A different art, Eco-dyes

 A large collection of Christmas Cactus flowers and some branches with a small bunch of impatiens blooms were arranged on a pre-soaked well loved white sweater. I don't remember the name of the solution for pre soaking which was two days.

Then, it was all rolled tightly, with strings and rubberbands, for compression and double bagged...for three full days.

 

The second bag said 'fancy rolls' just for irony.

Unbagged, I steamed it for quite a while and let it cool slowly in the pot. I might have waited longer for the dyes to set more but I was getting impatient.

Rinsed and washed on delicate, I am thrilled with the results. But, it took a week and the weather warmed so it will be new for Fall.

Japanese Cherry Blossom Festival

Spring in WNY is a time of glorious color, flowers, warm weather, outdoor activities. Early May brings a riot of pink to the Japanese gardens behind the Buffalo HIstory Museum, and a collection of events and painters to capture them.

With the Niagara Falls Plein Air Painters, I went to the Gardens to paint twice on consecutive Saturdays. This is my first attempt at painting the figures in a pediment and I was surprised at the variety of scale as I inspected their shadows and positions of the figures. The reclining figure on far left was tiny compared to the soldier with a shield kneeling next to him. And yes, I eliminated two of the figures for my sanity, after all, who counts?

Saturday's Pinks 9x12 oil on birch

Havana Taxi Stand

"Did you see old cars?" is the first question regarding a trip to Cuba. 

Yes. Most of the cars are old and most of them are taxis. Carefully hobbled from existing parts after the Cuban Revolution and the American embargo, a look at the streets is a step back in time. 

Other than the exteriors, the bulk of this treasure trove of classic cars have been replaced. Many have diesel engines now, and a look inside shows polka dot upholstery, broken levers and hanging wiring. Often they need to be push started and a ride, or even a walk, along a road involves seeing newly broken down vehicles being tended to by a bevy of muscular Cubans. A drivers license in Cuba requires a test in car repair.

A row of cars waits near the tourist bus stops and this painting was made from Gail Sauter's photo in that area. Painting it, I learned a lot about painting chrome and had a great time searching for photos of various details as well as the date and model of each car. It's big and it will be mounted in the new Latin Restaurant, Pasion, on Elmwood Avenue in Buffalo NY.

Right to Left, 1957 Ford Fairlane, 1950 Chevrolet, 1952 Buick

Havana Taxi Stand, oil 24x48 on canvas, c. 2016

Transportation in Cuba

 Everyone asks about the old cars. They are colorful and everywhere and most of them are taxis for tourists. To get a driving license in Cuba you must pass a test of mechanics as most of the cars are from the 40's and 50's, and many of them are in constant repair. We were warned not to cross a street with an oncoming relic, they would not slow as brakes were not dependable.

Cubans have many modes of alternate transportation, everything from horseback to public busses, including motorcarts and bicycle taxis or rickshaws. Out of the city, animals are preferred and I saw many carts loaded with families, workers, produce and hay. The horses were in much better shape than the wheels which were frequently made of wood or mismatched rubber from various vehicles.

 

Ernest Hemingway

The Old Man and the Sea. Who hasn't picked up the classic battle of man and fish and time? Cojimar, where Ernest Hemingway kept his yacht El Pilar is a small fishing village east of Havana. I was eager to paint on my first day, stepped off the bus and set up overlooking the harbor and a decrepit Castillo, one of many seaside fortress buildings from Cuba's storied past. The day was sunny and the air had a slight breeze, but the eastern sky was dark and foamy. I knew I had to paint quickly and 20 minutes into the picture I had my elbow wedged on the palette and hand firmly on the paintbox as the wind increased. Rain started and there didn't seem to be any blue sky anywhere, the light on my subject had gone and I needed to find shelter. Behind me was a small main street with an overhanging porch and I set up thinking I could keep working. After the palette I was gripping took off like a frisbee twice I became aware I was no match for the wind and the sea or the sideways rain. Chilled and wet, I packed up. It was only 40 minutes since I had arrived.

La Terraza is a small restaurant on a side street which was mentioned by our guide before the bus parked. Walking the tiny village I stepped in to see the 'famous' restaurant and warm up, and several members of our group were at a table enjoying mojitos and coffee. On the wall was a painting of Hemingway, the floor to ceiling windows had huge wooden shutters, the bar stools were full and a mariachi band was drowning all conversation. I heard 'Hotel California' played for the first of many times in Cuba. I sat with new friends and we discussed the price of a few squares of tissue in the ladies room, named the instrumentals by the band and rated the overpriced drinks. It was my first full morning in Cuba.

