Moody, Minimalist Landscape Painting

Posts tagged “lonely road

2017 Late Spring News and Upcoming Events

This spring my mind has been on many of the seasonal imperatives, like creating new work for my galleries on the Cape and Islands and sorting through and shipping or delivering their selections. It has also, after a huge jump-start on my Atlas Project during my residency at the Nantucket Arts Association, been very much on advancing that exploration; and the spring has been spiced up by a few other new projects.

Mountain Sky/Blues, 24″x48″, newest piece, of the Catskills from the river.

I have scheduled a talk to discuss my Atlas Project for July 15 during the Shandaken Artists Studio Tour, 4:30-6pm. I am currently developing the third sequence, Atlas/Hudson Valley segment. This means that, in addition to other work in my studio,  I will hang a grouping of each of the sections that I have been working on this year: Atlas/Forms of Water/Snow; Atlas/Island (Nantucket); and the most extensive sequence to date, the Hudson River and Catskills work and mapping thereof.

 

Red River Shore, 20″x30″.

In my studio work progresses on my third prototype map for this grouping, which will include mini-monotypes of the paintings involved; maps of various sorts of the area; and a number of other elements, both descriptive and visual. I am hoping that this map will be the working template that clicks for me so that I can use it for new groupings/exhibitions going forward. This involves lots of trial and error, applied problem-solving and then experimenting with the materials (maps, acrylics, printmaking, rice paper, collage, river mud, etc.).

I have found that when I pose myself a complex creative problem to be solved, following a simple process works quite well. I start by seeing how far I can think my way into it, often using moments when I am driving or walking, and when I hit an aspect or aspects that stump me, I plant those as a seed, and then let go of the conscious effort. Some time later—usually weeks—the answer will pop into my head, my subconscious having been at work on it all the while, sometimes aided by new information that comes my way in the interval.

Here is where I am so far with the latest Site Map and associated prints:

 

Work table with HV map in progress; site map for the Atlas/Island (Nantucket) grouping in the background.

 

Trees with Mists, 18″x48″.

 

Above and below are a few of the Hudson River & Valley/Catskills paintings that are part of the new sequence:

 

2 Shores, 12″x12″.

 

My new series is bringing me ever closer to the many aspects of the natural world that I have in the past observed, researched and delighted in. Which of these things and how they can manifest in the work is the adventure. As is true of most meaningful new endeavors, the space this holds for me is both stimulating and disquieting.

 

My first gallery show of Atlas/Hudson Valley is scheduled for 2018 at Thompson Giroux Gallery in Chatham, NY.

To view more oil paintings that are currently in my studio, click here:

https://scheeleart.wordpress.com/2015/11/18/available-workstudio/

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During spring I am always preparing to deliver or ship new work to my galleries in Martha’s Vineyard, Nantucket, and/or Cape Cod. Below are some new pieces at the Louisa Gould Gallery in Vineyard Haven on Martha’s Vineyard. She always has a beautifully installed grouping of my work on display throughout the year, so please stop by if you are on the island.

 

Summer Inlet, 48″x24″, 2017.

 

Sengekontacket Greens, 12″x12″, 2017.

 

Katama Field, 12″x12″, 2017.

 

Summer Wave, 12″x12″, 2017.

 

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My residency at the Arts Association of Nantucket in February resulted in many advancements in my problem-solving curve for the Atlas Project; a number of small paintings; and some monotypes (see my blog post on the residency):

https://scheeleart.wordpress.com/2017/03/18/artists-residency-on-nantucketnew-atlas-project/

The five monotypes hanging below are a the results of printing sessions in both Woodstock and Nantucket.

 

 

And a few others:

 

Monotype/Green Marsh, 8″x10″.

 

Monotype/White Field #2, monotype and pastel, 8″x10″.

 

Monotype/Wave#5, 8″x10″.

See more of my prints and pastels here:

https://scheeleart.wordpress.com/2016/11/03/available-workstudioworks-on-paper/

 

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In April I flew to South Florida to do a large painting for friends with a new house there. I managed to pack in one big suitcase everything I needed, including the 16″x20″ version of the wave image that I had painted ahead of time. The one thing that did not fit in my suitcase was the 48″x60″ stretched linen canvas, which we had shipped from my wonderful stretcher-makers in Vermont, Brickyard Enterprises.

I had exactly one week to do this large piece and so, concerned about the possibility of things going wrong, I put in long days for the first several, working under an overhang in the pool enclosure.

 

 

Happily, nothing did go wrong, so we had a finished piece on the wall ahead of deadline and then I got to play, spending time at the Morikami Gardens and the beach (more wave paintings to come!).

 

 

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My winter-spring show with Albert Shahinian Fine Art wrapped up in early April. We had a nice run of of two receptions—one at the gallery and one at my studio; a number of sales of pieces small and large, old and new; and an interview with the Poughkeepsie Journal containing questions that I quite enjoyed:

http://www.poughkeepsiejournal.com/story/entertainment/2017/03/22/landscapes-art-artists/99454762/

 

March reception in my studio.

Several of the pieces that went to new homes from our show “Gallery/Studio: A Symbiosis”:

 

Glistening Greys, 10″X10″, oil on linen.

 

“White Trail”, 40″x30″.

 

Affinity/Duo/Palms, diptych of 2 paintings of 16″x8″/ea.

 

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I am teaching four more workshops in 2017, several of them new. In my workshops I emphasize composition as well as color, and share not only my techniques, but also an eclectic delight in many styles and aspects of contemporary and historical art.

The Woodstock School of Art:

June 17-19, Sat.-Mon, 9-4pm, Form and Content: A Landscape Painting Intensive
Oct.28-30, Sat.-Mon. 9-4pm, Color Mixing for Landscape Painters.
The Nantucket Arts Association July 18-20,Constructing/Deconstructing the Landscape;  and Mentoring for Artists, July 21.
Provincetown Artist Association and Museum, Sept. 11-14, Mon.-Thurs. 9:30-1:30, Abstraction and Narrative in the Landscape.

 

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I have plans for some new pastels in the near future—its a good time of year to approach these, with the studio windows wide open (ah, and I must mention sounds of birds and the creek behind my studio), mitigating any effects of flying dust. Below is a fairly recent one, in which I was pushing the color somewhat.

 

Turquoise Sky/White Cloud, 20″x20″.

 

Over the years I have at times felt pressure from some of my galleries to work brighter. I am very often a moody painter, though I don’t ever want to limit myself to any palette, locale, format, or mood. I do love a bright sunny day, but painting dramatic clouds and subtle, tonal color often draws me, and many of my collectors will follow me into that terrain.

