Re-discovering My Scraped Cityscapes

I’ve been busy in my studio lately working on “re-discovering” my feel and technique for mini cityscapes that I once painted many years ago.  The technique for creating these mini paintings is a combo of wash, timing, perspective and a quick hand with scraping shapes.

I first lay down a wash that will give me some good contrasts in the shapes I’ll scrape out while also providing an overall mood to the painting (night/day, winter, foggy, Chicago or New York…).  These go quickly since I have a short time before the wash becomes too dry to successfully scrape shapes.

I’m having a more difficult time re-discovering how to paint these with results I’m happy with than I expected.  Most frustrating seems to be that the pieces of  rigid plastic (like cut-up credit cards… take THAT Chase Bank!) aren’t scraping satisfactorily.  And, it has taken many tries to remember what paper is best (I like 140lb. Fabriano hotpress).  At least in this example, the John Hancock tower is recognizable and I love the rather monotone feel I captured for Chicago (uh, I LOVE Chicago – “monotone” isn’t a bad thing).

What do you think?

Chicagoscape, watercolor, 5 x 5 inches.

 

A Word About Substitute Reality

It was in, perhaps, 1989 or 1990 that a co-worker and I thought we coined an awfully useful new term: “substitute reality”.  I was pretty fresh out of college and working for a software development/consulting company where we often seemed to be surrounded by project managers and bosses and clients that loved to operate in what we saw as a clear and present substitute reality.

Project Manager: “Oh, we’ll have that telecom billing code completely tested and ready for production by tomorrow.”

Boss of the Whole Place: “We can have an team of developers highly experienced in coal mineral rights billing software onsite in South Dakota by tomorrow morning.”

Client: “We found this whole list of requirements that we forgot about that must be implemented for launch… tomorrow.”

Well, a dream I had awhile ago has had me thinking about and noticing that episodes of substitute reality continue to happen all around me nearly two decades later.  And, at the risk of sounding unbalanced and cryptic, I’ve been wondering how much of my own substitute reality I operate in when I’m working away in my studio?

My studio... my own "substitute reality"??

 

Experimental “Fossils” on 300lb. Rough Paper

I went to Meininger’s “Garage Sale” a few weeks ago and (with much restraint) walked out with less than 10 items… one of which was a pack of 300lb. rough watercolor paper.  After having used very smooth, hotpress watercolor papers for several years, and after my fun experimenting on black paper, I thought this would be a good paper for shaking things up some more.

So, I started with some small “fossils” and was somewhat pleased with this result.  More are in progress!

Mini Fossils on rough watercolor paper, about 6 x 6 inches.

 

When a Bad Gallery Owner Happens to a Good Artist…

The good news is that three of my original “tall tree” paintings have been sold!  The bad news is that the local gallery owner is refusing to pay me what we had agreed for the sale of these paintings.

I’d love to hear folk’s thoughts and advice on how to proceed!  Here’s the story:

My agreement with the gallery owner is a standard 50/50 split of the retail price of sold original art (and does not cover any discounts).  Without my knowledge or agreement, he sold these three paintings to his client at a 20% discount.  And, he subtracted half of that discount (10% of the total sale… over $500) from the payment he has sent me.  In effect, forcing me to participate in the discount he gave.  This gallery has sold one other painting and, per our agreement, I was paid 50% of the retail price.

We discussed this discount after the sale was completed twice: once I even offered to participate in this discount at a lower rate and was refused; the second time I was told I would get no more money and that I could continue our discussion through litigation if I wanted to.  Ouch!

As you might imagine, this issue both surprised and angered me (this gallery owner is a good friend of a family member – I mistakenly assumed a level of honesty and trust).  My relationship with this gallery has ended after this sale, so I have no vested interest in maintaining it.  I worked very hard to create these large paintings and would just like the full, agreed-upon payment.

What’s the right thing to do?  Pursue this more?  Walk away and deposit the check he gave me? Warn the other artists that he represents? Name names here on my blog?

