"Front Steps"

12x12" oil on masonite

"String of Lights"

12x12" oil on masonite

"One Headlight"

8x10" oil on canvas panel

"Corvette Takes Altamont"

12x12" oil on masonite

"Seaport Peterbilt"

12x12" oil on masonite

"Outbound" - SOLD

20x20" oil on canvas

"Pipeline"

12x12" oil on masonite

"Grind"

12x12" oil on masonite

"Business Trip"

20x20" oil on canvas

"Alamo Square, San Francisco" - SOLD

6x6" oil on Gessobord

"Pool Skater"

12x12" oil on masonite

"Fly Like a Hawk"

12x12" oil on masonite

"Wheel Out"

12x12" oil on masonite

This is small study for a much larger painting (36x36"). This was done from a photograph which was obviously shot with some sort of fisheye lens. I like how the lens distorts and exaggerates the sense of space in the picture plane. For example look at the size of the wheel compared to the head of the skater.  It's not quite 3-D, but it does create the illusion that the board is about to burst out of the picture.

"City Buildings"

14x11" oil on panel

"Girl on Ferry"

12x12" oil on masonite

"Work Van, San Jose"

12x12" oil on masonite

"Hilltop House, White Fence"

16x20" oil on canvas

Without mutation there can be no evolution. This was an enjoyable attempt to throw myself off balance. When this painting was first finished I didn't like it. I didn't like it because it didn't look like my other paintings. It's been on my bedroom wall for over a week now and my opinion has changed. I'm seeing things I really like, others that I'm still unsure of. There have been moments when I've been tempted to rework it but I've decided to leave it alone.

"Work the Saw"

20x16" oil on canvas

"Eucalyptus Grove"

36 X 24" oil on canvas

This is the largest canvas I've ever done. It felt big while I was painting it, but it seemed to shrink a bit when I hung it on the wall. I plan to do more in this size range until I'm more comfortable with the process. I'm realizing that a large canvas has the ability to change the feel of a whole room. Perhaps if I paint a few more of these my living room will have the peaceful feel of a forest.

This grove of eucalyptus is located in Junipero Serra Park, a short walk from my house.

"Winter Oak" - SOLD

20x20" oil on canvas

I've been wanting to paint leafless oaks all winter, there's so much character in their twisted, gnarly branches. They've just started to bud so I figured I'd better get to it. This is my first large canvas in a while. I had to alter my brushwork a bit to suit the subject. I experimented with shorter strokes and I didn't thin the paint at all. I think this gives the painting an early California look.

For some reason the early California painters focused primarily on eucalyptus trees. Some critics actually dubbed them the "Eucalyptus School". The oak is a very striking native tree so I'm surprised it wasn't painted more often. It could be due to their complicated structure, or the fact that they look a little spooky.

"Home"

7x5" oil on masonite

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This will be my last small painting for a while. I'm feelin' the need to paint big.

"Green & White"

6x6" oil on gessobord

This is a painting from a series I just completed focusing on paint tubes. It was a fun experience to really explore this one subject. There are four others currently in my DPW gallery.

I just picked up "Paintings in The Musee d'Orsay" at the library and I'm really enjoying it. I've been told the d'Orsay is a beautiful museum, it's set in an old train station. Unfortunately the one time I was in Paris it was closed "due to the tempest". Apparently it had flooded, thankfully none of the work was damaged. 

I went to the recent show at the De Young Museum in San Francisco featuring work from the d'Orsay so I recognize a lot of what I'm seeing in the book. It dawned on me that it sometimes takes a while for me to fully appreciate a painting. Seeing these paintings again in the book has me wishing I could visit them again.

I don't believe you can really experience a painting from a small photo in a book or an image on the web. I keep reminding myself to get out and stand in front of as many great paintings as I can. Whenever I do, I can't wait to get back to the studio and pick up a brush.

"Miss Magnolia" - SOLD

12x12" oil on masonite

I had to break out a tube of thalo red rose for this one. Alizarin just wasn't cuttin' it!

