Sky Meadows

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Sky Meadows Virginia State Park is one of my favorite destinations, any season, any weather. It features rolling pastures and woodlands on the eastern side of the Blue Ridge Mountains.

It is in the foothills, horse and wine country with a few cows, not far from Paris, Virginia and down the road from Middleburg. I can get there in under a half hour.

It has a selection of paths to choose (for humans, dogs and horses), and no matter the season, there are always sweet surprises. This little oil captures the rich tapestry of its landscape, historic farm and endless sky.

“Sky Meadows Walk”, 11 x 14″,oil

Green on green

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As the world goes mad, it just seemed like the right time to work on a totally soothing image.  This idyllic scene from a visit to my sister’s home area near Saranac Lake in the Adirondacks was the perfect choice. She knows the best spots!

It had all the right elements…rich color, gorgeous mesmerizing reflections and a global rock that seemed otherworldly.

I decided to start with the blue undertones.  The tree on the right had an almost ghost like quality and pointed towards the magical rock, reminiscent of the sorcerer’s apprentice in the old Disney film.

Layer by layer, like fine pieces of lace, I added the branches and patterns of needles to the trees.

And then, for the final element I concentrated on the stone and the reflections. Nature can be so elegant.

Wetlands; Rock, Water, Green,  30 x 24″

Breakfast with a view

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I have often said that the great thing about all those rainy days in the UK is the over the top, gorgeous gardens. This one, in the courtyard of our country hotel in Beaulieu,  is no exception.

The Montagu Arms Country House is located in the New Forest area, one of the largest tracts of unenclosed pastureland, heathland and forest in southern England. It’s home to a national park, and several classic villages, including Beaulieu.

The area is not far from London, about a two hour drive. But it is a world apart in Hampshire. Ponies and donkeys roam the area freely, and we often saw a few horses walking down the center of the village from our hotel window. The deer and other wildlife were more shy during the day, but occasionally we caught a glimpse in the evenings if we were out for a drive.

There are grand country walks everywhere. And the village is also home to the National Motor Museum.  So something for everyone.

My little home studio is a haven to re-visit my favorite scenes. A painting often takes me a couple of months, even working most days. So this spring I got to relive those bucolic pastoral days spent in England.

The last week of a painting is spent considering if it is as successful as it can be and what I can do to bring that final spark to it.  And, at the same time, I’m thinking about  my next canvas. It’s a joy to have this to look forward to most days. There is a real sense of satisfaction at one completed, and anticipation as to what is next. There are always mixed feelings when I have finally finished a painting and move on.

Morning Tea” The Montagu Arms Country Hotel in New Forest, Beaulieu, England, 30″x24″, oil

 

Dreaming at MOMA

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I’ve had very mixed feelings about AI (artificial intelligence) and how it will affect an individual’s creative process.  I personally am a big fan of letting ideas swirl around in my own head. I am always somewhat amazed with what eventually comes out on paper or canvas.

Frankly, I rather like the surprise and the process of art the way it is. The piece  changes and evolves as I work.  But this is rather the point with the new installation at MOMA which uses AI in a similar way.

This past summer, I took a trip to NYC to revisit some of my favorite museums to see if anything stimulated my own creative process.

I went to The Morgan Library, The Met and MOMA.  And at MOMA there was a mesmerizing installation, Unsupervised by Refik Anadol, which dominated the lobby exhibition area right inside the museum from the sculpture garden.

The piece was fluid and moving, constantly changing in color and shape. It was not a loop, but an evolving creative process. The observers were mesmerized. I came back to visit it several times.  It was new each time I returned–different colors and forms and movements.

The piece is a complex interpretation of the collection of MOMA’s 200 years of art. I read several articles and interviews with the artist once I got home trying to better understand. Working with MOMA, the artist put information in to an AI program he created that would use the visual input to create its own flow of images.  Part of the point is that this is how artists have worked for centuries…viewing other artists work and growing their own line of output from a personal interpretation along with other environmental and spiritual input. I know from personal experience that is true.

I’ll have to think more about this one, but it was intriguing. I’m still not sure I understand it completely.  Is this where we are going from where we have been? I remember thinking when computers were first introduced that this won’t be a big deal. I was a graphic designer and could not imagine a machine taking over part of the process.

I was wrong.

Curated Dreams, (MOMA, Refik Anadol, Unsupervised) 30 x 24″, oil

Room with a View

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The first time I went to Burnham on Crouch in England, my husband introduced me to The White Harte. This was his sailing town by the River Crouch.  And The White Harte was his pub, favorite restaurant and, once we were traveling as a pair, his go to place for accommodation.

We had a favorite room on the back of the Inn.  It faced the parking area, but was also very quiet.  The front rooms faced the seawall, the hotbed of all the activity in this sleepy town that came alive when everyone came to compete in the sailing races on the river. The pubs and clubs flowed out along the river.

The historic hotel became home.  My Beloved Brit knew all the staff and the owner.  I even could borrow an ironing board they would set up in the kitchen for me to prep our clothes for the fairly formal dinners at the various yacht clubs during the regatta week. I truly loved it there.

