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Adjusting Again – The Election and then Hand Surgery

Last February I had surgery on my left hand to reconstruct my thumb joint (CMC arthroplasty), and in November, the day after Election Day, I had the same surgery on my right hand. ( I mention Election Day because the surgery the day after the election meant that I could go through the next few days on pain medication, a relief on several levels.) I had opted to have my left hand repaired first, in February, even though the right hand was worse, so that I could know the level of disability I would have and be able to project the recovery time more accurately. The adjustment I made in February was to change from oil painting to watercolor painting, so there would be less clean up. I blogged about it under the title Adjust, Adapt, Accommodate — Painting Through Challenges. But this time, my right hand, my dominant hand, was immobilized, so I had to use my left hand express myself. Handwriting left-handed is difficult to say the least. By the time I finish writing anything, I have totally lost my enthusiasm for whateverit is I am writing about. And controlled brushwork is nearly impossible. So I switched to soft pastels, which are pure pigment, pressed into chalk-like sticks. The support I am using is 12×9 fine grit sandpaper made for this purpose. I’ve tried to keep my compositions fairly simple, being quite challenged both by the medium and by having to use my left hand. I’ve painted 3 times in the 4 weeks since my surgery. The rest of the time has been consumed with recovery, Thanksgiving holiday, and installing my part of the exhibit at The Foster Gallery, which i mentioned in my last post.

The first painting, at our weekly plein air painting session at Watercolor, Florida, was incredibly enjoyable, as I sat beside a large grouping of butterfly bushes that were sparkling with at least a hundred monarch butterflies, visiting during their annual fall migration to Mexico.

Soft pastels painting of monarchs on butterfly bush, painted en plein air at Watercolor, FL
(Created using my left hand, with soft pastels on sanded paper.)

The second painting was a respite from a football game that was being cheered by my Thanksgiving week hosts and their other guests. I wanted to convey my impression of a tree I had seen a few days before. I had a photo to remind me, but I wanted to portray the feeling of awe that I had when I first saw the tree. It had turned completely red, and was dropping its leaves, but all the leaves on the ground were pink, instead of red. I did not investigate to find out why — I guess they were falling face down, so only the pink backs showed.

Soft pastel painting of a red tree with pink leaves underneath, an impression of a scene in Murphy, NC
(Created using my left hand, with soft pastels on sanded paper.)

And the third painting was again with the Emerald Coast Plein Air Painters at our weekly painting session, this time at The Gulf Restaurant in Ft. Walton Beach, Florida. I chose the view of Brooks Bridge crossing from Okaloosa Island to FWB, and I stopped painting when the first raindrops started falling. A tornado touched down not too far from us and a waterspout scared people as it crossed the Choctawhatchee Bay. But it was calm where we were.

Soft pastels painting of Brooks Bridge from The Gulf Restaurant on Okaloosa Island, painted en plein air, looking towards Ft. Walton Beach, FL
(Created using my left hand, with soft pastels on sanded paper.)

Next week I will find out if I can take of my brace to be able to hold a paintbrush again.

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Plein Air Painting in the Wind

Oil painting of the shore grass along the choctawhatchee Bay on Okaloosa Island, Gulf Islands National Seashore

15 mph winds brought in low humidity resulting in crystal clear views for the weekly Emerald Coast Plein Air Painters session yesterday. Wind and painting are an unpredictable combination. I’ve seen it happen, a painter’s masterpiece suddenly face down in the sand, a gust taking the easel right over. My painting companion, Leslie, set up on the lee side of sheltering informational sign. I was more concerned about the sun, looking for shade for my canvas and my palette.  I found good shade, but it was in the open wind. I remembered what could happen when I saw the front leg of my easel start coming off the ground, but I couldn’t find anything to tie down my easel. I ended up using the long, wide strip of velcro that secures my palette box closed, fastening my easel onto the leg of the sign I was standing next to.

The colors were beautiful in the early fall sunlight, the grasses taking on pink and lavender hues.  The Choctawhatchee Bay was a deep emerald with the incoming tide. The scene was largely light in value, the bay  providing middle-value contrast, and punctuated by a few dark darks at the base of the foliage. The wind was perfect for the kite-sailors practicing their aerial magic over the bay.

Here’s a look at our group’s efforts: https://www.facebook.com/media/set/?set=a.578356358954030.1073741877.285985251524477&type=1