I hope you find some of the excitement that I see in the light that flickers in trees, or illuminates the outline of an amimal. Some artists say they paint because they have to, and I would agree. Trees as well as animals have gestures that capture a concept in my mind, and that seed of composition requires a response from me.
I've been fortunate to learn from regional and nationally known artists. They have taught me traditional principles that are the springboard that allows me to express common sights with an uncommon verve. As I paint, symbolic concepts form in my mind and transfer to the canvas. But those symbols may or may not be apparent to the viewer. After all, the viewer completes the circle of recognition and adds symbols also.
We are Alabama natives, and lived in Texas twice, Iowa twice, Missouri, Arkansas as well as Alabama. A southern orientation emerges in what I see and collectors note a translation to a sense of serenity. We have two Bostons and a cat that help us appreciate that serenity!
Like many artists, I'm always following the light in all its manifestations. Come join me!
How do you do that?? This is how I often start a painting. A thumbnail sketch starts the plan that I follow, then I draw (or shape is a better term) directly on the canvas. The plan stays in my head, and the process becomes the experimental, fun part. I know the structure, but I don't always know the process. My training is traditional, and I rely on all the instruction and use every method that will bring about the design, mood, and plan that has formed in my head. At the present time, the method is alla prima - the artists' term that means "all at once" in italian. That usually means for me all that can be accomplished in one sitting, but not necessarily one day.
The beginning of "Winter Frizzies". This one started with no undertone, just a white linen canvas surface. This is one of a variety of ways of starting. My training allows me to approach each painting differently. I'm using photo references in this case from a visit to Stevenson Al. Horses and cows always turn and look at you when approaching, so I photograph animals before they know that I'm there. I mentaly break down the shapes of the animals and visualize them in an abstract way, drawing directly on the canvas without a preliminary drawing. In my mind, the values of the colors have a shape all their own. Color and shapes of color are important to the structure and rhythm of a painting, along with all the components of good design. One of the main features that attracted me to this scene was the play of afternoon light, especially on the white horse.
Now the painting begins to develop a life of its own. Depth develops. Balancing the shapes of is important. But, more important is the space between objects, whether animal or landscape. It's also important to locate features as part of the whole in places where surprises occur. The silhouette of the background is refined from the original start. Notice the start of a blue sky. I'm paying close attention to the warm/cool relationships I see in the colors (shapes of individual colors) of the horses. And I'm playing minor shapes against major shapes. See, I told you it was abstract!
I decide the sky is a distraction to the composition and remove it, replacing it with the mountain that was actually in the scene. Now the horses are refined, using the fewest strokes possible to capture that"essence" of the scene. The texture and amount of oil paint begins to change......Working on location has taught me to read the color of the light and to refine compositions to their simplest, so I want studio paintings to capture most of the excitement of "being there". And I evaluate it- a difficult thing for an artist! It's all a balancing act, each stroke a deliberate decision. It's finished -and has a new home.
Native Tree Series
Cowcumber bloom
Cowcumber tree, fall
One of the series on the native Alabama magnolia trees. Magnolia tripetala. It sparkles in the summer sun with its' maple neighbor. This is an uncommon tree - an exception to my usual practice of painting the common!
Light - that central factor of life. It defines us, and it defines our images, and it illuminates who we are. This painting is all about light.
Square Cow 36" square
Trees are like temples, and I like bein' in 'em...............from a Chuck Brodsky song
Alabama has several native magnolias, both the evergreen and deciduous varieties. The one that has captured my interest is the Magnolia macrophylla, which is sometimes called Large-Leaf magnolia, or Great Leafed Magnolia. It's also called Umbrella or Cucumber magnolia mistakenly. A series of paintings is emerging from the inspiration of these trees.
Other magnolias look similar but the leaves are not as large... This tree is large and symetrical but with very crooked limbs, thick smooth gray bark with fine scales. Leaves are 12 to 30 inches long - the largest simple leaves of all, except the palms. "In winter they lie, ghost-like, folded top-side in, under the naked trees". Flowers are large bell-shaped, 7 1/2to 12 inches broad, fragrant, creamy white with a rose or purplish blotch at the base of 6 blunt petals, blooming in May. Fruit is a globe shaped dry cone 3 to 4 inches long, bright rose color. Grows in rich woods in various sections in west Florida, Arkansas, Kentucky, and NC.
But in Alabma there is probably more of this tree than in all the rest of the world. Not a common tree, and the first to go when lumbermen start to work.
Quotes from Trees and Shrubs in the Heart of Dixie by Blanche Dean, 1961, Cox Publishing Co.
Robin Roberts
Dogwood Studio, Decatur Alabama
I welcome your comments and questions. email me for prices, and/or visit the galleries, because no picture can match the original paintings. I have no reproductions (like giclee, for instance). Everything is designed from idea to finished painting as original so you can be assured your painting is unique.
