Kenan biennial 'Niagara Frontier Art Exhibit'

  Last summer my wrist and hand overdosed with pastels. In fact, I damaged tendons by having three summer residencies where I painted all day, even painting nocturnes. Actually it was 2 1/2 residencies, the third was not completed due to overuse of my gripping thumb. How the lovely colors and sensual marks of my loved pastel sets could become so difficult is still hard to understand. 

By Fall, I began wearing a brace and figured out novel ways to handle a paintbrush as well as a palette knife, but the pastels stayed in storage while I worked carefully with oils. Eventually, I was wearing the brace 20-22 hours a day, and not improving much, visiting hand specialists who administered different shots (some worked for a while) and various tests for carpel tunnel and other injuries.

After several months I retrieved a pastel commission from storage and slowly completed the late winter gorge scene. Such joy to commune with my colors! After delivering it, I needed to do this new pastel painting for myself. Views of the curve of Niagara Falls always intrigue me, individual boulders and favorite islands have been repeated in plein air yearly in paint and pastel. I just needed to be a pastel artist again.

I usually complete a large work in about a week's worth of studio painting, but this took more than two months. I paced the use of my hands, experimenting with working left handed, always aware that I didn't want more pain, but enjoying the pastels, the sound of mark making and richness of pigment and texture. I loved the process and the painting and entered it into the Kenan biennial 'Niagara Frontier Art Exhibit', one of my favorite local shows. 

Accepted, this work of ...what, a year?....hangs proudly in the Kenan dining room, right near a digital collage by Carl Schifano until August 29.

Horseshoe Racing, 22x28 pastel 2014

Save the date!

  

The big vista

Everyone driving down Lewiston Hill looks at the scene out over the lake and the rolling landscape from the escarpment to the shore, mostly farms and fields. On clear days the city of Toronto stands like a beacon in the distance, more than 35 miles as the crow flies. This Spring day, I painted in Ann's backyard, on top of the escarpment, as I looked, the spires and buildings of the city appeared as the morning mist lifted.

Toronto Haze, 9x12 oil

Artists Group Gallery

The edge of Goat Island at Niagara Falls separates the water that goes over the two falls from the Niagara River. The rapids become quite tumultuous at this spot, the speed of the water increases and splashes on the rocks and ledges. An earlier post this year showed this being painted from the front seat of my car at the end of a long cold winter. 

I donated the painting to Artists Group Gallery for the summer fundraiser, an evening with delightful food and drinks, some surprises and the opportunity to purchase small artworks at $100. 

It's July 24th in the evening, tickets available from the gallery, 885-2251

Rapids Start 6x6 oil, c. K. Schifano

Hurricane Arthur painting

A long planned vacation and family get together in Delaware was an opportunity to paint at the beach...right off the balcony of our apartment as this painting happens to be. The beach is actually deeper than this and the water does not come so high, but this was from a storm that had hit the Outer Banks and was visible as it careened out to sea.

"Arthur" was painted the morning of the first US hurricane of 2014. The waves were picking up and eventually crashed onto the beach, halfway to our apartment. It was thrilling, but hard to paint a moment as the light changed so quickly in the storm. 

'Arthur', 9x21 oil

 

Saturday night, be at the NACC for the opening reception, 6:30-9. My painting, top left was selected for the postcard. This is an annual juried show, the Niagara Arts and Cultural Center has an open house, presentations, openings, and lots more.

2014 Summer Solstice

 As each season changes, we remark on the day but I try to be a painter on the solstice and equinox as a way to acknowledge the change. As a teacher I tried to remember to bring 'eggs' to balance; whether it was a hoax or not, it worked until the table shook.

This was painted on Carl's birthday, we both packed up paint kits and headed to Beaver Island State Park. I felt this one was finished, but Carl was still painting, so I used a 5x7 and painted his portrait under the umbrella. It is now a special painting and I am glad I tried that second one. I titled it 'Birthday Suit'.