The back porch had an assortment of tables set for lunch and a stunning view of the harbor, pilings from old docks, churning waves and a small lighthouse. In a corner a set table had velvet ropes and a small sign explaining that it was where Hemingway wrote The Old Man and the Sea. He lived in Cuba from 1940-1960 and is considered a folk hero, his haunts are celebrated and one Havana restaurant proclaims 'Papa never was here'.

Hemingway's table

A pavilion with a bust of Hemingway, Castillo on the left.

Same spot, after the storm

Placid water after the storm

An Original Plantation in Cuba

This old steeple aimed for the sky, no longer connected to the dissolved chapel it once announced.  The plein air painters in Cuba were charmed by the entire area, a rickety old crumbling manor house, trees growing through walls, ancient vines and a farmer neighbor using a horse and cart to move the cut grasses.  We demanded that our bus driver find a place to let us out and everyone settled around to paint this old molasses and sugar cane plantation.  The manor house was a treasure of textures to paint, but the steeple attracted me. The old bell glowed with a blue green patina, wild flowers and trees were growing out of the foundation.   

I think I did justice to this historic site.  It brings my painting goals back to "Painting for Preservation" roots in Buffalo.                                                    

Abandoned Steeple

Abandoned Steeple, oil on Arches Huile, 12x9 c. 2016

This painting is headed to Baltimore for a 'Cuba in Paint' exhibit at Crystal Moll Gallery  April 4-May 24

Painting the Niagara River below the Falls

The sun started out bright so I headed to the Niagara Reservation to paint the last of the snow. With the messy Terrapin Point construction and reconfigured roads there was little access to the Falls, so I drove around the park and decided to travel north along the churning Niagara river, hoping for a good view in a protected place. THe day was cooler by the river and I remembered that the 'private' cliff road was now open to the public, 6 parking spaces would be available. The 7th car would have to leave.

I took the seriously steep Power Authority road down to the fishing docks. It was pretty quiet, only one other car and there seemed to be a single person in the guardhouse. Parking crooked, I pushed my seat all the way back and painted this from the car. Warm, dry and a few podcasts later my painting was done and I was determined to come back in the summer to walk the paths that lead down to the water's edge. It seemed incredibly peaceful.

There are no giant islands of ice floating down the river and some fishing was going on, in fact, some boaters motored into my view. Spring is in the gorge. 

'Lower River Spring', 9x12 oil on birch c. 2016

A Brush with Adventure in Havana

Photo from Richard Sneary

Planning for Cuba, we were made aware of shortages of ordinary items, we were to bring what we would need such as paper towels and art supplies. In addition, we were encouraged to pack extra things to leave with the artists and people of Cuba.

I was easily able to collect a big handful of brushes to donate out of my studio. Then, I spoke to a friend who is a nurse and she mentioned their great need for dental health. By connecting to her friend at the University of Buffalo Pediatric Clinic, she obtained a shopping bag of child size toothbrushes. I was appalled at how I would never be able to transport all of them in my suitcase. I had spent days trying to pack the minimum paint tubes of the right colors, light weight canvases, clothing that could serve multiple uses, a single pair of shoes, leaving out my hairdryer, even bringing a smaller comb. I was determined to stay below the 20 kilos for the air shuttle to Havana.

Determined, I packed them into narrow plastic bags, forcing many more in even after the bags were full and then squished down into my suitcase. I decided the original paintbrushes would instead go to the students in Niagara Falls High School, art budgets covered minimum supplies and they would be appreciated.

Many artists brought brushes and art supplies to leave with the artists in Cuba, but the 100 brushes....pediatric toothbrushes....were for children. I was determined to bring them into a school so they could be given to classes, perhaps as part of a lesson. The guides said they couldn't bring me to a school, but perhaps an aid group would take them. I carried the bag with me for a few days and finally asked a teacher working with students on a square where the school was. I was pointed down a side street, walking, I finally saw a sign 'Primarie' and guessed I had arrived. With my most confident voice and demeanor I said 'For the teachers' and the guard reluctantly allowed me in. With luck and perseverance prevailing, he escorted me up to the 'Manager's Office' and we communicated with Google translate on the office computer, the first working bit of technology I saw all week. I wrote that classes could have a lesson about tooth care He asked me to stay to meet the teachers but I couldn't wait that long. Unfortunately I neglected to take school pictures to show University of Buffalo Pediatric Dental Clinic who provided me with the toothbrushes, but these photos were shared by artists on the trip. Wherever there was a public square there were organized games and activities of students, bright, friendly and happy.

