Trails-plein air- Dec 2013

Amid thorny bushes, perched on a rock, my feeble attempt painting a hydrangea was going south.

Desiring to avoid onlookers, the most private spot in the garden, was also the worst for painting. It was 1996, and my first foray into plein air painting.

My friend, Artist Patrick O’Brien persuaded me to join him one balmy morning at the Lieutenant Governor’s Gardens in Victoria.

Patrick’s mentoring advice still resonates. “Accomplish in one brushstroke what would normally take you seven”.

Despite my admiration for Patrick & his amazing work, I bailed.

I had stalled awhile, finishing off my snacks watching butterflies. Gazed over the Pacific. Sang diddies in my head” I saw a ship come sailing in, come sailing in.. ”

I didn’t return to plein air until 2011 in the Boreal Forest. This time I was among internationally recognized artists working on the most important project in my life so far.

Overlooking the incredible scenery, Patrick’s voice drifted into my head”You should have practiced- Now look at the pickle you are in”.

Somehow I managed to find a groove and discover new freshness to the work.

One luxury painting with professionals in the forest, we relished the quiet solitude. The problem for me isn’t working outdoors, it is that someone might see me.

It was an issue when I began long distance running. I would slow to walk if people or cars were about. It made for tedious running. 

Ironically, years later I would choose to run races in front of thousands, in spandex!

Just as surprising, last week I found myself painting in front of an audience, during a radio program, with TV crews wandering about at CBC. ( Thanks CBC!)

I still need practice outdoors. Unable to find the seclusion I savoured in the boreal, I have ventured out of my comfort zone painting my favourite running trails.

I even met up with a Plein Air Group for a few of their outings. A welcoming bunch who have great fun.

Possibilities for plein air are endless. Some painters will complete a finished piece in a sitting. Others will ‘sketch paint’, loose studies for a painting they will create in the studio. Drawing is another option. To see some incredible examples of field studies, John Pitcher does fantastic work. http://johncpitcherart.blogspot.ca

My intention is to work on composition skills, dexterity, capture the essence, develop a quick encompassing eye & fast colour mixing.

Like running drills.

I wouldn’t necessarily exhibit a plien air sketch any more than I would stop in the middle of a marathon and do high knee drills.

A key is to work on weakness’s and process, not the end result. It can be quite freeing!

 Plein air of river-in development above

In impressionism, the rawness of plein air is directly transferable to the kind of work I do.

Lately, the cold impedes my brushstroke & palette, making it wonderfully uncontrollable.

So here’s to warm mittens,( Thank you Gaye) great outdoor gear( thank you Patagonia) and a thermos of hot tea. Patrick, if you are listening…. I am practicing…  and Patrick, thank you.

New ” Creek” 14 x18 Oil was inspired on a plein air/ photo research outing.

Center of Circumpolar Studies Online Auction Closes Monday!

http://www.circumpolarstudies.org/2013/12/ccswreaf-artist-showcase-art-auction/