This is an oil which is lighter and brighter than this picture, it is under a shade umbrella for the photo. Amazing skies today. 

Beaver Island Solstice, 9x12 oil

Beyond the Barrel 2014

The annual NACC summer show, 'Beyond the Barrel' always seemed to be a show that would not have Falls images (BEYOND the barrel, get it?). Of course, there were always falls images somewhere in the show, it is only a dozen blocks from the great cataracts. I decided last year to put in an abstract consisting of the water crashing into a boulder at the precipice and it was received well, so this year I am showing that boulder from the back side. I know the location well because I usually site the rock for a landmark when I paint the Horseshoe Falls water.

Another Surprise on the Path, 16x20 oil, c. K. Schifano

 Both of my entries are plein air but they are totally different in size, color, subject, location and even application. A painting trip last month to Harrisburg, Pennsylvania for the juried Camp Hill Plein Air event was different for me as it was a new location, hilly and summery, with unknown streets and buildings to navigate. There are several bridges spanning the Susquehanna River, one of them has an exit to 'City Island', home to a baseball stadium, vintage train ride, beach, ice cream stand, miniature golf and more. From an empty parking lot I saw the brilliant colors of these stored mini buildings, probably used for cotton candy and roasted nut sales in summer. They were gathered on a small hilltop while a massive Sycamore tree raised up from the ground level close to the lot. The humor of little houses, big tree struck me and I spent a pleasant afternoon painting the scene.

Put the Little House Behind the Big Tree, 16x12 oil, c. K. Schifano

It seemed like millions of birds were chattering in the thick bushes behind me, but I just listened. When the painting was nearly finished, I leaned back on my car to contemplate the scene and my painting. At that moment, a pair of orange Orioles flew to my feet, my dark sneakers had bright green laces and pink trim. Orioles like oranges and other fruit, I guess they were tempted by the colors but nearly surprised me off balance. Every painting has its own story and special memories.

The show will be up for the summer, the opening is on Saturday, June 21 6:30-9, with awards given that night. Open to the public.

Guerrilla Painter 9x12 LapTop box

An NFPAP paintout at Gateway Park in Tonawanda was a great opportunity to just sit in the park where I often stroll, to admire the view and boats and on the weekends, listen to live music. A Thursday morning, the water was empty of boats and there were few visitors as the weather report was not very promising although it was quite nice while we painted and had lunch. 

My new paintbox from Judson Art Outfitters is keeping me in the 9x12 size range which is a pretty good discipline for me, the pictures all dry and cure on the same mid size rack in my studio. You can see how the painting fits inside the lid, under my palette are tubes and brushes. With my lap or a tripod I can paint anywhere comfortably. Two wet paintings can fit, back to back. I tape white nonabsorbent palette paper to the wood mixing area, most artists mix their paints on the panel, for some reason I never got into it. I can pull the used paint mixes out easily; several pages are taped on top of one another. It is just so portable and convenient!

I have yet to discover a way to connect my umbrella safely to my new light weight setup, a good breeze would take the whole setup away. Seated, I can fit under it but I also like to stand to paint. I have a choice of a 'Shade Buddy' tall umbrella and a small flexible one to attach to the box, using what I have now is helping me decide the next step.

Walking Bridge at Long Homestead, unfinished oil painting

Emily Carr

Emily Carr is a 19th century artist, an explorer, fearless and brave, willing to undergo extreme discomfort, ravenous bugs, slithering and biting things to document the totems of native people of the northwest as well as the landscape of towering trees, majestic mountains and streams. She was driven to capture expression with her paintbrush, finding a compliment in being labeled a Fauve.  Her work is a historical document of ancestor poles that were sold, ruined or stolen. She is considered an honorary member of the Group of Seven in Canadian art history.

