Drawing with Nature

Drawing with Nature: In Sicilia

2012-02-14T14:02:00.002-05:00

Off on another adventure!

This time back to Sicily! Please see new Drawing with Nature work done with gathered materials from in and around the fishing port of Sciacca in western Sicily.

Drawing with Nature: Sicilia

Blog posts relating to work done during this trip are noted as, "Drawing with Nature" links in the postings index.

Ciao!

December 30, 2011: Evening setting in over MacArthur Park

2012-01-04T17:02:00.006-05:00

This work was started on the beach near MacArthur Park, Singer Island, Florida.

The beach was no place to do the line work (and I was running out of daylight) so I took it back to the house. On the next day I applied more berry pigment and did the black line work.

Image circa December 30, 2011. (wet)

This was the first time that I didn't finish a work at one sitting.

Mounted. Image circ January 13, 2012.

About the materials:

Medium: Acrylic Glazing Liquid (Satin), Golden Mediums

Pigments: Solstice Bonfire Charcoal 2011 (Canaan, CT), Berries (Singer Island, FL)

Surface: Unprimed Duck

Mounting: Mounted canvas board (8 x 10) using Neutral pH Adhesive, Lineco, Inc.
Framed: Window box under glass.

Exhibition History:

n/a

December 27, 2011: Floral Moon

2012-01-04T16:38:00.004-05:00

This work was completed while on vacation on Singer Island, Florida.

Flowers gathered on Singer Island, Florida.

Drawing. Window shows the front of the work. Everything
beyond the window will be wrapped around the edge
of the 1.5" deep mounting panel. See Mounting post.

I brought charcoal from the Solstice bonfire in Canaan.

Flowers rubbed into canvas.

Charcoal line work is begun.

Image circa December 27, 2011 (wet)

Image circa December 30, 2011 (dry)

Mounted. Image circ January 13, 2012.

About the materials:

Medium: Acrylic Glazing Liquid (Satin), Golden Mediums

Pigments: Solstice Bonfire Charcoal 2011 (Canaan, CT), Flowers (Singer Island, FL)

Surface: Unprimed Duck

Mounting: Mounted on wood panel 9" x 12" x 1.5" using Neutral pH Adhesive, Lineco, Inc.

Exhibition History:

n/a

November 30, 2011: Bird in the Brier Rose

2011-11-30T20:22:00.001-05:00

The original sketch was done on November 25, 2011 while sitting out on the terrace on a beautiful afternoon. The view is of a Brier Rose bust that grows just off the west terrace berm and a huge semi exposed rock that it grows over. The yard birds just love this bush.

Sketch.

Defining the lines.

Wet color areas.

Beginning the charcoal line work.

Wet unmounted, image circ November 30, 2011

(mounted dry image to come)

About the materials:

Medium: Acrylic Glazing Liquid (Satin), Golden Mediums

Pigments: Charcoal (Brier Island, Nova Scotia), Wild Grapes, Rust (Canaan, CT), Black Walnut (Sharon, CT), Beach Rose Hips (East Beach, RI). Beet (Sheffield, MA)

Surface: Unprimed Linen

Mounting: Mounted on wood panel 9" x 12" x 1.5" using Neutral pH Adhesive, Lineco, Inc.

Exhibition History:

n/a

November 23, 2011: Tree in the wind

2011-11-24T12:51:00.001-05:00

I did the sketch one windy day last week.

Sketch from November 19, 2011.

LIne work on Linen surface.

Applying pigment with wind frame of front view in place.

More wet pigment.

Wet pigment without line work.

Wet pigment areas show with window defining front view.

Wet finished with line work, November 23, 2011

Unmounted finished, image circ November 24, 2011.

Tree in the wind, 9 x 12 x 1.5 deep, image circ November 30,2011

About the materials:

Medium: Acrylic Glazing Liquid (Satin), Golden Mediums

Pigments: Charcoal (Brier Island, Nova Scotia), Wild Grapes, Rust (Canaan, CT), Black Walnut (Sharon, CT), Beach Rose Hips (East Beach, RI). Beet (Sheffield, MA)

Surface: Unprimed Linen

Mounting: Mounted on wood panel 9" x 12" x 1.5" using Neutral pH Adhesive, Lineco, Inc.

Exhibition History:

n/a

November 18, 2011: The people rocking the ship of state

2011-11-18T18:03:00.003-05:00

This work was inspired by a sketch done on August 8, 2004 (wishful thinking about that upcoming election). I dedicate it to the current rocking that people are doing all over the world.

Original sketch from August 8, 2004.

Line work on canvas.


Wet color image

Charcoal line started.

Unmounted canvas, wet image circ November 18, 2011, finished drawing.

Mounted 9 x 12 x 1.5 deep, image circ Novemeber 30, 2011

About the materials:

Medium: Acrylic Glazing Liquid (Satin), Golden Mediums

Pigments: Charcoal (Brier Island, Nova Scotia), Pokeberries, Wild Grapes, Rust (Canaan, CT), Black Walnut (Sharon, CT), Beach Rose Hips (East Beach, RI). Beet (Sheffield, MA)

Surface: Unprimed Cotton Duck

Mounting: Mounted on wood panel 9" x 12" x 1.5" using Neutral pH Adhesive, Lineco, Inc.