 

Thanks to Everyone Visiting Me at the Downtown Denver Arts Festival!

Thank you to everyone that came by to visit me and my artwork this past weekend at the Downtown Denver Arts Festival.  Despite the sometimes-soggy conditions, the hightlight of all of the hard work and energy it takes me to do this festival is getting to meet and visit with folks and talk about my art, inspirations and process.  So, again, thank you, especially to those that went home with new artwork and to my new Collectors who took a new one-of-a-kind, original painting home!

If you are interested in a followup visit to my studio to look at more of my artwork, to purchase a particular piece that you saw or would like to discuss a commission project, please send me an email, give me a call or use my “Buy Some Art” inquiry feature on my website and we’ll get an appointment set up at your convenience.

Me at the 2009 Downtown Denver Arts Festival.

Soggy conditions on Saturday evening...

 

Postpainting Depression…

I finished a new tall spring trees painting today… and immediately slumped into a postpainting depression.  This actually happens to me often after I finish a large painting or one that I’ve been working on for awhile.  In this case, both apply since I’ve been working on this painting for over a month now… on the bright side, it will be framed and delivered to Rue 32 Gallery in northwest Denver next week!

Does this happen to other artists out there??

Since summer has arrived here in Denver, perhaps I’ll go sit outside and soak up some sunshine while I eat lunch to perk me up.

"More Spring Trees", watercolor, 46 x 15 inches.

 

Denver Public Library Adds My Painting “Denver Art Museum, Sky, Library” to Their Permanent Collection

I’m excited to announce that the Denver Public Library has acquired my painting “Denver Art Museum, Sky, Library” for their permanent Western History collection!

You may remember that I created this painting in 2007 for the first High Plein Air Arts painting event in Denver’s Golden Triangle Museum District.  At the time, my painting was juried into the exhibit at the Central Library where DPL staff first expressed interest in acquiring it.

So, they’ve now added it to their permament collection and, after cataloging, will use it for special exhibits at the Central Library at 13th/Broadway in Denver.  I had a great time working with Jim Kroll, Manager of DPL’s Western History/Genealogy Department, and here’s what he had to say:

“David’s watercolor joins several other images of the Central Library included in the Western History collection.  As a regional artist, the Library is pleased to add his creation to a collection that consists of over fourteen hundred original paintings and three-dimensional depictions of the West.  Several framed pieces and sculpture can be seen on the fifth level of the Central Library.” — Jim Kroll, Manager of Western History/Genealogy Department at Denver Public Library

 

"Denver Art Museum, Sky, Library", watercolor on paper (canvas-mounted), 24 x 26 inches.Delivering my painting to Jim Kroll, DPL's Manager of Western History/Genealogy Department.

Delivering my painting to Jim Kroll, DPL's Manager of Western History/Genealogy Department

 

And “They” Said it Couldn’t Be Done… Watercolor on Black Paper

It’s not a secret that I love making up my own rules for my watercolor paintings and that I’m often operating far from tradition.  I’ve been thinking about the metallic and iridescent watercolor paints that I love so much (I almost exclusively use Daniel Smith watercolors), and how I could get some of them to pop.  Like electrically pop.

I decided that black watercolor paper would do it… too bad no one seems to make black watercolor paper (at least that I could find online).  So, I went to my local art store (Meininger) and asked for help:  “Doesn’t exist”, “Can’t be done”, “Paint with watercolor on black paper?  You won’t see the paint!”.  Good thing I wouldn’t take no for an answer (although after having explained that metallic and some opaque watercolors would certainly be visible on black, I had to accept a blank stare for an answer).

I finally decided to try some black Somerset printmaking paper – it felt too lightweight and wasn’t nearly as smooth as my usual hot-press Fabriano watercolor paper, but couldn’t find any other fine art paper to try.

What do you think of this mini that I created today?