With the pastel above, I set myself the intention of not going as dark along the horizon as I often do in a seascape, and in general keeping the colors more saturated or desaturated with white instead of grey. I wanted to see if I could make myself happy with a lower contrast, brighter image. And I did.

This is turning a request, essentially, into a creative problem. When people ask me how and whether being a full time, self-supporting artist affects my decision-making in the studio, that is part of the answer—that if I feel that I am being nudged in a particular direction, can I turn that into an interesting problem? And after I work that one out, what else can I do that is generated exclusively by, to use Kandinsky’s term, inner necessity?

 

Cotue of the Scalloped Edges, 6″x10.5″.

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“Gallery:Studio – A Symbiosis” Solo Show with Albert Shahinian Fine Art

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A quiet chat during a lull...

Having a quiet chat during a lull in the reception…

 

 “GALLERY:STUDIO – A SYMBIOSIS” is a retrospective and a culmination, presenting over 60 works drawn from a broad range of Scheele’s recent output – including paintings, pastels, monoprints and mixed-media.  In designing this show, artist and gallery were keen on making more accessible to visitors and collectors the opportunity to acquire a painting (hence the special sale).  As a culmination, the exhibit and sale end a significant period of Scheele’s aesthetic explorations, making time and space available for her focus on, and movement toward, a complex new project.  Finally, important to both parties, this exhibit celebrates a friendship born, but not limited by, their respective callings as artist and art venue.
Light that Glows, 32"x60".

Light that Glows, 32″x60″. $7,500.

 

Soft Greys from Peaked Hill, 10"x60".

Soft Greys from Peaked Hill, 10″x60″, $4,200.

 

Green Waves, 13"x76" overall, oil on linen.

Green Waves, 12″x75″, $8,000. (Sold)

 

https://scheeleart.wordpress.com/2015/03/24/the-evolution-of-a-new-concept/

 

Rare Summer Silence, 20"x30".

Rare Summer Silence, 20″x30″, $3,200.

 

Cranberry Bog in Reds, 48"x24", 2013.

Cranberry Bog in Reds, 48″x24″, $5,000.

 

Affinity/WinterSunset, 36"x48", $6,500.

Affinity/WinterSunset, 36″x48″, $6,500.

 

"Extravagant Sky", 36"X60".

“Extravagant Sky”, 36″X60″. $8,000.

 

TriptychinReds

Triptych in Reds, 3 panels of 24″x24″/ea., $7,500.

 

White Field, 20"x40".

White Field, 20″x40″, $3,600. (Sold)

 

Angle of Repose, 40"x30",

Angle of Repose, 40″x30″, $5,000.

 

Drifting CLouds, 20"x20".

Drifting Clouds, 20″x20″, $2,200.

 

"Affinity/Dusk Road", 30"x30".

“Affinity/Dusk Road”, 30″x30″, $4,000.

 

SunsetonTremont

Sunset with Taillights, 40″x20″, $3,800.

 

SunsetContours

Sunset Contours, 20″X20″, $2,200.

 

dawnharbor

Sunset Harbor, 20″X16″.

 

 

HiiiBeyondHill

Hill Beyond Hill, 3 panels of 24″x20″/ea., $7,000. (Sold)

 

Height of Summer, 36"x48".

Height of Summer, 36″x48″, $6,500 (sold).

 

 

summerfields

                         Summer Fields, 30″x30″, $4,000.

Moving Sky, 30"x36".

Moving Sky, 30″x36″, $4,500. (Sold)

 

Juncture, 18"x60".

Juncture, 18″x52″, $4,200.

 

 

affinityinmotion

Affinity/In Motion, 48″x12″, $4,000.

 

Sundrenched Field, 20"x24".

Sundrenched Field, 20″x24″. $2,500.

 

 

Skyblues/Seablues, 10"x8".

Skyblues/Seablues, 10″x8″, $800.

 

Winter in Blue/White, 12"x12", oil on linen (at Albert Shahinian Fine Art).

Winter in Blue/White, 12″x12″, $1,300. (Sold)

 

Angular Tidal Flats, oil on paper on 12″x12″ board. (Sold.)

 

Mauve Sky, 6"x12", oil on board, $650.

Mauve Sky, 6″x12″, oil on board, $650. (Sold)

 

Affinity/Duo/Palms, 2 paintings of 16"x8"/ea.

Affinity/Duo/Palms, 2 paintings of 16″x8″/ea, $2,000. (Sold)

 

Glistening Greys, 10"X10", oil on linen.

Glistening Greys, 10″X10″, oil on linen. (Sold.)

 

Gold Bush, 10"x10". oil on board, $700.

Gold Bush, 10″x10″. oil on board, $700.

 

2 Suns, 10"x10", oil on board, $700.

2 Suns, 10″x10″, oil on board, $700. (Sold.)

 

"Study/Sunset Sea", 5"x5", oil on primed paper.

“Study/Sunset Sea”, 5″x5″, oil on primed paper, $550.

 

Study/Skyline, oil on paper, 5"x5", $550.

Study/Skyline, oil on paper, 7″x7″, $700.

 

"Factory at Work", 7>5"x3.5" (courtesy Julie Heller Gallery).

“Factory at Work”, 7.5″x3.5″, $600.

 

Affinity/Boatyard, 10"x10", 2014, oil on linen with frayed edges on board overlaid with graphite lines.

Affinity/Boatyard, 10″x10″, 2014, oil on linen with frayed edges on board overlaid with graphite lines, $900. (Sold)

 

"Hilltop Contour", oil on a vintage child's slate. (Courtesy JHG)

“Hilltop Contour”, oil on a vintage child’s slate, $750.

 

Additional works at the gallery:

 

Gleaming Bridge, 20"x40", $3,600.

Gleaming Bridge, 20″x40″, $3,600.

 

 

Summer Sky over Divided Fields, 20"x24".

Summer Sky over Divided Fields, 20″x24″, $2,500 (sold).

 

Black Treeline, 36"x48", $6,500

Black Treeline, 36″x48″, $6,500

 

Sweeping Greens/Jostling Trees, 28"x68", $7,500.

Sweeping Greens/Jostling Trees, 28″x68″, $7,500.

 

Mists from Palmer Hill, 12"X36", 2014.

Mists from Palmer Hill, 12″X36″, $2,800.

 

Dawn Headlights, 12"X36".

Dawn Headlights, 12″X36″, $2,800.

 

RefractedGolds, 20"x40", $3,600.

RefractedGolds, 20″x40″, $3,600.

