Farm to Market

12x9 oil on canvas panel

Gallery info to come.

Another look at this lady harvesting lettuce at Boggy Creek Farm. She would pick them and take them up to the market stand to sell. Can't get much more fresh than that. I bought some, and it was delicious. Boggy Creek has market days Wed. and Sat. mornings in East Austin.

The title refers to many of our road names here in Central Texas. FM1431 or some such is a road that led from the outlying rural areas into town.

I'm adding "pages" to my blog so you can see what is available at each of my galleries and contact them if you are interested in any of my artwork. Its taking me a little time to update, but its on the right column.

Holding the Line

11x14 oil on panel

Gallery info to come.

I'm really enjoying painting these scenes. Its become a favorite subject. Perhaps after having painted a few, I feel a little more free to experiment. I've painted the green grass and the blue jeans as they really appear. Now I can play with the subject a bit and like I did with this painting, paint it very high key.
Someone wrote and asked if I used a special palette on the previous scene. I didn't really intend to actually. It wasn't a conscious choice when I started, it sort of happened as I worked. One of the things I do while I'm working is to mix into the colors I've already blended on my palette. So the whole mass sort of blends and moves across my palette morphing from one set to another, but all part of the same. This probably makes no sense whatsoever.
I had an older shot of my palette so I thought I'd share that at least. You can see how my mixing moves across and keeps blending and morphing.

Clean Sheets

12x12 oil on panel
Gallery info tbd

So Wednesday I set my timer and painted this scene in 30 minutes (plus 10). I wanted it to be loose and interpretive, so I stuck with a sort of split complementary (?) color scheme. Actually - that was a happy accident. LOL
Anyway, I did a few strokes after the timer went off, but not much. I really want to get to the point where I stop tightening up everything and paint more instinctively. I made a short slideshow of the work in progress. One of these days I would like to try to get a video too - first I'll have to figure out how much time my old camera can record and then how to get it uploaded to my computer.




Happy Easter! I'm going to go see the Impressionists exhibit from the National Gallery in Houston. Have a beautiful weekend everybody.

Downtime

6x6 oil on panel
SOLD

This was so much fun to do. I didn't think I could pull it off really - the start was rather ugly. But I'm really happy with the results. Click the image to see it larger and you can see the strokes, the lost edges and the suggestions which make it come together to the eye.
I really hit my stride yesterday leaving things loose and sloppy. That might sound odd, but it is sort of what I want. It felt really good to just let go and put the brush down before I tightened everything up. Will share that tomorrow! Facebook fans have had a peek at it.

In Her Tube

6x6 oil on panel
$125 + s/h
PURCHASE

Another view of the little tuber, playing in the waves at Siesta Key Beach. This year we're not going to vacation in FL because I bought one of those living social deals to COZUMEL! We haven't traveled abroad in many years - and our daughter has never been out of the country, so I've been busy getting our passports renewed and getting the child's first ever. She is so excited. I am not sure how much traditional Mexican scenery I will find, but I'm sure to enjoy the beaches and snorkeling. Now, if I can only figure out our summer vacation schedule! I have to work around my parents who will be joining us, my hubby's work, my trip to NYC :), summer camps and a trip to see our IN family and meet our new nephew! No problem.

Limited Strokes Notes

I just took a look at this in this small image format and noticed how monotone the painting is. Its a problem I always have when I paint outdoors. Its pretty much all midtones. When you are working under a strong light source (i.e. the Texas sun) you have to really push those values! I converted the image to grayscale in Photoshop to see how well and truly in the middle I was.



I also wanted to mention that the strokes noted on the side note each one I painted in order.

