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Ginormous Robotic Meteorologists

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. . . probe the clouds, and thereby skew the forecast. ~24 X 36″

H says “Outlet.” OK by Me.

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“No Time for a Gentle Rain”

July in Shady Side, Maryland . . .

Version 2

This painting a departs from the recent “spring time,” atmospheric Swamp-Circle-Road-Sod-Farm-all-wet-with-rain paintings. It is still a landscape of sorts. The intense greens of spring are given over to yellows and patches of mint to grey-green and buff. Summer flowers in abundance, notably the zinnias spilling over the Talavera pottery and the sunflowers coming into bloom. Painterly brush strokes dominate, belying the “indolence of summer.”

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“Seasons change and so did I.” Right on Mr. Burton Cummings, right on.

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Scapes

Continuing with the landscape theme compelled by painting in Shady Side, Maryland. Here is the latest work in progress:

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This painting is less site specific via memory than the previous two works that are redolent of the sod farm off of Swamp Circle Road, rainy days, and spring time in Maryland. Here they are:

 

Detail of the new work in progress (below.) This detail is most akin to something that I’ve been holding in my mind for sometime.

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If this detail was a 40 X 30″ painting, I’d be pleased. In painting terms, I’d like to capture weather phenomenon in abstract, painterly terms: From a distance, it should evoke experiences observed and felt. Close up it reads as painterly abstraction. Holy grail mindful of precedence: Turner by Joan Mitchell’s hand.

So with Land/Seascapes in mind, I have been thinking back to some of my earlier efforts.

Pinellas Point

Pinellas Point

I was about 20 years old when I painted Pinellas Point (above.) Working outside on the deck of Dad’s Studio with Tampa Bay in sight.  At the time, M.C. Richards was visiting Eckerd Collage where Dad mentored and professed. She told me that she liked this one. I was flattered, but had no idea who she was.

 

 

Ramsuer, North Carolina. Zoo Days. (above.) Painted on a little table outside of the little house in Albert’s back yard. Mid-1990s.

I like that the one on the left is very free, with little reference to local (or “real”) actual colors and with completely random forms popping up. A summer painting. I never would have thought that this would become a modest touchstone for later works.

Painting on the right same rural route view in winter. Believe that it is called Grantville Winter in honor of the Hurley’s.

Jetty

The painting above is called “Jetty.” Hard to believe that it was painted in New Mexico. You can’t take the Bay out of the Boy. The hooked form was routed into the scrap of Masonite that I painted on. It was a backer board used for cutting out an “X-Prize” logo for the New Mexico Museum of Space History. I hadn’t gotten around to finishing this and was embarrassed that Mom-in-Law Peggy proudly displayed it. So – I finished it for the better. I have always liked that the left half is very loose with a light touch. Tricky for me. Oh – late 2000s. If I painted/collaged something like this today here in Maryland, it would more properly be named “Rip-Rap.”

That is a brief survey. If you look, you will likely find land and sea references in abundance. Cityscapes too. But that’s another story, for we have arrived at the tail end:

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Swamp Circle, Maryland. Plus One

Swamp Circle

Something of the feel . . .  south county, Anne Arundel, Maryland in May. Driving with the pups on a rainy day. Getting somewhere going nowhere.

Coming to grips with all of these yellow-greens and rain. Not a New Mexico scene.

. . . Adding a companion painting today. Emptying out at ground level. More roiling above. Less sunlight. This is a fairly specific scene, from memory. Different times on a favorite drive. accompanied by wagging tails.

These are relatively small – 20 X 20.” Usually tend to fill to capacity plus of late. This serves for now. Something different next time. I’ve held a Mighty Storm painting in mind for months. Seven out of nine days of (mostly) gentle rain here. This is what results.

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Here Abouts

Version 2

I have been reworking and revisiting this one for weeks. Don’t know . . . not ready for the “Gallery” yet, but have a look.  Unruly – winter into spring during eventful days. 4/23/17

 

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A Maryland Painting

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February 24, 2017 · 4:01 am

A Line in Winter

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Carey Crane, January 14/15/21, 2017. 24 X 36″

I may have finished the piece above this winter morning. Continuing along the lines of the last post, Hommage in Collage, I am including some images of my Father’s 1960’s work and relating it to what I am up to now. At the conclusion is an example of my work done in Las Cruces, New Mexico, also in winter that I’ll compare to this 1/21 piece.

Dad’s strongest artworks posess a kind of a monolithic inevitablity. They hold up as a single, integrated, object or event:

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Jim Crane, ~1967. 48 X 48″

My 1/21 piece obviously appropriates the radiating (arms, rays, petals?) from this Jim Crane. The radiating form appears to be related to the “Agave” and leaf forms of some of my other work, including this decidedly Fraught-with-New Mexico-Summer FiestaAgave:

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Fiestagave ’12 , 48 X 36″

Separating the Carey from the Jim, my work tends to divide the picture plane – at minimum delineating a bifurcation of the plane, in some cases working from a grid. Some suggest “story boards” filled with a series of discreet incidents. At times, the goal is to have one area of the picture utterly unrelated in form to an adjacent area, yet working together as a whole. The results may run-riot.

So, when am I best able to exercise some restraint in collage/painting?

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Shady Side, Maryland, January 21, 2017

In Winter.

Winter commands restraint. My collage/paintings drift towards opening up and “emptying out.” For me. The palette trends neutral.

Cold Winter days I work inside, in Shady Side moving to the small, old canning shed. The collage/painting balance tips towards collage. Some spontaneous tearing and cut-paper findings aside, collage is a more considered and methodical a process than the potential for spontaneity and free flow of paints. For me. In spring and outside, I’ll be slinging paint again.

Here is a piece made, also in Winter, in Las Cruces New Mexico, two years ago:

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Blanco Verde ’15 LoLo Collection

Note the grid.

Here is another Jim Crane that works as a “single, integrated, object or event:”

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Jim Crane, ~1967? 48 X 48

Deceptively simple to achieve. For me.

Carey

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