November brings a slew of interruptions to my already sketchy daily schedule. Thanksgiving is pretty much just the icing on the cake but November is more than just TG. It's the real onset of the "Holidays". Or maybe it's actually October these days but I'm too caught up in the Oldfield Show to deal with it until November. So about November first, I'm already on that slippery slope where so many other things start to take "priority" over my artwork - and my horse.
December, of course, is the crux of it all - but then we find ourselves thinking about New Years and the going-ons of that event. One could pretty much just throw in the towel if they were not mindful of all things fighting for our attention.
So I saw what was going on. I was losing steam and had to stay focused. Artwork first - all other things at the end of the day- but that's when I'm fried, exhausted, mentally wiped out. The juggle was on. I did not prevail (this time) but I learned a lot about myself and am developing better habits.
So with New Years behind me, I was able to get back into my studio, brush in hand (and between my teeth - yep. A story for another time) and practice some new disciplines.
Then I get a call.
For the next 3 months I had the privilege of being able to help my son and his wife as they maneuvered the rocky road of a tiny little baby born waaaay to early. This was my new priority. Painting was on the back burner, not getting cold but simmering. I had 3 months to think about paintings, compositions, style, technique and the lot of it. But no time (energy) to act on it.
The good news is baby and family are thriving. But also, I am back in my studio more disciplined than ever and more inspired than ever.
Maybe I needed a little Paintus Interruptus. Maybe we all do from time to time. :)
Yuletide Greetings, 16x20, Oil on Canvas, Available through Cole Gallery
Aaaaaannnd back to posting:
So much for consistency. I want to blame it all on my lack of photography skills but I'm sure we could create a list of my discipline issues. However, photography is my nemesis.
Frosty Noel, 12x24, Oil on Canvas, Available through Cole Gallery
How to get the correct colors , the saturation, exposure, not to mention all those little sparkly reflections that happen with oils. It's all a mystery to me. Even with the Googles for reference, I have to set aside a full day for nothing but photography and editing. My job is to make the image look exactly like the painting. Sometimes it's enough to make my hair fall out.
North Light Tulips, 16x20, Oil on Canvas, SOLD
But not everyone loves EVERY aspect of their job even if it IS their DREAM JOB. So, I let the paintings stack up then I pull out the camera and all my little camera gadgets, light box, lights, umbrellas, filters, blah blah blah and get the job done.
Still, after all the fuss, I think they are best seen in person. Which you could have done at the Oldfield Show in October. Love that show. So much going on. Food, wine, coffee, music, auctions - live and silent, rows and rows of artists all in doors! Put it on your calendar for next year. It's usually the first weekend of October but there is a rumor they may be changing that.
Of course you could make a trip to the Cole Gallery in Edmonds, Wa. I love that gallery too. Featuring ME. And several other artists, of course. I was asked if I would consider painting some lighter pieces (because I have a tendency toward darker palettes).
My knee jerk was: No.
But I percolated on it for a while and thought, maaaybeee. I can still paint the same concept with in a much higher key. Much, MUCH higher key. A key so high one might need an oxygen mask. (Did I lose you?). Because, frankly, if it's not overplayed, it's just sitting there. So I overplayed. I lit. I over lit. I blew out edges with light. Over exposed. And that's saying a lot since I paint from life 99% of the time.