This scene from the East side of Tuscarora State Park was painted with Emily Carr in mind. I hoped to show respect for our mature evergreens and the meadows of wetlands in rich and loose color, painted with a brisk wind at my back and a serious chill in the day.

Channeling Emily Carr, oil on board 14x11

 The book The Forest Lover by Susan Vreeland is an embellished novel of her life as a painter, her travels into the Northwest and into Alaska in search of carved totems to draw and paint. The week after I painted this, I drove to Pennsylvania to paint and listened to the book on CD. Totally inspiring, but coincidental that I had just completed this painting.

Influenced by Wolf Kahn

A few years ago, I appeared on a channel 7 morning show and in the interview I was asked which artists were my favorites. I flubbed the answer, since any names that would answer that question changes regularly, and also was not something I thought much about, I like so many artists equally. If I had been asked who influenced my artwork, I would have a completely different list. John Singer Sargeant, all of the Group of Seven, Emily Carr, Robert Henri, maybe Georgia O'Keeffe, Charles Hawthorne and many of my painter friends including my husband.

Recently, I was asked by Carl Judson to reconsider Wolf Kahn as a 'favorite'. My main interaction with Kahn's work was presenting a workshop/paintout based on his visit and artwork created in Niagara Falls for his Castellani Art Museum show. Loving the Falls as I do, I objected to his severe abstraction and garish colors, simplifying views and places I know so well.

I thought about this challenge and when Judson and I went there to paint, I eliminated details, heightened colors and broke the landscape into color fields. The huge plateau of snow and dramatic shadow, along with the shapes of mist, water and background made the composition appear to be composed of just a few puzzle pieces, hard edged and flat. I like it. I proceeded to make a second painting from the same vantage point including more information. I might have painted more on it, but the light was changing; by mid afternoon, the gorge fills with light and the shadows you see here are gone.

  Channeling Wolf Kahn, 14x11 oil on board

Early Spring at the Shoe, 8x12 oil on canvas

Saturday Quick Draw, Camp Hill

A 'Quick Draw' involves starting, completing and turning in a framed painting in a limited time frame. In Camp Hill we had two hours, this is on a 9x12 panel that I chose because I had a single mid size frame left and it was not too big a surface for the time allotted. I went to a lovely garden within a block of the display area and shared this view with 4 other artists, but only one had a picture that was remotely similar to this. I was tempted to offer a trade with her but lost that opportunity as she had two hungry little ones with her.

After a long gray winter, these huge mounds of azaleas are so attractive to me. I cannot comprehend how one chooses to paint a winning scene, so I just pick what I like. There were many beautiful and distinctive homes in the Quick Paint area but after several days of working I knew my wrist was not going to continue to correctly make the straight lines that I would need for architectural perspective. Alas, the garden fence is perfectly straight!

24th & Walnut, Harrisburg. 9x12 oil on birch panel

Harrisburg, PA, The Camp Hill Plein Air Competition

It was a little overcast but his was fun to paint, in a lovely neighborhood park. So many people had suggested I visit this pristine groomed park that I headed there with my paints. When I began the painting the air and water were still, fortunately I had recorded the reflections on the calm water to start. The small evergreens in every corner of this park are trimmed into perfect boxes, later in the week visitors to the art show recognized the location seeing these distinctive bushes. Now that the painting is in my studio I may choose to paint them out as I prefer a softer look and this isn't familiar to anyone but residents of Harrisburg. I may change the title to something like Azalea Reflectons as well, it was the bright contrast that attracted me to choose the scene between two trees.

Unfortunately, it was 'cut the grass' day in the neighborhood, commercial lawn maintenance in the park, as well as at the homes directly behind me shot cinders, grass, bugs and plain old dirt onto my wet paint, all unintentionally. I can say that the workers made an effort to avoid blowing anything in my direction, imagine if they had not! Dirt in the paint is a true sign of a plein air painting, some collectors even look for this evidence; most is removable after the sticky paint hardens a little

close up of grit on my canvas

 'Reflections of Italian Lake' 12x16 oil.

