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Charcoal on Paper

9" x 12"

This sketch was completed at home after a day trip to Crawford Notch, New Hampshire.  I've always been impressed by the ruggedness of nature as well as of those who, in this case literally, carved paths through the area allowing so many people to enjoy a view and an experience that they otherwise would never know.

I'm still working on developing a range of values, particularly in drawings or monochrome paintings.  I find the play of light and reflected light in this case off the rocks and the ground, to be fascinating and ever changing.  Capturing that play of light and shadow and reflections is likely as close as I will get to abstraction.

From this I will be completing at least four other subjects - watercolor and oil - in different seasons and times of day.

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Country Church - Work in Progress

Do you have a favorite painting or drawing?


Here is my latest work in progress.  It's a small country church based on the watercolor below, which was completed on location years ago in Bowdoinham, Maine.   It's at a stage where I'll set aside awhile to see if there is anything else I'd like to add when I look at it with "fresh eyes" so to speak.

I had the good fortune to strike up a friendship and correspondence with the illustrator Bob Harris for the last decade of his life.  He was so generous with his advice and so encouraging.  He'd often laugh and say how difficult it was and how important it was  to know when a painting was done - before it was finished!  It's so easy to overcomplicate subjects and to leave little to the imagination for the viewer.

"Art is not what you see, but what you make others see."   Edgar Degas

I really do like this watercolor sketch below, not because of how it turned out or any technical learning from the painting.  It does have a special place for me because it was the first painting I'd done on location once we'd moved up to Lisbon Falls.  I have so many impressions and memories of trips up and down this road with so many more subjects to paint.

My favorite painting or drawing?  The next one!!

Below are a few quick compositional sketches for the charcoal drawing above.  I did these sketches within 5 minutes and then moved onto the charcoal.

I'll likely do some paintings based on the finished sketch as well.

Stroudwater Colonial - Opening night

Here is a picutre of my charcoal "Stroudwater Colonial" which was accepted for the River Arts Gallery Exhibition - Black and White - Currently on display in Damriscotta.

My wife, Julie, also had two works accepted for this show - Her first juried exhibition!!  Congratulations honey!  Julie is gifted at avoiding having her picture taken, but that is another story.  It was a wonderful evening with family and new friends!

I'm submitting two paintings for jurying at the Crooker gallery in Topsham later this week.

Adroscoggin River, Ice Breaking by moonlight (watercolor)

Midcoast Marsh - Acrylic on Canvas Board

Scarborough Barn by the Sea

This was the first pass (in charcoal) of a subject that began nearly two decade's ago.   It is not an exact representation of the subject but a composition of design elements that do exist, just not exactly in this configuration.

The process of choosing a subject, for me at least, is almost unconscious.  Sometimes it's an instant connection with a scene - often related to lighting, color or other effects of nature.   More often, its a place that I have a connection with through family, friends, or that I have visited or explored on my own.

This is a subject that began first as on location watercolor sketch.  Once the sketch was done, I set it aside as I often do.  I am energized by painting on location and this also gives me a backlog of subjects to explore further when getting out on location is not possible.  It is also just good practice of both oberservational skills as well as painting skills.

Yesterday, while Julie was shopping, I did a couple of studies (rough rough rough) studies of clouds. with watercolors.  Never intending for a full painting to appear, but as practice and perhaps elements that I'll use in later paintings.  It took me quite awhile to mature as a painter - I always wanted attempts to work out "right" and to produce finished works every time out.

I was watching a documentary on one of my favorite bands, The Eagles, and there was a segment that just made me laugh out loud and helped me to relax some too.  Glenn Fry was talking about being nervous about writing his own songs.  He was talking with some of his friends (Jackson Browne I believe) and he shared his secret fear when he was encouraged to write his own songs...

"What if they suck?"

"They will.  They will for awhile.  Just keep at it and one day they won't suck so much."

Thank God for perseverance.  So much beautiful music came to us through his efforts!  I was just reading about someone asking Walt Disney the "secret" to his success.  His answer was along the same lines.  "There is no secret.  You have to dog it.  Keep working at it day and night till its done and done right."

I've always enjoyed watching people I've worked with who have the passion to excel and who have put in the work to do so.  This group includes artists, muscians, teachers, heavy equipment operators, athletes, and more.   When someone is able to make something look easy - you can bet that it isn't and that a lot of practice and experience has gone into their work.

"The will to win is worthless without the will to prepare."   Thane Yost

Whatever your passion is - dive on in.

Bowdoin Hillside Farm

This watercolor was created from an on location drawing trip to the neighboring town of Bowdoin.

I was struck by the hill rising and disappearing to the left - begging the question of what is around the bend and the contrast of the shadows spilling across the road and the field in the process of being plowed.

One of the things I've noticed in my travels throughout New England is how land is, or was, not wasted.  Rocky, sloping, and steep hilled land was, and in some cases still is farmed.  Toughness and persistence is required to earn a living in these conditions and climates.  I sense its far more of a calling than a business decision.

In Pennsylvania there is farmland as far as the eye can see.  So to it is here in Maine - the difference is the miles one can see in PA is so much greater as the land is so flat.  In Maine, in many places you will see a hayfield tucked in a corner of a property where the Spruce haven't yet found their way to the edge of a road.

The Spruce and Pine grow slowly, but are relentless.   When you drive along a road and there are many Birch and other opportunistic species of trees and few Pine and Spruce you know something has happened there - its not random.   Birch grow very fast, often after a fire or when land has been logged clear.   Pines and Spruce grow more slowly, but are relentless.  The acidic nature of their sprills also make it more difficult for other species of trees to survive.

Still the Pines and Spruce have their own charm.  I still vividly recall entering huge stands of Pine near my childhood home.  The undergrowth of the forest disappeared and their was an almost alienlike landscape of rust colored pine needles.  It was also so quiet until you heard the wind wistling through the pines.  So different than the sound of leaves rustling in the wind.

I only indicated a pine on the right of the painting.  The reality is that they dominated the road leading up to the farm.  The contrast betwen the dark spruce and open field was very dramatic.  One of the things I love about painting on location, is that the possibilities truly are endless.

A slight move up the road brings the farmouses into view and so many other subjects as well.  There was a tractor plowing when I was sketching so I'll try another version with that as well as fitting a sketch I did in PA with a horse and plow as well.