Tuesday, October 15, 2013

Garlic Bulb with Antique Noxema Jars (no.106)

7.5" x 8", oil on masonite panel

SOLD

This is how it might look framed (actual painting does not come with frame)





Friday, June 14, 2013

White Peony (no.100)

8" x 10" x 3/4", oil on masonite


SOLD


If you'd like to purchase a print of this painting, please feel free to visit my Etsy shop!

Monday, June 10, 2013

Lamb's Ears (no.99)

8" x 8" x 3/4", oil on masonite

SOLD



If you'd like to purchase a print of this painting, please feel free to visit my Etsy shop!


This is how it would look framed (actual painting does not include frame):



Wednesday, June 5, 2013

Moonlit African Violets (no.98)

8" x 8" x 3/4", oil on masonite


SOLD


If you'd like to purchase a print of this painting, please feel free to visit my Etsy shop!


This is how it would look framed (actual painting does not include frame):




Thursday, May 23, 2013

Apple Blossom Tree (no.97)

8" x 8" x 3/4", oil on masonite

SOLD

If you'd like to purchase a print of this painting, please feel free to visit my Etsy shop!


This is how it would look framed (actual painting does not include frame):


Tuesday, May 21, 2013

Hall Teapot with Garlic (no.96)

8" x 8" x 3/4", oil on masonite

SOLD


If you'd like to purchase a print of this painting, please feel free to visit my Etsy shop!


This is how it would look framed (actual painting does not include frame):

Monday, February 25, 2013

Punched Tin Lantern and Metal Cup (no.93)


16.75" x 10" x 3/4", oil on masonite

SOLD

If you'd like to purchase a print of this painting, please feel free to visit my Etsy shop!


This is a revisitation of an old scene taken from around June of last year at our friend's lake house in NH.  I began painting shortly after taking the photo during the summer and it had crashed and burned before I was able to finish.  Instead of holding on to the failed painting in case I might want to go back to it after a while, I gessoed over it and erased any evidence of it's existence aside from the source photo (as I am prone to do).  Since beginning this exercise a year and a half ago, I've tried to be less rash in how I handle paintings that don't work out, but it's near impossible for me to have the reminder staring me in the face.  Something about it makes me feel very uneasy and unable to move on to the next piece without feeling distracted by the one that's half done (kind of like how I can't begin painting before I know the bed's made...you guys know what I'm talking about right? No? Maybe there are deeper issues at work here). 

So, while I wasn't able to hold on to the old painting, this is the first time I've actually wandered knee deep into a painting, discarded it, and gave it another chance later on.  I had got it to a point I really liked right before it derailed the first time, and that gave me enough motivation to try it again.  I am constantly haunted by the feeling that there is so much work to do and so little time (and I am constantly behind on my own schedule), so I think this contributes to the fear that I will get hung up on the same mistakes as last time, will grow tired of the subject again and then will find myself with 2 wasted painting sessions instead of 1 (or I should say painting sessions that haven't yielded any actual paintings - wasted is a little harsh). 

And my fears came true: I got caught up on the same areas that I did last time (mainly the poked hole patterns on the lantern and the entire metal cup).  But this time I was able to work through the frustration and make it to the other side, and I have to say it's a good feeling to do justice to an idea you like but an even better feeling to have saved a painting from yourself and finally finished it months later on a 2nd try.  It gives me hope in the power of perseverance and shows me that sometimes spending way longer on a piece than you think is sufficient can return everything to you that you invested in it. 

As I think I've insinuated in earlier posts, almost every painting I've ever done has come with it's set of very difficult problems.  There is some point at which I start to view
 the painting as constantly trying to catch me off guard.  Quicksand is also an accurate metaphor: the more I struggle (or the faster/harder I paint to cover up something I don't like) the further I sink (the more I flatten out what I had and make it worse than before).  The key is slowing down and reminding yourself that the inanimate piece of wood in front of you is probably not deliberately trying to sabotage your happiness (although I can't be sure of that).  This step is the hardest for me, and it is teaching me what a necessary role patience can play in the act of painting. 


I am not aware of the stories behind the particular items in this painting: they are just another small fragment of a place I have grown very sentimental about and hope to visit again soon.  I hope they do something for you, too.

Monday, February 11, 2013

Night Sink (no.92)

7.95" x 7.95" x 3/4", oil on masonite panel

SOLD

This is how it would look framed (actual painting does not include frame):




Wednesday, January 16, 2013

Commission no.2 - Vincent

18" x 18" x 1.5", oil on masonite
SOLD


Lora, a friend of a friend, asked me if I would be interested in painting a portrait of her deceased cat Vincent - the name coming from his short ears that give him his unique appearance (he'd lost them due to an infection when they had taken him in).  She, like Nina, was hesitant at first and confessed her concern w/ the stigma associated with the subject claiming that she was "not one who thought of herself with portraits of deceased pets lining her halls".  However, Vincent had become a very important part of her life and she wanted something to remember him by.  She picked out this statuesque photo of him standing guard on their deck and I saw many exciting opportunities in the white fur texture and the vibrant greens of the fall landscape behind him.  Although the pose and the subject inevitably create a dramatic impression, I set out to paint only what I saw and leave it impressionistic enough so that it didn't get too close to the traditional melodramatic pet painting where there's a floating head that looks oddly human-like with painted auras of light around it.  I am fairly happy with the turnout and I believe she was too.  Thanks Lora! 

Commission no.1 - Dutch Landscape w/ Windmills

SOLD

I painted this for Nina Settels - a very supportive and loyal patron of mine living in Belgium.  When she first suggested the idea, she admitted to her awareness of it being a sort of "chocolate box" subject, but it was still something that was very nostalgic for her as she grew up in Holland around very similar scenes.  Shipping it to her was a nerve-wracking experience as the few other paintings I've sold internationally were no bigger than 8" x 8".  I covered the painting in about 6 layers of bubble wrap and checked the customs forms way too many times to make sure there were no indiscrepancies, but it ended up getting there safe and sound.  Thanks Nina!