Handwork #1: Friendship

8x10 acrylic on panel, © 2010

Private Collection

I have had an idea for a series of paintings—Handwork... . This is the first in the series; Handwork #1: Friendship. My granddaughter was making friendship bracelets, and I thought that would make an interesting painting. The Winter Art show came up, and I thought I would give it a go. I always see improvements, but for one who paints so rarely, I thought it turned out quite well.

Recognition: Won fourth place (of 70 exhibits) in the Omaha Artists' Winter Art Show.

Arco Truck

8x10 acrylic on canvas, © 2010 

Collection of the Artist 

Art shows are motivational. In my case the Winter Art Show of Omaha Artists Inc. came up with the small-art format—two adjacent dimensions could not be over 18 inches. Well, we had taken a trip to Arco, ID two years ago, and I took a photo that I used as reference material on a friend's ranch. I decided that it would work into a nice composition, so I painted it and entered it into the show a few days later.

Kimber

14 x 18 acrylic on canvas, © 2009

Private Collection

I'm no Leonardo, but I understand Leonardo. He was reported to have carried Mona Lisa de la Jaconde with him for some 30 years. If he were like me, I would look at it and think of things that I might change—not changing anything, but thinking about them. Well, Kimber was such a project. I started it some 10 years ago and painted it but never finished it. This fall the art club had an exhibit and in my alpha state, I thought, "I could finish that; it's been long enough." I painted on it again—almost redoing everything since the last time I almost redid everything. Now I don't know why I waited all that time; it turned out great—but I'm glad no one saw the intervening steps. It's all in the smile. Good job Leonardo!

Mountains of the Lord

22x28 acrylic on panel, © 2008

Private Collection

   Commissions are challenging because what is in the mind of the patron may not be what I see as I work out the piece. I make a deal with the patron that I will paint what I feel they want, but they always have the option of not accepting it—it has worked both ways. 

   This piece was a challenge as I don't often paint man-made objects—buildings. It was also challenging because there are two specific places but not a specific location. Mt. Timpanogos and the American Fork Temple are in a relationship that cannot exist. Two very recognizable, special places with many memories and attachments—our emotional response to mountains is unique as our brains sort out the ordinary and make them extraordinary. They look much different in photographs than then do in our minds—the majesty is gone, and the extraordinary things become ordinary. 

    As I contemplated this commission, I sought images of both locations, the parameters that were provided, and inspiration to make it unique. I found that there was a knoll that I had not seen before in the photos and it was the location that I thought would be the site for the temple. Manmade streets and objects did not seem appropriate. Even access I would not explain. I sought inspiration at Adam-ondi-Ahman—the grasses and slope of the hill. I felt these would be appropriate inclusions. If you have faith, you can move mountains and temples and put Mt. Timpanogos and the American Fork Temple in a relationship that cannot exist. 

    I resolved the mountains in their majesty. Dark clouds threaten to engulf and yet are colored with the beauty of a hopeful sunset. A beaming white temple shines into the darkness and upon the clouds as if to break up their encroaching menace. The color of the temple is white yet is full of contrasts of cool and warm colors representing the contrasts of the world and of the spirit. 

    It wasn’t until I opened up the foreground with a pathway to the temple that the composition came to completion as we are all striving to walk the narrow path that leads to the mountain of the Lord. There we find our resolution and purposeful fulfillment of life’s journey. I spent a year with the painting and was constantly painting on it in my mind and in reality, as I would see details in my travels to include and color to adjust based on things I saw. 

    I lived with the finished work for several months and feel good about the outcome and feeling. It is unique and a vision that I pray will bring inspiration to those who view it.

Cone Flowers and Daisies

14x11 Acrylics on panel, © 2008

Private Collection

As a second piece for the Judy Greff workshop, I thought I would take on flowers again. Flowers are never the easiest for me to get like I want them. They look great, but I struggle to make it how it is in my mind. I tried some new techniques and came away with two finished pieces from the experience.

I always have frames that will work for the paintings so that, when complete, I can have them framed immediately, which is always an amazement in class.

Still Pear

7.25x9.25 acrylic on illustration board, © 2008

Collection of the artist

This was a painting for a workshop with Judy Greff. As a warm-up exercise, we were working  to get the essence of a still life. She had set up a Pear at the front of the room, and I decided to take it on. I loved it because it was right the first time with minimal stokes. The table I worked with for a while but in total it was a very successful piece.

Fall Trees

30x40 Acrylic on panel, © 2007
Private Collection

Up close and personal, closed landscapes have always been appealing to me to paint. In this painting I have experimented with interference colors. The photograph doesn't do well with these. The colors are milky when applied, but when viewed at an angle they have an opalescence with a tint of gold or red depending on the color I used, and when photographed they appear lighter. It creates an interesting effect and gives the painting a dynamic effect from whatever the direction.