Take Two: Stop and Drink It In

LG-Stop and Drink It In.jpg
“Middle of Nowhere” (previously titled “Stop and Drink It In”) – (revised), 36×36 acrylic on canvas. Available for purchase.

After living with the first version (below) for a day, I realized I’d never be satisfied with the area above the trees. I am drawn to value contrasts, and the old version didn’t have enough of it for me. It also didn’t have enough “happy white” in the sky to offset the darker clouds.

The quality of light in the photo makes it look like I changed a lot of things. All I changed is the color of the band of sky that goes directly above the trees. And I pushed the tops of some of the trees down a little in the process.


Apparently, I should have taken my own advice to “stop and drink it in” (drink in the painting, that is) before I posted it.

Addendum: The changes keep happening on this painting! I’ve decided to change the title to “Middle of Nowhere,” because that was my original idea, and at least two followers who have commented on it have mentioned it looks like it is “in the middle of nowhere.” It was meant to be.

Farm Silhouette

Farm Silhouette – 48×48 acrylic on canvas. Available.

Out for a drive on a rare day when I was physically able to leave the house this summer, I was snapping photos of any kind of resources I could get. The clouds in the sky became so interesting! And then we drove by this farm, and I felt like I won the lottery. My reference photo was nearly black and white due to the overcast quality of the weather, so back in the studio I took many liberties and painted some of my favorite colors.

Speaking of colors, I think I can safely say that my favorite complementary colors (across the color wheel from each other) are blue and orangey varieties. You may have noticed that palette crop up quite a bit in my paintings.

This photo is a little darker than the actual painting. As I always recommend with an extra-large painting such as this, you have to see it in person! It’s the only way to truly appreciate the layers as well as the energy and emotions of the brushstrokes and knife work.