 

Favorite Field/Soft Greens, 3 panels of 12"X12"/ea., $3,200. (CRG)

Favorite Field/Soft Greens, 3 panels of 12″X12″/ea., $3,200.

 

"Intervening Space", 20"X20".

“Intervening Space”, 20″X20″, $2,200 (sold).

 

Stormy Sea, 12"X12".

Stormy Sea, 12″X12″, $1,300.

 

Evening Shoreline, 12"X12", $1,300. (ASFA)

Evening Shoreline, 12″X12″, $1,300.

 

Study/Mountain Contours, oil on paper

Study/Mountain Contours, oil on primed paper, 4″x14″, $800.

 

Affinity/Bridge at Sunset, 12"x24".

Affinity/Bridge at Sunset, 12″x24″, $2,000.

 

Green Waves, oil on paper,

Green Waves, oil on paper, $1,600.

 

 

 

"Conviction of Beauty", 12"x

“Conviction of Beauty”, 12″x42″.

 

Red Sky with Gleam, 5"x12", $800.

Red Sky with Gleam, pastel on paper, 5″x12″, $800.

 

River Sunset, 9.5"x19".

River Sunset, pastel on paper, 11.5″x19″, $1,600.

 

Mountain Fields, pastel on paper, 20"X24", $2,500.

Mountain Fields, pastel on paper, 20″X24″, $2,500. (Sold)

 

White Trail, 40"x30", $5,000.

White Trail, 40″x30″, $5,000. (Sold)

 


As 2016 Rolls into 2017…

 This is a time when we celebrate the start of a fresh new year, looking outward at loved ones and community for warmth, stimulation, and support. It is likewise a time of introspection, as we examine the  creative and life-of-the-mind pursuits, often solitary, that give the deepest meaning to our lives. 
 
Looking back at my art-related projects of 2016, a recent one was my blog post “Paintings of Infinite Worth”, in which I discuss four beloved paintings from last century.  Analyzing artwork is always stimulating and fun for me, and if I love the work, deeply felt. I feel lucky that I get to practice this skill while teaching; looking at artists’ work in mentoring meetings; in public talks —such as I did at the Provincetown Artists Association and Museum in September—and here on my blog.
It has been quite some time since I have done this with one of my own pieces, so I have selected “Calm Crossing”, painted last spring for my Martha’s Vineyard gallery, to deconstruct.
calmcrossing

Calm Crossing, 32″x68″, oil on linen (at Louisa Gould Gallery, Vineyard Haven, MA).

 I wanted this piece to convey the feeling of openness and welcome that the view of Martha’s Vineyard and the Sound have from the deck of the ferry, making it a more specific narrative than many of my paintings. I actually started with the cloud and color, testing as I went along—how turquoise and bright can I make this while still retaining the feel of the north Atlantic? Going quite literal and descriptive for a moment, the flatter the water the more it reflects the sky. So, how flat can the Sound between Cape Cod and MV actually be?
I have seen it pretty calm (the occasions when Jack always says, “See, our little boat would be fine to do this crossing on a day like today!”), so ultimately I felt free to just follow my own nose in regard to color and reflection.
Considering the relationship of the shapes, bits of the cloud come off the bottom center, angling towards the island, itself a low wedge shape. To the right, another wisp sits over the break in the land shape, but not so low as to feel that it is pressing down. As that cloud moves off to the right, below it a reflection of almost the same color moves diagonally left and down, so that the two shapes create a sideways V of surface tension that opens toward the center of the painting.
This kind of play in a scene that is otherwise a banded horizontal composition is what holds the surface together and keeps the eye happily circulating. Likewise, all of the subtle variations along the edge of the cloudbank, softer at the top,  invite the viewer to linger.
The context of the formal part of this discussion is that, with minimalism, there are few of the distractions that busy details create, so everything that is there must hold up to intense scrutiny. This also, then, connects to my analysis of the Rothko and the Frankenthaler in the Paintings of Infinite Worth post.
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In late summer and early autumn I spent some time simplifying, rearranging, and painting my studio. Since I started out by getting rid of two large pieces of furniture that stored multiple things, I was spurred to action by the resulting piles of stuff. Sifting through old files—show postcards; letters; consignment sheets from galleries long gone; grant applications—I found myself in an unexpectedly intense emotional state.
I am still trying to put my finger on this stew of emotion. It did not include nostalgia, interestingly, or even pride, but did produce a sense of…wonder? The files were evidence of the accretion created by so very much effort over many years, including a good number of things that I had forgotten about or forgotten the details of.
That such a number of seemingly random tidbits added up to something quite substantial —my life’s work—made me feel as if I am sitting atop this huge pile of career events; relationships; and hard work, and that all of that is now supporting me. It also strikes me now how this would be true of so many people of a certain age, especially those working in arenas where both work and success are largely self-generated. Further, as an avid reader of literary fiction, I can see that this is the stuff that novelists work with—details that end up coalescing into life narrative.
The most moving piece of paper that I found was a letter from my old friend Joan D’Arcy, a gifted arts writer who passed away some years ago. This letter was written shortly after her husband died, at which time I had given her a small painting.
Interestingly, in a  twist to this story, a few years later Joan told me how much her husband had loved this piece, her memory apparently having been reshaped by a conflation of events on the timeline. I never corrected her.
letterfromjoan
“…shames the obvious.” Such a gorgeous turn of phrase.
Sorting through my studio, I also took a good look at the few that are left of these pastel-on-primed-paper pieces from 1992, done during a period when the serene feel was not working for me. I remember vividly doing these, our small twins (finally!!!) asleep in the late evening.
Jagged Peaks, 20"x24".

Jagged Peaks, 10″x24″.

 

Brown Shoreline, 24"x20".

Brown Shoreline, 24″x20″.

 

Birdseye Shoreline,

Birdseye Shoreline, 10″x24″.

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Last summer I did, on a very hot July day, a demo at the Woodstock School of Art. It is hard to complete a sentence while working on a painting to start with—so much focus is on the progress of the piece—and on top of that the editing of a short video tends to break things up. Nonetheless, I am pleased with the result and hope that you enjoy watching.
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A new exploration for me this past fall has been working with monotype, a printmaking process wherein you work directly on a plate to create one-of-a-kind images. An experienced painter can often move fairly quickly along the learning curve with monotypes, so I have had great pleasure in the process and am happy with many of my results.
M/Dark Road, monotype and pastel.

Dark Road,  monotype and pastel, 10″x8″.

 

Monotype, Wave #3, 8"x10".

Monotype, Wave #3, 8″x10″.

 

Monotype, Fall Marsh, 8"x10".

Monotype, Fall Marsh, 8″x10″.