Moses Botkin Monthly Challenge

It was my turn to pick a challenge and I think I might have made some enemies this time around! jk - LOL
I certainly stirred up a lot of questions.
I wanted to practice the idea of limited strokes and decided we should paint something with just 15 strokes. The idea of this is to make you think ahead. You need to plan each stroke, mix enough color, load your brush and make that color last for the length of your stroke. Peggi Kroll Roberts has a video on this specific challenge and my friend V....Vaughan frequently practices this (both with much better results.)
I did a couple this week when I went to paint with some friends at a local farm/market. You will see my scene more fleshed out very soon.


Gardening
12x6 (roughly) oil on canvas
©2011 Robin Cheers



7-stroke to Place
9x13 oil on canvas

©2011 Vicki Ross

7 Stroke Apple

4x 4.5 oil on canvas

©2011 Diana Moses Botkin

Spring
6X4 oil on canvas
©2011 Ruth Andre




One Duck in 15 Strokes
10x10 oil on canvas
©2011 Suzanne Berry

Totally Tubular

6x6 oil on panel
$125 + s/h
PURCHASE

I'm taking a vacation... in my studio! I wanted to get back to painting regularly and thought I'd start on some uncomplicated and fun scenes to warm up! Beach pics are a good start.

While I Breathe, I Hope

24x24 oil on canvas

Available at Russell Collection Fine Art in Austin.

This is my contribution for the fundraiser for the new Seton Breast Cancer in Austin. The Russell Collection gallery invited their "Best of Texas" artists to each create a painting on the theme of hope. When I think of any trials that life throws our way, my hope seems to always fall on the next generation - the youth, energy and infinite possibility of our children. This is a likeness of my daughter, blowing bubbles. Lots of symbolism in here really. I'll let you all interpret it. The title is the Latin - Dum spiro spero - "While I breathe, I hope." And blessedly, I have this outlook on life even in the darkest of hours.

Tuesday night the gallery hosts an event to unveil the paintings together.

I'm still here!

I feel a little like a balloon that was suddenly deflated. After all my volunteer activities ended and the opening at Russell Collection, I let a big sigh of relief and haven't reinflated myself! I'm trying to get inspired again. After such a break, its always hard to get motivated again. But I have to think of it not as a challenge but a waking, as if from a sleep... I have to begin gently and not berate myself for inactivity.

In the meantime, I am finishing a special painting for the new Seton Breast Cancer Center. Artists who showed in the Best of Texas show at Russell Collection are each contributing a 24x24 canvas in honor of Susan Lubin. My painting is a little more modern than usual and I'm enjoying it.

Two other things - Salon International opens this weekend AND I had a painting featured in the April Southwest Art in their "Art Values" section - very cool! Though they have put Russell Collection gallery in Dallas, not Austin. But, this means you need to check out my galleries and see what is available to invest now before I get famous! ;)

Moses Botkin Monthly Challenge

This month's challenge was to paint on black. Now, I used to do this regularly for awhile. I think I got the idea from Karin Jurick and I did like the drama of the color on it. But once its painted over, there isn't much point really. Then I began to paint mostly on a grayed surface, sometimes gessoing many panels at one time in a nice latex house paint actually (idea from Ken Auster) which gives a nice smooth surface. But lately I've been painting mostly onto white linen or gessoboard and using thin washes and wiping back some too to achieve more transparent passages. Its funny how my own techniques vary widely depending on my mood and subject.
This time I let the black be, and I painted only the areas of light, so the black is the clayboard surface (only thing I had in black.) It was interesting to paint only the color areas, leaving his eye sockets empty and his shoulder and her shirt and hair just unpainted essentially. All the negative space is untouched. It was a neat experiment. Now, the clayboard is thirsty, so I had to paint some of those passages several times to make the color sing. I'm curious how the others got their very dense black grounds. Will have to read on... follow their links to read more with me!


