46 Paintings

My last blog post.

So, here’s the truth: I didn’t finish my goal.  I was going to paint 46 paintings this year, the number representing the years I have spent on this Earth.  I figured it would be difficult, but not impossible to pull off.  ”Heck, it’s only a little less than a painting a week,” I told myself.  ”You can do this!”  My plan in place, I forged ahead with earnest gusto.  But as often happens, life took a different path than I had laid out back in late December of last year.

All was going pretty well as I approached my halfway point around June.  Just to make things more interesting, I decided to take a week-long painting workshop in Bend.  ”At least I will come home with 5 or 6 good paintings under my belt,” I figured.  Wrong!  The workshop kicked my ass!  Not only was it difficult and demoralizing, I came home with only a few odd, sketchy paintings I couldn’t even think of sharing.  So I decided to take a short break to regroup when our beloved cat, Wally, was killed. All of this took the wind out of my sails for feeling creative and inspired. 

I know what you’re thinking, “But that was a big challenge to take on!  And you had some rough stuff happen this year.  And just look at all the paintings you did paint…”

True.  All of it true.  Yet, the fact still remains that I didn't finish something I set out out to do and I want to own that.  I could sit here and give you all the excuses why I lost my momentum and some it would sound pretty convincing.  But why do we often feel like it’s better to excusify away an uncomfortable situation rather than just accept it or even embrace it?

I did not finish my goal of painting 46 paintings this year.  Part of me is disappointed to not have reached the magic number, but on a deeper level I feel like I still learned a lot along the way.  

I finish this year with this painting of a seabird looking out into the glow of a Pacific sunset.  His (or her) peaceful expression and constant presence on beaches everywhere reminds me of the classic quote:

"Life is a journey, not a destination" - Ralph Waldo Emerson

Painting #21 - The Sandhill - Oil on board 6 x 12

It’s been almost a month since I posted my last painting and left for my workshop in Bend with Kim English.  I had hoped to come back with several good paintings to share with you on my blog but unfortunately it was not to be.  The format of the workshop was a daily boot-camp of fast studies of live models posing for 5 - 15 minutes.  We were insructed to paint as quickly as possible to capture the basic forms and values of the scene, but never getting enough time to “finish” a painting.  When the timer would go off at the end of a pose, we would quickly wipe off our boards and begin another.  So, after 5 days and dozens of paintings come and gone, I returned home feeling a little wrecked and needing to take a break from painting for awhile.

Painting #20 - Neahkahnie Devil's Punchbowl - Oil on board 8x6

As I write this post I am packing up my gear for my upcoming workshop in Bend, Or with Kim English.  My feelings are a mix of excitement and nervousness as I contemplate the week ahead.  We will be painting everyday for five days straight with live models as well as outdoor locations.  I feel well-prepared by my 46paintings practice from the last several months.  I have an organized kit and a better understanding of the medium and where I want to go with my work.  It will be so fun to have a professional, seasoned artist and teacher to get feedback and instruction from.  I am also looking forward to spending time with and learning from the other aspiring artists in the class.  

Painting #19- Seaside Estuary - Oil on canvas 8x10

Some days as an artist don't go as you planned.  After going out several times this season, I thought that I had my painting kit well-packed and ready to go at a moment's notice.  However, when I got to my last location and started setting up I realized that I had forgotten my painting medium and linseed oil (which you use to thin the paint to the desired consistency for painting.)  Being that I use water-soluble oils I was able to use plain water for my initial washes, but when it came time to apply the final layers of color I was forced to use pure paint right out of the tube.  I never would have guessed how difficult this method of painting would be.  The uncut paint was too sticky, did not flow right off the brush and I had to use much more of it to cover the surface.  But I was determined to forge ahead and see if I could get something out of my session anyway.

Painting #18 - Old Boat - Oil on board 9x12

I have been wanting to paint at this location for a long time and was happy to finally get around to it.  In a overgrown yard next to the marina in Wheeler sits a cluster of old boats in various stages of decay.  This one was propped up in the weeds like some kid’s forgotten toy.  It doesn’t look like these boats will ever get fixed up, but I doubt they will ever be destroyed.  It seems like bad luck somehow to destroy an old boat.  

“The killing of a man was not so evil as the killing of a boat. For a boat does not have sons, and a boat cannot protect itself, and a wounded boat does not heal.”  ― John Steinbeck, The Pearl

Painting #17 - Nehalem Valley Study - Oil on board 9x12

Where did the cows go?

