He loves to land on my paintbrushes when I’m painting. Then he likes to drop onto my palette where all the oil paints are mixed. It’s more like dive bombing.
One day he swiped his tail in cadmium orange. I had to catch him, no easy feat. And clean him with marseilles soap. I was worried he’d die of cadmium poisoning because a large gob was on his tongue from trying to clean his tail. Luckily he didn’t seemed bothered. He is a pest. But so much fun.
Want to see these paintings in person? They are coming soon Carré d’Artistes® gallery in Amsterdam.
Soon my paintings will be at the Carré d’Artistes® gallery in Amsterdam. These are a sneak peek of the first forty.
It’s a fun challenge to paint a new subject, a new city.
City reflections were my inspiration when I painted the Arno river many years ago, that seems like a different life, when I lived in Florence. Cats have nine lives, I wonder how many lives artists have. Every new subject feels like a new chapter.
I never imagined that I might paint Amsterdam, or exhibit there. It’s a blessing to work with such great people who believe in me and showcase my work in their galleries.
How do you get to show in all theses places? Paint, paint, paint. Be jealous of your time and creative space. Carve your own path through life.
After the sad decision made by officials in Washington D.C. to sell the United States national parks I am pouring love into every brushstoke. All the paintings I make for my upcoming show in Sedona will be pure love. Gobs of love from my palette to the canvas.
I hope this view will not be spoiled by greed. Condominiums or a hotel.
I will miss this painting when it goes to a happy client’s home. The illusion of distance is a window in my Parisian living room. It is my favorite so far for the Southwest series.
It leaves next week to go to Carré d’artistes Sedona gallery. I’ll be there June 17th and will do a live painting demonstration. All the way from Paris, France.
2016 was an excellent year for me. Despite the craziness on the planet I painted circa 350 paintings. Read and listened to 83 audio books. Sculpted and decorated my manga eyes. And painted those four mannequins that pinched a nerve in my back.
In April I had a show with Carré d’artistes in their Saint Germain gallery with excellent sales. Then in November my paintings were at the Luxembourg Art Fair.
In August I began painting landscapes of the American Southwest. These paintings sell faster than I can make them.
For some time I’d wanted to liberate my technique, to go abstract. Painting the red rock formations and big skies , was the ticket.
It’s true that to master your craft you need to produce a massive quantity of work and to stay concentrated.
The result is this final painting for 2016. Up close the details are abstract, the use of the palette knife apparent. Step back and it blends beautifully. It looks hyper-real.
Counting your blessings is good but sometimes it’s a good idea to look at your accomplishments.
This painting is one of my all time favorites. I first showed it in 2012 at the Grand Marché d’art Contemporain at the Bastille. It went to a gallery in Honfleur and sold quickly.
I painted 66 large format oils of NYC. One I took to BHV, the chic department store on rue de Rivoli. Searching for the framing department I walked around with it under my arm. Some lady asked me, “C’est où qu’on trouve les affiches comment-ça?” Where can you find posters like that?
“I don’t know? I painted this.”
At the time I was painting in a fabulous atelier in Ivry-sur-Seine at La Fabrique des artistes. No heating, no hot water. Industrial, totally bohemian. I had a boiler to make tea and a microwave that I never hooked up. The boiler was good because that way I could wash my paint brushes without freezing my hands.
From January to July I painted 168 paintings and sold 153.
I painted 4 mannequins. One sold.
Since August 15th I’ve painted another 102 small paintings. In November I’ll know how many of those have sold.
In August I began painting for Carré d’artistes Sedona gallery. At first I wasn’t sure if I wanted to paint desert landscapes. It didn’t seem to fit with the last nine years of urban landscapes. But painting the South West has been liberating, I am thrilled.
My technique has changed. Producing a massive amount of work, painting new scenes and the two months that I did not paint (from June to August when I painted the mannequins) are what boosted my technique.
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