Photos from Rhonda Thatcher MacKay

Rosemary and Symi from the wonderful handmade Rosemary and Co. Brushes in England graciously collected the artists' donations, this shows just one day's collection and a lot of brushes there are from their company. They collected and cleaned the donated items and took each day's supplies to the art college in Havana where they probably won't miss my little collection of studio brushes. On the last day we left all of our expendable items, Gamsol brush cleaner, bungie cords, clips, slippers, soap, whatever one could spare.

photo from Rosemary Thompson

Studio painting from a plein air reference.

Using my own plein air painting as a reference for a large painting is pretty unusual. I have 'tried' it twice before and although I like to work on large paintings I do not like to work from flat references. I have become used to working from life, in real places, with real items, real people, not photographs or paintings.

This is an original plein air painting, 'Slack' which is 9"x12". I did it at my favorite jetty, the end of Ohio Street in Long Beach NY in 2013.

I reproduced it in the winter of 2015-16 for a gallery that wanted large images of my ocean scenes. This was a challenge but also fun, and a bit frustrating. It was hard to capture the sparkle of a summer morning on the shore while I was standing in the studio with a snowy winter window view next to me. The larger rocks on the easel picture are the size of the original plein air painting. The painting is 30" by 40" and is curing in the studio now. It takes a long time for oil paint to thoroughly dry after the surface seems dry.

Plaza VieJa, Cuba, making connections

Plaza Vieja lunch

Starting the painting

I set my easel on a side street off Plaza Vieja in Havana to paint the brilliant yellow government restaurant (as opposed to Paladar restaurants, which are in private homes). While I was working, a hefty breeze tossed the building's green arch shade askew, although it isn't crooked in the photo I liked how it framed the umbrellas. Music constantly played from two different places, adding to the cacophony of construction behind me and neighborhood chatter.

While I was painting, a young lady, Lilian was watching. This wasn't unusual in Cuba, we were often watched and engaged with many people despite the language barrier. We talked for quite a while, she is a student at the Academy, equivalent to our high school. She had a pile of small white papers and a drawing pen, capturing tourist caricatures for tips was her job. Lilian preferred staying near me than working, saying I was nice. When I mentioned that all the plein air artists were nice, she could talk to anyone, I was branded as 'but you are really nice'. Apparently some tourists may reject the caricature artists rudely.

She is staying with a matron in Havana while she earns money, I'm not sure where that leaves her continued education or if the school is here. Her English is excellent and we talked about oil painting and my materials, our families, old Havana, the cars, people who passed by and all the things people discuss when they meet. She has two little sisters so I gave her some of my kiddie toothbrushes (a story for another post), some painting supplies and my bottle of Gamsol brush cleaner. Artists here use gasoline for brush cleaner, so our non-toxic Gamsol was welcome. 

I asked Lilian to do my caricature, the walk around artists here do a quick face picture in a minute or less but she crossed the alley, got comfortable and spent a bit of time drawing while I painted. And of course I also rocked and danced to the music. Her picture captured so much of Cuba for me, my new Cuba Invitational painter hat with the palette pin, the music, my joy and of course my easel set up. Jacqueline Allen (a member of my group) took my photo at this same site, compare see how this talented lovely young lady drew me.

All the people in Cuba were charming, but I feel I made a new artist  friend in Cuba and wish the best for Lilian. She refused to take any tips from me, because I was 'nice'. We met again later and I introduced her to some of the other painters in the square.

Drawing by Lilian

photo by Jacqueline Allen

the artist, Lilian at work

Paintings of Cuba

The land, the light, city buildings, narrow streets and colors of Cuba were all new to me. The characters, the music and busy crowds grabbed my attention in every direction. Ancient structures crumbled, upright cannons blocked traffic from streets, used booksellers featured old Che Guevera posters and communist history texts, wheelbarrows of used building materials rumbled by.

Painting was almost an afterthought. I was distracted and entranced by so much that I often neglected to take photographs, instead partaking in my experiences wholeheartedly. Here are four of my finished works, each one an effort to keep my feet from dancing to the constant music and another effort to control my quivering hand after too much delicious and very strong Cuban coffee. If you want to know where caffeine comes from, go to Cuba.

