I’m having a summer studio sale! I’ve selected 16 (or so) original paintings on canvas and have marked them down by 50%. Check out the selection from my studio wall below and let me know which favorites you’d like to add to your collection! Sale goes through Saturday, July 15th.
Top two rows: 12 x 12 inches; 50% off price = $200 each
Bottom row, left to right: Painting #1 is a collage of 100 mini metallic silver squares, 24 x 24 inches, 50% off price = $600; Paintings #2-4 are a collage of mini metallic squares,18 x 18 inches, 50% off price = $325 each
I’ve posted more snapshots of these paintings, plus a few bonus ones on my Instagram.
Once in awhile I complete a painting that is especially meaningful to me. I just finished such a painting, “Pooled on the Horizon”, and thought I’d share its story with you.
One scene in our natural world that inspires my paintings is the horizon line between sky and ocean. I’ve spent many hours watching the horizon line as presented by the Oregon coast over the last 30 years. It is always a seemingly simple line, but is also full of the infinite complexities of the sky and ocean that extend far beyond my tiny vantage point.
One of my Pacific Rains Series, “Pooled on the Horizon” is my capture of a moment in this simple-yet-complex oceanscape. A moment when the sky is raining down silver rivulets and “pooling” upon piles of clouds resting heavily on the horizon line. And the sea? All quiet, calm and clear below but with the evermore movement of the waves and tide in and out. It’s a gray day for sure, but the colors are infinite. Lots of dark and bright metallic silvers in the sky and deep indigo and frothy whites in the sea. Studying this painting now in my Portland studio transports me instantly to this scene on the Oregon coast.
As I worked on this painting, I referenced some of the countless photos I have taken of the Pacific coast over the years. Each photo puts me at that vantage point where I can soak up the horizon and everything above and below. Now completed, I love this depiction – what do you think?
After 2 months of anticipation, I just learned that I was one of a few artists chosen, out of hundreds of international applicants, for the 2018 Autumn Arctic Circle Residency Expedition!
As an artist primarily inspired by place and water, I’m sure this will prove to be the expedition of a lifetime and I couldn’t be more excited!
In October 2018, I’ll be traveling nearly 4,000 miles from my studio in Portland, Oregon to our port of call, Longyearbyen, Svalbard. Near the edge of the polar ice cap, Longyearbyen is a mere 600 miles south of the North Pole and is about the same distance north of the Norwegian mainland. And yes, it is truly the land of icebergs and polar bears!
For nearly three weeks in October 2018, I will sail on an ice-class barkentine tallship, exploring the arctic region around the Svalbard archipelago. I’ll be joined by a small group of artists, educators and scientists for this once-in-a-lifetime residency program. Yes, I have nearly a year and a half to wait, prepare (and raise funds!), but that enables me to focus on other events already on my calendar for this coming autumn here in Portland.
Stay tuned in the coming months for more info and thoughts as I prepare for this epic adventure! In the meantime, I’d love to hear from anyone who has traveled to this part of the Arctic – please share with me and my readers what you thought of your adventure!
It has been awhile since I posted a snapshot of my studio… I’d sure be lost without my large, main studio table that I got at The Ohio State University’s surplus warehouse before we moved out to Portland! In fact, I’ve found several pieces of great “studio furniture” at university surplus stores, so if you’re looking for furniture you might check with your local universities to see if they sell surplus furniture and equipment.
I love my art-making process – it’s my favorite part of being an artist. And, I’ve worked for more than 12 years now to hone the processes I use to make art.
We had record October rain here in Portland. I thought alot about my process as the rain came down and I painted several new originals for my Pacific Rains Series. You might have noticed that I now mount my original paintings onto “cradled” wood panels. I love both the process and the finished result and have shared snapshots of both below.
All original paintings on my website are mounted on panel like this with crisp, finished
edges. Check out what’s available to add to your collection
by clicking here ==> www.davidcastleart.com.
For the last month and a half, I’ve been working on a large commission triptych project for a client’s office. Today I’ll apply the final coat of varnish, so the project is nearly complete. And, my client loves these paintings, so… yay!
However, the last week of finishing these paintings up has me stuck between loving them… and not loving them. In general, I love my birch tree paintings and, with this particular set, think I captured (from left to right) a solid feeling of Summer, Autumn and Winter. In fact, I wish I was sitting smack in the middle of the Autumn panel right now!
So why am I sometimes feeling that “I love them not”? Is there something wrong with my composition across these 3 panels? Is it just my usual feeling of depression that I experience whenever I finish a painting?