I love the look of blossoms against a clear blue sky. I've been seeing them everywhere for the past few weeks. It's actually starting to feel like spring which is strange since the last month felt like summer. Crazy weather here in the Bay Area.

The title for this painting was inspired by a song by Matt Costa, one of my favorite singer/songwriters. I usually listen to Pandora when I paint. "Matt Costa Radio" is perfect paintin' music.

"Maine Backyards"

6x6" oil on Gessobord

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Well I dropped off my cocktail paintings and a few other food related pieces at the Studio Gallery for the "Delicious" show. The reception is this Sunday from 2-6pm, so come on by if you're in SF!

I had a request from Nancy Standlee in response to yesterday's post. She'd like me to mention some of the newer artists I've been enjoying. The truth is, lately I've been spending most of my time looking at DPW artists. I've been making my way down the list, checking out everyone's blog. I find I'm constantly surprised and inspired by the work I'm seeing.

As for non-DPW artists, one of my faves is Tollef Runquist. I saw some of his work at the Dowling Walsh Gallery in Maine last summer. I love that he takes risks, he seems to operate outside of any sort of comfort zone.

When I first started painting I admired artists with great control. I find my taste is changing. I'm no longer as inspired by finesse. I'm drawn to artists committed to growth and discovery, artists who are responding honestly to the world around them in their own unique way. According to David Hockney there's a Chinese proverb that states that art cannot be made without the hand, the eyes and heart. 

I've recently been impressed by the work of some artists new to painting. Most beginning painters haven't yet developed a comfort zone. They're reaching, experimenting, struggling and often creating inspiring work in the process. So I guess the short answer to Nancy's question is, I'm currently enjoying the work of beginning painters and experienced risk takers.

"Red Truck Turning Left" - SOLD

6x6" oil on Gessobord

Another from behind the wheel.

I've always been attracted to art that reflects a unique and personal view of the world. "The Complete Watercolors of Edward Hopper" was my introduction to this kind of work. I love visiting the pages of that collection, it's like a mini vacation. By staying true to himself and trusting his instinct he's created a unified body of work, one with the ability to transport.

Andrew Wyeth and Van Gogh have also created worlds I like to visit. I'd be curious to know whose work transports you. 

"Spooning Tea Cups"

6x6" oil on Gessobord

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I've painted cups in the past but not with much luck. I'm mostly inspired to paint landscapes, people and hard liquor, but it's nice to mix it up a bit. I'm aware that I'm in Carol Marine territory here! My recent still lifes actually inspired an email asking if I'd taken one of her workshops. I haven't had the pleasure, I hear she's a wonderful teacher, but the question got me thinking about the way I learned to paint.

I'm primarily a self-taught painter. I started eight years ago at the age of 38 with no previous art experience at all. I'm a "do it yerself" kinda guy, so when I started yearning for real paintings on the walls instead of prints I dug in and did some research. 

My art education started at the library. I checked out piles of books on oil painting. Books by Charles Sovek, Emile Gruppe and Kevin MacPherson. Once I got started I realized painting was a lot harder than I thought it would be. Two things kept me going. First, I remained optimistic. Second, I was completely delusional. Work I then proclaimed "PIVOTAL" or "GROUNDBREAKING", now leaves me scratching my head.

In the next phase I shelved the instructional books and began looking carefully at as much art as possible. There have been many painters, some living, some now gone, that I feel I've learned from and will continue to learn from. Carol is certainly on that list. With so much great art online the list continues to grow. My hope is to take what I learn and somehow make it my own.

"Wedges and Blue Bowl" - SOLD

6x6" oil on Gessobord

More orange wedges! Another bowl!

I received an email yesterday requesting some info on the brushes I use. Deb asked: "Could you share with us what type of brush you use for a 6x6 or 8x8 to get these nice fresh looking strokes?" 