Glass Artists
5x7 oil on clayboard
©2011 Robin Cheers



Blue & Pink
9x12 pastel
©2011 Vicki Ross


Sunny Side Up
16x20 oil on board
©2011 Suzanne Berry

Sweet Reflections

4x6 oil on hardboard
©2011 Diana Moses Botkin

Not So Crystal Ball
20x24 oil on canvas
©2011 Sharman Owings



Megan Noir
4x6 oil on canvas
©2011 Ruth Andre

Birds Eye Views

After Lunch
12x12 oil on 2" cradled gessoboard


Crosswalk
14x11 oil on 2" cradled gessoboard


On the Plaza
12x12 oil on 2" cradled gessoboard

All available at Russell Collection

These are the last of the pieces I painted for the Best of Texas show. I really like these overhead views and was sort of testing them out in this market. I'd like to do some larger ones. Maybe really big. (for me, that might be 24x36) People seemed to like them so I am going to do for it.
I enjoy doing these because they are more simple and graphic in design, the shadows often are the most interesting part. I like cast shadows. I have fun with them in the museum paintings too - where a person is in the spotlight and their shadow falls on the wall with the paintings. These more modern pieces are hung unframed too on the cradled hardboard.

I've been lazing about here for the last week. I think I just needed some downtime. I had so much going on between Girl Scouts, Destination Imagination and prepping for this show. Its been nice to just "be" for awhile. And do some spring gardening. Next week is our spring break so I can do a little more R&R and then back to work. Ideas are forming!

Oh - and there is one more exciting thing going on in conjunction with Russell Collection and this show. Their Best of Texas artists have been invited to create a work on the theme of "hope" for the new Seton Breast Cancer Center. Each artist will paint a 24x24 canvas which will be previewed at Russell Collection April 6-10 in honor of Susan Lubin.

In and Out

18x20 oil on linen panel
Available at Russell Collection

Also one of my show pieces for the Best of Texas show. The opening reception Friday was really fun. A real Austin event with live music and loads of people. It all coincided well with Texas Independence Day and South by Southwest which begins next week. The variety of art is really unique I think too. The artwork ranges from the abstract to impressionist, large to small and in between. The Russell Collection offers something for every taste. I am really proud to be part of their gallery.

Sweet Spot

12x9 oil on panel
Available at Russell Collection

This is a similar setting to a painting I did of Mozarts this winter. As usual I am drawn to the unusual light to be found in interior settings. The pastry fridge radiates a pink glow and the blue light through the blinds tries to creep into the space. I almost fee like I can see the dust motes glinting through this piece too. I think I've become addicted to the coffee shop atmosphere. I've been to one of my nearby Starbucks 4 out of 5 days this week. I've been reading a lot actually. Its been really nice to wind down a bit. I'm avoiding being alone in my studio I think by surrounding myself with people and conversation - none of which I actually have to participate in! I know that people might look down on the chain coffeehouses, but I have to say that I am really comfortable in them and always meet friendly faces there. More so than some other shops. There is something to be said for consistency too. They've been kind of an extension of my living room. Comfortable places to read, check email, sketch, have a warm cuppa something and watch the world go by. I have an idea brewing too. lol

Tonight is the opening at Russell Collection. I'm anxious to meet all the other artists and see all the work together. Should be a lot of fun.

Campus Bookstore

12x36 oil on linen
Available at Russell Collection

Here is another for the show this month. Its an unusual size and its another piece I thought about for a long time before I actually painted it. I did a small study of it as well trying to work out the color and light. So often these scenes lend themselves to dark colors... dark floors, dark walls, dark tables and chairs - so much wood!
So I want to try to not resort to losing everything in heavy dark paint.


6x18 oil on linen - 30 minute study

The line that is like wainscotting in the final painting is straight (for the most part) but my camera kept giving it a fish-eyed bow. I hope its straight - will have to check that at the gallery tomorrow night and hope its not so pronounced as in this photo!

409 Bleeker Street

24x20 oil on linen
Available at Russell Collection Fine Art

This is my second favorite recent painting. Its based on photos and a plein air piece I did in the city on my last visit. That was '09. I didn't get to go last year, but I'm planning a trip for this summer with some artist friends.