Additional images can be viewed at:

https://scheeleart.wordpress.com/2016/11/03/available-workstudioworks-on-paper/

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 The development of the actual paintings always (naturally!) comes first on my list of what I love to do most. These pieces are among my own top picks from 2016, often because I remember certain challenges in the process of creation that led to a satisfying result.
Layers of Meaning, 30"x24", oil on linen.

Layers of Meaning, 30″x24″, oil on linen.

 

Glistening Greys, 10"X10", oil on linen.

Glistening Greys, 10″X10″, oil on linen.

 

"Lingering", 10"x10".

“Lingering”, 10″x10″, oil on linen (sold by Julie Heller Gallery).

 

Winter in Blue/White, 12"x12", oil on linen (at Albert Shahinian Fine Art).

Winter in Blue/White, 12″x12″, oil on linen (at Albert Shahinian Fine Art).

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I am very pleased to have new representation at Gallery 901 in Santa Fe, NM. Please check out the gallery if you are in town:

http://www.gallery901.org/christie-scheele/

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A number of my pieces have been gifted from one spouse to the other for the holidays. In the case of Trove/Atmospherics,  the story leading up to the surprise gift from a dear friend to her wife has twists and turns that have gone on for years (even though the piece dates only to winter of 2015):
Trove:Atmospherics, 35 panels of 3"x5"/ea., 30"x48" overall.

Trove:Atmospherics, 35 panels of 3″x5″/ea., 30″x48″ overall.

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I have just added some newly returned work to my data-base, and taken off the aforementioned holiday gifts. If you are looking for a large painting, this is a rare moment to peruse the many choices:

https://scheeleart.wordpress.com/2015/11/18/available-workstudio/

Since I sold the piece in October that was on my large living room wall, I have had the pleasure of replacing it, temporarily at least, with this favorite that I recently had returned to me:

 

"Rolling Cloud", 44"x68".

“Rolling Cloud”, 44″x68″.

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Looking ahead, my thoughts are on the project I am developing for my residency in Nantucket in Feb.-March. This will involve an expanded and more experiential exploration of place, using drawing, printmaking, painting, writing…and who knows what else? Memory will be a theme.

Also coming up this winter, a special show/sale starting in early February at Albert Shahinian Fine Art in Rhinebeck, NY. More on this in a few weeks.

Finally, for those of you who do the drive from Kingston, NY up Route #28 to your home or weekend place, or if you just want to listen to a very well-produced culture/history/arts audio tour of the Catskills, check  out this piece by neighbor and friend Brett Barry of Silver Hollow Audio (who Catskills/HV/Berkshires folks will know from the segments that he does on WAMC). My bit is about half-way into it, but with Brett’s interview prompts that created the individual discussions followed by skillful editing, the whole piece is beautifully interwoven and well worth listening to.

http://drive28.com/

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I am wishing us,  individually and collectively, a year of truth-seeking and compassion; of finding community; and exploring our deepest joys.


Available Work/Studio/Works on Paper

These are works on paper, many of them unframed, currently in my studio. Often works on paper are an option that is more affordable than oil paintings. Several of my galleries and consultants also have a selection of framed or unframed pastels, most notably Albert Shahinian Fine Art in Rhinebeck, NY; JSO ART Associates in Westport CT, and Megan Peter Fine Art in Redbank, NJ.

Pastels:

 

Harbor with Soft Light, 13″x20″, (framed with mat and glass).

 

SeptDawn

September Dawn, 10″x28″, framed.

 

Turquoise Sky/White Cloud, 20"x20".

Turquoise Sky/White Cloud, 20″x20″.

 

Gleam on Turquoise Sky,

Gleam on Turquoise Sky, 6.5″x30″ overall.

 

Saltmarsh in Greens, 10"X20"

Saltmarsh in Greens, 10″X16″.

 

reachingcloud

Reaching Cloud, 5″x18″.

 

Summer Farm Fields,

Summer Farm Fields, 6″x12″.

 

 

Hillside in Oranges,

Hillside in Oranges, 6.5″x16″.

 

Magic Hour in the Mountains, 8″x10″, framed.

 

gleamongreysea

Gleam over Grey Sea, 14″x14″.

 

Long Storm Cloud, 8″x28″, framed.

 

Shore with Greens,

Shore with Greens, 11″x18″, framed.

 

Soft Greens,

Soft Greens, 5″x14″.

 

Triptych in Red/Black, 3 panels of

Triptych in Red/Black, 3 panels of 7″x13″.

 

redsandbar

Red Sandbar, 19″x26″.

 

 

Rusty Crane,

Rusty Crane, 15″x21″.

 

River Lighthouse,

River Lighthouse, 15″x21″.

 

 

Red Sun, 12"X18", $1,400 (uf).

Red Sun, 11″X18″.

 

“Gleam over Tuckernuck”,  7″x11″.

 

 

MOuntain Fall

M0untain Fall, 6″x16″.

 

Mountain Trio, 6.5x13.5.

Mountain Trio, 6.5×13.5.

 

 

Bright Fields, 22"x30".

Bright Fields, 22″x30″.

 

 

Moody Mountain Sky, 12"X13", $1,200 (uf).

Moody Mountain Sky, 12″X13″.

 

 

Warm Light, 9"X20", $1,200 (uf).

Warm Light, 9″X20″.

 

Mists over Fields, 5"x8.5".

Mists over Fields, 5″x8.5″.

 

 

Green Hills, 15"X18".

Green Hills, 15″X18″.

 

Oil on paper:

Green Waves, 5"x28.5".

Green Waves, 5″x28.5″, framed.  (See the post below for a description of the genesis of this piece and the larger version in oil.)

https://scheeleart.wordpress.com/2015/03/24/the-evolution-of-a-new-concept/

 

 

Lavender Mists, oil on paper on board.

Lavender Mists, oil on paper on board, 8.5’x40″.

 

To see the blog post on my smallest oil-on-paper pieces showing currently available works along with a discussion of their genesis, click on the link below:

https://scheeleart.wordpress.com/2015/10/22/small-studies-in-oil-on-primed-paper/

 

Mixed Media/Collage (Of paper and other things, on board):

 

Atlas/HV Collage, 2 panels of 16″x8″/ea.

 

AtlasHVCollage

Atlas/Hudson River Collage, 18″x14″.

 

Cloud, 6"x6".

Cloud, 6″x6″.

 

Wetlands, 6"x6".

Wetlands, 6″x6″.

 

mmcity

City, 6″x6″.

 

 

mmtree

Trees, 6″x6″.

 

Mixed Media/Collage/Toolbox, 4 panels of 5"x5"/ea.