One year, we made our usual reservation for the “back room”, but when we arrived they told us they had put us on the top floor, up very steep steps and facing the river.  They had given our preferred room to an elderly couple.

I was not sure at all about this new accommodation as we climbed the stairs that were more like a ladder…with our luggage.  But when we entered the room, I saw this view and gorgeous light.  I forgave them immediately.

This painting was a labor of love.  Challenging in the light and various shades of grays and white and blue.  The soft reflections in the glass gave it real depth and character.  And I played with the colors of pillows and our luggage on the bench in front of the window to find balance.

i will really miss this painting sitting on my easel.  What a joy to come in to the studio each morning and see this.

But then again,  I’m already thinking of what my next subject will be.  An artist’s joy.

 

“The Window, River Breeze”, 30 x 24″, Oil

 

The Regatta

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Some of my favorite memories of England revolve around following my still very British husband to Burnham-on-Crouch in Essex on the East Coast to watch the sailing regattas. He has sailed on large yachts and small boats, and always loved the camaraderie and the competition.

And for my part, the fun was being a spectator on dry land on a glorious cool August day.  For many years you had to walk down the long path from town between the fields and the river to watch the start of the different classes of boats.

Everyone lined the riverbank, binoculars came out and cheers or groans went up from the supporters.

This is pretty much how it looked for years.  I referenced some of my older photos, changed some of the colors on the clothing so it drew the eye down the line, and tried to capture the sense of the weather…always on the cusp of changing. It’s England after all. Summer is almost over before it arrives.

Glorious memories, and I get to relive them in the studio.  I am a very lucky woman.

The Regatta, 30″ x 24″, Oil

 

 

Summer’s End

The summer went by quickly, but I am always happy to reach the fall. Two small paintings I did this summer, though, help to celebrate the passing of the seasons.

Rolling In, 10 x 10″, oil on canvas

Reflections, 10 x 10″, oil on canvas

Winter at the Beach

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With two more months to go until our new home would be ready, we moved in to a small condo at Ocean City, Maryland this past winter.  It was isolated and quiet in the months of December and January. I spent many mornings walking along the beach or just sitting in front of the fireplace staring out at the bay from a cozy warm living room.

And then one morning, there was a forecast of a strong storm building.  Within the hour, I could see it coming from our western bay facing window and decided ocean side was the place to be. Tides were high. Clouds were rolling in. Drama!

I walked that beach until the wind got too fierce to hold my camera upright. I took as many photographs as I could in that short window of opportunity.

When I got back inside, and looked at what I had, I couldn’t believe my luck.  The clouds were rolling.  The surf was blowing. And the water and wet sand made a mirror image of the dramatic sky.

Finally, we moved in to our new home and my studio! I could begin on “Water’s Edge”. It was a huge challenge to paint, especially the movement and reflections, but with patience and concentration, thin layer of paint over thin layer of paint, I managed to capture the feel of the ocean completely taking over the beach. Sometimes you just get lucky.

Water’s Edge, 40 x 30″, oil on canvas.

 

Walking the C&O Canal

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In the late autumn of 2022, we were in the process of moving.  My studio had to be packed away when we sold our condo and we had 5 months to go before our new home was ready. I couldn’t imagine that long without painting. I decided the solution was to walk the C&O Canal and look at images that would work in graphite, conte and charcoal, a much more portable medium than canvas and oils.

And so four 11 x 14″ drawings were born, done on a make shift dining/drafting table in our temporary quarters. It was lovely to work with light and shadow, and I have always loved that canal.

Each lock has its own personality. And there are long stretches of easily walkable paths between the locks.

The C&O stretches for 184.5miles, from the Georgetown area of Washington DC to Cumberland Maryland. My favorite stretch is from Lock 7 at Glen Echo to the Great Falls Tavern in Maryland. In my younger days I would bike from one to the other and then return to Georgetown.

 

Now, I get the same joy parking at different locks and spending an hour or two strolling along the curves of the canal. It never disappoints no matter the season.

Crescent, Towpath on the C&O

Twist, Towpath on the C&O

Allee, Towpath on the C&O

Amble, Towpath on the C&O

Autumn Stroll on the C&O Canal

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Autumn is absolutely stunning in the DMV area (short for DC, Maryland, and Virginia). It’s always a pleasant dilemma to decide where to take a morning stroll.

The Chesapeake & Ohio Canal National Historical Park stretches from Georgetown in Washington DC, along the Potomac River, bordering West Virginia, all the way to Cumberland Maryland. A favorite starting point of mine is the Great Falls Visitors Center in Maryland.

The park is stunning. With its twists and turns, the tow path tucks between the Potomac River and the canal, bringing surprise vistas in to view with each turn.

This day last year was half way in to the peak fall foliage of early November, but still warm enough to tie your jacket around your waist, grip your water bottle and take off.

Especially on weekdays, it never seems to get overly crowded, but always has enough walkers and bikers so you don’t feel too isolated walking alone.

The November light is stunning, captured in the branches and the low, leaf strewn  water of the canal. Everything seemed luminous and translucent. Capturing the layers of light, shadows and reflections was a challenge and a joy.

Wetlands:Towpath In Gold, 30 x 40″, oil