Exhibition History:

n/a

November 2011: The Fairy Tree

2011-11-17T15:11:00.002-05:00

The Fairy Tree is in the yard

Just there beyond the terrace

For the birds

And the elementals

For all those

Like you and me.

Original sketch.

Line drawing on surface.

In progress wet stage.

Finished awaiting to be stretched/mounted on 9 x 12 x 1.5 wood panel.

Image circ November 16, 2011.

Mounted 9 x 12 x1.5 deep. image circ November 30, 2011

About the materials:

Medium: Acrylic Glazing Liquid (Satin), Golden Mediums

Pigments: Charcoal (Brier Island, Nova Scotia), Pokeberries, Wild Grapes, Rust (Canaan, CT), Black Walnut (Sharon, CT), Beach Rose Hips (East Beach, RI). Beet (Sheffield, MA)

Surface: Unprimed Cotton Duck

Mounting: Mounted on wood panel 9" x 12" x 1.5" using Neutral pH Adhesive, Lineco, Inc.

Exhibition History:

n/a

November 2011: Looking back

2011-11-15T17:53:00.004-05:00

From sketch Looking back at me, September 20, 2011

Sketch from sketchbook.

Mounted 9 x 12 x 1.5 deep, image circ November 30, 2011.

About the materials:

Medium: Acrylic Glazing Liquid (Satin), Golden Mediums

Pigments: Charcoal (Brier Island, Nova Scotia), Pokeberries, Wild Grapes, Rotted Wood, Rust (Canaan, CT), Black Walnut (Sharon, CT), Beach Rose Hips (East Beach, RI). Beet (Sheffield, MA)

Surface: Unprimed Linen

Mounting: Mounted on wood panel 9" x 12" x 1.5" using Neutral pH Adhesive, Lineco, Inc.

Exhibition History:

n/a

November 2011: The moon over the cattails

2011-11-15T17:22:00.003-05:00

The Cornfield moon sketch became...

Sketchbook drawing.

Sketch from September 12, 2011.

Drawing out the images.

...The moon over the cattails. (This happens sometimes with me, as I am working on a piece it says something entirely different than the title of the original sketch.)

Applying pigments to the linen surface.

I apply pigment with a brush and by rubbing the organic material into the linen. I apply a coat of Acrylic Glazing Liquid over the color areas as they are applied.

Wet pigment.

This view shows color on November 9, 2011.

Window with wet finished work.

The window frame allows me to see what the finished stretched on panel front view will look like.

Mounted work, 9 x 12 x 1.5 image circ Novemeber 16, 2011

Showing 1.5" wrapped edge.

About the materials:

Medium: Acrylic Glazing Liquid (Satin), Golden Mediums

Pigments: Charcoal (Brier Island, Nova Scotia), Pokeberries, Wild Grapes (Canaan, CT), Black Walnut (Sharon, CT), Beach Rose Hips (East Beach, RI). Beet (Sheffield, MA)

Surface: Unprimed Linen

Mounting: Mounted on wood panel 9" x 12" x 1.5" using Neutral pH Adhesive, Lineco, Inc.

Exhibition History:

n/a

November 2011: The Potato Eaters (after van Gogh)

2011-11-11T12:32:00.006-05:00

A strange thing happened between here...

Sketchbook.

...it spoke to me of potatoes resting under their hill...

Drawing started.

...and there. But as I worked on it I began to see distorted faces with bulging eyes.

Wet image of drawing.

Then I remembered van Gogh's, The Potato Eaters. Another cosmic connection? Or just my imagination?

What do you think?

Finished and mounted 9 x 12 x 1.5 image circ November 16, 2011.

About the materials:

Medium: Acrylic Glazing Liquid (Satin), Golden Mediums

Pigments: Charcoal (Brier Island, Nova Scotia), Pokeberries, Rust, Wild Grapes (Canaan, CT), Black Walnut (Sharon, CT), Beach Rose Hips (East Beach, RI). Beet (Sheffield, MA)

Surface: Unprimed Linen

Mounting: Mounted on wood panel 9" x 12" x 1.5" using Neutral pH Adhesive, Lineco, Inc.

Exhibition History:

n/a

October 2011: I guess it's time for breakfast

2011-11-05T16:47:00.002-04:00

This was inspired by a sketch done February 27, 2011.

Sketch.

Wet pigments with sketch.

Completed drawing.

About the materials:

Medium: Acrylic Glazing Liquid (Satin), Golden Mediums

Pigments: Charcoal (Brier Island, Nova Scotia), Pokeberries, Rust, Wild Grapes (Canaan, CT), Black Walnut (Sharon, CT), Beach Rose Hips (East Beach, RI)

Surface: Unbleached Linen

Mounting: Mounted on wood panel 9" x 12" x 1.5" using Neutral pH Adhesive, Lineco, Inc.

Exhibition History:

2012 Small Works Show at The Upstream Gallery in Dobbs Ferry, NY. (Juried) January 5 - 29, 2012

October 2011: Autumn afternoon

2011-11-05T16:39:00.000-04:00

Autumn is here.

About the materials:

Medium: Acrylic Glazing Liquid (Satin), Golden Mediums

Pigments: Charcoal (Brier Island, Nova Scotia), Pokeberries, rotted wood (Canaan, CT), Black Walnut (Sharon, CT), Beach Rose Hips (East Beach, RI)

Surface: Unbleached Linen

Mounting: Mounted on wood panel 9" x 12" x 1.5" using Neutral pH Adhesive, Lineco, Inc.

