In August of 2012 I started a small series of large canvases. This series of abstract paintings were all done on 91 by 121 cm (3 x 4 feet) canvasses. I used generous amounts of gel with the acrylic paints for think, juicy textures. The color palette was restricted to the primaries, plus black and white.
In this part 2, I share more mountain paintings, a few more from the Banff region with a couple more based on reference photos from when I cycled the “Golden Triangle” in May of 2010.
Living in the Canadian province of Alberta, the Rocky mountains have always been nearby and not an infrequent subject for my art (although not nearly as much as I would like). In this 2-part blog post I will share my take on mountains as subjects for landscape paintings.
All of the works in this “Part 1” were painted in August 2009 when I spent a week at the Banff Centre.
This small series from the autumn of 2012 was an exploration of mark making into the wet surface of an oil-painted canvas:
In my previous blog post I shared a series of my landscape paintings of scenes from Canada’s west coast. Again, these were painted around 1992, in fact these paintings were intermingled with the more open coastal scenes done during the same period.
In around 1992 after visits to Canada’s west coast (particularly the Gulf Islands), I produced, perhaps my favorite series of paintings. This collection featured trees(and/or driftwood), shorelines and often active skies. My works at this time may show signs of influence from the paintings of Emily Carr.
This painting series was a bit unique for me. It had a common theme in terms of the subject matter – all of the images were drawn from what I saw (and captured with photos) during the night while on a train between Edmonton and Vancouver in November of 2007. What was unique for me was the use of oil pastel on a number of the works, and oil paint on a couple of larger ones.
In the early 1990’s I did a series of paintings of the Riverdale community, in Edmonton’s river valley.
One of the most distinguishing features of the community at the time was the large, undeveloped tract of land that belonged to the historic Little Brick factory, By the end of the decade those fields would be redeveloped to look like suburbia, but at the time it lent a rural charm to this area, just a kilometer from downtown.
A decade and half later I would revisit this series with a few more paintings of the community:
The 24th (final) piece in this series was completed in July 2007, about 8 months after the start. About half of the series formed a solo exhibition at the Gallery at Milner (Library in Edmonton) in November of 2009.