Here is one good reason why I like working with acrylic paints–they are forgiving. Especially when one idea seemed like a good one until a night’s sleep refocused my aesthetic and I wonder just who thought that color combo was a good idea. I am thankful that I get a second chance–with every single piece of artwork I do. I am never afraid to scrub out, gesso over, tear up, use for collage, cut up for use as mini paintings, or plain just get rid of bad painting. Sounds crazy to some of you but if you are an artist, I recommend you give this a try. You never know what you’ll find the second time around. Have a Happy Thanksgiving.
My season of being a Red Sox fan began in April, only a week or so after the Boston Bombing by terrorists. I was a bit apprehensive about going to the game but we were determined to not let horrible, emotionless, vile people change how we want to live our lives. We did nothing to deserve this act of war.
The fans seemed happy to be at the ballpark but the air was heavy with concern for what the future would bring after this horrendous event of terror on innocent people–and especially children– simply enjoying a beautiful spring day watching and cheering their friends and family at the end of the Boston Marathon route. Boston Strong images were everywhere at the Sox game and now seemed to be a precursor for what the season could bring.
The color scheme of this 12×6 piece torn from my sketchbook may seem melancholy–although I did not have this in mind when I drew it. I was exploring the design possibilities of the abstract lines and shapes distinctly found in Fenway. I have done others that have evening lighting and more intense color but I happen to like this reserved version. It is available at the Copley Society of Art on Newbury Street in Boston, MA. www.copleysociety.org
Saturday and Sunday, November 2 & 3, 10am-4pm. Details on flier.
Coastal Maine with its crisp whites, deep blues and accents of reds and oranges continue to find their way into my artwork. One day it occurred to me that if Maine redesigned its state flag it could look something like this. Of course inlanders would not be happy so I’ve kept this idea to myself. One visitor to one of my outdoor show in South Portland, Maine this summer laughed out loud when he saw the title and “got” the image. A fun moment. Not a sale but just as rewarding when someone understands that my work is not representational but seeks to propose a different, uncommon way of viewing common views. I abstract elements of a landscape and reorder, repurpose and reimagine all while filtering this input through my head and heart. Whew. Amazing how humans work.
Scouting out a location in a busy city such as Boston can be an intimidating process. The sheer number of possibilities for making a painting can be overwhelming to evaluate. Choosing just the right location–one with a good view, open space for setting up equipment, safe from traffic, animals, and other oddities is not easy. We found this location on a scouting trip taken with my daughter, Katie Trainor, who lives in Boston and works at Francesca’s Coffee Café on Tremont Street, right around the corner from Union Street Park. Perfect. Her knowledge of the area and my preferences was invaluable to selecting this spot. Just enough area to setup, a beautiful spring day at the pocket park, and of course, proximity to a bathroom :). Sidewalk location was just right to allow me to set up and allow neighbors to get by–and chat. A win for all. The Copley Society of Art PaintOut was one week after the Boston bombing at the Marathon so the city was still reeling. Good to know this event and sale of my painting helped a little to add to the Boston Strong fundraising effort.
We artists have so many options open to us as we design a new piece of art. This one is less real and more abstract or is it more abstract than real. Let me explain. I love working with the landscape–New England, Caribbean and beyond– and that does not always mean working directly in front of it–plein air–as it is commonly known. I enjoy the process of interpreting the things that have inspired me and reworking into artworks that speak the language of the landscape but also let my personal interpretations in as well. Let me know your thoughts on this new piece entered in the Modernist Exhibition at the Copley Society of Art in Boston. Let see if it makes the cut. It was inspired by Amadeo de Souza Cardoso, Portuguese, 1877-1918, “The Leap of the Rabbit.” Pieces entered are required to be inspired by a work or artist own at famous The Armory Show in NYC in 1913.