Exhibition History:

n/a

October 2011: Remembering last night series

2011-11-05T16:32:00.001-04:00

This is the first of a series called Remembering last night influenced from sketches done while relaxing on East Beach. Rhode Island, USA in September 2011 and remembering last night.

(there are three other drawings in this series)

About the materials:

Medium: Acrylic Glazing Liquid (Satin), Golden Mediums

Pigments: Charcoal (Brier Island, Nova Scotia), Black Raspberry, Pokeberries, rotted wood (Canaan, CT), Black Walnut (Sharon, CT), Beach Rose Hips (East Beach, RI)

Surface: Unbleached Linen

Mounting: Mounted on wood panel 9" x 12" x 1.5" using Neutral pH Adhesive, Lineco, Inc.

Exhibition History:

n/a

October-November 2011: Occupy drawings

2011-11-05T16:22:00.006-04:00

This series of "Occupy" drawings are being done in support of the movement.

See first drawing finished and in progress and two other (scroll to bottom) finished drawings.

The image for the drawings emerged in my sketchbook after a trip into NYC on the evening of October 15, 2011. Reflecting the arch and the people gathering to push away the old and form something new.

Photo I took in Washington Square Park that night.

I thought I should "Occupy" with some drawings.

Occupy #1, finished drawing, image circ late October 2011.

About the materials:

Medium: Acrylic Glazing Liquid (Satin), Golden Mediums

Pigments: Charcoal (Brier Island, Nova Scotia), Wild Grapes, Pokeberries, rotted wood (Canaan, CT), Black Walnut (Sharon, CT), Beach Rose Hips (East Beach, RI)

Surface: Unbleached Linen

Mounting: Mounted on wood panel 9" x 12" x 1.5" using Neutral pH Adhesive, Lineco, Inc.

Exhibition History:

n/a

Other Occupy drawings:

Occupy #2, finished drawing, image circ late October 2011.

About the materials:

Medium: Acrylic Glazing Liquid (Satin), Golden Mediums

Pigments: Charcoal (Brier Island, Nova Scotia), Wild Grapes, Pokeberries, rotted wood (Canaan, CT), Black Walnut (Sharon, CT), Beach Rose Hips (East Beach, RI)

Surface: Unbleached Linen

Mounting: Mounted on wood panel 9" x 12" x 1.5" using Neutral pH Adhesive, Lineco, Inc.

Exhibition History:

n/a

Occupy #3 Oakland Solidarity, image circ early November 2011.

About the materials:

Medium: Acrylic Glazing Liquid (Satin), Golden Mediums

Pigments: Charcoal (Brier Island, Nova Scotia), Wild Grapes, Pokeberries (Canaan, CT), Black Walnut (Sharon, CT), Beach Rose Hips (East Beach, RI)

Surface: White Cotton Target

Mounting: Mounted on canvas board 8" x 10" using Neutral pH Adhesive, Lineco, Inc. and framed in shadowbox frame

Exhibition History:

n/a

October 14, 2011: 100,000 year old paint making workshop

2011-10-14T11:44:00.000-04:00

I'll have to try this (maybe not the fat and bone marrow ingredients).

"...These cave artisans had stones for pounding and grinding colorful dirt enriched with a kind of iron oxide to a powder, known as ocher. This was blended with the binding fat of mammal-bone marrow and a dash of charcoal. Traces of ocher were left on the tools, and samples of the reddish compound were collected in large abalone shells, where the paint was liquefied, stirred and scooped out with a bone spatula..." [READ FULL ARTICLE]

October 2011: Group Show, Millerton, New York

2011-10-06T21:00:00.000-04:00

Work in the October 2011 14th Colony Artists Show in Millerton, New York.

Over 70 artists from the local area will be exhibiting!

Dates: October 8, 2011 through November 6, 2011
Location: Main Street, Millerton, New York (across from Oblong Books)Shows are open weekends from 11 a.m until 5 p.m.

Opening Reception: Saturday, October 22, 2011

Works in show include (from left to right):

Into Ravenna [see more information]
Home to Pleasant Street [see more information]
Autumn Rising [see more information]
"Cos my soul is hollow as the sorrowful moon" [see more information]
Carved and stained ceramic tiles series

Collaborative works with ceramic artist Joey Jablonski:

Trellis Circles (created using rusted page wire fence from the woods behind the house and ceramic disks made by Joey Jablonski in her Canaan, CT studio)

Larger page wire circle sculptures are coming!

September 2011: Hunt Library Exhibition

2011-10-06T20:17:00.002-04:00

The following drawings were done for the Hunt Library in Falls Village, Connecticut exhibit "The Natural World". It was a benefit for the library and they were kind enough to let me participate (even though I was a late applicant).

The photos of the drawing process below give you a vivid understanding of how the pigments changed over a very short period of time.

Also you will see some images that have my 12" x 12" cut out window over them so I can see what part of the drawing will be front and what parts wrap around the sides.

The final photo in each series shows the "current" nature of the work when it was delivered to the exhibit.

Wild grapes from around the yard where some of the pigments used.