Mixed Media/Collage/Toolbox, 4 panels of 5″x5″/ea.

 

Waterways, 6"x4".

Waterways, 6″x4″.

 

Waterways/Arial, 5"x5".

Waterways/Arial, 5″x5″.

 

Mixed Media/Vintage Box, 4 panels of 3.5"x2.5".

Mixed Media/Vintage Box, 4 panels of 3.5″x2.5″.

 

Monotypes (these are all 8″x10″ or 10″x8″):

Five prints

 

 

MCreeks#2

 

MCreeks#3

 

M/Dark Road, monotype and pastel.

M/Dark Road, monotype and pastel.

 

Monotype Sunset over Tidal Flats, 8″x10″.

 

M/Mountain Travel.

M/Mountain Travel.

 

M/Dawn Road.                                                       M/Dawn Road, monotype with touch of pastel.

 

 

 

 

M/Waterspouts with Walking Rain.

M/Waterspouts with Walking Rain.

 

M/Mountain Stream.

M/Mountain Stream.

 

 

MGreen Marsh

 

Inlet

M/Inlet

 

M/Wave1

M/Wave1

 

 

mwave3

MWave 3

 

 

MWhite Field #2, monotype and pastel.

 

mfallmarsh1

MFallMarsh1

 

 

mfallmarsh3

MFallMarsh3

 

 

MFallField#1

MFallHillside#1

 

MFallHillside#2

MFallHillside#2

 

 

 


“Contours/Distillations”: a Solo Show

“Contour/Distillations” has been extended to October 11th.

contours:distillations

We are tremendously drawn by stuff. The content of our lives—acquiring possessions; taking care of or replacing said possessions; packed schedules; busy brains—loudly demands attention. What we need the most for balance is intervals of the absence of our stuff, and yet it is hard to reset and choose openness over content.

“Blue Tidal Pool”, 20″x24″.

Creating space in my life is an ongoing project, and has long drawn me both to spend a great deal of time outdoors and to paint my landscapes in an open and minimalist manner. This approach quiets the mind, evoking a direct response. Abstract elements can elicit deep, complex feelings, (a theme beautifully explored in Vassily Kandinsky’s 1910 “Concerning the Spiritual in Art”) and larger, flatter shapes with soft edges awaken the wide-open feeling of being outdoors in our atmospheric world.

Tree/Mist, 18

Tree/Mist, 18″X48″.

Delving further into the less-is-more discussion, I think that less is different. If there are many details to look at in a painting they tend to compete for attention, creating an experience that remains purely visual or intellectual without going deeper. With fewer elements and more open space, both the emotional and formal content have enormous impact, often visceral. At the same time, what is there has to hold up under analysis, as there is no hiding.

Layered Clouds, 20

Layered Clouds, 20″X16″.

My process in the studio is comprised of long swaths of time in which I am intensely focused and living within the emerging painting, punctuated by intervals of scrutiny and analysis during which I observe the elements with as much distance as possible. This rigor is, ultimately, what allows the viewer to sink into the piece—-many small just-so decisions to create a seamless whole.

Diagonal Flux, 36

Diagonal Flux, 36″X36″.

The landscape inevitably holds powerful associations, so painting it becomes a back-and-forth between exploring the narrative and focusing on the formal elements of shape, composition, surface, color, and edge. In this body of work, drawn from the past several years, I am presenting the most open, color-field aspect of my work. Viewers can bring their own memories to these paintings, as mine are only suggested, or simply experience them as a conduit for feeling.

“Affinity/Dusk Road”, 30″x30″.

Both the above and below are from my Affinity Series. These pieces start with fraying the edges of raw linen; gluing it down to the board; priming with dark primer, and gridding the whole thing with graphite. Then I do the actual painting, and when it dries some selective regridding. The series evolved from the desire to manipulate my support in a way that moves my other choices in a more abstract direction, and brings attention to the surface.

“Affinity/Black Trees”, 30″x30″. (Sold)

Sometimes, as in the new postcard piece, “Tender Reds”, there are more shapes included. I see this as being a rhythmic approach—repetition of similar shapes moving across the surface of the painting.

“Tender Reds”, 32″x70″.

This piece is less minimalist, but just as abstract. The reduced palette with a white sky allows it to hover between a dreamy in-the-moment being there and an on-the-surface color-field painting.

If one were to consider this as a totally abstract piece, the exercise would be to turn it sideways, or upside down. Compositionally, upside down would work very well, but not sideways—too strong of a horizon line, now going vertical. This would be true of every painting I do—abstracted, but not abstract, and usually with a clear horizon line as an anchor.

“White Trail” has a number of horizons, but the strong line in this piece moves on a skipping, slightly diagonal vertical, emphasizing the format. This piece, too, has a sense of rhythmic repetition of forms.

“White Trail”, 40″x30″.

I have been exploring for this show how a large composition can be successful in small format with these oil-on-paper pieces.

“Study/Gleam over Tidal Flats”, 6″x10″.

“Study/Mountain
Contours”, 4″x14″.

“Study/Sunset Sea”, 5″x5″, oil on primed paper.

Quiet, tonal color is most often my choice, as it tends to sit back, creating emotional space and allowing for introspection.

“Autumn Bay Mists”, 18″x52″.

But every so often I like to move to stronger color to intensify the timbre of the experience. Whites work well—like a thirst-quenching drink of water— when paired with strong, saturated color.

“Sunset Reflected”, 12″x36″.

Most of my pieces have quite a bit of contrast, moving from an atmospheric white or off-white (often tinged with a bit of Mars Violet) to a true black. I find, though, that low-contrast pieces can be intensely riveting in a different way, kind of like a full-throated, low hum. “Evening Shoreline”, below, is an example of this.

Evening Shoreline, 12

Evening Shoreline, 12″X12″.

“Continuing Progression” is really a study in monochromes. The detail of the row of trees on the right, seemingly very subtle, actually pops more because of the reduced palette.

Continuing Progression, 24

Continuing Progression, 24″x48″. (sold)

The body of work presented represents the core of my thinking, my base of operations. Albert Shahinian Fine Art, my gallery of longest standing, is the perfect venue for this theme-based exhibition, having shown, over the years, every possible exploration that I have launched from this base.

I hope you can join us for the reception on July 25th and my talk on August 2nd to see all 40 pieces and hear more about landscape, form and mood.

Link to a short but sweet article on the show by Paul Smart in the Almanac:

New paintings by Christie Scheele on view in Rhinebeck

The installation and reception, below:

Installation shot, wall with Affinities.

Installation shot, wall with Affinities.

