Instead of looking at my paintings, I thought you might appreciate seeing some other work from the 20th Annual Sedona Plein Air Festival. This is hardly complete; some painters hadn’t hung much work before I shot these photos.
What interests me in painting? Color, composition, and a unique viewpoint. This is a smattering without critical analysis, but I hope you enjoy it.
Guillo, Barbara Tapp. Of course I love it; that’s my dog!
Here is my wall of finished paintings. As you can see, I’ve encroached on Tom’s space. Tomorrow I’ll choose my three favorites for judging, and I’d love to hear your opinion.
We’re down to the final stretch at the 19th annual Sedona Plein Air Festival. At this point, I haven’t the energy to wax philosophical, so I’ll just tell you a little story about each of these paintings, in the order in which I completed them.
I can’t remember the title of the painting above. It was the first one I painted, and the first one I’ve sold. This is the painting where Casey Cheuvront and I were entertained by a series of spirit guides, which I wrote about here. I remain stubbornly unenlightened.
Early Light, 11X14, oil on archival canvasboard.
Early Light is of the building next to the Sedona Arts Center. To my eyes, it’s the most authentic building in downtown Sedona. The Jordan Family built it of red rock in 1938 to house their retail operations; their former fruit-processing barn is now part of the Sedona Arts Center. I doubt they could envision that it would one day offer Intuitive Psychic Readings or Reiki, Energy and Chakra Balancing, among other things. It’s 11X14, oil on archival canvasboard, available through Sedona Arts Center.
Dusk at the Merry-Go-Round, 11X14, oil on archival canvasboard.
Since my rental car was upgraded to a Jeep, Ed Buonvecchio, Casey and I decided to drive up Schnebly Hill Road. This track used to be the road to Flagstaff; today it’s barely fit for a high-clearance Jeep. It took us an hour to get to our destination, and we barely had teeth left. Heading down in the failing light, I realized I only had my sunglasses with me. Casey watched for obstacles while I steered. “Did you see that person on the side of the road?” she asked me. Ahem.
“It’s actually a little smoother if you take the washboards a little faster,” Casey told me. So, I did. “I didn’t mean the rocks!” she cried. Dusk at the Merry-Go-Round is 11X14, oil on archival canvasboard, available through Sedona Arts Center.
Pensive, 8X10, oil on archival canvasboard.
Pensive is an 8X10 which I did as a demo on Sunday, in concert with Hadley Rampton. “How did you feel when you were painting it?” a member of the audience asked.
“Larky,” I answered.
“That’s not larky; it’s pensive,” he replied. I didn’t realize I was pensive; I thought I was having a great time, but sometimes your subconscious has a mind of its own. Available through Sedona Arts Center.
Peace, 8X16, oil on archival canvasboard.
I’ve been praying for peace for Israel and Ukraine. My friend told me that there were prayer flags along the trail near the Amitabha Stupa and Peace Park. Frankly, I was attracted to the bright colors fluttering among the piñons and junipers, but why not pray for peace while you’re painting in a peace park? Peace is 8X16, and available through Sedona Arts Center.
The Beauty of the Rocks, 11X14, oil on archival canvasboard.
The Beauty of the Rocks is 11X14, and was painted along Oak Creek behind L’Auberge de Sedona, which is a very swank resort. There’s one classic view, looking upstream, but I painted that last year. Why not drop down into a fissure and paint the diagonal gap in the rocks instead? Of course, I couldn’t back up to look at my work without killing myself, so I periodically called to Laura Martinez-Bianco to ask her if passages needed changing. This committee approach to painting apparently works; I’m pleased with both the color and composition.
I have to select three pieces for judging. Although I’ve still got two more days to paint, I’m interested in your opinion. What do you like best, and why?