As for brushes, lately I've been using a Princeton 6300B size 8 for my 6x6" paintings. I've been attempting to use this size brush for the whole painting. It's pretty big for such small work but it holds a lot of paint and its inability to handle detail forces me to simplify. 

Another key to the fresh stroke look is to use medium to thin your paint.  I use a mixture of 1 part stand oil, 1 part linseed oil, 2 parts mineral spirits. The medium allows you to get good coverage in a single stroke. It's also helpful to paint on Gessobord or gessoed masonite, with the mentioned medium and the smooth surface of the Gessobord you can really lay down some creamy spontaneous looking brushwork.

When I paint on canvas my approach is a bit different. I don't use any medium at all and I tend to use inexpensive Utrecht brights and flats.

"Strawberries and Jadeite Bowl" - SOLD

6x6" oil on Gessobord

Thanks so much for all the comments and suggestions yesterday! Nice to know I'm not the only one struggling with the photography issue.

Well I had a few lovely days in the studio and now I'm back out pullin' wire. I work part-time as an electrician. It's dirty and difficult but I like the guys I work with. Sometimes when I'm crawling under a house, or making my way through blizzard of insulation in a hot attic, I can't help daydreaming of how nice it would be to just paint for a living. 

I suppose the reality is never as simple as we imagine though. Painting everyday certainly presents its own challenges. I'm not sure I'd want to depend on it as my sole means of support. I do my best to keep a good balance. I feel fortunate to have a flexible job that allows me a bit of time to pursue the things I love. Even if I have to stare down a black widow every once in a while.

I should be back to posting in a day or two.

"Gang of Wedges" - SOLD

6x6" oil on Gessobord

I've been driving myself a bit crazy lately in my attempts to post the most faithful digital representation of my work possible. I photograph my paintings on overcast days, or in the shade when it's sunny. I try not to do any post production at all, just leave them as they come out of the camera. The problem is, the paintings look slightly different depending on where they're viewed. If they're in the kitchen they look one way, from a distance they look another, in the dining room different still.... I think you see where I'm going here. Yes, going nuts. I often spend a half an hour making adjustments in iPhoto and then move the painting to a different room and find my adjustments look all wrong! My conclusion? I've decided to save my sanity, trust Canon technology and post them just as they come out of the camera. Any of you painters out there having similar fun? 

"Central Valley Barn"

6x6" oil on Gessobord

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This barn was painted from a photograph taken on the road back from Yosemite. The bright orange roof really stood out against the deep blue sky. The Central Valley is full of inspiring scenes for landscape paintings, my kinda landscape paintings anyway. 

There's a rugged, rusted, barren type of beauty out there, with desolate little towns where you might stop for a cup of coffee and a slice of pie before heading over the mountains toward the Nevada desert. Why would you be heading to the Nevada desert? Hmm.... just lookin' for wide open space. Or maybe to go see the wild horses. 

Note: previous paragraph to be read with a gentle western drawl, in a voice not unlike Sam Elliott.

Big Messy Paintings

A friend and I went to the Oakland Museum this weekend to see the newly improved facility. I'd been there many years ago when I first started painting. I was excited about California Impressionism back then and I'd heard they had a large collection. It was a nice bit of luck to have Edgar Payne, E. Charlton Fortune and William Wendt paintings so close to home.

They've done a great job improving the place but there weren't as many paintings on display this time. They did however have a room dedicated to the Bay Area Figurative Movement. I was particularly impressed by the work of Richard Diebenkorn and Elmer Bischoff. Their paintings were large, messy and full of life. The paint was thick and chaotic, yet beautiful.

It occurred to me that I wouldn't have appreciated these paintings a few years ago. I may have seen them as rough, sloppy and amateur. I was more attracted to paintings of beautiful things, beautifully painted. I now see things differently. I connected with these paintings because they feel more honest in a way. Life is unpredictable, messy and chaotic at times, and yet there's beauty all around us. These are courageous and powerful paintings because they're not afraid to challenge us to find the beauty within the chaos.