Pin Cherry Vanitas | soft pastel on sanded paper | 11×16 | 2020
Study of a Woman Laughing | pastel on sanded paper | 9.75×10 | 2020
From F. Scott Fitzgerald’s The Great Gatsby – ‘A new world, material without being real, where poor ghosts, breathing dreams like air, drifted fortuitously about. ‘
“Breathing Dreams Like Air” – Gateway International Painting Competition, Best in Show, February 2020
Judge’s Comment: “This entire painting has a wonderful ethereal quality. The muted and high key palette certainly lend to this effect, but it is largely achieved by very thoughtful brushwork. The few darks in the piece are brilliantly placed and add a necessary weight.” — Jane Hunt
Charcoal on laid paper | Summer 2019
Quahog Shells | approx. 6×9″ | charcoal and white chalk on laid paper | Summer 2019
All My Treasure | pastel | 13 x 17 | 2019
Nearly There | soft pastel | 2019 | 15 x 16
…and the boat made three | 18×12″ | pastel | 2019
Learning to Sail | charcoal | 24.25 x 7″ | 2019
Sense of Place | soft pastel | 2019 | 16.5 h x 13 w
“People aren’t interested in blueprints; they want to sense
the painter’s involvement and pleasure in the subject…
Paint a sense of place."
— Paul Strisik
Thanks to my very patient friend Mary for posing at the top of the Hancock parking garage while the security guards monitored us.
Pastels used: Mount Vision, Girault, Faber-Castell Pitt pastel pencils, and Gioconda pastel pencils. White Canson Mi Tiente paper 400 grit.
On Deck (The Veteran Fencer) | pastel | 2018 | 18″ x 26″
Boothbay Afternoon – Charcoal and white conté on toned paper, 2018. From a snapshot taken on a summer afternoon while on a schooner in Boothbay Harbor.
ARTinME, 2018 Boothbay Regional Art Foundation show, located at 1 Townsend Avenue, Boothbay Harbor, ME. The exhibit will run from October 14 – November 12, 2018. For more information go to boothbayartists.org.
‘God Is My Judge’, Mount Vision and Girault soft pastels on Canson Mi-Tientes Touch paper, 18″ wide x 18.5″ high.
Thanks to my friend Daniel for posing for this painting.
American Artists Professional League, 91st Grand National Exhibit, Salmagundi Club, NYC, 11-22 November 2019
14th International ARC Salon Finalist
American Women Artists’ Spring 2019 Online Juried Show, on view 1 April 2019 – 1 April 2020. AmericanWomenArtists.org
2018 Guild of Boston Artists Annual Regional Juried Exhibition. The Guild is located at 162 Newbury Street, Boston, MA. The exhibit will run from September 8 – 29, 2018. For more information go to guildofbostonartists.org.
BoldBrush Online Painting Competition, Outstanding Pastel Award May 2018 and FAV 15% (jury’s favorite 15% of entries)
Soft pastels on UART sanded board, 12×18″. Mount Vision, Gerault, Gioconda pastel pencils.
Military Macaws, photo taken at the West Palm Beach Zoo.
Mount Vision & Girault soft pastels on Canson Mi-Tientes Touch board 30×20 (28.5×18.5 image area).
An allegory of the current narcissistic generation relating to the virtual world and isolating themselves from the real one.
“Portrait of a Generation” – BoldBrush Online Painting Competition, January 2018, FAV 15% (jury’s favorite 15% of entries)
Mount Vision and Girault soft pastels on Ampersand Museum Series Pastelbord, 24″ x 36″.
Fay Chandler Emerging Art Exhibition City of Boston 2019, Boston City Hall, Scollay Square Gallery
2018 Northeast Regional Pastel Exhibition at View Arts, 3273 State Route 28, Old Forge, NY. The exhibit will run from June 23 – July 29, 2018. For more information go to ViewArts.org. This piece has been given the Rooney ETC Award.
American Women Artists 2018 Spring Online Juried Show
Second Place, Colors of Humanity Art Gallery online juried exhibit, November 2017
Mount Vision soft pastels and Rembrandt pastels on Canson Mi-Tiente dove grey paper, 16 1/2 x 14 1/4″.
BoldBrush Online Painting Competition, May 2017 FAV 15% (jury’s favorite 15% of entries).
Of all the photos I’ve taken in my life there are special images that stick in my memory for decades. At some point I suddenly have the time and the will to dig the image out and set up for painting. My memory for names and dates is horrible, but I’m convinced all of that brain-space is devoted to visual memory. I never forget a face and never forget what attracted my attention to an image and caused me to want to capture a photo for future reference. Sometimes when I pull out a photo it takes a while to remember what that was. The picture usually looks flat and uninteresting. It didn’t capture the narrowed vision and focus that I, the viewer, had at the time. A good example of how I mined my visual memory to alter the photo image to paint an image that reflected my memory is “The Clammer”. I intensely remembered how the breeze ruffled the man’s hair, his movement, the rhythm of the water, glinting of the sun off the water (but not enough to detract from the man), the sand under and swirling through the water as the tide ran out, the reflection of the sky on the deeper water, the footprints and rake marks of former clammers who worked there at other times. I’m not going to try to describe in words how I used memory to change the image, posted below are both the original photo and the altered painting so you can see for yourself.
“Miss Peanut” is an excellent example of how memory is way better than the photo, even if the photo is essential. Posted is the low resolution camera-phone snapshot, taken in bright sun that washed everything out, with funky overall color. But I really loved the pose, gesture, and lighthearted joy of the facial expression. Most importantly for me, how the lines of her body mirrored the lines of the peanut truck behind her. I prepared for painting by drawing a linear study highlighting flow-through lines and accentuating parallels between the figure and the lines of the background. This was taped to the wall behind the easel so I wouldn’t forget during the intense focus of working. Additionally, a major goal for me with this piece was to make the yellow peanut truck recede, as yellow, like most bright colors, visually projects forward.
I’m currently working on “Granite & Silk”, another example of a striking image that stuck with me for years, until I finally felt confident enough to capture the moment in pastel. This painting is about textures (hard, pitted stone, soft skin, the silky sheen of fabric) and, to expose myself as an art-nerd, value and chroma. The challenge here is to describe a human form with shadows and light, retaining the impression of a living person pausing for a moment without becoming stiff and mannequin-like. Just as importantly, to retain the vibrant hues of the woman’s clothing while retaining the relative value of each part of her form. The reason why this is difficult to do with pastel is because of the opaque quality of the medium. While mixing colors is possible, it must be done carefully and judiciously. If an area becomes overworked, a muddy color results and there are very few ways to remedy this, if at all. Glazing a bright hue to achieve a darker value while retaining the visual purity of the chroma might just end up as mud.
Below: The original picture, a value study in charcoal, and a detail of the figure in progress.
“Art is not what you see, but what you make others see.”
My daughter standing in front of a Mr Peanut truck in Cleveland. This was more of an exercise in making yellow recede than a portrait. Rembrandt and Girault pastels on laid paper.
Colors of Humanity Juried Exhibit May 2017
colorsofhumanityartgallery.com “Yellow” show, Honored as a Noteworthy work.
The original phone pic.