ANOTHER Website Revision!

I spent most of the day revising my Website again. I decided the nine paintings I featured, three under each of the three categories, weren't enough.

So I lengthed the pages so I could show more paintings. Also, on the "Desert Paintings" page, I included some of my works the galleries have on hand right now, along with links to the galleries.

So if you haven't seen the site lately (or especially since Wednesday, 6 May), stop by and pay it a visit:

http://www.southwestspaces.com or http://www.desert-paintings.com.

If you have any comments or questions, comment me here or send an e-mail via the Website.

Painting of Another Favorite Mountain Range

In my previous post, I showed a recent painting of one of my favorite mountain ranges: the Sneffels Range in Colorado. (I wish I would have spent a LOT more time in that area while we actually lived in Colorado!)

The piece I've shown now is the Sonoyta Range which is in Mexico. I'm actually in the USA, viewing this scene from within Organ Pipe Cactus National Monument in southern Arizona.

Besides the rugged appearance, the range features a peak (Punto Sonoyta -- Sonoyta Peak) in the middle and then drops away on either side of that peak. This makes it easy to make the Sonoyta Peak a center of interest, which I normally do whenever I paint these mountains. All of the other elements -- cactus, flowers, shadows -- function to set off the distant symbol of a rugged place.

Mount Sneffels in Colorado

Ah! I FINALLY finished updating my Website. I hope everything is working OK. Do me a favor: go there and buy about five paintings so I can make sure everything's working OK. =)

In the meantime, I posted some new paintings on the site besides revamping its look. One of the paintings appears here -- it's a scene of the Sneffels Range near Telluride, Colorado. Mount Sneffels is the tall peak right of center and is one of Colorado's "14'ers," meaning it's over 14,000 feet high (that's about 4.3km for you metric folks).

(That reminds me -- I meant to show both English and metric units for the sizes of the paintings on my Website. I'll have to fix that soon!)

The link in the first paragraph should work, but just in case, the site URLs are:

http://www.southwestspaces.com/ and http://www.desert-paintings.com/.

Changes Comin'

No, no, not the weather (although that changes a lot, too!)

I mean my Website (which, in case you forgot, is http://www.southwestspaces.com). Right now, I feature mostly paintings of the desert. While that area will always be my primary focus, I know not everybody wants to hang desert paintings on their walls.

So I plan to re-design things a little. Now, when you go to my site, you see a single picture of a painting and click on "Enter Site" to access the thumbnail page with all of the paintings I'm showing at the present time.

The comin' changes: the home page will have three pictures and captions -- "Desert Paintings," "Western Landscape Paintings (including Missions)" and "Wildlife Paintings." Click on one of those, and you'll be directed to a page with those types of paintings. No thumbnails: just the images, info and "Buy Now" buttons. The visitor will be able to navigate between the categories easily.

I hope to make these changes within another week or so. Let me know wotcha think!

Western Art and/or Fine Art

Last Saturday, I visited a Western art show that I've participated in a few times but, for the most part, I just visit to see what's new, talk with the artists I know (especially those I don't see any other time) and to try to get a feeling of what's selling and what isn't.

My own art has been evolving over the years, especially when it comes to my slowly increasing knowledge of how the Old Masters worked. One thing I've learned is the concept of selective focus. This idea first came to me by way of artist Virgil Elliot who pointed out how the Old Masters tended to paint a small area with sharp edges while softening or blurring the rest of the edges. This partly makes the viewer want to look at the sharper area (which is often the center of interest) and also actually makes the image look more realistic. After all, whatever we look at directly appears the sharpest to us while the rest of the view falls into our peripheral vision, where edges are -- guess what? -- less sharp. Next time you're in an art museum, look at some Old Master paintings and see what I mean.

Selective focus popped into my head a lot while I was looking at the paintings at the show. Except for watercolor paintings where everything was a little blurry, most paintings had lots of details which were uniformly sharp from side to side and top to bottom. Even distant features in the paintings seemed sharp. In short, the artworks seems to possess a sort of hyper-realism: realism that somehow wasn't. The paintings were sharper than photographs.

Another related thing I've learned over the years: it isn't necessarily hard to develop the technical skill to render objects realistically. But it IS harder to put some thought into one's art that raises it above the commonplace.

Happy Earth Day!

Happy Earth Day, everyone (although I realize for some of you, the day is almost over, depending on where you live)!

I was in college majoring in art when the first Earth Day occurred. I still remember faculty and students attaching black helium-filled balloons to -- I'd guess -- 100-foot/30m heavy-duty string, and both ends of the strings were affixed to building rooftops, forming huge arches of black balloons. These forms were intended to create a visual impression of the dirty smog and particulate matter that existed in the air over Los Angeles.

In those days, "ecology" was the buzz word used in advertising; today, we hear about "going green." Maybe tomorrow, it'll be something else.

I dropped out of college in 1973 but returned in the late 1980's to tie up the loose end that nagged at me for all those years. One of my instructors wanted us to complete a self-portrait as an assignment. I decided to make a drawing with an Earth Day-theme and later created a painting in 1988 from the drawing. That painting is featured here. (For some reason, the slide and subsequent PhotoCD made from the slide exaggerated my lip color!) As you can see, my back is turned to an incredibly filthy oil refinery as smog is beginning to creep into the forest in front of me, reflected in my glasses.

I may re-do the painting someday -- my rendering skills have increased tremendously in 21 years! Next time, I'd be more tempted to use an attractive female rather than my own (ahem!) face. But I probably wouldn't try to sell the work. The painting has an admittedly pessimistic theme, and I'm not sure anyone wants images like that on their walls. But it touches on my surreal past as an artist, and I'd like to squeeze more surreal works into my schedule. One of these days. (Yeah, right!)

Nuages

OK, OK, "nuages" is the fancy-sounding French word for "clouds."

I almost always put clouds in my landscape paintings, even though clouds aren't necessarily common in the Southwest desert skies. But they do add interest, and sometimes clouds can be the best pictorial element in a painting.

I rarely attempt to paint clouds entirely out of my head -- it's harder to do than one might expect. For this reason, I have a vast library of cloud photos that I've taken over the years. I've attached a jpeg of some clouds we had around here just this morning. The top part of a Joshua tree pierces the sky in the lower lefthand corner. As you might imagine, I suspect these clouds will appear in a painting in the future.

I've also been inspired by the cloudscapes of contemporary painter Dale TerBush. He always had a way of making clouds look very soft and feathery. Over time, I've learned how to paint clouds that same way, although maybe not in as fanciful a manner as he. (Also, over the years, Dale evolved into a more dramatic and colorful look, which I haven't). Regardless, Dale's rendering of clouds has been a factor in my own development as an artist, and I would consider him to be one of my modern-day influences.