Night Bloom:

Night Bloom, 12" x 12" x 1.5" D, image circa September 5, 2011

About the materials:
Medium: Acrylic Glazing Liquid (Satin), Golden Mediums
Pigments: Charcoal (Brier Island, Nova Scotia), Wild Grapes, Nasturtiums (Canaan, CT), Black Walnut (Sharon, CT)

Surface: White Cotton

Mounting: Mounted on wood panel 5" x 7" x 1.5" using Neutral pH Adhesive, Lineco, Inc.

Exhibition History:

September 2011 - The Natural World, Hunt Library, Falls Village, Connecticut

Playing in the night garden:

Playing in the Night Garden, 12" x 12" x 1.5" D, image circa September 5, 2011

About the materials:
Medium: Acrylic Glazing Liquid (Satin), Golden Mediums
Pigments: Charcoal (Brier Island, Nova Scotia), Wild Grapes, Nasturtiums (Canaan, CT), Black Walnut (Sharon, CT)

Surface: White Cotton

Mounting: Mounted on wood panel 5" x 7" x 1.5" using Neutral pH Adhesive, Lineco, Inc.

Exhibition History:

September 2011 - The Natural World, Hunt Library, Falls Village, Connecticut

Save Seeds:

Save Seeds, 12" x 12" x 1.5" D, image circa September 5, 2011

About the materials:
Medium: Acrylic Glazing Liquid (Satin), Golden Mediums
Pigments: Charcoal (Brier Island, Nova Scotia), Wild Grapes, Nasturtiums (Canaan, CT), Black Walnut (Sharon, CT)

Surface: White Cotton

Mounting: Mounted on wood panel 5" x 7" x 1.5" using Neutral pH Adhesive, Lineco, Inc.

Exhibition History:

September 2011 - The Natural World, Hunt Library, Falls Village, Connecticut

August 2011: About wrap-mounting drawings on 1.5" D panels

2011-10-06T19:46:00.002-04:00

I have been having a hard time being satisfied with the presentation of these drawing with nature works. I have tried stretching the linen and cotton on canvas stretchers, mounting the material on canvas board (most of the ones done before now are like that) and then fixing small blocks of wood on the back (to attach a hanging wire to) so they will float away from the wall and frames of all sorts (that's expensive).

But I think I have it now...

The wood panel (a thin wood panel glued to frame, the open frame back allows the hanging wire to be easily attached).

It provides a stable firm gluing surface to attach the linen or cotton to on top and when wrapped around all sides.

Nice.

Here's how it looks while mounting (this will give you an idea of the dimension and look of the drawings that are mounted this way).

The wrapping around the sides extends the image and gives the work a very finished looking presentation.

So what do you think?

September 2011: "We look so much better in the blue light..."

2011-10-06T19:19:00.003-04:00

The Counting Crows song Hangin' Around came up on Shuffle and I came up with this.

Image (wet) circ September 2011.

Mounted. Image circ January 13, 2012.

About the materials:

Medium: Acrylic Glazing Liquid (Satin), Golden Mediums
Pigments: Charcoal (Brier Island, Nova Scotia), Wild Grapes, Pokeberries, rotted wood (Canaan, CT), Black Walnut (Sharon, CT)

Surface: Unbleached Linen

Mounting: Mounted on wood panel 5" x 7" x 1.5" using Neutral pH Adhesive, Lineco, Inc.
Framed: Window box under glass

Exhibition History:

September 2011: Autumn Rising

2011-10-06T18:27:00.001-04:00

My change of season tribute.

Image taken at time of creation.

(finished image mounted and wrapped on 5" x 7" x 1.5" panel to come)

About the materials:

Medium: Acrylic Glazing Liquid (Satin), Golden Mediums
Pigments: Charcoal (Brier Island, Nova Scotia), Wild Grapes, Pokeberries, rotted wood (Canaan, CT), Black Walnut (Sharon, CT)

Surface: Unbleached Linen

Mounting: Mounted on wood panel 5" x 7" x 1.5" using Neutral pH Adhesive, Lineco, Inc.

Exhibition History:

September 2011 - 14th Colony Artists Group Show, Millterton, New York, USA

September 2011: Home to Pleasant Street

2011-10-06T18:12:00.003-04:00

Inspired by the song "Pleasant Street" by singer/songwriter and Great Barrington native Meg Hutchinson.

Photo at time of creation.

(mounted image wrapped on 5" x 7" x 1.5" panel to come)

About the materials:

Medium: Acrylic Glazing Liquid (Satin), Golden Mediums
Pigments: Charcoal (Brier Island, Nova Scotia), Wild Grapes and Pokeberries (Canaan, CT), Black Walnut (Sharon, CT)

Surface: Unbleached Linen

Mounting: Mounted on wood panel 5" x 7" x 1.5" using Neutral pH Adhesive, Lineco, Inc.

Exhibition History:

September 2011 - 14th Colony Artists Group Show, Millterton, New York, USA

August 12, 2011: Genetically Engineered Seeds: The Snake in the Garden

2011-09-23T22:28:00.002-04:00

The sketch for this drawing was inspired by the book, The Windup Girl , by Paolo Bacigalupi that I had just finished.

"...Biotechnology is dominant and mega corporations like AgriGen, PurCal and RedStar (called calorie companies) control food production through 'genehacked' seeds, and use bioterrorism, private armies and economic hitmen to create markets for their products. Frequent catastrophes, such as deadly and widespread plagues and illness, caused by genetically modified crops and mutant pests, ravage entire populations. The natural genetic seed stock of the world's plants has been almost completely supplanted by those that are genetically engineered to be sterile..." Read more here...

