The Forgotten Coast en Plein Air and Plein Air South 2018

June 4, 2018 in Figurative, Landscape, Plein Air

I attended the Forgotten Coast en Plein Air and Plein Air South again this May, taking time out for painting between demo’s and discussions. I practice painting en plein air to study the transient effects of light, to become more adept at composing, to learn more effective technique, and to develop a stronger instinct for decision-making. Many times a plein air painting will be worthy of framing. All are learning experiences. My intention is to study something different every time I paint, even when I paint a scene I have painted before. Every painting is making it easier to paint the next painting, but I challenge myself even more the next time, so I can’t say that painting is easy. I can say that I am seeing better.

Oil painting of the marsh from the deck of Scallop Republic on the way to Cape San Blas, Port St. Joe, FL

Scallop Republic Marsh

I am happy to report that my Quickdraw painting, Scallop Republic Marsh, was selected by Quickdraw judge Lori Putnam to be one of the 40 on display throughout the Forgotten Coast event, and that it was purchased, as was Eastpoint Oyster Shack, one of my paintings in the Florida’s Finest en Plein Air Ambassador exhibit.

The more exciting news happened the week following the Forgotten Coast event, which was Plein Air South, a convention in the same location with back-to-back educational sessions, lectures, and demonstrations. Approximately 160 artists attended. We were invited to display up to 3 plein air paintings, the best to be selected by artists’ vote. I thought they were just going to award a Best in Show, but they also awarded second place, which one of my paintings won, Spring Dune at St. George Island, pictured below! I received $485 of paintbrushes from Rosemary & Co., my favorite brush manufacturer! (Iin addition to the $180 of brushes I had just purchased!) I don’t guess I will run out of brushes for a while!!

Winner: Spring Dune on St. George Island, 16×20

Below are the studies I painted over the two weeks, in between listening to the speakers and watching the demo’s. Click any photo to learn purchase information.

Oil painting of the marsh at the kayak and canoe launch on Cape San Blas, Port St. Joe, FL

Kayak Launch at Cape San Blas, oils, 6×12

 

Oil painting of the early morning shadow of the primary dune on Cape San Blas, Port St. Joe, FL

Cape San Blas Morning Shadows, oils, 11×14

 

Oil painting of the shape of the primary dune on Cape San Blas, Port St. Joe, FL, painted with palette knife

Early Summer Dune at Cape San Blas

 

Oil painting of site of oyster shell bagging by the Conservation Corps of the Forgotten Coast, for maintaining and restoring eroding coastline

Project Worksite, Conservation Corps of the Forgotten Coast, Oyster Shell Bagging, oils, 6×12

 

Oil painting of the light on the creek at George Core Park, Miss Zola Drive, Port St. Joe, FL

Creek at George Core Park, Miss Zola Drive, Port St. Joe, oils, 12×9

 

Oil painting of the early light at the St. Vincent Shuttle stop, off the tip of Indian Pass, Port St. Joe, FL

Warm in the Morning, Indian Pass, oils, 8×10

 

Oil painting of the artist's impression of the colorful sunrise at the tip of Indian Pass, Port St. Joe, FL

Sunrise Impression, oils, 4×6

 

Oil painting of artist's impression and memories of the marsh at the canoe and kayak launch on Cape San Blas, Port St. Joe, FL

Impression of the Marsh at Cape San Blas Canoe Launch, oils, 11×14

 

Unfinished, Rick on a Break, 14 x 11

 

Unfinished, Cape San Blas Light in Port St. Joe, 16×20

 

Joan Vienot, painting the Cape San Blas Light and lightkeepers’ cottages in Port St. Joe, hurrying to beat the rain!

 

 

 

 

Keep Saying Yes! Keep Growing!

December 30, 2017 in Landscape, Plein Air

Opportunities materialize when you keep saying “Yes!” It’s easier to say “Well, maybe, maybe not…”, but if I do that, inertia keeps me rooted. Saying “Yes!” moves me forward and opens doors.

Recent “yes’s” include…

  • Painting a demo December 16 at the Open House for The Joe Center for the Arts in Port St. Joe, Florida, which in May will be the epicenter of The Forgotten Coast en Plein Air and Plein Air South this year;
  • Accepting an invitation to speak to the Emerald Coast Meditation Society about the Zen of plein air painting at their regular third Thursday session, 6:30 PM, January 18, 2018, Christ the King Episcopal Church, 480 N. County Hwy 393, Santa Rosa Beach, FL 32459.
  • Agreeing to give a presentation on plein air painting to the local Library in their winter programs series, 10:00 AM, January 31, 2018, at The Coastal Branch (South Walton) Library, 437 Greenway Trail, Santa Rosa Beach, FL 32459

I think that speaking about plein air painting to the meditation group will be the most challenging. It will require me to put some thoughts into words, about things I don’t share very much. This blog will help. The first time I went to a plein air event, I remember noticing that the painters seemed extraordinarily friendly and welcoming. Most people are cordial when you meet them, but the plein air painters as a group seemed more aware, more present, looking directly into my eyes, holding my gaze for longer. It may be that they were merely thinking about what colors they would use to create the exact shade of my blue eyes, but it felt like they were more tuned in, more mindful. With few exceptions, they emanated kindness. I now know these same characteristics describe many people who meditate regularly – most seem to have more present-moment awareness, are more engaged in the immediate, have good focus, more compassionate attitudes, and generally seem to be more self-accepting and thus more accepting of others. That is how I want to be described someday.

