A house is just a building, but when does it actually become a home? Capturing the shadows on the porch, rear dormer, power lines and the side entrance fence are reminders of independent features. The size of the trees, seasonal colors & light on the windows invoke memories. Painting a house captures it at that particular time, as a home it is subject to constant change.
Lewiston Council on the Arts sponsors an annual juried fine art show. Nothing is to be mass produced, commercial or less than best quality art. 
Lifted from the Perry, NY website-with permission, of course, this is the rose bursting out of it's borders at the Perry Chalk Festival July 12.
Click here--
It was called the 55th East Aurora Art Association Show, but I would call it a rainy weekend. Friday, June 27 Carl & I set up the tent and on Saturday morning after the rain it was still dry inside. We had about two hours of dark clouds and a deluge on Saturday the 29th, then on Sunday the threatening clouds really acted up from about 3:00-a noisy rain event that filled the street to the curbs continued until we were packed & gone. It was lovely the rest of the time & sunblock was needed, too. 
There was a chance of showers, but the sun was out, so I headed to the State Park to challenge the rapids. The 2006 'Islands in the Curve' was purchased by staff at the State Parks, I especially liked the painting-it is July on the calendar, so I decided to try the composition again. The islands have grown, and the weather was sometimes overcast-in addition there was a misty breeze swirling that kept me, the painting & palette slightly damp. The photo was taken by a California tourist. I gave their daughter a business card to look up the painting when it was complete. Dad took the picture & used my address to send it. A few plein air painters don't enjoy interruptions, but not me. It is a chance to look away from the subject and the paint & look back with a 'fresh eye'. Most people are cautious & wary, they just want to see real art, murmur 'lovely' or 'so talented' & walk on. Kids pay attention to the palette, the brushes & process. So many say they paint at home & school. Life is good, so I stayed to paint a close-up of a dent in the Falls further to the right side-a rock & it's splash. While working on the second painting, the first blew over-the dark spots in the cataracts are not fish, that is plein air painter's dirt, stuck to the oils.
Sometimes a painting chooses itself. A few fresh cut carnations sat in the studio for several weeks. After removing some spent stems & replacing the vase I realized there was a composition in front of me, similar to the April calendar picture [a few posts below]. The next day's plan to paint plein air was rained out so I was able to spend the day sketching & structuring the canvas; the foreground was nearly complete in a full day's studio work. Waiting until night to capture the reflections & complete the layout, I was able to mull over the differences in the two pictures, besides the obvious ones of shape & surface. The Primula was painted when the sun was down by 6, I had to wait for dark until after 9 to work on this one. Both flowers sat on my work table for a long time before they 'spoke' to me. It all goes back to 'paint what you know'.
The yellow building is now known as The Chocolate House, while the larger one is the Frontier House, a classic 'Lincoln slept here' location. This was painted from the Keybank corner last week with the NFPAPainters. We started at Piper's Village Inn, and returned there for a wonderful lunch.... Jill Paolone & Brad Smith came to visit me painting twice-about 3 hours apart. We all thought it was almost finished during their first visit! 
My final indoor Thursday painting at Buffalo Botanical Gardens was right before Easter. We stop painting there during holidays because the crowds come for the seasonal shows. Then we work outside instead. Their new Florida installation room features a lot of water, including waterfalls, ponds & fish. This lovely hosta-like plant was thriving in the stream at the entrance to the tunnel under the footbridge. It reached out of the dark with brilliant yellow darts.
Unfinished, I have to share this bit of Springtime. Tulips, forsythia, fruit trees in bloom, buds & blossoms everywhere. Started yesterday, I laid in most of the colors & shapes you see before I lost the light & got frustrated. For the first time, I returned with a wet painting to the same site to finish it. It was still overcast, but bright and I was able to put in the bench & streetlight. It just needs to get a little skin on the whites so I can glaze the big white tree with a bit of yellow & punch up the white gloss of the globe. The whites were entirely too wet to do anything with yet. So much for plein air. At least the national definition is 85% complete on site. It won't take more than 5 minutes to glaze once the paint sets up. 
