December 19, 2016

Persimmons and Cranberries

Persimmons and Cranberries, 12 x 16", Oil on Canvasboard by Tracy Feldman
This piece is a continuation of my Vegetation on Oilcloth Series. I chose cranberries and persimmons to have together in this work because I like the way their shapes mimic each other, and the way the warm-colored fruit looks on the black and white oilcloth.   I played a lot with the composition to get it "just so."
I started doing this painting by using the underpainting technique I learned in Dreama Toll Perry's course this fall. But I didn't complete it using her using Dreama's ala prima painting style because getting the colors to work well together well involved a lot of experimentation.   I like the result in the end, and I hope you will too. 
I'm considering putting this series up in my gallery on the Fine Art America site because I believe they'd make great subjects for people who wanted to make cards or to get prints of the series for their kitchens, etc.. What do you think?  Should I do that?

December 8, 2016

A Better Way To Spend My Time

View From Elaine's Place, Inverin, Co Galway, IE
Persimmons and Cranberries on Oil Cloth - sketch by Tracy Feldman
I produced these three sketches yesterday during a long wait. Creating them was a fun challenge that kept me in the moment -- which really helped me not fret too much and also helped me be present.
Fall Light in Coole Park, Co. Galway

The first sketch is the view in from my friend Elaine's home in Inverin, Co. Galway. I am thinking about turning the second sketch into one of my vegetation on oil cloth portraits. And the third one is of late afternoon light as we walked along a forest path in Coole Park. 

I used sharpies, colored markers, a brush pen, and watercolor on sketch paper to do these pieces. All in all, a much better way to spend the four hours than sitting in a waiting room and watching the same news stories recycle dozens of times.

Vegetation Portraits on Oil Cloth?

Cyclamen on Oil Cloth - 16 x 12" Oil on canvasboard
 by Tracy Feldman
     This is another in the series that I am painting of objects on the wonderful oilcloth I bought for my kitchen table.  I had been calling the series, "Vegetable Portraits on Oil Cloth", but I think I'm going to need to change the name to "Vegetation on Oil Cloth" because as the growing season is coming to an end locally, I am going to need to look further afield for my portrait models.  What do you think?

     This one is of a lovely plant that a friend brought me and suggested would be a great subject for a portrait.  It's called a cyclamen.  Several varieties grow here in Ireland.  Some, like this one, are hardy enough to over-winter here (at least in mild winters).  Others go dormant over winter but return in very early spring (February) to brighten the forest floor.  Their vivid hues are very welcome during Ireland's particularly gray months.
 Cyclamen underpainting

      As you can see on the right, I used the under-painting technique I learned this fall from Dreama Toll Perry.  But because I could not finish the piece in one sitting, I used my painting medium when completing the painting.

           I chose to show the plant from over head because that point of view made the cyclamen appear to be growing out of the tablecloth  -- and that appeals to my "reality with a twist" sensibilities.  I also took several portraits of the plant from the side. I'm also going to paint one of those because I loved the way the perspective changed how the "leaves" look on the oil cloth.  So keep your eyes peeled for that, and for a persimmon and cranberry portrait that is also in the works!

December 4, 2016

Revisiting Paintings

Redone picture of geraniums.

Sometimes when I walk past a painting day after day, elements of it start to bother me. If  I get bothered enough, I'll just go in and change the painting to make it better for me. 

This is one of those pieces.

Original version.
 I didn't like that lack of vibrancy of the geraniums. I got more and more bothered by the thickness of the wood between the window panes. And, the very bottom of the painting bothered me too.

I more pleased town and I hope you are too.