The title, Genetically Engineered Seeds: The Snake in the Garden, explains it all.

Images while drawing was in progress:

About the materials:
Medium: Acrylic Glazing Liquid (Satin), Golden Mediums
Pigments: Rose hip pods from beach rose, Charcoal, rotted wood powder, grasses
Surface: Unbleached Linen
Mounting: Mounted on canvas board using Neutral pH Adhesive, Lineco, Inc.

Exhibition History:

Winter 2009: Old Father Time

2011-09-23T22:27:00.003-04:00

This drawing was created with pigments gathered in Sharon, Connecticut.

Inspired by the song Old Father Time by David Gray.

Here at the gates, on the day you were born,
spooling is breathened and blossomed in thought.
Mind in the head of this child of mine,
now we’re up dancing with old father time,
raising our glasses to old father time.

Here in the concords, there’s fire in the brave.
They're not (Ain’t no) protecting from me my day.
If I were strong, if the lashes should shape,
now we’re up dancing with old father time, passing the bottle around.

Out (Pound) in the moder him pour it in lime,
plant stuck in the ground.
Now we’re up dancing with old father time, old father time.

Behold the great city that went down the plague (a glint on the plain?).
Behold the great curtains that murmur in rage.
Blink your eyes once and it’s grace land again.
Now we’re up dancing with old father time, passing the bottle around.

Out (Pound) in the moder and pour in the lime,
the plant is stuck in the ground, now we’re up dancing with old father time,
old father time,
old father time,
old father time.

About the materials:
Medium: Acrylic Glazing Liquid (Satin), Golden Mediums
Pigments: Grapes, Black Walnut
Surface: Unbleached Linen
Mounting: Mounted on canvas board using Neutral pH Adhesive, Lineco, Inc.

Exhibit History:

July 2011: Meditation Miniatures Series

2011-09-23T21:45:00.002-04:00

July 2011: Meditative Miniatures

While continuing to work on larger drawings in July 2011 I began to create a series of very small works. The concept is that art can play an important role in our daily lives as a break from stress, pressures and obligations. Everyone needs to take a moment to recharge, regroup or reevaluate. These small works let that moment be taken with and sparked by a piece of art. The small footprint enables these works to be present on a desk, table, mantel or shelf so they are readily available, and personal, when you need to take that moment. Take it with art.

Note about titles: Especially in abstract works what the artwork says to the viewer is a very personal thing. So the titles that I have given each work reflect what the work has said to me. What the artwork calls itself to you is as true as what it calls itself to me (See The String Theory http://en.wikipedia.org/wiki/String_theory where reality can be any of a string of possibilities that the observer initiates.).

The following works were created in July 2011:

About the materials:
Medium: Acrylic Glazing Liquid (Satin), Golden Mediums
Pigments: Pokeberry, Beet, Charcoal, Grapes, rust and various other pigments
Materials: Bark, shells, peanuts, sand, sea weed, dried Squash skin, feathers, wood
Surface: White Cotton or Unbleached Linen
Mounting: Mounted on canvas board using Neutral pH Adhesive, Lineco, Inc.
Framed: Sizes are all approximately3 5/8" H x 4 5/8" L (some larger and some smaller per photo)
Price: $35 each, two for $50 (For purchase details email: Subject: Meditation Miniatures)

Exhibition History:
Summer 2011 - 14th Colony Artists Group Show, Millterton, New York, USA

You Can Come Out Now

You Can't Satisfy Everyone

Beet Sunrise

Beet Shui

Beet Tracks

Beet Twilight

Beet Wave

Circadian Rhythm

Coming Through

Evermore

Find Out

Floating

For Virginia

I Am

It's Up To You

Maybe

Mosaic

Moving On

New Horizon

New Morning

Not As Simple As It Seems

On The Beach [SOLD]

Only Shadows

Seeing Things

Time Passes

Traveling

Waiting


Walk With Me

Exhibition History for above:
14th Colony Artists, Group show September 2011
Norfolk Farmers Market, August 2011

Winter 2009: First woman, Eve

2011-09-23T20:36:00.003-04:00

This has a post here because it just happens to be the first drawing that is not a landscape.

First woman, Eve, 8 1/2" H x 9" L

About the materials:
Medium: Acrylic Glazing Liquid (Satin), Golden Mediums
Pigments: Charcoal, Black Walnut, Grasses
Surface: Unbleached Linen
Mounting: Mounted on canvas board using Neutral pH Adhesive, Lineco, Inc.

Exhibition History:

Summer 2010: Rhode Island shore series

2011-09-23T20:26:00.002-04:00

These drawings were done in August 2010 on West Beach looking toward East Beach in the town of Charleston, Rhode Island.

In progress drawing images on site:

Images of drawings circa August 2010.

Finished drawings images:

(framed drawing photos to come)

About the materials:
Medium: Acrylic Glazing Liquid (Satin), Golden Mediums
Pigments: Sand and rose hips from Beach Rose bushes; Beach charcoal.
Surface: White Cotton
Framed: Suspended, rough edged in window box frames, 12" H x 15" L

Exhibition History:

Summer 2011 - 14th Colony Artists Group Show, Millterton, New York, USA

Winter 2010: Moon series

2011-09-23T20:10:00.006-04:00

These drawing were inspired by the view across the field east of the house in Canaan, Connecticut on a windy evening in October.

