While working in abstract is proving to be a challenge, the exercise is certainly helping me learn more about myself as an artist. I am not an 'instinctive' painter (so far...) who just let's go and whatever happens happens. Maybe that will come; however, in producing pieces for which I have no hard plan, I reinforce my delight in finding little shapes I can pull out and emphasize. Titling the paintings is fun too!

In addition, the study of abstract processes is reinforcing the requirement to approach the canvas and composition as a whole and the importance of negative spaces in and around the focal area. My intention is to develop a style and process that is contemporary, interesting, and marketable to a broader audience. Does this mean I have to abandon other work and processes - I hope not! I just love the study of process.

Summer is a great time to explore ideas and processes. I was reading the Robert and Sara Genn Newsletter (click here to read, and consider having it delivered) – about being a beginner, and keeping that freshness. How to turn off the talking brain and just 'go with the flow' is yet another challenge – freshness and flow, stop the overthink.

Acrylic lends itself so well to working in layers, adding scraffito, pulling off paint and creating inspiring grounds on which to work. In the figurative piece to the left I started very structured, painted most of it out, then approached again with fresh decisions. Taking a page from Brian Smith, from whom I took a course at the end of June: Brian will study an artist and paint in that style, trying new approaches and exploring.

Below is a 'transition piece', part of my jazz series. While clearly illustrative, I have used lots of layering, pushing and pulling of paint. The piece is inspired by the song 'Quiet Nights' (Corcovado), and by my dear guitar teacher, Tim Bedner, and his lovely and talented wife Elise Letourneau.

What a lovely summer so far! I started out by taking a wonderful course from Brian Smith, Toronto artist and master painter, drawer and teacher. My journey: to learn the language of abstraction. Brian's course focused on figurative abstraction, and reinforced our knowledge of composition, value, and colour theory. Brian also introduced us to the works of many figurative abstract painters, and shared his own process with us. I am emulating part of his learning process by looking at the work of these artists, and following their processes as well.

As a graphic designer, composition and planning, visualization and dialog factor in a huge way in my work. I am now reinforcing releasing some of that strategy, and yielding to the moment.

The first four paintings are the result of a negative painting process on a 'messy' painted background.

Inset here is the starting piece for +40. The floral paintings had similar, if slightly more 'splotchily' coloured beginnings.

Below are my abstract landscape-inspired pieces. It is important to note that all works here are based on a considered palette combination: secondary triads, mixed complementaries, etc. In fact, palette choice was the first consideration. Paintings can be purchased as is for $50.00 unmounted, unframed. Contact me to inquire.