In the Shade of a Colonnade, Havana 12x9 oil on canvas ©2016

Crumbled Chapel, 12x9 oil on birch panel ©2016

In the storm, Old Fort in Cojimar, 12x16 oil on birch panel ©2016

There's a Missile in There, 5x7 oil on Arches Huile ©2016

Painting Buckhorn in Winter

 The warmth of the afternoon sun faded to cool shadows of sunset (in the photo) on the January day I painted out at Buckhorn on Grand Island. It was a pleasure to face the sunlight on a January day, no breeze and not so cold that the paints did not freeze to glue.

January Afternoon, 9x12 oil on birch, ©2016

The flavor of Cuba

A whirlwind decision to join the Publisher's Invitational from Plein Air Magazine landed me in Havana Cuba in early February (see December 5 post). Astounded by the great need there for the simplest of items I post these photos to show the resilience of Cubans, a bit of feeling for the countryside. These were taken during a visit to Jaimanitas west of Havana on the shore and location of an important and enterprising ceramic tile artist, Jose Fúster. He used tile to decorate 50 local homes and an expanded complex at his home studio. It made the town dance with color and bring in tourists by the busload, allowing neighbors to sell their crafts, mostly paintings, and have a few vendors for cold drinks and simple lunches. The horse and cart are a common means of transportation and probably a sign of affluence, there were few cars in the town, mostly taxis or bicycle rickshaws. Foot traffic is the major mode of travel wherever I went.

This last one may be a painting reference one of these days. Love this 'hole in the wall'.

December Solstice

The change of seasons is always a good excuse to paint. This December was ridiculously warm and I brought my smallest paintbox to the Falls to celebrate the sun's solstice. Being the shortest day of light wasn't a problem, it was overcast and the light stayed the same until it suddenly darkened and the rain started.

I had not actually planned to paint, it was a last minute choice to grab the paintbox, I had on my good 'going out to dinner' clothes and jacket. Normally a neat painter, I had no apron, no chair and not much to lean on so I stood and balanced the open box on the overlook bridge railing which happened to be diagonally sloped and very round and slippery. The next issue was this tiny box has no lid hinge, I usually use it on my lap in the car, the steering wheel is a great support for the lid.

Picture this. Dressed nicely, I am holding a cigar box open, the lid at 90' resting crooked on the rail, two wet brushes and a palette knife in my hands and I need to open the tube of white paint. Foolishly, I tried that trick. A favorite brush loaded with color did a cartoon like swirl up in the air when my sleeve knocked it out of the other hand. Of course it striped down my my coat as it frisbeed in the air, but my concern was to keep the brush from rolling off the bridge and into the Niagara River, headed for Ontario and the north Atlantic. Got it.

And then it started to pour. There was fresh wet oil paint on my sleeves and coat, 2 brushes wet with paint, palette knife, wet painting, open box and mixed paints, open tubes. I skedaddled the 1/4 mile into the visitors center with everything askew. The lovely ending was a vacant table near a window where I cleaned up the messes, touched up the picture and dried my gear out. It really was a lovely day, I love this little painting and celebration of the Winter solstice. I'm ready for longer days. And sunshine.

Despite the Rain, oil, 5x7 c.2015

Grand Island Memorial Library

Soma Cura. So many meanings.

I've been going to Soma Cura for lunchtime yoga classes for a few weeks and enjoy working with the new teachers and atmosphere. Several other members are acquaintances and I received a commission because seeing me gave Pat an idea for a painting. A week after we met at yoga she called me to paint the Grand Island Memorial Library building for a gift from the Library Board to the departing director. He was instrumental planning the new building so I felt pressure to get the details right. Commissions are always a bit more difficult than going out to paint 'something or anything'. Having built a house and collaborated on the new Niagara Falls High School I know what goes into planning construction, the director would be aware of scale, size, textures and colors.

The format of the building is 10 times wider than the height so it demanded a very wide canvas. On my phone I made a collection of library photos for references. A printed photo also hung near the easel. I kept flicking the phone screen back and forth to check scale, window details, brick colors, tree branches and more. It was pretty easy to pull up a photo to answer questions about the details and shapes by sliding and enlarging images with my finger. Having a 24 inch canvas of details to work on involved sliding my chair left and right to correct perspectives and shadows. Then, on occasion I also put my hand up to the canvas to slide it left and right. Fortunately only twice did I wreck wet paint and have to correct my swipe. Meanwhile, the phone also collected paint. I need to adjust some things in the studio.

Back to Soma Cura to find that peace again.

Here is the painting, nearly dry and ready for the presentation January 7.

A Life's Work, A Memorial Library, 8 x 24 oil on gallery wrap canvas ©2015