The wind was whipping around the trees and bushes and the clouds were speeding and swirling in the moonlit sky.

About the materials:
Medium: Acrylic Glazing Liquid (Satin), Golden Mediums
Pigments: Black Walnut (Sharon, CT), Charcoal, Grasses, Limestone (Canaan, CT)
Surface: Unbleached Linen
Mounting: Mounted on canvas board using Neutral pH Adhesive, Linecon, Inc

Moon over the field, 9" H x 19" L

Moon through the trees, 9" H x 8"L

Running Moon, 9" H x 8" L

Night closing, 9" H x 30" L

"Cos my soul is hollow as the sorrowful moon" (lyrics from the song Gathering Dust by David Gray [listen]), 9" H x 30" L

Exhibition History: "Cos my soul is hollow as the sorrowful moon"

September 2011 - 14th Colony Artists Group Show, Millterton, New York, USA

Autumn 2009: Before Gas and TV series

2011-09-23T19:03:00.010-04:00

This series was inspired by Mark Knopfler song, Before Gas and TV, off his Get Lucky CD. It really defines this place in time of my life and the direction my work is moving in.

Series images (circ 2009):

Drawings are all approximately 8 - 10" high by various lengths.

On the edge of the field, 10" H x 31" L

Crossing the field, 8" H x 9" L

On the edge of the field, On the edge of the world,
Before gas and TV, 8" H x 30" L


Crossing the field, 9" H x 17" L

Over the field, 9" H x 32" L

About the materials:
Medium: Acrylic Glazing Liquid (Satin), Golden Mediums
Pigments: Pokeberry berries and leaves gathered along roadside in Canaan, Connecticut, United States; Charcoal from Fire Swirl pit in the back yard.
Surface: Unbleached Linen
Mounting: Mounted on canvas board using Neutral pH Adhesive, Lineco, Inc.

Exhibition History:

June 2011: Ravenna Park Ravine drawings, Seattle, Washington

2011-09-23T18:32:00.002-04:00

In June 2011 were were in Seattle for Chaz's (Joey's son) graduation from the University of Washington.

What a great city! We had a blast and on our trip (blog of our trip)to the Olympic National Park .

I did tear myself away from naked bicyclists to take a walk into Ravenna Park picking some pigments along the way.

I found a nice spot overlooking the ravine and created these three drawings using the pigments I had gathered along the ravine trail...

...and right next to me where I sat on the ground.

About the materials:
Medium: Acrylic Glazing Liquid (Satin), Golden Mediums
Pigments: Berries and grasses from along the trail and soil from my overlook spot.
Surface: White Cotton
Mounting: Mounted on canvas board using Neutral pH Adhesive, Lineco, Inc.
Framed: Unfinished wood under glass, 12" H x 15" L

Finishing the Into Ravenna drawing in September 2011:

Location photo taken looking down into Ravenna Park ravine.

Drawing done on location June 2011.

Line work sketched out on glass in my studio September 2011.

Photo (see above) that I worked from and surface with line sketch over it.

Finished Into Ravenna, with line drawing, mounted on 9" x 12" x 2" deep panel.

Exhibition History: Into Ravenna

September 2011 - 14th Colony Artists Group Show, Millterton, New York, USA

July 2011: Garden and yard pigments: Beets

2011-09-23T17:58:00.001-04:00

In July I discovered Beets (as a
pigment that is). To be more exact Beets from a local farm, Chubby Bunny in Sheffield, Massachusetts. I wanted to see just what the Beets would look like when used in a total color field (my drawings are small sized examples) application.

"...Color field painting is a tendency within Abstract Expressionism, distinct from gestural abstraction, or action painting. It was pioneered in the late 1940s by Mark Rothko who were all independently searching for a style of abstraction which might provide a modern, mythic art, and express a yearning for transcendence and the infinite. To achieve this they abandoned all suggestions of figuration and instead exploited the expressive power of color by deploying it in large fields which might envelope the viewer when seen at close quarters..." More at http://www.theartstory.org/movement-color-field-painting.htm

Of course when the work spoke back to me and told me who it was I titled it as such. What do you see? Add a comment...

Work in progress images:

Finished images:

(framed photos to come)

About the materials:
Medium: Acrylic Glazing Liquid (Satin), Golden Mediums
Pigments: Beets from Chubby Bunny Farm, Sheffield, Massachusetts, USA
Surface: Unbleached Linen
Mounting: Mounted on canvas board using Neutral pH Adhesive, Lineco, Inc.
Framed: Easel backed table, desk or mantel display, 7" H x 9" L.

Exhibition History for above:
14th Colony Artists, group show, August 13 through September 4, 2011

July 2011: Garden and yard pigments: Nasturtiums

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At the same time I experimented with color field painting using Beets I also did a drawing using Nasturtiums from the batch by the entry door (just like a Hobbit House) on the terrace.

It started as one long drawing. As you see pigments
are brighter in the wet phase.

