Grateful Notices: Edge of the Woods, Autumn, oil on canvas, 36 x 36 inches

Edge of the Woods, Autumn, oil on canvas, 36 x 36 inches
Private collection
Exhibited: Dominique Boisjoli Fine Art, Santa Fe, NM

This is a canvas demonstration from a workshop I did in Kansas City. I wanted to do a simple, red line of trees, somewhat abstracted and with varying degrees of complexity to make it convincing.

As it turns out, this oil is much more than red trees because the reds are supported and amplified by a variety of other, non-red colors. The orange and pink notes at the base of the trees provide an unexpected light source and interest.

The white clouds on the upper right were accidental. When I was painting in the sky, I left that area open, leaving the white canvas. My intention was to add some kind of tree highlight into that space but the bit of white was much more interesting, so clouds it became with the white contrast helping the reds stand out even more. It was very helpful to have an interesting element on that side of the oil.

The black trunks on the bottom left boost the reds further and add a much needed contrast and definition to the composition. 

Again, this is a simple idea but as the painting progressed in class, it became apparent that it would take additional sessions in the studio back home where I continued my own painting lessons until it was complete.

Grateful Notices: Saccades VII, oil on canvas, 40 x 40 inches

Saccades VII, oil on canvas, 40 x 40 inches

What a surprise and thrill to have a dear friend purchase a large artwork for their home... I felt much honored. I really enjoy the freedom of these somewhat abstracted forest scenes.

The idea of this Saccades series is to create a more abstracted forest scene that works without a singular point of focus. This oil is pattern and color with equal interest everywhere. The greens and yellows are pushed but contained by the irregular verticals and the blues. I found that the more those colors were increased, the more attractive the oil became, creating a greater need for more powerful contrasts.

This cycle carried on for a month until a completed the painting emerged, a window into a forest that is alive with the yellows animating the scene and projecting everything forward in the space.

About the word Saccades:
"Since the late 19th century, researchers have been aware of the phenomenon of saccades, the rapid movement of the eye as we shift our attention from one thing to another. As a result, vision itself is discontinuous. We construct a “map of reality” from saccades much as a film editor puts together a scene from individual camera takes."

From an article by the film maker Earl Morris, NY Times

Grateful Notices: Red Progressions, oil on canvas, 48 x 72 inches

Red Progressions, oil on canvas, 48 x 72 inches
Purchased from Dominique Boisjoli Fine Art  Santa Fe, NMPrivate collection, Dallas, TX

3 minute video of this work with Ken narrating


I want to express my gratitude to the collector the purchased this work and to Dominique Boisjoli, my dealer and wonderful supporter in Santa Fe, NM.


About this oil:
My first desire when beginning this oil was to create a forest scene that didn't have a high finish. That is, the brushstrokes and even the physical surface of the oil would be rough. Forests are not even, polished places and I wanted this large oil to convey a bit of that experience.

In the first session when I applied all the variations of reds and oranges, it wasn't satisfactory to me. The plan was to put in a lot of complexity right away, creating variables in color but sticking to the idea of a single sweep of red trees and make it believable. I did that, and I was underwhelmed.

Peeking above the trees was an outline of far blue hills and it was lacking as well. I was too predictable. Everyday is not a happy one in the studio, but I did step up and block in a 4 x 6 foot oil, a worthy accomplishment, so I left it at that.

Looking back, what did I expect? That I would have created a really nice oil in one session?

In the second session I came back fresh and simply thought about what the painting needed: Contrast.

Once the dark tree trunks went in, the painting came to life. The background colors began to sing and suddenly the painting was calling out for improvements in a number of places. I drastically cut back the amount of the blue hill that was visible and in turn, it gave the trees more prominence.

Over the next few sessions, it was a pleasure to attend to those needs and take the oil to new places. A number of 'mistakes' were made - attempts that hit a dead end, but those moves opened up new opportunities for other, better solutions.

It all came down to making a good start and continuing forward in a way that would not diminish the power and spontaneity that existed at the beginning. I was committed to this single line of trees without gaps or interruptions. This idea created a series of  difficult problems across a 6 foot surface, so a lot of small strategies came into play.

A considerable number of changes were made along the way but always with the idea of creating a large and compelling forest presence that is interesting across the entire canvas.

Exhibiting: Abuzz Gallery, Denver

Upcoming Exhibit:

Fri, August 23, 6pm – 9pm

Group show at aBuzz Gallery

3340 Walnut St., Denver, CO   map 

One Thing After Another Five artists working in 5 different mediums more info

Artists: Janice McDonald, Mary Williams, Victoria Eubanks, Ken Elliott, and Carol Ann Waugh show their new work in a variety of media: wood, encaustic, oil, fiber and collage.

Watch for new works at the Expand Art exhibit, (this is a sneak preview)

We hope to see you there!

Ken

Ken Elliott  "Illuminated Autumn" oil on canvas, 30 x 40 inches.

Museum 2013 calendar on sale

I just saw that my favorite calendar from the Metropolitan Museum of Art has been discounted down to eight dollars apiece. Thought you might be interested. :-)Ken

Take a private year long tour of the rich and varied collections of The Metropolitan Museum of Art. Our Page-A-Day® Art Gallery Calendar 2013 offers 365 days of art— right on your desk. It features some of the Museum's finest and most beloved pieces and represents many media, from painting and sculpture to furniture and armor. As you unveil a new, beautifully reproduced image each day, you'll find old favorites and make fresh discoveries. The plastic packaging ingeniously converts to become an easel.

160 pages with 315 illustrations (295 in full color). Includes a reusable plexi frame. 6'' x 7''.

Here's the Museum link to order