Jordan's. My painting is in the background and in the photo above the masks can be seen. They are the collaborative work of Kathy Park and Henry Woolbert. Also in the show, is Dwight Lawing, a wonderful watercolorist from the Four Corners area.

Shrimp in Walt's Garden

Officially, the paint-out lasted until Wednesday morning; I had to head home on Monday evening, but - not before joining everyone for a pre-dinner soiree at Walt Gonske's home/studio. What a gracious guy! He had a spread of shrimp, drinks, finger food, and - his fresh paintings from the weekend for our perusal. - Just pinch me - It was an absolute highlight and the end of a great paint out. The best part is the people.
Thank you, especially, to Patrice Walker from PAPNM and Leslie Allen from the PAAC for all the work put in to make it a fabulous time.

Sunday at the John Dunn Bridge

Sunday was warm along the river and about 25 painters were strung along both banks. I should have painted this group of umbrellas; maybe I still will. Kemper started his large piece in a wonderfully loose fashion and Sue and I were part of this group lined up overlooking the rafting action on the river. We were also staring right into the sun; my eyes got a little toasted.

Daily Painter, Just back from Taos

On Saturday Sue Mc and joined the PAAC, Plein Air Artists of Colorado and the PAPNM, Plein Air Painters of New Mexico for a combined paint out in Taos. Above is part of our group, bright and early at the gorge: Depy Adams, Kemper Coley, Mary Ann Warner and Ken Daggett. It was a beautiful day in the neighborhood.
I was positioned closer to the edge of the rim, looking down into the gorge.

Class Notes: What's the Value ?

The last 8 weeks in class our ongoing discussion has been about Value; the dark, the light, and how to understand value and communicate value in your work. In the painting to the right, black acrylic and only the white of the canvas were used to communicate the subject. Color is not needed to explain the metal can, the white cup or the dark red apple. Relative values explain the forms but also reveal to the viewer what is happening with the light on those forms. Value, more than color is key to a successful painting.

Class Notes: Explaining with Value?

We are talking about VALUE but what that really means is: Explaining the LIGHT!
These sketches of a simple set-up, all explain the light - in 4 different ways. We used only 2 values for each item: light & dark. In sketch #1, top left, the light parts of each object are under painted with acrylic orange and the dark values are under painted with acrylic black.
To the right in sketch #2, the entire space was under painted in acrylic black and the shapes are defined in only light and dark. This version has the most drama and a very graphic look.
Sketch #3 has a traditional, oil/thinner, wash under painting, warm under the light areas and cool in the darks areas. The Cerulean blue in the foreground is too intense but does communicate light on a dark background - which will almost always be darker than the dark areas of a white object, such as the cup.
Sketch #4 is painted in the "direct" method; no under painting. All 4 sketches break up the values in a way that clearly explains what the objects are and how they are effected by the light.

Class Notes: Stay Away From That White!

I tend to be somewhat tyrannical about using white paint in class so two weeks of set ups with white items- almost unheard of.
White paint cools all your colors, as well as lowers their intensity. Most beginners get very nervous about color that is too intense or values that are too strong. I think it is the "too, too" thing. Take away the white and one is forced to moderate values from the palette of colors. Which, by the way, encourages better color mixing.
The challenge in "tea set" above, was to make them look white while working on a violet, wash under painting. We started with a white canvas, which is my least favorite way to work. I much prefer a canvas with several old paintings underneath; that way I don't have to work as hard to get depth in my values.