Daffodils, jonquils, narcissus- they all refer to this beautiful flower floating in the nameless blue reaching for the light. Very fun to paint-always a struggle painting the light white in the shadow. I'd like to paint this again but loosen up my edges.
The Japanese wabi sabi philosophy states in part: nothing is perfect, nothing is finished, nothing lasts. So true.
I'm getting into the swing of painting and posting every day. It requires me to be willing to let go and send the image out into the world. (I'm of course reserving the right to repaint and repost later, but haven't so far).
I think yesterday's post, Foiled and Boiled needs a little glaze on the reflection to darken it just a hair. And I might play with the bits of egg flotsam, the flow needs some adjustment.
As I wrote last month- I'm writing a cookbook and plan to do a series of food paintings that are vaguely related to the recipes-just enough to give some structure to painting subject matter. I've been collecting recipes for a few years from a dear friend and fabulous cook- she is really gifted. The cookbook is called "A Year of Food Sex with Sam".
Here's the first egg recipe and a quote from Sam: "Eggs are delicate, we treat them harshly. They're the most delicious food and a pleasing shape."
How to boil an egg:
Put the eggs in a pot with cold water. Bring the water to a gentle boil and turn it off. Do not cover the pot. Let them sit for 7 minutes and plunge the eggs into ice water. Voila, the perfect boiled egg.
Egg painting number 8 of 12. I've kept the same color scheme as "follow the crowd" and played with the arrangement of shapes. I'm able to be a bit looser with each painting. A boiled egg is a surprisingly fragile thing.
Painted this with my plein air students in June. A gorgeous day, we spent the previous day indoors working from photos because of rain. What I noticed was- when the students got outside the next day, because of the emphasis on abstracting the photo the day before they were less intimidated, felt more in charge and were less overwhelmed. One of my students called it "blobism"- not painting individual things but seeing the scene as areas of value and color.
I've been working on a series I call beet bondage. Here's a preview- tied up, tied down, stretched, wound around itself- it's been fun. I've barely scratched the surface. I'll post more in the coming months.
This house is in Crested Butte. An old mining town in the mountains of Colorado. Every year this house catches my eye. It's deserted and the red trim has faded to pink. The windows are dark but reflect the sky and trees around it. I particularly enjoy playing with the colors. I'm attracted to the trim in the light and shadow, the way the roof and trees cast shadows on the white wood, the yellow dandelions in the bright yard and in the shadow of the trees. I've been working on my evergreens, I find them challenging to paint. As always, less seems to be a bit more-less contrast and fewer strokes.
This spring the ranunculus were gorgeous-so round, so full. The contrast of the black centers of the flowers make a good graphic focus. I particularly like the vase on this one-so abstract. I often like the way my vases are painted- I think it's because I'm not painting a thing, I'm painting reflections and transparency. I wish I could bring the same non attachment to all parts of my paintings.
I taught a week of summer camp to 8 year olds this year. It was called Cakes and Carrots. We baked, we decorated, we drew, painted and played with color. I painted this for the kids, as an example of how to transform your cupcake into a painting.
Here's the rest of Bob's garden from a plein air perspective. The goldfinches love the sunflowers and everything was glinting with gold, the flowers and the birds. I went twice to catch it all. Apparently all the sunflowers are volunteers.
Bob has an amazing garden, with rows and rows of sunflowers (that painting is still on the easel). He also has these old wheelbarrows planted with red and pink and magenta. Late in the day the sun was coming straight at me creating dark shapes against the lights of the grass.