Found along back road of Concord/Bow NH
Broken down, unpainted, overgrown, rusty, messy. All the right elements for me to put on the brakes and stop the car.
Listed in no particular order: variety of warm and cool grays, strong verticals of trees and barn boards, haphazardly placed metal roofing piece, way-passed-usefulness–except for an artist–pickup truck, early fall dried branches of overgrown weeds and brambles that soften the hard edges of the non-natural forms of the truck and trash. And the splash of blue tarp color always a must.
No real plans for this beauty yet, but the wheels are turning…
Opening reception tonight May 19th, 5:30-7:30 at Copley Society of Art, Newbury Street, Boston, MA. Meet and visit with six recent Copley Fellows who completed month-long residencies in either Cape Ann or Provincetown, MA. Stop in or visit the gallery, show is up through June. copleysociety.org
This piece in the show titled, “Sketched Around” 8×10 ink and watercolor, has a little history but nothing a redraw can’t fix. This is about a view from my studio that disappears in summer with the solidness of fully leafed out trees, and then appears again as the leaves fall in autumn. The tree structures stay while the colors change. This ink and stick sketch/drawing tries to give my impression the this movement of the seasons. If you look closely you’ll see a building/structure through the branches. It brings a bit of geometric contrast to the scratchy branching lines.
The change of seasons in New England covers and uncovers a wealth of beauty. This photo is an excellent example of what is not seen during a spectacular summer day. Thick layers of trees with branches full of fluttering leaves, yellow and blue greens of every tint and tone, neutral grays of tree barks are woven together blocking the distant view of the purple-blue mountains. Early spring reveals the complexity of woods and beauty of the cooler colors of moisture-laden air of the mountain air. You’ll notice this motif in many of my recent paintings. www.anntrainordomingue.com
This post is a recent lesson in listening–no, not to jazz music, but to the sounds of my own improvised thoughts. Hearing what the painting is trying to tell me as I add my part to the conversation–lines, color, shapes, forms, textures. Instead of a straightforward journey this one turned into a ride down a windy country road. Finishing up at a quiet place. Click on the image below to read the details of just how this journey evolved. And please feel free to share this post or go to my website to see new works. www.anntrainordomingue.com
How many options are there with a photo reference such as this? So many I still haven’t exhausted the possibilities and I have done at least 12 paintings of all sizes to try to capture the essence of this scene. So much to work with. So much to leave out. The trick is which is which. And that is the most fun and challenging. Some landscape images thrill me, others do not. I use my sketchbook to work on figuring this out. Lots and lots of pages. Each one getting closer to what my sensibilities say is right. Yours, and any artist’s will be different. Isn’t that great? Visit my website to see more www.anntrainordomingue.com or email me at email@example.com to receive my newsletter.
We artists have so many options open to us as we design a new piece of art. This one is less real and more abstract or is it more real and less abstract. Let me explain. I love working with the landscape–New England, Caribbean and beyond– and that does not always mean working directly in front of it–plein air–as it is commonly known. I enjoy the process of interpreting the things that have inspired me and reworking into artworks that speak the language of the landscape but also let my personal interpretations in as well. I appreciate the time and efforts–and suffering–many of my painter friends put in for the sake of their art. For me I do plein air for other reasons, not to produce a final piece of art but to learn from the landscape of that day–to practice mixing colors, to see subtle tones, to work despite less than ideal conditions, to sketch quickly my impressions, to get out of the studio and get some fresh air–and perspective. My personal art process uses both the plein air experience and the studio experience to create art unique to me. If anything, I admit I am a fairweather plein air painter.
For purchase and/or more information please visit www.anntrainordomingue.com orwww.facebook.com/anntrainordomingueart for regular updates. Thanks in advance for sharing my work.
Done as an exercise exploring how to use bold lines to replicate directional lines found in the landscape near my home. The curved line indicates mountains known as the Uncanoonucs. Really just large hills but are what we view from our front yard. Verticals are suggestive of very tall white pines and the foreground verticals are grasses. I am playing with these elements as I consider a series of works that incorporate this kind of abstract line quality. Pencil on paper. 5×7. This is part of the 30 paintings/30 days challenge presented by Leslie Saeta on her blog,http://www.lesliesaeta.blogspot.com
Staying focused on getting back to experimenting with new takes on recent works. Another entry for the 30/30 challenge project on the http://lesliesaeta.blogspot.com/ art blog. Obviously this one is weather-inspired although a self-portrait of a shivering me in the studio would be a funnier-looking piece.