This was my first time back to this spot since I painted here last year with my buddy, Bjorn.  When I got to my spot the field was full of cows munching away on the sweet spring grass.  I have been seeing some really great cow paintings recently from the fantastic Dutch artist, Roos Schuring so I thought I would have my chance to paint them.  The interesting thing about cows is that it seems like they are not moving while you are looking at them, but if you look away for a few minutes suddenly they are across the field as if they sprinted there.  It took me awhile to block in the basic design of the painting and get down some colors, so by the time I was ready to put in the cows they had disappeared.  

Painting #16 - Beach Day - Oil 9x12

After last week’s detour in the jumble of the forest, I decided to go back to a simple subject for my latest painting.  Using a photograph that my wife took during the heat wave of a family enjoying the day on Cannon Beach.

Painting #15 - Necarney Creek Study - Oil 9x12

I thought it would be a good idea to escape the heat yesterday by going to paint in the cool of the forest.  After a short hike, I found my spot along the creek and began sketching the scene.  I was immediately struck by how much visual information there was going on in front of me.  I  realized I was going to have a big job of editing what I saw if I was going to make a coherent painting.  Although it was difficult getting started, I finally found my basic elements for the composition and got down to work.   After several hours of painting I felt like I had the bones of decent painting and it was time to head home for lunch.  

Looking at my painting away from the confusion of the forest I was able to tell what was working and what I needed to give a little more attention to.  Using my memory of the the scene I was able to fill in details and make up others to help finish the painting.  I am starting to learn that at a certain point it’s better to stop looking at my subject and start looking at the painting. 

Painting #14 - Neahkahnie Beach Study - Oil 6x6

Painting #13 - Bench Break - Oil 12x12

This one is from a trip we took to LA in December of last year.  I saw this cool cat enjoying the last rays of the sunset on a stone bench at the foot of the Manhattan Beach pier.  He is wearing a heavy Nordic sweater, because it was chilly (probably in the 60s) and he is holding a dog leash (in case you're wondering what that blue line is.)  He also had one of those little plastic bags of poo that dog people always seem to be carrying around, but I left that out.  I also left out the dog at his feet because I wanted the focus to be on his face and hat.  Initially I wasn't going to finish his legs since they are so dark and it's hard to tell what's going on.  But I ended up going back and putting in his leg crossed with his Crocs sandal jutting out from his perfectly white sock.

Painting #12 - Beach Cruisers - Oil 6x6

Painting #11 - Dean's Point - Oil 9x12

En Plein Air is a French expression which means "in the open air," and is often used to describe the act of painting outdoors.  It's a romantic idea, painting outdoors, and it can be an amazing experience to set up your studio in the middle of a beautiful scene and imagine yourself simply recording what you see into a beautiful work of art.  It can also go something like this...

The first thing you have to decide is what part of this magnificent landscape you should actually paint.  You only have a 9x12 piece of wood, so you can't fit everything in.  So, you pick out what looks like an interesting area and start painting.  Since you're outdoors everything is changing right before your eyes.  The sky, wind, and water are all moving and everything looks different now than when you started.  You realize there is a lot of detail, even in this small area you are focusing on, so you try to simplify and keep moving.  After a few hours of struggling, things are starting to come together and you think you might actually have a painting here.

Then you get home and take a look at your painting away from the distraction of the outdoors and evaluate things with a different eye.  And you realize that what you thought was a pretty decent depiction is actually a little confusing and even a little boring...

This is what I experienced on my first day out painting plein air this week.  It felt really good being outside painting for a change and I was so excited by what I was doing I forgot about some basic rules of composition and made what I now think is a mediocre picture.  I think it's accurate in many ways, but there is too much river in the foreground and all these strange pilings sticking out.  The trees really did follow the curve of the mountain, but now it looks too flat and lacking dimension.  I know I'm being critical, but I have to honestly evaluate my work if I want to improve.

Painting #10 - Ideas - Oil 9x12

Which Came First?

This painting project has got me thinking a lot about inspiration and creativity.  Since I’m on a pretty tight schedule, immediately after finishing a painting I am forced to ask myself, “What’s next?”  I don’t have the time to sit back and wait for my Muse to inspire me.  Often, I just have to pick something that’s right in front of me and forge ahead.

