I’ve already blogged about my positive experiences with Carré d’artistes fine art galleries. Here is another reason why I like to work with them. After returning home from Sedona this came in the mail.
I lovely note signed by wonderful people. And two brushes. A thoughtful follow up.
Painting isn’t an effort, it is a pleasure and I am lucky to call myself a professional painter. Lucky also to work with Carré d’artistes. They know how to make their artists feel desirable.
I managed to take in the sights and photograph the Bell Rock vortex. Hiking wasn’t on my agenda. But I did meditate and saw the magic. There are lots of faces on that rock.
The show had a good turnout despite the outrageous heat. It was 49 degrees in Phoenix, and 37 in Sedona.
I made the trip to Flagstaff and found my father’s tomb. Afternoon wandering around the cemetery for over an hour and being dive bombed by crows I asked for a sign. This was the sign. It was on top of the tomb. No idea who put it there.
Thank you to all of you who contributed to The Indiegogo campaign. And thank you Cate Stetson for the wonderful meals.
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.
Yesterday I prepared four new oil paintings of the Southwest. The underpaintings look like watercolors. They are watery, almost drippy. The spots on the floor are proof.
I tend to paint high contrast. See the painting on the shelf, on the right? It’s unfinished. I need to add highlights and details. But it is high contrast.
While studying sculpture at the Maryland Institute College of Art, one of my professers — the infamous Art Benson— suggested I photograph my sculptures and contemplate the next step. The photograph removed me from the slapdash creative moment.
It was good advice. At the time I didn’t follow much advice.
As I look at the paintings here, on my blog, I see how to proceed in a new way. Less overall contrast could give a dreamy quality, almost illustrative.
I wonder if I am capable of painting with lest contrast. Hmm.
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.
I forgot to announce that my paintings went up on September 30th in Carré d’Artistes Sedona gallery. When they invited me to paint for the Sedona gallery I hesitated. I wasn’t sure if I wanted to. I’d been painting cityscapes of Paris for the last nine years. Several conincidences made me decide, yes.
The word Arizona kept popping up in unexpected places. For instance I was jogging through Luxembourg Gardens and saw a poster of the Grand Canyon. It was publicity for an exhibition at the Palais de l’Eau in Paris. I went to the exhibition and walked all the way back, along the Seine. That day I took excellent photos for the next series of Paris paintings I am planning.
Other things happened but Arizona was on my mind. When I was a child we went often to Arizona, driving through the Painted Desert. Everytime I saw a cactus, I had to touch it. My mother spent hours plucking needles out of my soft skin.
It’s funny how life brings you full circle.
One of my mannequins is for sale at Carre d’Artistes Sedona gallery, here is a photo from Instagram.