Untitled, watercolor on black printmaking paper, 6 x 6 inches framed, $95

 

One of my Favorites Sold: “Purple, Green, Blue”

This past weekend I sold one of my all-time favorite paintings, “Purple, Green, Blue”.  The metallic highlights are subtle and wonderful in this painting, and I liked how I coaxed the horizontal paper wrinkle/puddle shapes across my tall, narrow elemental shapes.

I found myself thinking about this painting while working in my studio today… I know I’ll have to mourn the departure of this painting for awhile!

Purple, Green, Blue, watercolor, 16 x 16 inches.

 

Reject, Reject, Reject: Do Artist Need More Transparency With Juried Results?

2009 is off with a steady stream of rejections for me, so I’ve been thinking about the lack of transparency for artists into the results of juried exhibits.  Many organizations that hold juried exhibits only provide artists with a “yes” or “no”.  Period.

Why are artists OK with this?  Should we demand more transparency?  How about stats on how many artists/images were entered and selected?  How about details on what stage of jurying my art made it to… or the actual scores?  How about ALWAYS publishing who the jurors even are?  Is it valid to expect more information or am I just a whiner because I’m getting rejected?

Am I really OK with just sending images of my art off into a jury black hole?  If I think about it more, how do I even really know my art was looked at?

Is this an ethical question?  Do artists deserve to receive feedback when we’ve paid to have our art reviewed for a specific exhibit?

In this age of “transparency”, is this just a transparency question?  Should artists (and the public) be able to learn more about what those jurers did and how artists faired throughout the process?  So many questions…

I’d really like to hear thoughts from other artists on this.

Here are three recent examples of mine - and if anyone has more details on these particular events, then please comment and share with us all!

Cherry Creek Arts Festival ($35 app fee):  I’ve applied 4 times in the past 5 years and always get a “not selected”.  No other information is provided.  How about providing me with my scores?

Colorado Art Ranch - Trinidad Spring Residency ($30 app fee):  I’ve applied for 3 Colorado Art Ranch Residencies in the past few years and this year was informed that “once again” I was not selected.  No additional information is provided.  How about stats on how many artists applied and some type of feedback on scores?

Colorado Art Open, Foothills Art Center – Golden, CO ($30 app fee): I applied this year and received a “reject”.  Juror names were published and a few stats provided in an email – how about scoring results?  Also, how about details on how this exhibit is juried (images on a PC or projected)?

 

Launched: My New Website!

This week I launched my new website!  My goal was simple for my new site – provide visitors with a much better view of more of my art.  You’ll also find relevant info about me, my studio and how to purchase my notecards, fine art reproductions and original art.  Overall, the design is clean, crisp and easy to navigate – please visit and let me know what you think (and sign up for my art email list)!

Thanks to Cameron Walker who I met through one of my events last year – she did a great job designing and developing my new site and I’d highly recommend her!

A peek at my new homepage.

 

A View From Elsewhere #1: Colorado + The Netherlands

Well, I would have arrived on the Oregon Coast today, had I been able to make my painting sojourn this winter.

Instead, in January and February, I’ll be sharing some “views from elsewhere” – snapshots from a variety of different artists’ studio or creative space.  I’ve invited folks to send me such a snapshot since I’m highly inspired by a view of different places.  I hope that sharing them with my readers will also inspire you or at least give you a moments pause to absorbe some “elsewhere”!  [All photos are by the respective artists]

Janet Nunn - Golden, Colorado

Visit Janet’s website

Trees and snow seem to be a sort of theme for many of the snapshots I’ve been getting and Janet sure has a great view of both.  She writes that she loves to paint “while the snow flies” and I agree – I find I’m both more inspired and motivated to create when the weather is doing something other than the same, boring sunshine that we get so much of here in Denver.

View from Janet Nunn's studio in Golden, Colorado.

Wietske Kluck – Hazerswoude Rijndijk, The Netherlands

Visit Wietske’s blog

I love these Dutch trees as viewed from Wietske’s window in her studio in the Netherlands.  She writes that her view isn’t interesting at all: houses, a street with cars and some trees.  I’m glad she shared the trees – this snapshot instantly transports me “elsewhere”!  Be sure to try out the Google “translate” feature on her blog!

