I want to express my thanks for your continued interest in, and support of, this thing we call “art.” An off-the-charts summer has left me feeling extremely thankful to the Creator, and fulfilled in this calling.
I went through many phases in this painting, thinking it was complete, even posting it on my Facebook page, only to realize after a couple of days, that it wasn’t setting right with me. I would then go after it again.
It’s finally “there” for me. The title is therefore not only a reference to a slow Sunday drive in the country which has no need to be rushed; but also a reminder that you can’t rush the completion of certain expressions of art.
I’m very honored to announce that I have a full feature article in the Fall issue of the Acrylic Artist Magazine. And to add to the excitement, one of my paintings made the cover. As you can imagine, I’m still on cloud nine about all of this!
It was very enjoyable and eye-opening to hear my interviewer’s perspective on my art, including the title of the article, “Shadow Lover.” Jennifer Smith, Managing Editor of the magazine, was a pure joy to work with! We ended up going with a Q&A format. If you’d like to order this issue of the magazine, you can use this link for either a downloadable copy, or to have the magazine mailed to you.
The article helps explain Jennifer’s choice of “Shadow Lover” to describe me/my paintings. One of the components, to give you a clue, is that I’m allergic to the sun, which gives me an appreciation for shade, above and beyond what most people probably experience. So when I paint that luscious edge between the shaded and sunlit sides of a building or structure, I’m actually quite attracted to, and comforted by, the shaded side. At one of the recent receptions at LaFontsee Galleries (where I’m represented), a fellow artist expressed to me her appreciation for the proportion of shade to sun I used on “Little Shed on the Prairie” (shown below). As an instructor at a local art institute, she tries to get that concept through to her students: that it’s not all about the bright colors. The contrasting presence of the shade is what makes the light look so good!
Watch my future blog posts for notice about a two-part online article Jennifer Smith is publishing regarding my style of painting, and some tips from me, including how to overcome one of the greatest challenges of acrylic: its fast-drying quality.
Also, I will soon be posting a new page on this website, just for the purpose of discussing some of the tricks I’ve learned in my experience with acrylic. If you’re an artist who is new to acrylics, I think you’ll discover some great information.
I am excited and grateful to share this news. As part of the Experience Grand Rapids, Art Outdoors Contest, my painting “Edge of Light” was chosen to be on a billboard for August and September. You can see it now on westbound 96 between mile markers 72 and 73, near Portland, which is west of Lansing.
More information, including the other winning artists, and a short little blurb from me, can be found at this link.
The painting had to be cropped to fit the billboard’s rectangular format, but the full painting is shown below, in case you’d like to see it.
The scene is downtown Grand Rapids, just to the west of McKay Tower, as viewed from Rosa Parks Circle.
I’m stuck, trying to name this painting, and would love your suggestions. You are invited to come on over to my Facebook art page and give me your idea(s) there by posting a comment. If I end up choosing somebody’s title, I would be more than happy to express my thanks by sending you a pack of note cards with my paintings on them.
If you’re from the Grand Rapids area, you may be able to identify the optical illusion of this scene: the building is actually behind my camera and is being reflected on a glass building in front of me, beyond the trees.
Rosa Parks Circle and Monroe Center continue to provide me with inspiring harmonies of nature alongside structure.
There are plenty of paintings I’ve abstracted in the past, where I ignore the reality in order to gain a desired result. However, there are certain boundaries I don’t cross concerning lighting. I usually stay consistent with the light’s effects from one object to the next in order to express something that is believable to the eyes.
I broke those rules a little on this painting to get some contrasts I wanted. You could say I created a bit of an unreality.