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@jerry-moon-art
I have an opening tomorrow at Strecker Nelson West gallery, which will be showing some of my landscape paintngs. If you are anywhere near Manhattan, Kansas around 5pm, come by and say âHi!â. Hereâs a few of the paintings on view.
Anya is live and ready to show you everything. Watch her strip, dance, and perform exclusive shows just for you. Interact in real-time and make your fantasies come true.
Free to watch ⢠No registration required ⢠HD streaming
The Nightâs Work
20260527.0008
Various Wood Cutouts, 12in x 12in, lasercut birch, painted and assembled.
So Iâve been pretty much locked down for the past three months with a large five-panel painting commission thatâs taking two out of every three days to work on, with one or two days in between to let the layers dry to the touch. I canât share that with you until the client sees it, and thereâs at least another three weeks until itâs done, and possibly longer.
What I can show you is the project Iâm working on while the paint dries on the commission.
I cut these pieces over a year ago with Hallmarkâs laser cutter, intending to use them for wood-block prints, which was a miserable failure. I put them on a shelf in the garage and forgot about them. I saw them again while making some frames, busted them out, and started painting them. Then I glued them to black painted boards. Iâll get them into frames this coming week. Not sure when theyâll hit the Leopold Gallery + Art Consulting, but I kinda like the way they turned out.
The Nightâs Work
20260306.1919
âSpindrift After Aetherâ, 36in x36in, oil on panel.
The Nightâs Work
20260304.2033
âThe Gates of Asclepius - Sevenâ, 11in x 15 in, watercolor on Arches paper.
Last sketch for the client. They decided they wanted to reduce the size of the panels somewhat. I also got the angle of their stairway (where the art will hang) wrong, and I corrected that angle in the sketch.
The Dayâs Work
20260302.1503
âSerenity After Scrutinyâ, 24in x 24in, oil on panel.
Rough stage. The domes on this one also feel too large, so I will extend the background color next session, after all the transitional colors are dry. Itâs tough to be patient sometimes.
Anya is live and ready to show you everything. Watch her strip, dance, and perform exclusive shows just for you. Interact in real-time and make your fantasies come true.
Free to watch ⢠No registration required ⢠HD streaming
The Nightâs Work
20260301.2352
âAurora After Waveâ, 48in x 48in, oil on canvas.
Iâm backtracking on this one. I felt like the domes were too large, so Iâm bringing the background in on them a bit to keep them proportional. It looks rough now, but I have faith it will get better. Also, that blue will get darker, and less saturated.
The Nightâs Work
20260301.2108
âIndolence After Conjugationâ, 24in x 24in, oil on panel.
21 colors in, and still not halfway through it. Getting burnt sienna to blend with acid green is giving me fits. The between colors are distressingly counter-intuitive.
The Nightâs Work
20260228.2129
âComplacence After Exaggerationâ, 24in x 24in, oil on panel.
This one may get a bit muddy in the âbetweenâ stages. Yellow and Violet donât like each other much.
The Nightâs Work
20260228.2004
âConsolation After Misjudgementâ, 24in x 24in, oil on panel.
I still have a lot of color transition work to do on this one. The background color is too bright, as well. Iâll be adding a touch of a complementary color to that coral.
The Nightâs Work
20260227.2210
âEuphoria After Petrichorâ, 36in x 36in, oil on panel.
Making good time on this one. Gonna begin work on transitions over the next few sessions. Half-way done-ish.
Anya is live and ready to show you everything. Watch her strip, dance, and perform exclusive shows just for you. Interact in real-time and make your fantasies come true.
Free to watch ⢠No registration required ⢠HD streaming
The Nightâs Work
20260227.2000
âOrb After Refugeâ, 36in x 36in, oil on panel.
Itâs been nine days since I did any oil painting, courtesy of sketches for a commission, which will always takes precedence over speculative muse-chasing. This one is in the very early stage.
The Nightâs Work
20260225.2039
âThe Gates Of Asclepius - Five and Sixâ, 11 in x 15in, watercolor on Arches paper.
After consultation with Hilary, the manager at my gallery, we decided to do two more sketches with less blue. We meet with the client on Saturday.
Fingers crossed.
The Nightâs Work
20260218.1838
âRadiance After Tumultâ, 36 in x 36in, oil on panel.
Nine colors in, and a long way to go.
Listening to the KISS debut album, and âIâve got got nuthinâ to loseâ. I canât believe itâs been over 50 years since this dropped on us like an atomic bomb.
The Dayâs Work
20260218.1630
âErosion After Lassitudeâ, 24in x 24in, oil on panel.
I didnât wake up until 11am today (I love being a full-time artist), so got a late start.
This is in the very early stage. I was using it as a template to build frames, so it has seen paint since before Christmas. Eight colors in, forty-fifty to goâŚ
The Dayâs Work
20260217.1428
âCombustion After Clarityâ, 48in x 48in, oil on canvas.
Still in the early stages. Upper yellow needs to be smaller, the lower pink, larger. And probably some variation in the middle space. The allover color is feeling a bit dead.
Anya is live and ready to show you everything. Watch her strip, dance, and perform exclusive shows just for you. Interact in real-time and make your fantasies come true.
Free to watch ⢠No registration required ⢠HD streaming
The Nightâs Work
20260216.2351
Untitled, 4in x 4in, watercolor on Epson paper.
Sometimes failures are successes, too. Iâve been curious whether doing a painting only in glazes (transparent color, think: stained glass) would give me greater brilliance and sparkle. The answer?
Nope.
I have some Viviva watercolors, which are dye-based, dazzlingly clean, and utterly transparent. They are also fugitive (they fade quickly), but this was just an experiment, so that didnât matter. I overlapped the paint strokes, expecting to get beautiful mixed strokes of scitillating color, and what I got was mud.
You can see the base colors on the edge of each sketch. As they overlap, they just cancel each other out. My approach of crosshatching simply doesnât lend itself to glazing, as you can see.
Maxfield Parrish is safe. (Iâve included a painting by him. Heâs the undisputed champ of glazing).
The Nightâs Work
20260215.1957
âBlood After Blossomâ, 36in x 36in, oil on panel.
I spent my morning working on frames in the garage. Torched and brushed four of them, then assembled a three-footer. Then down to my easel, where this one soaked up my afternoon and evening.
I got some new watercolor paper a few weeks ago, and imma bust that out and work on some sketches. Iâm tired of standing in front of the easel today.