People we know intimately often project their own issues onto us and vice versa — it seems to be human nature to have an affinity for people with whom we can play out unhealed trauma or drama. If they don’t grow at the same rate as us, then these people pass out of our lives after the lessons are learned, because we no longer fit into the box that they have built for us, which at the time we willing went into but now have outgrown. Some people project onto everyone they meet, and those are the people who use generalities, like everyone is a certain way, and this always happens. But for everyone else we in our lives, they and we present in a way that demonstrates the stage of our spiritual and psychological development. That development, I believe, is the purpose of our life. We each develop spiritually and psychologically through the choices we make and the activities of our lives. There is no one right way or better way. Every way offers a necessity of sacrifice and eventually, a transcendence of suffering. And that is what I think those plein air painters were demonstrating.

As a representational outdoor landscape painter, I try to capture the beauty that I see, and paint it onto a small canvas in just two or three hours. The fact that time is a factor requires a lot of compromise, because the light/shadows change, the weather can worsen, I might discover that I am standing near an anthill, or someone can park a semi-truck in front of my scene. At some point along the way, a good painter must commit to one time, one arrangement of shadows and light, one impression, and try to represent that impression. Otherwise, they are constantly “chasing the light”. If a painter is terribly attached to the outcome of his effort, time alone will be a source of endless suffering. Likewise, so many other aspects of plein air painting can sorely test one’s spirit. For a long time after I started painting en plein air, every painting was an epic journey. About 20 minutes into it, I would find myself wondering whatever made me think that I could be a outdoor painter. I would descend into the chasm of despair as I soldiered on, frustrated by my incapability of rendering on the canvas anything even close to the beauty that I was seeing, perhaps questioning the value of my art degree, and maybe even my right to exist as a human on this planet. I would descend into the abyss, and somewhere near the bottom I would have to accept my effort for what it was, and thus forgive and accept myself. Eventually I would paint my way out again, working out my redemption as I went. I would stop painting only when my timer went off. As if that journey was not enough, I would willingly participate in what our painting group calls a “soft” critique, where we show our paintings to our fellow painters, another exercise in courage, humility, and non-attachment. We explain what our challenges were and then the braver artists will even ask if anyone has any suggestions, the ultimate act of vulnerability and trust. Some artists deprecate their own work first, before anyone else can, inviting consolation and reassurance. Others immediately defend their painting against the suggestions they just asked for. But most will listen, and perhaps receive a few good tips as a bonus for their labor. They get to be better painters. And along the way, they gain more ability to compromise, more commitment, self-forgiveness, self-acceptance, courage, humility, vulnerability, trust, compassion, and non-attachment.

These are the same benefits that we get from meditation. And that’s what I will talk about to the meditation group. A mindful approach to anything can yield these same results. It is by facing it head-on that we are able to transcend suffering.

And then we re-attach, putting our signature on our painting. Ha!

Below are some of my recent paintings. The first series is the preparation for my demo at The Joe Center for the Arts. I decided to use a painting I had painted en plein air shortly before. When I was doing the demo, I surrounded myself with my references: my value studies, my plein air painting, and my app’d photo and watercolor sketches where I had solved some temperature and contrast problems, so that I would remember everything that I had been thinking about. The demo was about 3/4 completed there at the Open House — with Christmas season upon us, I am forgiving myself for not finishing it yet.

Value sketches prior to painting en plein air

The plein air painting (click for larger version)

Photo of plein air painting, app’d to warm the palm near the focal area, and the scrub oak cooled and darkened behind the palm to give more contrast and set the oak behind the palm; trunks lightened.

Digital and watercolor sketch to bring out some of the lavender shadows and trunks, and enrichment of the warm ground colors and shapes to direct the eye to back the focal area

 

The following are three paintings I did on my regular weekly outings with the Emerald Coast Plein Air Painters, and the last image is the cover for our end-of-year album for that group, a collection of the paintings the regular painters feel are their best. Click on any image to see a larger version, and click on the album cover to go to the ECPAP “Best of 2017” album. We are still collecting photos for that album.

Oil painting of the trees growing out from the high bank over Chula Vista Bayou in Ft. Walton Beach, FL Oil painting of the Festival of Trees at Grand Boulevard in Miramar Beach, FL, at Christmastime, 2017
Oil pain ting of craggy old tree at Glen Argyle Park, Niceville, FL Emerald Coast Plein Air Painters Best of 2017

And lastly, a photo of me painting the Martin Theater in Panama City, FL, during the Fringe Gallery’s “Everything Under $100” Sale. Photo by Julie Roberts Logsdon.