Last One Standing,
Watercolor on Richeson Stephen Quiller 140# Rough Paper, 5"h x 7"w, 2013 #10
Bid at My DPW Auction (Starting Bid $25)
I took the reference photo for this painting on my road trip from San Francisco along the pacific coast up to Seattle. Passing the northern tip of Oregon, entering Washington state, suddenly there are lots and lots of drift wood washed up on the coast. I took my lunch break on one of the little beaches with such washed-ashore driftwood scattered everywhere, and there also happened to be this dead tree still standing, among the bleached driftwood, with its giant roots half exposed, seemingly going to tip at the first blow of strong winter storm. It was a grey day, chilly and cloudy. I stood there, looking at the giant tree, wondering when it was still a seedling, what it had seen upon this beach -- that would be... 300 years ago? 1000 years ago? When was that? It was still Tang Dynasty in China... And in North America, it was long before the first European explorers have landed. Only deer and native Indians were occasional visitors of this quiet beach, perhaps...
I stood there dreaming about what it was like being a tree, standing in the same place, for hundreds of years, then one day, tipping in a storm into the waves, drifting thousands of miles across strange lands.
Then I painted this image -- more from my imagination than literally from the photo. I couldn't say it has quite captured the spirit of the land or the tree, but at least, it is my homage to them.
I am also working on two 10" x 10" commission pieces -- a larger version of my paintings "Purple Hibiscus" and "Green Orchids". It has been a challenge to try to keep up with a painting a day, and work on these in the same time. But I am hanging on there...
I stood there dreaming about what it was like being a tree, standing in the same place, for hundreds of years, then one day, tipping in a storm into the waves, drifting thousands of miles across strange lands.
Then I painted this image -- more from my imagination than literally from the photo. I couldn't say it has quite captured the spirit of the land or the tree, but at least, it is my homage to them.
I am also working on two 10" x 10" commission pieces -- a larger version of my paintings "Purple Hibiscus" and "Green Orchids". It has been a challenge to try to keep up with a painting a day, and work on these in the same time. But I am hanging on there...
Purple Hibiscus II,
Watercolor on Richeson Stephen Quiller 140# Cold Press Paper, 10"h x 10"w, WIP 1
Green Orchids II
Watercolor on Richeson Zoltan Szabo 300# Cold Press Paper, 10"h x 10"w, WIP 1
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Love your clean, juicy colors!
ReplyDeleteHi Arena, I'm enjoying your 30-30 & comments on them immensely! I like the way you seem to be trying different papers for your juicy wet paintings. Someday, I'd love to see your eval of them!
ReplyDeleteSaw your discussion of paper weights on Kara's Blog. When I painted on Arches 300 lb rough, it was such a sponge, I couldn't lift anything. It surprised me because I was told it is "more forgiving". HA!
ReplyDeleteThanks Susan and Dana! Dana, I think when people mentioned it was more "forgiving" they mean you can literally scratch the surface and lift with a wet sponge and still repaint on the surface again... And it does not buckle, remaining flat when wet, making it easier to put down paint in the spot you want them to be... I've not find that desirable and it is definitely harder to lift with a normal synthetic hair brush that I use on most surfaces for lifting on the # 300 paper! And rough paper are much harder for lifting than cold press to start with... I think I might try them again after a while, but for now I'd probably stick with my #140 for a while...
ReplyDelete