Pennsylvania Capitol in Harrisburg.

When I sat on the west side of the Susquehanna River to paint the Harrisburg skyline with the Pennsylvania State Capitol building, I considered using the field of dandelion 'wishes' as foreground. After sketching my plan, I realized that the buildings would be dwarfed by the grasses and left them out. The buildings are barely visible in the distance here, but photographs lie. From this vantage point I could see each rooftop clearly.

This was my first use of a new 9x12 laptop box, it is only 2.5 pounds, so I lost 3 pounds by 'downgrading' from my French Resistance and I noticed the difference in how things fit, both in my backpack and in the box, it has a built in palette. I love how everything works for me with this box. My precious French Half easel may never see sunshine again.

I was there for the Camp Hill Plein Air Event, a week of painting central Pennsylvania culminating in a show, prizes and a quick paint competition on the weekend. I had applied for entry a few months earlier, was accepted and was able to stay with Laurene Buckley, and we both had a wonderful week.

A Capitol View, 12x16 oil on birch panel

VIsiting with the original Guerrilla Painter

A few months ago, I ordered a new paint box from Judson's Art Outfitters in Colorado. Poking around their website I discovered that Carl Judson would pass nearby; I took a chance and invited him to stay with us and paint with the NIagara Frontier Plein Air Painters. A few emails back and forth and we set up an evening salon with my group, he gently presented some history and his philosophy and listened carefully to comments and art stories. All evening a series of about 100 images rotated on the tv screen, providing a visual panorama of plein air.

Painting the Falls, on the days when the ice is roaring down the river from Lake Erie has a special quality. Spending that day with Carl Judson added to the 'special' as we set up with our backs to the American Falls and could see the 'shoe between the trees before leaves filled in the view. Ice at the base of the Horseshoe was halfway up, about 90 feet deep, and another 5-6 feet deep on the fenced off lookout areas near the spray.

 Carl attracted a steady group of observers of the water falls and our paintings.

 This pile of equipment represents enough for two artists to sit, paint and eat lunch. The economy of space of the Guerilla Painter supplies has lightened my load considerably. When I started to paint out years ago, I could barely manage my own bulky set up even with a set of wheels, these two boxes were easy to carry with two chairs up the hill and through the fields without thinking about weight or bulk.

 Carl Judson and I in front of his mobile art shop [and traveling apartment], before leaving the area in Wilson. We had painted the Trillium walk in the morning, he was headed for Rochester Art Supply, one of our favorite artist road trips, followed by Canandaigua and Ithaca.

New Buffalo Botanical Gardens Waterfall

'The Palm Room' is the central domed rotunda at the gardens; through the years we have watched various palms reach the 60-70? foot high ceiling. Some have been replaced, others trimmed, but every time I enter that beautiful space, even when it is for consecutive weeks of painting, the room is different. Flowers are moved around for seasons, lemons grow from white buds, displays are rearranged. This winter, a new feature is a lovely waterfall near the center, a peaceful moment right where people converge from four directions.

The first is a photograph of the site, followed by an underpainting and then a picture of the nearly completed painting.

A week later, daffodils, hyacinth and majestic tulips surrounded and covered the rocks, making this little painting a true moment of that particular time.

Tinkling Waters, oil 7x5 c. 2014

Great Baehre Swamp in Amherst

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Call it Great Baehre Swamp or Margaret Louise Park, this was a great place to officially start the plein air club season. We came early last year also, but the geese had paired, green was everywhere and frogs were sunning. It was eerily quiet this time, except for a single pair of geese practicing their water landings and the regular walkers getting exercise, the day was gray.

I chose a spot at the beginning of the raised wood walkway, intrigued by the amount of ice that remained in the pond.  I am sure it was merely an inch or so, melting furiously to make way for sun and reflections.

