*Riprap, also known as rip rap, rip-rap, shot rock, rock armor, or rubble, is human-placed rock or other material used to armor shorelines, streambeds, bridge abutments, pilings and other shoreline structures against scour and water, wave, or ice erosion.
One of two larger works, in the works. Thinking of surf encountering “human placed” barriers to “erosion,” and the inherent drama therein.
Crazy day today. tropical storm Isaias’ pounding wind and rain in the morning, blue skies in the afternoon. I’d like to claim this as a tropical storm painting, but it was underway a week ago.
Here is a New Mexico painting “Jetty” that evokes a coastal storm:
Ironically “Jetty” was painted in the desert of southern New Mexico. Further irony is that it was made from a Masonite panel used as backer to route an X-Prize logo when I worked at the New Mexico Museum of Space History, Alamogordo. Here is the logo. It is “upside down” in painting:
Desert, space, surf. Desert space logo as coastal Jetty.
On March 16th, I delivered five painting/collages to Jo Fleming’s art gallery in Annapolis Maryland. I’ve wanted to share this, but something came up. The show has yet to open. Given what so many people are going though, this is insignificant.
Recently Jo Moved two of my pieces to the front window, so they are in a sense making their gallery debut via Maryland Avenue near the State House and I am posting it here. Thank you Jo for for showing my work, and thank you Maryland Federation of Art for introducing us. And thank you for checking in. Take care everyone.
I don’t generally paint in series, (click “series” or see previous post) but these are different times. Above finished(?) yesterday afternoon 4/11/20. There’s a back story to these bird/plant chimeras for some other day.
This painting was completed just before the painting/collage above. The Amaryllis that is blooming in the dining room is making a grand appearance here as well and is morphing into fauna above. The cadmium red is also about the cardinals visiting our feeders in their new spring plumage. Take care.
I am still growing accustomed to the rhythms and accommodations of making art in Shady Side, Maryland. In the winter months I work indoors for the most part, given the short, often cold and rainy days. I repair to the shed and work close-in with reading glasses on easel paintings lit by electricity. Big Gestures are restrained, and I tend to work with smaller brushes. This seems to be a good time for revisiting works that were set aside.
Coinciding approximately with the winter solstice, Starlings descend en masse upon Shady Side, chattering, foraging, and rising and descending in waves. Aflight, they evoke descriptions of Passenger Pigeons once filling the sky. For two days after Christmas, they were joined by Robins and Red-Winged Blackbirds splashing in the bird bath, eating winter and beauty berries, and foraging beneath the bird feeders and about the yard. The painting/collage Visitation: Foraging draws on this seasonal avian activity. Serendipitous tracing of a carved wood screen’s shadows led to my painterly flocks. The color palette is all around this time of year. The photo below was taken this morning from our living room window. It does not do the Starling’s visitation justice, but gives you the idea.
Apropos of Winter Landscapes, read a well written article here on a great painter, Charles Burchfield in today’s Washington Post.