With and old friend at the reception.

With my old friend Deb at the reception.

Installation shot, wall with postcard piece.

Installation shot, wall with postcard piece.

Additional work in the show:

Drifting CLouds, 20

Drifting Clouds, 20″x20″.

Approach in November, 6

Approach in November, 6″x24″.

“Lush Mists”, 12″X36″.

Hill Beyond Hill, 3 panels of

Hill Beyond Hill, 3 panels of 24″x20″.

Winter Field, 10

Winter Field, 10″x30″. (Sold)

Dawn Headlights, 12

Dawn Headlights, 12″X36″.

Cranberry Bog, 48

Cranberry Bog, 48″x24″.

Stormy Sea, 12

Stormy Sea, 12″X12″.

Glowing Mountain Mists, 20

Glowing Mountain Mists, 20″X30″. (Sold)


“Mutable/Immutable”: Solo Show at Chace-Randall Gallery

mu·ta·ble
ˈmyo͞otəbəl/
adjective

1.
liable to change.
“the mutable nature of fashion”
synonyms: changeable, variable, varying, fluctuating, shifting, inconsistent,unpredictable, inconstant, fickle, uneven, unstable, protean.
This word is by far the more important of the two, though oddly the less well understood.

im·mu·ta·ble
iˈmyo͞otəbəl/
adjective

1.
unchanging over time or unable to be changed.
“an immutable fact”
synonyms: fixed, set, rigid, inflexible, permanent, established, carved in stone.

 

Affinity/Winter Sunset, 36"x48", $6,500.

“Affinity/Winter Sunset”, 36″x48″, 2014.

 

This body of work explores themes of change and the eternal in the landscape, nature revealing the mutable and the immutable.

Fleeting moments of weather and light have long been my focus. Time of day or year and interplay with clouds; light and shadow on landforms or water; and serious weather events continue to visually intrigue and inspire, making no two scenes alike.

Beyond the always shifting moments of dramatic or calm atmospherics and the impact of humankind on the land is also,  however, the immutable. However changing, the earth has always been there for us.

Our source of nourishment in every way, our lands, rivers and seas are the visual imprint that I work from every day, every week, and every year. Attempting not to judge but rather to see, I adapt imagery that is only sometimes  classically beautiful. The paintings then become another immutable, as I have distilled that image into a moment of time, offering it to others for contemplation.

The work in the show

Choosing the piece that will go on the postcard for a solo show is always a juggle. Generally speaking, though, the artist and galleriest select a piece that is not only a stand-out painting, but also sits stylistically and thematically near the center of the body of work,  thus representing it well. We settled on “Turquoise Light”, below.

"Turquoise Light" , 30"x40", 2014.

“Turquoise Light” , 30″x40″, 2014.

Often when there is water in an image, I work the detail of waves and currents just enough so that it reads as such, preferring to let the eye skim over the water and settle on other spots in the painting.

One consideration is similar to having a field in the foreground: where is the viewer in this scene? If the water, marsh or field start basically at the viewer’s feet, there needs to be more foreground detail or vignetting than if the picture plane starts further off.

In “Turquoise Light”, we are sitting (in our boat, presumably!) right on the water, which is a major focus of the piece.  Far from encouraging the viewer past it, the water catches the eye with an array of subtle color shifts, reflections, and movement. When I paint an area with this much complexity I look at it as an abstract painting, surrendering to the process.

I also enjoyed that the sky and water are so different, even though clearly the sky is throwing light on the water.

MountainRoad:Fireflies

“Mountain Road/Fireflies”, 30″x20″, 2013. (Sold)

One of the last pieces that I finished in 2013, the vertical movement in “Mountain Road/Fireflies” plays with the implied movement of the car headlights coming towards us. These solitary scenes of rural roads evoke a common experience, often creating a sense both of looking at the car and being in it. With the vertical format and complex sky, I am drawing attention to how the mountains don’t always block the sky—they can lead our eye to it.

 

"Intervening Space", 20"X20".

“Intervening Space”, 20″X20″, 2014.

The square format of “Intervening Space” is echoed in the composition, which leads the eye back into the painting with every shape and line. There is also a back-and-forth between the painterly illusion of depth created by arial perspective that draws the eye toward the distant hills, and the feel that the composition and relatively flat shapes create of the whole painting being right up on the picture plane.

I love playing with those two ways of experiencing a painting, counterbalancing the illusion of space in a landscape with the reminder that this is also a two-dimensional, abstract object comprised of areas of color.

For more discussion of the narrative and the abstract, see my post on the topic:https://scheeleart.wordpress.com/2014/01/01/narrative-and-abstraction-in-representational-painting/

"Mountain Sky with Mists", 24"x30".

“Mountain Sky with Mists”, 24″x30″, 2014.

An interpretation of the view from the fire tower on Overlook Mountain, “Mountain Mists with Sky” reveals the transitory and the solid. Fog is a beloved subject, shifting even faster than clouds, and mountains feel eternal even if, geologically, they are not.

 

Mists from Palmer Hill, 12"X36", 2014.

Mists from Palmer Hill, 12″X36″, 2014.

The farm fields that you see from Route #28 at the base of Palmer Hill in Andes are a favorite subject of mine, and no show at Chace-Randall is complete without some fresh version of this scene. In the interpretation above, we are in a lovely misty summer day, rain and fog just beginning to lift but still obscuring a mountain that rises behind the horizon of the fields.

 

"Interwoven Stories", 30"x60", 2014.

“Interwoven Stories”, 30″x60″, 2014.

This is a  most amazing view, looking Southeast as you summit Palmer Hill coming from Andes. I have painted it only once before, some years back, quite differently.
Fortunately, since I work from a combination of imagination, memory, and photographic reference, I could access all of these, since there are now many trees blocking a full view of the fields.
Of special interest is the way that the sky and the fields interact, creating the illusion both of motion that extends the scene beyond the canvas, and a compositional directionality that pulls the eye toward the center line of the mountains.

 

"Memory's Waters", 16"x20", Cooper Lake in summer blue/greens.

“Memory’s Waters”, 16″x20″, 2013. (Sold)

Something about the depth of the reflections in
“Memory’s Waters” brings me back to moments of contemplating water during every summer I have ever known. I was also taken with the way the sun catches on the front shore on the right and then moves back into shadow on the left in this image of Cooper Lake in Woodstock.

 

Cloud over Shoreline, 12"X12".

“Cloud over Shoreline,” 12″X12″.

A dark cloud in front of the sun over the Hudson River shoreline. These high-contrast images are both brooding and ethereal.

 

Sunlit Sandflats, 12"X12", 2014.

