The Story of My Painting, “Pooled on the Horizon”

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?

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“Pooled on the Horizon”, oil and metallic watercolor, 30 x 30 inches, $2,000.

Record October Rains Helped Me Paint This

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.

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After mounting my paper “canvas” onto panel, I’m ready to trim the edges.
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“Through The Forest”, oil and metallic watercolor, 30 x 30 inches, SOLD.

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.

I love them… I love them not…

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?

What do you think?

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“Tall Birch Trees – Summer, Autumn, Winter”; oil and metallic watercolor on panel (middle panel is 45×18″).

Painting the Sea and Sky Like This Calms My Nerves

This year has been a struggle for me as I live my artist’s life with ongoing depression and rising anxiety. Some might say I’m just another “tortured” artist, but it has taken me 20+ years to become accustomed to what “normal” feels like for me. And how I feel has changed alot this year for me.

So, as I work to get back to my own normal, one of my trusty therapies is my painting process. And besides trees, the sea and sky is one of my most favorite subjects. Painting the expansive sea and the ever-changing sky along with a nice, crisp horizon line holding them together almost always calms my nerves.

See what you think (and feel) with my latest sea and sky painting below. It’s titled No. 6 but is the only larger sea and sky painting to date that I’ve completely finished and mounted on panel. Click the painting or the link below to view it on my website.

Sure wish we were there in No. 6, don’t you?

Thanks for looking and for supporting my art!

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“Oregon Coast Sea and Sky No. 6”, oil and metallic watercolor on panel, 12 x 12 inches, $400 (available on my website).

I Painted the Orlando 49 – Into the Light

The horrific events in Orlando have taken over my creative process in my studio since it happened nearly two weeks ago. As an artist, I paint what I’m thinking and feeling – first I paint in my mind (often while I’m supposed to be sleeping!) and then, ready or not, I put paint to paper in my studio.

As a gay American, tragedies like Orlando impact me deeply. My own family has rejected me on this “issue” and I’m saddened that hate and anything but complete acceptance, still fills many people on this planet.

So, I paint. And then I paint more as I process what happened in Orlando and the 49 young people who died. The painting below, one of my Pacific Northwest Rains series, is one that I finished this week. I’m conveying the lives of 49 colorful people (as the stripes on the bottom) who are being transported through a black line into whatever silvery “light” is above and next for them.

I’ll never forget what happened in Orlando and will be painting many more as I try to make sense of people like the shooter… and my own family.

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“The Orlando 49 – Into the Light”, oil and metallic watercolor, 12 x 12 inches.

Here’s what I think rain looks like

Have you ever seen rain streaming dramatically down a window like it does in the movies? In those fat, silvery rivulets? I could sit in my comfy studio armchair and watch rain rivulets all day here in Portland.

Instead, I started a new series of oil and metallic watercolors called Pacific northwest rains. Water – especially rain – makes me feel cool, calm and balanced. Do you feel the rain in these abstractions, like the new one below?

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