I'll spare you the rest of the endless details that went into this 2 artworks.  Hopefully, you get the idea that a bit more goes into an abstract then you may have thought. Not to mention, things that I can do quickly and consistently are a result of years of practice. If an artist makes it look effortless, chances are a lot of effort went into all the stages you never got to see. 

You still don't like it? - That's something entirely different.  You won't like it all and that's okay.  That still doesn't mean you could do it. 

One more ingredient in a successful abstract – A Lifetime of research – Wait, say what?
Final photos of Fire and Water and an explanation of this outrageous statement next week.
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Info about the show on Saturday below.  

Back in March, I wrote about the Hazards of Scaling Up, meaning that a successful small painting can be difficult to replicate in a larger size. You can read more about that here.

I have an example of successful small motif that I have not yet scaled up with equal success. Looking at it now, I see that it is not cohesive. It needs more overlap among the elements. Making everything even bigger than I did might have helped too, but that is hindsight. Also I think the charm of the small scale paintings is the fresh, simple look. Making the painting larger, I got much more literal and detailed, it was not the same.

So now what do I do? I made lemonade out of this lemon. Since the main issue is that the elements look separate, I decided to separate them. I made 8 small paintings out of this large one. Initially this painting was on a full sheet of watercolor paper, which measures 33 x 22. The daisies pulled out were an obvious choice. I then looked at what was left. I enjoyed adding elements to grassy sections, I am especially happy with the sea turtle! I rarely paint sea creatures, so this inspiration opened a new door for me. Can you find where the little paintings came from in the first try?

Below is “Let It Burn” or “Landslide”. I wired the painting so that it can hang 2 ways. I'll have it at both events (unless it gets purchased).   You'll need to click the images to see the whole painting - it's tall, 44 x 21".​

A huge Thank you to Tristan McClelland for PA for 2 boxes of campaign signs!  I'll put them to good use.

I recently made a huge purchase - a roll of watercolor paper. How big is a roll you ask? Just 55” by 11 yards. Yes, 11 yards. I am having so much fun with these large scale works. I am sharing a photo of a work in progress photo of 'Iceland', a large abstract. This 45" x 21" monster will be mounted on reclaimed elections signs.  I am still refining mounting large pieces, since it requires connecting multiple signs into a seamless finish.
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I am trying a new brand of paper on the roll. This is a big investment for an unknown, but I am confident in my decision. First, I know many professional artists use this paper, so I believe the product is sound. Also, any new product or supply will have a learning curve, so as long as I commit to allowing myself some time to master this product, I can use it with the same success as the more expensive brand. I think too many artists give too much credit to supplies – they are overly concerned about which brand, pigment, brush, etc. another artist is using. Trust me, if you are using professional grade materials, everything else comes down to practice.

Next week I'll share my philosophy on investing in art supplies.
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Don't forget, 11 works are on sale (clearance sale pricing, I do not want to bring these home) at Ruckus Coffee Gallery and Café through June 28. Most are framed works from 2017-19. They represent some of my best works from that time period (hence they were framed).

Like everyone else, the pandemic turned my world upside down. Fear, anxiety, denial, frustration... Changes in household, kids home all the time. My art career was ideal for being a mom. I could work while the kids were in school, making my own hours with flexibility when necessary.

Well the flexibility came in handy, but the work went to the back burner. In winter/spring of 2020 my kids were suddenly home and needing help. We did it, we made it through.
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Summer of 2020 I came back in force. The kids were still home, but did not need the help. They are old enough to play with neighbors and entertain themselves. I finally started my Etsy shop. What a great education. With that under my belt, I created a shop on my own website, which is my only on-line store at this point.

Artistically, I was obsessed with a theme I call the Imagined Woods Series. I painted colorful skies and atmospheric backgrounds. Once that dried, I added a forest of bare branch trees and ground foliage. I could not get enough of this idea. Some were dark and foreboding, others were bright and hopeful. The spontaneity of the process was just what I needed during this time.  They spoke to others as well. They were instantly a best seller and are still popular today.

I often start with a wet into wet background. Sometimes I have a plan – areas I will leave lighter so I can paint the main subject later. I may also create an atmospheric effect by adding hints of a color, suggesting more of the same in the back. Wild Salvia, pictured, is an example of this method. The background flowers are hinted at by the soft focus purple in the distance.

Other times, I will start the painting with no end in mind. Usually this is inspired by playing with new pigments or new tools. It's an opportunity to learn the new materials without the pressure to have a finished product. These backgrounds may go on to be a finished painting and sometimes they do not. Below is A Moment's Rest is an example of a painting that was born out of playing with new materials with no plan.  

See me at The Block at Northway on June 17, July 8, July 15, Aug. 12, and Aug 19.