“Sunlit Sandflats”, 12″X12″, 2014.

While for my shows in Andes I mostly focus on our gorgeous local mountain/river/farm field imagery, I always like to include a few pieces that interpret other locales. This small piece was inspired by a photo that owner/director Zoe took from her favorite beach in Florida, and evokes for me the sandflats of mid-Cape Cod, where I spend so much time in the summer.

 

Stormy Sea, 12"X12".

Stormy Sea, 12″X12″.

The most minimalist piece in the show, and very low contrast. I love exploring this terrain.

 

"Affinity/Return at Dusk", 12"x24".

“Affinity/Return at Dusk”, 12″x24″, 2014.

We are often coming into the Roundout Creek from the Hudson at dusk after an afternoon in our small lake boat on the river. As a smaller estuary, the creek is smoother and reflects the sky stunningly (much like a tidal pool compared to the ocean), creating opportunity for the painter. A big fan of deep, dark blacks to create mystery and contrast, I love the sense of being surrounded by the shadows while moving along the softly sky-lit water.

 

Affinity:FlatlandsDrive, 18"x18".

“Affinity?Flatlands Drive”, 18″X18″.

Often with my Affinity Series I select imagery that has strong linear elements that relate to the frayed edges and overlaid gridding. This is clearly the case in “Affinity/Flatlands Drive”, the composition created by almost straight horizontal edges and two strong diagonals. If this were an abstract painting, the straight lines of the road coming off the picture plane on the lower left would be too harsh, but with the implied movement of the headlights coming toward the viewer as a narrative element, the road is instead a quirky plus.
"Affinity/Stepping Out", 8"X8". (Sold)

“Affinity/Stepping Out”, 8″X8″. (Sold)

"Affinity?Storm at Sea", 8"x8".

“Affinity?Storm at Sea”, 8″x8″.

“Affinity/Winter Sunset” (at top)  has similarly strong horizontal and diagonal shapes, with more emphasis on the interlocking wedge shapes that I love so much. (Shape preference can be as strong a personal choice as color for the painter.)

 

"Westerly Sky", 16"X20". A perfect example of the right angles and straight lines of the NYC foreground meshing with the soft diagonals of the sky.

“Westerly Sky”, 16″X20″.

I also like to include an urban landscape in my shows. “Westerly Sky” captures the view from lower Manhattan that I have painted a number of times,  along with another favorite view of the West Side Highway and Hudson River.

In abstract terms  the piece plays with the right angles and straight lines of the foreground buildings in strong silhouette interacting with the soft diagonals of the sky. The  foreground feels very stationary against the sweep of the clouds.

 

"White Light/ Red Light", 24"x24", (Courtesy Chace-Randall Gallery).

“White Light/ Red Light”, 24″x24″, 2014. (Sold by the gallery on 5/14.)

I finished this piece toward the end of a long, hard winter. And yet, I enjoyed myself immensely while painting this snowy scene, which explores how the snowstorm changes the light, both ambient and headlights/traffic lights. The way that the trees dissolve into texture in the background is unusual in my work, and echoes the treatment and shape of the manmade lights pulsing at the viewer, almost leaping off the picture plane.

 

"Soft Summer Greens", 30"X36", 2012.

“Soft Summer Greens”, 30″X36″, 2012.

“Soft Summer Greens”  captures the sunlit but desaturated color of a hazy summer day, using a complementary palette. it also, with the distant purple hills, creates a color bridge from the stronger summer greens that am using in some pieces in this show to the warmer palette of others, such as  “Sunlit Sandflats” and “White Light/Red Light”.
The landscape that we gaze at during any given moment has, in the vast majority of cases, changed repeatedly through geological and historical time.
Even during the time that I have been painting the landscape—24 years—trees have grown up to obscure a favorite view; floods and storms have changed a stream or shoreline; or a miniature golf course gets built in a gorgous field surrounded by mountains.
And yet, gazing at what lies outside of our doors brings us a sense of the eternal, allowing us access to our more grounded and connected selves.
In the end, both the mutable and the immutable in nature combine to form an experience that mesmerizes, stimulates, and soothes.

Staying Fresh

How do we do it?

I have been working exclusively with landscape imagery since 1990, and painting full time since about 2004. I like nothing better than to be in my studio working, and since I have multiple galleries that all need work, that means a good number of landscape paintings over the course of the years.

So how do I keep it fresh, avoid being bored (which would surely show up in the work), not fall into painting the same painting over and over again?

This is a big question for artists who have a market for their work. Some do just that—paint the same thing, essentially, for decades on end, though realists and plein air painters often have a great love for minute changes in subject matter and locale and keep themselves happy and entertained with these shifts. No judgement here from me–the happy or engrossed artist is the key to good work.

We have all seen artists in the blue chip realm who disappoint with a new body of work (will Susan Rothenberg ever be able to delight me as much as she did with the early horse series?) And yet, the custom of many decades now is for an artist to work serially, ideally moving gracefully and yet compelingly from one body of work to another, maybe over the course of a few years (and often marked by the solo at their major gallery, when it is assumed that that work will leave their studio and never come back, making it easy to start a fresh series). Preferably, from the market standpoint, there is some stylistic or thematic continuity from one series to the next.

I found my true niche with my minimalist mode of landscape painting back in 1990, and a few years later felt a need for opening up my explorations. I addressed it then by expanding the range of my subject matter and palette. Initially, I had avoided anything overtly dramatic, keeping to tonalist color and flat light, and the first shift brought me into a complex sky, or a brighter, blue-sky day.

(The photos in this post may be more current examples, since I have not even begun to get all of my pre-digital slides and photos scanned.)

"Rare Summer Silence", 20"x30".

“Rare Summer Silence”, 20″x30″, (courtesy Gold Gallery), an example of the sort of palette and light that has drawn me from the beginning.

Sky in Motion, 24"X20", $2,800. (GG)

“Sky in Motion”, 24″X20″ (sold by Gold Gallery), which shows the kind of complex sky that beckoned a little later on.

 As the years passed and I felt ever more firmly in the saddle of my approach, I dared take on subject matter that borders on the cliche for a landscape painter—sunsets, a beach path, fluffy white clouds, even a sailboat at rest. I enjoyed the challenge of painting these subjects while avoiding the melodramatic or sentimental, at first by aided by instinct and later with a clearer understanding—which I now teach—of how this can be achieved.

Sunset Sea in Red/Gold, 20"x60", $6,500.

“Sunset Sea in Red/Gold”, 20″x60″, (private collection).

I also played with format. The first time I did a vertical landscape I had never actually seen it done, and I found it quite daring. Later, I explored extreme verticals, as well as horizontals.

