Moon Over the Moor, June 7, 2010

In 2004, I was granted my first solo museum exhibition at the Carnegie Art Museum, Oxnard, California.

As part of the exhibition I performed a slide presentation on the history of nocturne painting. After the show, while the lights were off I turned on my book lights and headlamp, and spent approximately forty minutes demonstrating the night painting techniques I use to paint out on location.

This painting, was purely from imagination: I designed it, first, from a small sketch. I gave the composition a low horizon line, showing the moonlit road (lead line) sweeping up to some Irish type cottages.

I left a few lights on in the structures to give it a sense that somebody may be home. (A human touch sometimes adds warmth and mystery to a painting). However I didn't want too many ambient light sources denoted, for they would distract from the painting's main focal point; the moon.

I began with a green under painting, which, when mixed with the cool blue gray tones of the night, offered an interesting contrast. It is an overall cool painting.

I am still intrigued by this painting; It gives me this desire to visit and paint in Ireland some day; to not only paint, but Howl at the Moon...

Walking Amongst Masters, June 6,2010

When I went back to school to get my Master in Arts Degree in 1997, I sought out my teachers. I found a book in an art store by the contemporary master artist, Harry Carmean, who's proficiency and skill with line and form have astounded many art officianatos.

Fast forward to last night at the four seasons Biltmore in Santa Barbara; the Bottoms Gallery hosted a one night salon, exhibiting the artwork of Harry Carmean, for one evening.

Walking in to the salon I was very still, taking in the beauty before me. All the paintings were hung and lit well, and framed nicely. What a treat; to be in the presence of such masterworks, of an artist I'd only heard about, and studied, years before. There's nothing like the real deal.

As the evening went on I introduced myself to Harry, who was conversing with another contemporary Master Artist, James "Bud" Bottoms. (I show my work at Bud Bottom's Son Joseph's gallery)

This was just a brief orbit of us three artists. I was all ears as Harry and Bud shared their WWII stories: Harry was in the 2Nd Wave of U.S. forces on Omaha Beach, firing anti-aircraft, Bud operated radar on TBF's in the Pacific.

The rest of the evening was spent in dialog on art and masters of the past. The flow was extraordinary; always placing things in context. I feel it could have gone on all through the night.

I left there, feeling grateful, and appreciative for that which is to come.


Photo:

"Harry Makes a Point"
Left to Right: Harry Carmean, Myself, James "Bud" Bottoms

Night Shift. June 5, 2010

Just spent this last week finishing, framing, and hanging my paintings at the Santa Barbara Tennis Club. It is a group show called, "Night Shift". I am exhibiting my plein air (open air) nocturnes along with fellow noctural painters Cyndi Burt, Filberto Lomeli, Doreen White, and Paul Cumes.

The show is up, it looks good. Come to the opening if you can on Friday June 11 from 530 to 730. The show will be up until July 6, 2010.

I'm pleased to say I have sold two of the four paintings sold thus far, in the pre sale hours before the event.

This is one of my paintings sold, and it is a fine thing to know people are willing to buy art in this Economy.

It is a great neighborhood in which to exhibit.

Moonset, Carpinteria Bluffs
6x9, oil/canvas, 2010
Private collection

Casa Dahlias, June 4, 2010

Been kinda scattered these days with Graduations et el.

But no mind, when it gets like that it's important to enjoy the simple things in life, like fresh cut flowers. Ah, simple pleasures.

These flowers were cut and placed in the beautifully designed home by Master Architect George Washington Smith, called, the Casa del Herrero, in Montecito California. I painted this still-life for a fund raising event to benefit the Casa del Herrero, in 2008.

Its nice to paint flowers. I view it is an artist's way of honoring and immortalizing their lightness- in their beauteous prime.

--Thoust wilt capture them before they wilt!

Ironically, in the end, their death was worth it.

Casa Dahlias
12x9 oil/board 2008

Private Collection