Homage to Tectonic Time

TM9323 Homage to Tectonic Time 24×44 oil on panel

Campobello Island is one of my favorite places. The geology is magnificent, with layers of iron rich granite, black basalt, and quartz intrusions that seem to stripe the ancient headlands. All this with views to Grand Manon and Maine. Homage to Tectonic Time is my “portrait” of a spot I like to visit early in the morning. It is wind-swept and primal. Except for erosion, it feels like it hasn’t changed since the end of the last ice age. So much history can be read in the rock. Ancient mountains. volcanic activity, changing sea levels, compression and rebound – a long story that you can touch and feel – it always sends shivers up my spine. Below are details. Enjoy.

TM9323 Homage to Tectonic Time – detail from right side with morning view to far headland

TM9323 Homage to Tectonic Time – close-up

TM9323 Homage to Tectonic Time – detail from left side showing quartz intrusions in ancient basaltic headland

 

Up on Bass Rocks

TM9322 Up on Bass ROcks 36×48 oil on panel

There’s a time for drama and a time when quiet is most appreciated. Up on Bass Rocks seems to be a meditative, peaceful morning, with a view out to sea and a retreating fog bank. But in truth, if you love geology, the thrill of touching such an ancient mountain is fantastic. In some ways, the painting is about time – long, stretched out time. The ancient granite, bruised by glaciers and pummeled by the sea, is alive with crystals and abstracted by fractures. To paint it, one’s own sense of time has to slow down as well. The layers of paint and texture can’t be rushed; the tantalizing forms need to reveal themselves. Enjoy.

TM9322 Up on Bass Rocks – close-up of granite with bands of quartz crystals and yellow lichens

Technical painting notes: The painting was built in layers. The first layer of paint, applied with a soft roller and crumpled (re-used) plastic film, was rough, streaky and transparent. I spattered mineral solvents on the paint and re-rolled the surface repeatedly to achieve grainy textures. I also spattered paint in places, for more depth. The opaque dots of paint contrast nicely with the open spots where the mineral spirits has left deficits of paint. When the first layer was dry, I layered transparent glazes, then painted into the wet glazes with soft brushes and more transparent color. Occasionally I applied paint with the roller, to get more interesting “accidents.” Additional layers of glaze and stippling refined the color and textures.

 

 

An Early Morning Prayer

TM9321 An Early Morning Prayer 30×36 oil on panel

Why is this titled An Early Morning Prayer? If prayer is about hope, acceptance, love, and readying oneself for the day, then this is my prayer rock, the place I would go every morning to be in prayerful mind. Because I can’t be there, and because I am in the studio, I focus my imagination on the feel of every grain of feldspar and quartz, hear the music of tides on the shingle, and breathe the cool, salty air. Prayer in absentia. It helps. Details below.

TM9321 An Early Morning Prayer – close-up of old stone battered by waves

TM9321 An Early Morning Prayer – detail showing traces of spatter, knife, and roller application of paint

TM9321 An Early Morning Prayer – close-up from left side with eroded granite hosting ocher lichens

 

Morning at Minot Beach

TM9320 Morning at Minot Beach 36×44 oil on panel

Am I becoming redundant? Maybe, but I do love the morning hours best. Maybe it’s the softer light and the sense of a fresh start. Or it could be the quiet……only the sound of water lapping the shore. This location was suggested by one of my students, and she was right – it has that morning magic. Detail below. Enjoy.

TM9320 Morning at Minot Beach – close-up of ancient headland

 

At Bass Rocks

TM9042 A Day at Bass Rocks #44 7×7 oil on paper

So many artists have loved and painted Bass Rocks in Gloucester, Massachusetts. It might be the rugged and colorful fingers of granite clawing out to the sea, or the elevation – just high enough to raise the horizon line and provide a different perspective from the nearby beaches. As an artist, I know it could also be the difficulty of anyone climbing out to watch over your shoulder as you paint or sketch. It is public and private at the same time.I was out there recently, and, as usual, found much inspiration for more coastal paintings. The first study, at the top, is looking directly out to sea, while the rest of the gallery concentrates on the rocks. Enjoy.

For the Love of Snow

TM8862 White Mountain WInter #1 6x6 oil on paper

TM8862 White Mountain WInter #1 6×6 oil on paper

TM8864 White Mountain WInter #3 6x6 oil on paper

TM8864 White Mountain Winter #3 6×6 oil on paper

TM8863 White Mountain WInter #2 6x6 oil on paper

TM8863 White Mountain WInter #2 6×6 oil on paper

TM8852 Snowfall at Purgatory Chasm 6x6 oil on paper

TM8852 Snowfall at Purgatory Chasm 6×6 oil on paper

TM8851 Roadside Snow 6x6 oil on paper

TM8851 Roadside Snow 6×6 oil on paper

I understand it’s early November, and I’m glad it’s raining outside, but I love painting snow. All those white patterns abstracting the landscape beg to become a composition. This week I visited my imaginary winter and played with scenes from a few favorite locations. A private vacation, if you please, achieved in the studio. Enjoy.

A group of eight new 6×6 oil on paper paintings were delivered to Greylock Gallery in Williamstown, Massachusetts this week. If you are in the area, stop by, or preview Greylock Gallery’s website with the link to the right.