Once I got going this painting went quickly, as it is quite small. I am sure that the buds on the trees in the distance expanded during the time I was painting. A day or two later and there will be green here, the ice will be gone.

Interesting -I searched the former name 'Margaret Louise Park' to create a link and one of my paintings from a previous year here came up first in Google images.

Spring Melt, oil on canvas panel, 6x6

April Snow

I planned to paint outdoors, but the weather report was gloomy. Waking to white stuff falling isn't high on my list in April. There was not much snow and it melted quickly as the ground had warmed already. Snow only remained on the tops of the evergreens and on horizontal branches. I took a photo out the back, ate, and realized I should paint from indoors. Carpe diem.

 The woods glowed silver with iced mist. My new birch panels were ready to go, three coats of gesso and sanded. As I prepared to paint, it warmed outside and the scene changed, snow melted and large drips from tree branches kept the surface of standing water flickering. Now that I have tried it this birch painting surface is my new favorite.

I painted our garden rock wall far to the left of the big pine in this photograph, but I included this photo to show the magical effect of icing in the wetlands and snow on our half grown evergreens.

April Snow, oil on birch panel, 8x10

Sharing an International Plein Air Painters post

 This works for me. Returning from painting outdoors, as I tired as I may be from lugging equipment, climbing, getting buggy and bit, I still have joy filling my soul. Painting where wildlife accepts my presence and acts naturally, and I can hear ferns uncurl, plants pushing up dried leaves, birds hopping, well, nothing is better for my self.

New plein air frames

I usually order my frames custom sized from a wholesale frame company, but I couldn't resist these plein air frames and birch panels from Blick, all on sale and delivered to my door. Now I am ready for the Camp Hill Plein Air week. I am expected to paint on location, and return several finished paintings, framed and wired for the awards judge and display for the public exhibition.

For two days I gessoed the panels, with white on the 'back' and two coats of clear on the front. They may need a third coat and a light sanding, but this gesso brush hand is on hiatus for a while.

Often people ask how long a painting takes...does the answer include all this prep time, the travel, packing materials and the sketches? Or is the real answer 30 years?

Car Painting

Too chilly to paint outside, this view of Goat Island from the parkway was a comfortable afternoon paint 'in'. You can see Goat Island and where the river splits to tumble down the two falls at Niagara.

 Sitting in my car, the new Guerilla Painter French Resistance Box works perfectly from the front seat. With my french easel, I need to paint out the back deck, protected from the wind, but not quite as comfortable or warm. I may never go back to it again.

'Rapid Split' 6x6 oil from the front seat

Plein Air Camp Hill Art Festival

These photos may look a bit busy or hectic, but I believe they are from the final day last May at the  Camp Hill Plein Air Art Festival near Harrisburg, PA, and most likely the judging for QuickDraw, a timed outdoor event. That involves artists painting within a designated area for a block of time, perhaps two hours, to create a painting from life, frame it and return to the display area. These works are usually a lot of fun, very fresh and never overworked.

I pulled these photos off their website, as I am selected as one of 45 artists for the week long event, and I am thrilled to be included. Selection involves an application fee, a set of recent plein air paintings and bio information and waiting a long time for the judges' decisions. This 5th year celebration includes activities for the whole town, including paintouts and a scavenger hunt for kids as well as the professional artist component. Friday night's gallery opening is a gala collector's preview and awards with a public reception for paintings displayed on Saturday and Sunday.

Time to buy a new hat.

Monica's Mists and her frame

Started last winter, this sat unfinished, clipped to a huge backing board and behind the door, for months while my wrist healed. I took it out to finish and check my grip on the pastels and slowly built up final layers over two or three weeks. It is from a photo in my files that I took in early Spring, the light pink area is a huge mound of ice taking its time to melt; the water temperature was still low and there is a massive amount of ice built up from the mist.