Finished nasturtium drawings:

Nasturtium Drifting

Nasturtium Floating

Nasturtium Flying

Nasturtium Climbing

About the materials:
Medium: Acrylic Glazing Liquid (Satin), Golden Mediums
Pigments: Nasturtiums, Charcoal
Surface: Unbleached Linen
Mounting: Mounted on canvas board using Neutral pH Adhesive, Lineco, Inc.
Framed: Easel backed table, desk or mantel display 3 5/8" H x 4 5/8" L
Price: $35 each (For purchase details email: Subject: Nasturtium)

Exhibition History:

Spring 2011: Amsterdam drawings

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The two drawings below were done in Vondelpark in Amsterdam in March 2011.

I have to admit I spent more time here looking at art (Van Gogh Museum and Rijksmuseum) than making it but this day was perfect for making art. As Amsterdam local gathered in this beautiful park on a lovely Spring day I took some time off sightseeing (our Amsterdam blog) to create something.

Vondelpark, Amsterdam

In progress on site March 2011.

Drawing circ August 2011

In progress on site March 2011.

Drawing circ August 2011

About the materials:
Medium: Acrylic Glazing Liquid (Satin), Golden Mediums
Pigments: Soil from the picnic spot by the pond, skin from canned fish and cheese from our feast
Surface: Unbleached Linen
Mounting: Mounted on canvas board using Neutral pH Adhesive, Lineco, Inc.

Exhibition History:

Off on (never ending...) the hunt for pigments

2011-09-15T18:51:00.003-04:00

Now that I had a better handle on making everything stay on the canvas and how to mount the drawings (framing them still continues to be a challenge to me though) I needed to gather more pigments.

I gathered herb, tree and flower books that I had been collecting for years and that I inherited from my Dad and began browsing.

- Magic and Medicine of Plants, Reader' Digest Book
- The Complete Book of Herbs, by Lesley
- Wildflowers, Pertson Field Guide
- The Sibley Guide To Trees, by David Allen Sibley
- Hammond's Nature Atlas of America, by E.L.Jordan, PhD
- A Field Guide to Wildflowers, by Roger Tory Peterson and Margaret McKennt
- Natural Dyes and Home Dyeing, by Rita J. Adrosko

I also searched the Internet and came up with some resources there too of course.

My daughter Sarah gave me a very interesting book too that brought certain amount of historical perspective to my journey too.

- Color, by Victoria Finlay

I was always picking up a plant or a stone and trying it out. Mostly on my jeans or t-shirt to see what color it might make and if it would last.

I put rusty iron into jars with water so they would rust even more.

I wanted to gather the pigments that were at hand so I stayed away from bought spices and such. But it was and still is tempting. Though I must confess that some drawings do have the color of Barry's Irish Breakfast Tea on them.

Charcoal was probably the first color (no, let's not debate whether it is a color or not) and is for me as well. It usually can be found wherever you are. From a wood stove to beach charcoal. I now have a collection on it from beaches on the Atlantic and the Pacific and from campgrounds and backyards.

My "Eureka" moment was when I rediscovered the Pokeberry on a walk with Joey and my granddaughter Abby. Fitting because the first time I discovered it my daughter and I made a dye that we used to tie dye our t-shirts with. She was about four.

Pokeberries became the main pigment in a series of drawings inspired by a Mark Knofpler's song.

On the edge of the field, On the edge of the world, Before gas and TV

Before Gas and TV

Before gas and TV
Before people had cars
We'd sit 'round the fires
Pass around our guitars

Remembering songs
When my daddy was home
He'd play along
On the spoons and a comb

We'd go with the flow
When the weather was fine
Sometimes we'd go
Collecting scrap iron

And we'd sit 'round the fires
Pass a bottle of wine
In the tales of the road
Since time out of mind

If heaven's like this
Well, that's okay with me
Where the living is fine
And living is free

If heaven's like this
Well, then here's where I'll be
On the edge of the field
On the edge of the world
Before gas and TV

Something I discovered as well about Pokeberry dye is that they provide a boost for solar cells!

"...Researchers at Wake Forest University’s Center for Nanotechnology and Molecular Materials in North Carolina have discovered that red dye from the pokeberry weed makes their low-cost, fiber-based solar cells even more energy efficient. The center’s director David Carroll says the solar cells, which have been patented under the company FiberCell, Inc., can create twice the power existing solar flat cells produce. The cells have more surface area and can trap light at any angle, meaning they can take advantage of the sun from dawn to dusk. Cue the berries. When the dye is spread over these cells, it acts as a light absorber, boosting the technology’s efficiency by about 7 percent. The dye helps the cell’s fibers capture more sunlight to convert into power..." Read more here...

I will try to note what pigments and materials I used in each drawing I show on this blog (if I can remember). And post interesting discoveries like the one above about Pokeberry dye.

The journey has begun...

Late Summer 2009: The Cobble drawings

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That same summer I created a series of drawings using pigments gathered around Sheffield MA for an exhibit featuring Bartholomew's Cobble that ceramic artist Joey Jablonski and I mounted for The Sheffield Historical Society titled, Imaging Bartholomew's Cobble.

Statement from exhibition: (View exhibition photo album on Facebook)

Drawing with Nature

It is the nature of things in our world to change. The works on canvas in this exhibition reflect this process with the wonder of Bartholomew’s Cobble as the theme.

The color pigments in these new works were made from natural materials – plants, soil and rocks – gathered along public roadsides in Sheffield, Mass. These works and their changing appearance over time do not stand outside this process of change but as part of it. They do not anchor an actual place in time in unchanging hues – but look to express the changeable aspect of that time and place.