If you are interested in a guided painting trip there, check out Phil Levine's site. He plans workshops with some of the best teaching artists all over the western world, and he is leading a figure painting class in the city in May. I'm not sure if I will be able to plan my trip around that, the end of school and all, but I hope to still meet up with him while there. If he's not in France - sigh.

Sweets for My Sweet

20x20 oil on linen

I thought I'd give my blog viewers a sneak peek at some of the work that is now available at Russell Collection in Austin. They are mounting their Best of Texas show featuring 10 of the Texas artists they represent, including me. It should be a fun opening reception Friday night with a diverse collection of artists and live music. If you are in town you should rsvp and attend!

This painting might be my favorite. I actually have thought about this scene for a couple of years but hadn't painted it yet. Perhaps I didn't think I could. But I am so pleased with the results. The setting is actually across from Russell Collection at Sweetish Hill Bakery. They have one of my small daily paintings on their wall. Its also a scene from their bakery. Pretty neat.

Studio Notes

I found this interesting article - notes from a talk with a conservator. I have no idea how old it is, nor confirmed all the info - so there's my disclaimer. But this part was of particular interest and I wanted to share:

VARNISH

As mentioned earlier, damar varnish can be difficult to remove from a painting without damage when aged for a long period. This becomes especially true when large amounts of damar have been used in the painting itself.

For safety sake, if one wishes to use damar in one's medium, then a synthetic varnish is advisable. Catherine highly recommended Gamblin's "Gamar" varnish. Other synthetics may still crosslink with the paint film underneath. But Gamar is a hydrocarbon based varnish that does not crosslink and removes easily with mineral spirits (which do not dissolve damar). Also, it does not yellow or crack.

Another benefit is that Gamar is flexible enough to be applied as soon as the painting is dry to the touch, instead of waiting 6 to 12 months. This means that artists can apply a full final varnish before rushing paintings out the door to galleries. Catherine says that no varnish seals out air from a painting, and that immediate varnishing will not hinder oxidation of the paint layers beneath.

Gamar comes as crystal resin and solvent that must be mixed and dissolved by the artist by shaking hourly for 8 hours. This is due to it's limited shelf life. One container of Gamar will cover 80 square feet of surface area, so an artist may want to save up a group of works to varnish at once, or else mix smaller portions for use, since it should be used up within a month of mixing.

The gloss of Gamar is meant to be comparable to damar, but some say that it is shinier. To reduce gloss, add solvent (mineral spirits) or wax medium.

No resin protects against oxidation or atmospheric moisture. Its sole purposes are to protect against dirt and atmospheric pollution, and to even out the sheen of a painting, adding depth to color.

* I don't find a Gamar from Gamsol - they have GamVAR - so I think this is a typo on the author's part. Or they've renamed their product.

Studio News

First, let me tell you that I am swamped lately - going a little crazy with Destination Imagination (tournament this Sat.!) and GS cookie sales (ends Sunday!) not to mention getting work ready for a show at Russell Collection in Austin. (some I'm really proud of so far!)

When February is over, so are all my volunteer duties and can get back to work in earnest and actually focus a little bit on it. So, if you've written me, or commented, or asked for a painting, and I am "ignoring" you... please believe that I am just way over my head right now and I WILL respond (just not in a timely manner!)

Onto other things now!
Awesome Austin interior designer Robin Callan of Room Fu has posted a nice little feature on my work on her blog. I can't wait to share the new work for the Best of Texas show! But there is still more to do and I will wait until the week of the show I think.

Weather Beaten

14x18 oil on linen

This is an oldie but goodie. I don't know why it hasn't found a home, except that its been in my studio for almost 2 years. I personally love it and am proud of it. Anyway - today I submitted it to the Oil Painters of America and maybe they will accept it in their 20th annual national exhibition. The audience in Coeur d'Alene, ID should be right for it.