View of winter trees from Wietske's studio window.

 

Send Me Your “Elsewhere”

Some of you may know that I had hoped to go on a month-long painting sojourn on the Oregon Coast this winter (I’ve gone 4 times in the last 6 years).  Since I’m highly inspired by different places, this trip has become increasingly important to me and my creative process.  I’m sad to report that the expense of opening my new studio last summer and the reality of slow sales will keep me home this winter.

 

So, since I won’t be viewing the Pacific from the Oregon coast this winter, I’m looking for some alternative inspiration in the form of different places (which I’m going to call “elsewhere”).

 

I’d love to invite you to participate in a series of blogs I’ll be doing about a “view of elsewhere”.  More specifically, a snapshot out YOUR studio or creative space window/door.  You can include part of your studio in the view, but I’m keen on seeing the “elsewhere” that is what you see when you gaze out.

 

I plan to keep my posts on this simple – just a few thoughts on “views of elsewhere” and how it is impacting me in my studio.  And then I’ll include your snapshot with your caption, and a link to your blog/website.

 

So, if you’d like to participate, all I need from you is a snapshot out your studio (or wherever you create) window/door (in a size/resolution you’d use for your own blog/website), an accompanying short caption, and the link you’d like me to include in my post.  I’ll use as many snapshots as I can, but if you’d like to participate, email me your submissions by 1/31/2009.

 

My own "elsewhere"... the view out my studio window today. The blue backside of the Napa Auto Parts store looked even brighter as winter made a rare appearance.

 

Denali Residency: The Rejection Letter That Doesn’t…

That doesn’t actually reject, that is.  This was my first of 10 residency programs that I pledged to apply to in 2009 (I sent in my application back in November).  I received my “rejection” letter in December and noticed that it was carefully crafted to not actually reject me – how nice!  Really!

This would have been quite an interesting program and I’m sorry that I was not chosen.  In doing some research, I noticed that the majority of artists selected in past years and for 2009 have a much healthier dose of realism in their art than I do.

Good luck to the selected artists – I look forward to seeing what their experience produces!

My rejection letter for Denali... no rejection actually included!

 

What, Exactly, Makes a Knockoff?

I came across a few of my older paintings in my studio today as I unwrapped works from storage to hang in the upper reaches of my studio space.

Several, in particular made me remember the two times in my 5-year art career that I’ve heard someone utter a disparaging remark about my art being “Rothko knockoffs”.  So, I’m wondering (and asking you, dear reader): “What, exactly, is a knockoff”?

I should mention that Mark Rothko is one of my most favorite artists.  And yes, my art has been influenced by him.  I should also mention that the paintings in question are not of my “elementals” or “fossils” series that surely couldn’t be accused of being a “Rothko knockoff”.

So, I dug up some examples to see what you think – are these “knockoffs”?  Or are the just “inspired by”?  Are they something else?  What would make these a knockoff (style, composition, color)?  Why do I care?  Would anyone else care?  So many questions!  I might have to do some research into this… in the meantime, I sure welcome comments and thoughts!

Alexander Julian, watercolor on paper, collection of the artist.

Firmament Study No. 2, watercolor on paper, private collection.

Summit, watercolor on paper, private collection.

 

Artist Residency Application 1 of 10: Denali National Park, Alaska

One down, at least nine to go in my quest to apply to 10 artist residency programs for 2009!

I sent in my application for the Denali Artist-In-Residence program several weeks ago.  This is quite a unique program made possible through a partnership between the National Park Service and Alaska Geographic.  The program provides artists with a rustic cabin in Denali National Park as a place to stay and create art.  There’s electricity but no running water, which is fine since I can paint with jugs of water that the nearby National Park Ranger station provides!  Notification of acceptance is in early December, so stay tuned!

Here’s one of the images I submitted with this application (which is also one of my Limited Edition giclee’s):

Five Autumn Trees, watercolor, 28 x 20

 

Key Decision: No Oregon Coast Retreat This Winter

This past weekend I made a difficult key decision: I won’t be taking my winter retreat to the Oregon coast in January/February.