As observers or artists we cannot exist outside this ever changing nature of our world or reject our role as participants in it. As nature changes so will these works change in testament to this process of nature that we are all part of.

Bernard Re, Jr
September 2009

About the materials:
Medium: Water (note these drawing were later spayed with numerous coats of water/Acrylic Glazing Liquid (Satin), Golden Mediums, mixture)
Pigments: Soil, Pine Needles, Limestone and grasses gathered along sides of roads in Sheffield, Massachusetts, United States
Surface: Unbleached Linen
Mounting: Drawings above were stretched on canvas stretcher frames.

Exhibition History for above:
Stone Store Gallery, Sheffield, Massachusetts, Imaging Bartholomew's Cobble Exhibition, September 2009

July 2009: Cape Breton, Nova Scotia

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I have started this blog to share and document the Drawing with Nature journey that I began (some background) in July 2009 on a trip to Cape Breton, Nova Scotia.

The Bay of St. Lawrence, near Red River, Nova Scotia, July 2009

Drawing with Nature

The pigments used in these drawings were made from natural materials – plants, soil and rocks – gathered along shore line of the Bay of St. Lawrence near Red River, Cape Breton, Nova Scotia, Canada in July 2009.

It is the nature of things in our world to change. These works reflect this process. The work and their changing appearance over time do not stand outside this process of change but as part of it. They do not anchor an actual place in time in unchanging hues – but look to express the changeable aspect of that time and place.

As observers or artists we cannot exist outside this ever changing nature of our world or reject our role as participants in it. Therefore these works try not to arrest change but embrace it. And as nature changes so will these works change in testament to this process of nature that we are all part of. Changeable works yes, but still grounded in the materials of the place from which they were created.

Below are some of the drawings that I did on that trip:

I used plain water for the medium on these and even though I later applied numerous spay coats of Acrylic Glazing Liquid water mix I lost a great deal of color and materials to the drying process. Two of the drawings though were juried into the 32nd Annual Juried Exhibition at the Ridgefield Artists Guild in October 2010.

Drawings done along Bay of St. Lawrence near Red River, Cape Breton, Nova Scotia:

The cliffs at Black Creek Cove.

The cliffs at Black Creek Cove (#1)
(Image circa 2010)

The cliffs at Black Creek Cove (#2)
(Image circa 2010)

The cliffs at Black Creek Cove (#3)
(Image circa 2010)

The cliffs at Black Creek Cove (#4)
(Image circa 2010)

Beach rocks singing.

Beach rocks singing on a rainy eve (#1)
(Image circa 2010)

Beach rocks singing on a rainy eve (#2)
(Image circa 2010)

Beach rocks singing on a rainy eve (#3)
(Image circa 2010)

Beach rocks singing on a rainy eve (#4)
(Image circa 2010)

Beach rocks singing on a rainy eve (#5)
(Image circa 2010)

Medium: Water (note these drawing were later spayed with numerous coating of water/Acrylic Glazing Liquid (Satin), Golden Mediums, mixture)(The works created on that trip inspired me to explore mediums other than water and ways to present the work.)
Pigments: Various shale rock from the cliffs along the Bay of St. Lawrence, Pleasant Bay, Cape Breton, Nova Scotia, Canada
Surface: Unbleached Linen
Mounting: Mounted on canvas board using Neutral pH Adhesive, Lineco, Inc.

Exhibition History:
Marketplace Cafe, Sheffield, Massachusetts, one person show, August 2010 (all from above)
Ridgefield Artists Guild, Ridgefield, Connecticut, 32nd Annual Juried Exhibition, October 2010 (Black Creek #1 and Beach Rocks Singing #1 from above)

Natural pigment watercolor created from gathered plants and materials on site:

Waiting for the sunset.

Waiting for the sunset (watercolor paper postcard) (Image circa 2010)

Pine grove near the house drawings:

Exhibition History:
na

In the pines.

In the pines, 2009, 11" x 8" (Image circa 2010)

In the pines, 2009, 15.5" x 12.5" (Image circa 2010)

In the pines, 2009, 7" x 6" (Image circa 2010)

Artist Statement

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Welcome:

In the last few years I have embarked on a creative journey that is akin to our journey though life.

I call this Change-Process Art and describe it as human and natural actions coming together to create an open ended work of art that has the possibility to change even as we have the possibility through time and space to alter our perception of it and our interaction with it.

It is a journey that seeks to create works of art that are closely aligned with the changeability found in Nature.

My body of work up to this point has been made up of art created by using very traditional artist and commercial paints – all highly stable and with lasting color – but running counter to the changing waves of possibilities we swim in daily and my natural lifestyle.

In creating art of changeability using materials and pigments gathered from around where I live and the places I visit I have embraced the unknown – being that the pigments and materials possibly would change. In doing so a door was opened. That perhaps the nature of changeability in art was as important a creative concept as that of the image locked in time – by the use of more commercial oil or water based paints.

Of course I still have questions. How will the observer react? What will the purchaser of this art think if the work changes over time? Will they feel a oneness with nature or the pain of loss? Or something new in the moment?

My hope is that they embrace the possibility of endless moments of new beginnings – until change becomes intertwined with the art and observer. It would then be that the observer in each new moment that they look upon the art would welcome it as something not set apart from nature but as being one with nature, our world and our lives.

Bernard Re, Jr.
August 15, 2011