One of me favorite quotes about creativity that I keep coming back to this year comes from the artist Chuck Close:

"Inspiration is for amateurs — the rest of us just show up and get to work. And the belief that things will grow out of the activity itself and that you will — through work — bump into other possibilities and kick open other doors that you would never have dreamt of if you were just sitting around looking for a great ‘art idea.’”

So, this week you get eggs.  And I get to learn something about painting them.  It was challenging switching back to oils again after my last few watercolors.  It helps keep me from getting too comfortable and forces me to think about what I’m doing.

Painting #9 - '67 International - Watercolor 12x9 

I like old trucks, and I cannot lie…

Seeing a car can take on a different meaning when you live in a small town like I do.  You get to where you can associate people on first sighting their vehicle.  ”There goes Jeff”, you think, as a battered white van comes around the bend on the highway.  A quick wave to Lori’s Tonka-yellow Jeep.  This one here.  This is Josh.

I saw Josh sitting in his rust colored rig, taking a break on a sunny Spring day where he works at the local recycling center.  You can tell he’s proud of his truck.  A 1967 International Harvester pickup, beautifully un-restored in all of its glory.  I’ve always had a soft spot for these old machines, often stopping to check out my favorites around town.  Josh and I chatted about cars for awhile, then the topic turned to art, and books, and movies until it was time for us to both get back to work.

Painting #8 - Gail - Watercolor 10x14

What's that woman doing wearing that funny hat?

For the last several weeks my life has revolved around attending trade shows.  This means I got to spend hour upon hour in a hotel or convention center looking at endless lines of clothing in a rep's booth or showroom.  Not the most likely place to find inspiration for painting, you might think.  But since I'm on a deadline to keep up with painting schedule I decided to turn one of our appointments into a surreptitious portrait sitting.  One of our reps uses her friend, Gail, to help model clothing and hats in her booth so we can get a better idea of how they will look on someone.  I often admired the way Gail looked, even while wearing an ridiculous hat or crazy sweater.  So I snapped a few photos, hoping that one would work out to paint when we got home.

Painting #7 - Snow Banks - Watercolor 10x14

What a difference a few weeks can make.  When we left the Northwest for our trade shows in Las Vegas we had just come through a late-winter snow-fall that changed our usual green landscape to contrasty images of grey and white.  This farm, which sits off of Hwy. 26 just outside of Banks, has often caught my eye as we drive past on our way home from Portland.  The snowy fields and gauzy afternoon light gave us the motivation to finally stop and take in the magical landscape.

While getting ready to leave for Vegas, I just had time to sketch this out from a photograph that Suzy had taken that day.  One look at this scene and I knew I had to paint it using watercolors.  The medium really lends itself to the washed-out subtle tones that are going on in this landscape.  It was fun to switch back to watercolors after having worked in oils for many months.  I found my approach has changed with the way I use the paint, using only a few colors and not over-mixing on the palette.

One of my favorite artists from childhood was Andrew Wyeth.  I thought of his starkly beautiful paintings of old barns and snowy fields as I prepared to work on this.  I also came across the work of Dean Mitchell, whose landscapes evoke a similar feel to Wyeth's.  Wyeth was a master of detail but he also left large areas of his paintings white or unfinished looking.  I hope I was able to achieve some of that effect in this painting.

Painting #6 - Red Wings - Oil 9x12

Saturday for me is not a day I get to work on a painting.  I usually spend it behind the sales counter, wrapping up purchases or out on the floor folding the same shirt for the 50th time that day.  But this Saturday, while the shop was closed for the third day of our major snowstorm, I found myself with a whole day ahead of me to do nothing but paint.

I have had these Red Wing boots for several months since we started selling them at our store but I never really had the chance to put them to the test until now.  Each day of the storm I laced them up and trudged out into the cold to stomp around our beach-town suddenly turned into ski-village.  If you are not familiar with Red Wings, they have been handmade in Red Wing, Minnesota since 1905.  These moc-toes are made from thick, oiled leather that feels like a new baseball glove and requires a period of time to break them in.

So, after spending several days of service from my boots, unlacing them each night to dry by the wood-stove, I decided that they deserved a painting in their honor.  I worked most of the day and part of Sunday finishing all the intricate details of the laces and the tonal variations of the leather.  It was a great puzzle to figure out and I am quite pleased with the results!  I am also pleased to say that the snow is melting away and I am looking forward to spending next Saturday folding shirts and thinking about my next painting.