The inspiration for the painting is a frame. And winter studio time. Right from the start I planned to give it to Monica for her birthday, it took about 6 extra months, but she has it now. I thought it was huge, but when I delivered it to her new Fillmore Street studio it seemed to shrink on the massive white walls. She planned on bringing it her home, where it will get big again.

The frame was originally Monica's, gold with a white mat and a reddish inner mat and fancy corner detail, so I had it a looong time before I found the right image of the Falls to suit the frame and the colors. I was also hampered by knowing what colors she lives with. Truly a backwards way to work is to start with a frame and make a painting suit it. This is my only painting that includes this much of the park area and both Falls.

Mounds of Mist 20x32, pastel

A tiny portable paintbox works fine in the car.

 Years ago, I was given an old 'Beginners Paint Box' with some dried up paints. It had been purchased used at a garage sale for a dollar or so. It sat in my studio all this time, more as a memento of the person who gave it to me than as a useful art product.

Recently I was researching the purchase of an artist's pochade, which is a very useful travel box with lots of gadget type aspects. I had a few new sample paints, a couple of short brushes and a teeny jar for some medium and so I tried out this teeny box. The little plastic cap on the medium in the photo is smaller than a quarter. Altogether, the box is 6x9 and less than two inches tall so it fits under the car seat or in most purses. 

I painted this oil parked at Eagle Overlook on Grand Island, looking over towards Navy Island and the industry near Niagara Falls. I pushed my seat all the way back, leaned on the steering wheel, and propped it on the dashboard for a 'longer view'. With the sun shining the car stayed pretty warm, it was about 11 degrees out and two iceboats were consistently sweeping the ice away from the massive New York Power Authority intakes, seen on the right side.

I came home thrilled to have been painting outdoors, ready for this most frigid winter to end and Spring to bloom.

'Icebreakers on the Niagara' 5x7 oil on board

Painted Anthuriums

  Can't wait to go paint outdoors? Join me on Thursday mornings in South Buffalo.

 Buffalo's Botanical Garden has the most amazing displays as the plants react to longer days and warmer sunlight. The cactus are pushing flowers, the koi are more active, orchids scream gorgeous and all the freshly trimmed trees are putting out new branches.

This set up is with my new Guerilla Painter artist box, it is so versatile and lightweight, my first use of it  here was a joy! I will write about it soon.

'Anthurium Spring' 9x12 oil c. K. Schifano

Waiting for a Better Answer

Early June heralds the third annual Plein Air Competition in the Finger Lakes, hosted in Canandaigua. These three lovelies went into my application. Results are in, I am selected as an alternate, one of two, I believe. Certainly not hoping for another artist to have a calamity, but rather a conflict. This event is something I REALLY want to do, it is three days of art and artists, a quick draw and a show of all the work completed. Of all the applicants, 40 were chosen. I would hate to be the 'first loser'.

Roiling 12x16 pastel

Rocks at Bog Falls, 9.5x12.5 pastel

Solstice Sun on the Flume, 12.5x9.5 pastel

Snow Day from the Studio Window

 We have planted a variety of evergreens since building this house, some blue, green, droopy, in sets of three, short, fluffy, flat and one that is really spiky. Although many were planted around the same time, they are all different sizes. Three trees from the same grower and put in three different places are just that, different. One in the woods lingered a long and slow death as trees stole the sunlight and deep shade combined with clay soil finished it off. The second is on the edge of the wooded area, as long as big branches nearby are pruned, it grows slowly. This is the third, on the property border, open to light and admiration, anchoring a favorite garden with flowers and color from Spring to Fall. It is as tall as the second story roof next door and is part of my studio view, prominent in the winter. Something about nature and nurture belongs here.

After 6 months without pastel painting I was thrilled to try out my healed hand on this. Unfortunately, using pastels will be a part time experience for me as this, combined with some colored pencil work brought back the pain. THe right side shows some large handmade and favored pastels I used on the tree and snow. Still my first love, I will carefully plan and spread out the time I put into the next few paintings with pastels. Oils are another story, I hold the brushes with different muscles. Anyway, this was fun to do, I hung it on the studio door.