My last winter retreat was to one of my favorite inspiration spots in the world – Oceanside, Oregon.  I’ve been traveling to Oceanside for over 12 years now and spent nearly 5 weeks painting there in January/February, 2007.

How can I be passing up a winter retreat this year?  Economics, I’m afraid.  This year, I purchased and opened my own studio space in Denver’s Art District on Santa Fe.  My sales have been slow the last quarter of 2008 and I must stay focused on ensuring I can pay my studio mortgage and expenses.

So, since I’m very inspired by different places and must try to fulfill my need some other way, I’m setting a goal to apply to at least ten artist residency programs for 2009.  Granted, these are not usually all-expenses paid opportunities, but they typically help alot with the costs.

One resource that I’ve found helpful for researching residency opportunities is Res Artis – check it out if you’re looking for opps, too.  And, feel free to leave comments with any resources or leads you think I and my readers would be interested in!

Sleepy town of Oceanside, Oregon - January, 2007

View from my painting perch in Oceanside - January, 2007

 

Recent Travels: The Train Station in Sandpoint, Idaho

Our recent travels to Montana and British Columbia also took us through beautiful North Idaho.  I lived in Sandpoint (north of Coeur D’Alene) for my last two years of high school.  The beauty of the Sandpoint area, Lake Pend O’reille and the surrounding mountains, especially in autumn is a great source of inspiration for me.  I took tons of photos and will be taking some in to my studio soon to work from.

In the meantime, it was the Sandpoint Train Station that has been feeding my inspiration a bit lately.  We stayed at the Edgewater Resort which is right on the lake next to the City Beach.  It is also right next to the train station.  I’ve posted about my love of trains before, but I was also drawn to the old train station because it was the scene for a pivotal moment in my life so many years ago.

The last time I visited the Sandpoint Train Station was in the summer of 1986 when I boarded the midnight (literally!) Amtrak bound for college in Phoenix via Seattle, Portland and Los Angeles.  Now days, this is an “unmanned” station – the doors are unlocked, but waiting room empty and the ticket windows closed and covered with notices for passengers to help themselves to getting tickets and boarding the train (it was a bit unclear as to whether you had to flag down the train yourself or not!).

The feelings I had revisiting this place of nostalgia, emptiness and loneliness in a spot that sees so much traffic have stuck with me as I’ve painted in my studio these past few weeks.

Thanks, Steve for taking the photos below (and for letting me share the train station with you)!

At the Sandpoint, ID Amtrak train station.

 

Last time I was at this door was in summer, 1986 to board the Number 7 train at 11:49pm... bound for college in Phoenix.

 

Lots of train traffic, but otherwise empty...

View of the Sandpoint City Beach and Lake Pend O'reille

 

What a Great Day in the USA!

What a great day for our country!

One of the great leaders that we re-elected here in Colorado is Congresswoman Diana DeGette.  Diana has done a great job and I’m happy to continue supporting her.

Diana has also been a fan and supporter of my American Flag notecards and has used them for personal correspondence over the last few years.  Visit the Notecards section of my website to order some of your own or for a gift.  And, in the spirit of unity – I’ll send you a FREE bonus sample packet of notecards for anyone ordering some of my American Flags!

Please pass this on to any and all Americans that you know!

American Flag Notecard by David Castle

 

Recent Travels: Paws Up Resort Near Missoula, MT

As part of our Northern trek vacation earlier this month, we stayed at Paws Up Resort just outside of Missoula, Montana for several days.  We had a great time relaxing and hiking and eating great food (delicious Bison steak!).

I also loved this simple composition photo that Steve took from one afternoon of relaxing in Adirondacks in the sun.  The contrast of the iced tea and the weathered wood is something I’ll be working with in my studio next week!

Iced Tea and Adirondack Chair by Steve Zeiden

 

Atop Lookout Rock at Paws Up Resort