Cranberry Bog in Reds, 48"x24", 2013.

“Cranberry Bog in Reds”, 48″x24″ (courtesy Gold Gallery).

The next time I felt restless, I still thought of subject matter, now manmade elements.  I started with phone poles, and moved on to urban images, road imagery, and then grittier industrial imagery. In 2003 I had a show at Albert Shahinian Fine Art, then in Poughkeepsie, called “Manmade”.

ExhuberantStorm

“Exuberant Storm, 30″x36” (sold by Chace-Randall Gallery).

"Conviction of Beauty", 12"x

“Conviction of Beauty”, 14″x40″ (courtesy Albert Shahinian Fine Art).

Bridge Crossing in Violets

“Bridge Crossing in Violets”, 12″x12″ (courtesy Butters Gallery).

A few years later, I pondered how to get my love for the grid into my work (bearing in mind that my background is in contemporary, not traditional, art).  On first glance, it seemed that there were only a few ways to incorpoarate this with landscape imagery. But I decided to just get started doing these first ideas, and eventually it became clear that there were many ways to bring the landscape and the grid together.

River in 5, 5 panels of 10"x10"/ea.

“River in 5”, 5 panels of 10″x10″/ea., (sold by Albert Shahinian Fine Art), one image stretched over a number of panels.

"Trove",

“Trove”, 35 3″x5″ oil-on-panel paintings (private collection). In order to make these separate images hang together and not be too busy, I used at least some reds in each piece, and toward the end I painted six or seven very minimalist black-and-red images to create a sort of matrix for the brighter, more complex pieces. Also, some of the images had already been explored in larger pieces, usually in a different format, and revisiting them was a pleasure.

"Rainy Road/Fireflies", 3 panels of 12"x12"/ea. (sold)

“Rainy Road/Fireflies”, 3 panels of 12″x12″/ea. (sold by Gold Gallery), three versions of the same stretch of road and close to the same moment in time, with implied movement and a non-linear nod to film.

Somewhere around 2002, once again contemplating my next move, I began to use vintage boxes and other distressed objects as my support, selecting imagery and palette to mesh with the elements already present in the object.

Approach, oil on vintage blackboard, 11"x13.5"

“Approach”, oil on vintage blackboard, 11″x13.5″ (courtesy Chace-Randall Gallery). Elements and color in the image reflect grain, texture and color present in the frame of the blackboard.

This series sometimes requires applied problem-solving in to addition visual/aesthetic decision making, and I  enjoy the stretch of the brain.

Many of these pieces have been set in lovely old compartmentalized boxes, trays, or pans, which means that they also explore multiple-panel imagery.

"Mountain Fall in 6, 5"x18" (courtesy Albert Shahinian Fine Art).“Mountain Fall in 6, 5″x18” (courtesy Albert Shahinian Fine Art). This appears to be an old coin drawer from a cash register. At first I thought of putting small panels within the compartments, but that obscured the lovely curve at the back. Finally, I created flexible pieces of backed linen that follow the curve. I had to take them in and out a number of times while I was painting them, since being set back changed the light and therefore the color substantially.

When I was preparing to do my Cyclone Sampler, I spent a great deal of time just figuring out what I was going to paint on before nestling the tiny panels into the compartments of the box (I settled on bevel-cut 8-ply matboard—bless my framer—that I sealed front and back with multiple coats of matte medium, since I did not want to put glass over this piece). A spontaneous decision at the end, purely aesthetic, was to leave a few compartments empty, avoiding the feel of a catalogue.

Cyclone Sampler

“Cyclone Sampler”,21.5″x10.5″, (collection of the Tyler Museum of Art). Unlike the expansive feel of my single-image landscapes , this piece shows the vast energy of many twisters tightly contained within the grid.

 This series has as many possibilities as the amazing things that I come across that fire my imagination, though I often have to stare at the object for up to a year before I decide what I want to do with it.

Irrigated Fields, (sold by Albert Shahinian Fine Art).

Irrigated Fields, 4″x18″(sold by Albert Shahinian Fine Art).

My most recent addition is the Affinity Series, oil paintings on linen with frayed edges on board overlaid with graphite gridding. I don’t even remember the exact thought process that brought these into being, but it started with the idea of manipulating the support. I was enjoying both selecting and adjusting the subject matter to the individual vintage object that I was using in the pieces in that series, and was interested in creating a more specific support myself, forcing a considered mesh between it and the painted imagery.

Generally the imagery that works best with the frayed edges and gridding in the Affinity Series is either very minimalist or has strong linear elements.

Affinity/Boatyard, 10"x10", 2014, oil on linen with frayed edges on board overlaid with graphite lines.

Affinity/Boatyard, 10″x10″, 2014, oil on linen with frayed edges on board overlaid with graphite lines.

That I ended up with graphite gridding as an overlay was a circle-back to my longstanding interest in the grid, bringing the viewer’s eye to the surface of the piece and creating mixed associations. Some of the latter I hadn’t even thought of, like the historical use of gridding to aid with proportions while transferring a small image, or maquette, into the larger finished piece, an association that other artists have pointed out to me.

Affinity/On the Grid, 36"x48", (courtesy Gold Gallery).

Affinity/On the Grid, 36″x48″, (courtesy Gold Gallery). In this very recent piece I pushed the gridding quite a bit, moving to black instead of graphite and actually spending more time very selectively gridding than on the earlier painting portion.

Many pieces now are some combination of these series. For example, often the frayed linen on board of the Affinity series works well in an old box.

"Factory at Work", 7>5"x3.5" (courtesy Julie Heller Gallery).

“Factory at Work”, 7.5″x3.5″ (courtesy Julie Heller Gallery).

All the while, I have continued to paint my wide-open landscapes on linen. Doing all these other explorations makes a small new slant on a salt marsh or hillside painting feel exciting and fresh, even though I have been painting this imagery for 24 years.

"Blue Light", 20"x60", 2014.

“Blue Light”, 20″x60″, 2014.

I love expanding the repertoire, adding both new versions within a body of work that reflects longstanding interests and, every so often, a whole new series. In my week-to-week, month-to-month, I juggle these series simultaneously, rather than consecutively, keeping myself riveted to what is developing in my studio.

The constant is the landscape.

"White Light/ Red Light", 24"x24", (Courtesy Chace-Randall Gallery).

“White Light/ Red Light”, 24″x24″, (Courtesy Chace-Randall Gallery). Sneak peak at a new piece going into my upcoming solo, opening May 24th!

What is next? (I have several ideas just taking shape, so not sharing yet!)