Blue Spruce, pastel 22x6 

Gone, but not forgotten. An Artist's Rant

January brings with it the promise of a new year, but also an opportunity to review the previous year, to make new promises based on what I learned and continue to grow.

I am fortunate that my paintings are admired and purchased, that I am encouraged to keep painting and those that leave the studio make room for new ones. Working on paperwork in the studio this week (sometimes it seems endless!) I realize that several of my paintings are still in 'unknown' locations.  Often, we receive requests for art donations from a variety of places, non profits, fundraisers, museum and cultural facilities that are running auctions. I pick and choose the few to will support each year, sometimes alternating between private and public events. The Niagara Arts and Cultural Center is important to me so I rarely turn them down. Organizations that have hundreds of items available for just hundreds of customers go way down on the 'giving list' because my donation isn't going to make a difference, fewer available items at an event bring higher profits to the group.

Artists and musicians are frequently expected to provide free services, in fact, this happens too often. More plumbers, electricians and landscapers need to step up with their valuable services as well. Neither artists nor musicians work for free, their materials, education and practice all have expenses. I have seen paintings in a $50 frame, paid for by the artist who donated it, get paltry winning bids of $30 or $40 because of the huge amount of work available to bidders. Perhaps we should put cash in an envelope and donate directly?

I do appreciate the extra exposure and thanks from committees, sometimes a percentage of a sale or membership or free admission to the event is offered to donors. These are all welcome and appreciated, more groups need to acknowledge their donors with services like these.

In the meantime, below are 3 MIA paintings, they were donated with paperwork attached for their new owners, including a page to be returned to me. Hopefully the lucky recipients will find and return the page when they hang their new painting. Then as in the previous post, I will know where they live. That makes it easy to part with my work, just knowing where they have gone.

Olmsted's Japanese garden c. K. Schifano

Niagara Upper Rapids c. K. Schifano

Wine on Third, c. K. Schifano

Coming Home in Cypress, Texas

'Coming Home' c. K. Schifano 2014 18x24

The third house portrait painting in a series for a Houston area client, this is off the easel and on my mantle until the final bits of flowers and details are dry enough to send.

Yesterday I was asked if it is hard to give up a painting. The answer is yes, but if I live with it for a while it becomes easier. I want to have each picture for a while, to study and evaluate, appreciate and accept. Occasionally, I want to change a shape or a shadow, this observation period allows me to find the spot that needs something. I had this up for a few days, took it down to brighten some of the flowers and place their kittys in the driveway. Working with oils, I cannot send it until dry so there is an advantage. I can live with the painting until it is safe to package and I am ready to let it go. It is always nice to know where they live and the wall or room a painting graces. I don't have to see it, I just need to know that I can if I want to.

With lovely architectural details, a variety of textures, rooflines and surfaces, this home offered many angles to choose from for the final composition. Although a peak and part of the stone facade is nearly invisible on the far left, this is the view most familiar angle of view, the daily entrance, the "Coming Home' of the title. 

Here is a quick step-by-step progression of the canvas in the studio.

World Church, Houston painting

Kathy Schifano, Houston church

Over the past few years Route 6 in Houston has taken me to some of my favorite places, a playground/animal park, the Half Price Bookstore, Jerry's retail store, and Hobby Lobby for the solvents I do not dare take on a plane with my paint tubes.

I've admired the light and shadows on this unusually small (for Houston) church, so, as my new year painting #1, I'll have to go back and read the sign before I decide on a title. It's on Arches Huile paper. And next time, I will bring plenty of water to drink, though it was not particularly hot I nearly passed out when the shade tree I relied on became a full sun location.

edited....World Church, 15x11, oil on Arches Huile 2014