Last Spring I purchased this Primula at the Botanical Gardens. It spent weeks-months, maybe, in the dining room before I brought it up to sit on my easel. One evening I noticed the reflection of the back of the plant on the dark window glass. I could see all the flowers of the plant. Out came the palette & brushes. It was so exciting to paint a flower-close up-after doing so many landscapes. It also convinced me that I could easily paint indoors safely if I left the window open a bit and continued to use no solvents to paint.
This juicy rose is home again, and pleasing me at the end of the hall. It was delivered, still wet, to the NACC solo show February 1st. It dried very nicely there for two months, with plans of relocating above Martha's couch. Well, it went 'fine with the rug', but clashed with the pink pillows and afghan on the couch. The gold & black frame had too much drama, too, so the other newer painting will remain there. It spent a few days at the Albright Knox, too, but I fortunately have it back, ready to do the 'wall-dance' at 1575.
As I pack up sweaters and gloves for the season, I find myself putting snow pictures away as well. Painted last year, this is the road through Buckhorn that I use to drive to Niagara Falls. Having had less snow than cold, I rarely was on a snowy East-West Park Road this winter. That's a good thing.
This gem was inspired by the best (and final) snowfall of the winter. It had snowed lightly, but steadily all weekend, trees were spectacular weighted with snow. This is earliest morning light, facing East on Huth Road. The streetlights are yellow-orange in color, casting long violet shadows. These trees are now blooming with Spring leaves; the painting took me longer than any other I have done. I also learned a great deal about using glazes and multiple layers of color to build depth while I worked up a sore shoulder from all the strokes required to create the branching. This is the absolute opposite of plein air, but is influenced by all I have learned by painting on location as well as the series of studio oils completed in the past few months.
Painting at night seemed like a serious challenge, and the coolest gift of 2006 was a hat with headlights, so I could see the colors on the palette or pastels. However, my first night painting was in Houston, from a 3rd floor porch at Jeremy & Robin's apartment. No hat & headlight in sight, so the indoor lights illuminated my page and I perched on the edge of a chair to see the commercial building out the complex & across the road. Night painting? I am hooked.
The end of the exhibition at the NACC was quite exciting. Since the show was held over for a month my family-Bobbie, Chris & Sandi Peters had an opportunity to see this show in the Garden Gallery. In addition, I was asked to speak at the Finally Friday event, which was sold out. This is a catered lunch & talk that is held on the final Friday of several months of the year. I neglected to ask the attendees if they came for the food or the art. The art & discussion was well received & my prints remain a favorite for new Niagara area art collectors. Thanks to Gina, Kelly, Kathie, Ray & Carl for all their help & support to put this show together & bring my work to the Niagara Arts & Cultural Center for the past two months.
This house portrait started as an abstract design concept. Because I was working indoors, I decided to use acrylics instead of oil paint, and I was thoroughly flummoxed by the paints instantly drying in the heated studio air. I got caught up in architectural accuracy (I couldn't blend the quick dry paint) and needed a straight edge for the long horizontal and vertical effects. It got more & more realistic, so I played with a hard edge style-then I needed more detail to express the depth. Alas, I realized that the original house painting plan got in the way of a good result. I wanted something loose and expressionistic of 8959, then when it became realistic, my beginnings were tripping me. I should have handled the brick quite different if I had known where I was going. I especially like the entry window & the Bottlebrush tree.
It seemed like the last snowfall of the winter, just a few inches followed by brilliant sunshine. I set up my canvas & paints at the back window and plein air'd this one from indoors. It is a good example of the adage 'paint what you know'-I could sit and look out these windows all day. This is a little bit to the west of the other trees 'out back' that I have painted. The path to the left leads into the woods and to the firepit.
