Using What You Have

Working through experimentation is one of my favorite parts of being an artist. A few months back I found some old wooden plaques I bought years ago collecting dust in my closet. I decided that the variety of shapes and sizes could be a great surface for a drawing or painting. First off I began with some studies of cotton,  and a succulent, using pastel. I was a little worried that the pastel would have a hard time adhering to the wood but using a few layers of spray on matte varnish did the trick.

"Cotton Bloom" 4in x 4in

"Cotton Sprig" 2in by 7in

"Cotton Batch" 3.5in x 6in

"Echeveira Elegans" 5in x 3in

After using pastels I thought it would be fun to try out some gouache and ink. There was a tiny problem with some of the areas soaking up the pigment but the results turned out better than expected. The color of the wood shows throughout the painting and creates an interesting sense of depth.

"Cushion Sea Star" 4in x 4in

"Sand Dollar" 3in x 4in

"Spiral" 4in x 4in

All in all these found plaques were a great success. I am glad I decided to pick them up and make something of them. It goes to show that cleaning out the closet can bring a much better find than moseying around your neighborhood craft store.

Are there any unique surfaces you have used to create something? If so please share, I'd love to hear about them. 

Next week I'll give you guys a closer look at my latest work "Old Oak" and "Lake Trees."

A Peek Inside My Painting Process

I absolutley cannot believe that this is my first post in two years! 2017 and 2018 have been a whirl wind of a couple of years. First off, I got married to the love of my life last November then, as of June this year I became apart of a wonderful studio space to fulfill/sell all my art creations (ACME Art Studios of Wilmington, NC) and currently my wife and I are looking into buying a new place to call home. I will spare you from all the minor details and drama that clouds the everyday life, but I would love to share some of the progress shots of my latest paintings/drawings.

Most of my paintings and drawings have many changing faces. As of late, I find myself starting out with a block of colors. Then the next few layers I go back and forth with shapes and lines, obsessing over the details to the point where I have to stop myself and call it a day. And finally, I wrap everything up with the high and low lights that call out the miniscule details and bring the work back full circle. 

This list of work is a bit of a modpodge of mediums. It depends on my method of execution but I mainly work with watercolors, pastels, color pencils and oil paint.

 This painting is "Airlie Scape" 36in x 24in oil on canvas. It took me a long time to complete this one, I had to put it away for a good year or so and when I came back to it I decided to try a few new techniques. The end resulted in something completely different from anything I have done in the past.


       

  

This one is "Carolina Beach: Mild Break" 16in x 20in watercolor, gouache and ink on watercolor paper. I donated this painting for a charity auction called "Thriller on the Griller" which gives all the profits to the Hope for the Warriors organization. (click the link for more information on this wonderful organization)
    

    

"Cooper" 16in x 20in watercolor, ink and color pencils on watercolor paper. This was a commissioned piece for a Christmas gift last year. I had loads of fun bringing out the character of this lovely pooch. 

"Spiral" 4in x 4in gouache and ink on panel. This one was different working on the panel. I decided not to prime the panel so the wood soaking up the gouache gave it a little more abstract depth.

    
    


"Old Oak" 30in x 20in oil on canvas. I used a lot of texture to create this piece. Some sections I piled on the paint with a palette knife/brush and other areas only a couple thin layers of paint. I would alternate piling on the paint in one layer and painting very thin lines to create depth in another. (side note) A lot of people ask how I achieve such thin black lines, it is very easy to do: mix black ( I prefer an equal mix of burnt umber and ultramarine blue) then I thin it down with a bit of gamsol and using a small brush I create lots of little lines. Simple as that.

These are just a few of the pieces I have to share for now, I wouldn't want to share all the goods at once.  Next week I'll be sharing a closer look at two mini series, succulents and cotton. In the mean time, if you are interested in getting daily information and updates you can follow me on Instagram or Facebook 

Exploring Line: Vol 2

Line exploration is one of the main elements in many of these compositions. The main goal when working on these pieces is trying to find new ways to manipulate line, while creating intricate shapes and movement. In these pieces I am exploring line in a way that breaks down shapes and color to provide an abstract landscape or portrait. Even though some compositions do not work out, I always walk away with plenty of ideas for the next. 

These works below are my most recent pieces. Not only are they experimental, they are emotionally driven. Each work dives deep into some memory or experience in my life and continuing to find new ways to express this has become my life's obsession. 

"Airlie Scape"

"Dunes No. 4"

"Lady of the Morehead Inn"

"Memory Study: Pine Knot"

"Teddy"

"Gypsi"

"Memory Study: Pine Bark"

Bird Shoal: Island of Inspiration

A little bit ago I visited Bird Shoal Island with some family and was immediately inspired by its beauty. I feel everyday the natural beauty surrounding us is being chiseled away by the destructive nature of humans and when I visit places such as this island I feel a connection like no other. Connections like these are what I live for, and are what I am inspired by more than anything in the world. I use these connections as an inspirational conduit to create pieces such as these few here.

 "Dunes No. 3"

 "Ocean No. 3"

 "Dune Grass"

 "Driftwood No. 3"

 "Driftwood No. 2"

 "Oysters"

 "Ocean No. 2"

"Sand"

Exploring Line

Around this time last year I was taking a watercolor course, which I struggled with quite a bit in the beginning, but came to love in the end. With the freedom to do whatever our hearts desired, the professor let us explore watercolor in a way that was flexible and personal to each individual artist. So, with the 16 weeks of free exploration I found that line was my element of choice. I was drawn to the various ways and techniques that could manipulate watercolor, as well as how different they were to anything I have done before.

Here are some examples of my line obsession.

This beginning shot shows most of the line work and detail that went into the bark.

This map style composition was an experiment where I would let the color and ink bleed into each other, then I would create forms with line variation. 

 I fed off the maplike composition and created these portraits with more control of the ink and color flow.

Taking this course definitely changed my views on watercolor and opened my mind up to the endless possibilities you have when line is involved.