I’m in a bit of an “artist intermission” full of anxiety, and the familiar depression that I’ve battled for many years. Nope, not a glamorous star here bringing awareness to those of us who live with depression and anxiety. And, I don’t have the resources to completely “take time off” to check in to a place of wellness to work on myself. Although I’m happy for those creatives who can work on their own wellness with time off and a dedicated (even inspirational) place to do it.
For me, I’m still here – in my home studio which has sat empty and alone for the past several weeks, just waiting for me to come back. I’ll admit that I’m acutely struggling right now.
Meanwhile, some of you have asked what I do with myself?
Well, I sleep a lot. I’ve worked on office chores such as household budgeting and financial actuals. I sit in my green leather studio chair and pet studio cat Stan. I managed to finally update my website with snapshots from my Arctic Circle Expedition. I take pills and go to talk therapy. I attempt to help myself with hard-to-crack wellness workbooks. And, I generally try to get back into things I’ve enjoyed in days gone by like gardening… one weed pulled at a time.
I miss painting my abstracts… I really do. Hopefully a new and inspirational project will come along for me soon. In the meantime, I’ll just try to tread water.
And a big thank-you to my husband, Steve, who through it all, helps and loves me lots.
Nearly a year ago, I posted that I was accepted for a truly epic artist’s residency: The Arctic Circle 2018 Autumn Arts & Sciences Expedition in October, 2018.
Wow. I’m super excited as the super-long anticipation and lead time gets shorter… 18 months from when I was accepted has now shrunk to just 6 months. And, I’m thrilled to announce that after a month-long campaign on Kickstarter to raise the funds necessary to participate, I am fully funded!
A huge thank-you to those Backers on Kickstarter who pledged funds now to receive paintings of various sizes at the end of this year to help me get to the Arctic Circle. Now that I’m through the funding phase, I have lots of work to do to get organized, outfitted for the Arctic environment and experiment with how I’ll paint my abstracts on a ship in the middle of the Arctic Circle!
As a guy who generally likes to be well-prepared, I’m thinking this summer will go quickly and in no time I’ll be in the Arctic, soaking up the frozen inspirations and making art… somehow and of some sort!
Did you know that I dream my paintings before I actually paint them? Well, I do — whether a daydream among a stand of rustling trees, or a dream while I slumber under blackberry skies, I see my next paintings vividly in my head before they ever hit my paper canvas. Huh… just like Vincent van Gogh who said simply, “I dream my painting, and then I paint my dream”.
And, if we’re talking about how my process is like the Masters, Picasso explained it in more detail this way:
“How can you expect a beholder to experience my picture as I experienced it? A picture comes to me a long time beforehand; who knows how long a time beforehand, I sensed, saw, and painted it and yet the next day even I do not understand what I have done. How can anyone penetrate my dreams, my instincts, my desires, my thought, which have taken a long time to fashion themselves and come to the surface, above all to grasp what I put there, perhaps involuntary.”
Here’s a large format painting I made after dreaming of trees and sky:
I think we’re officially into the dog days of summer here in Portland with temps expected to rival our all-time high of 107 this week. Even though it’s summer, this is one of my least-favorite times of the year. Heck, I’m hot if the temperature is above 65!
The good news is that my studio is air-conditioned and cool, so I’ve been working on larger and larger oil-and-metallic-watercolor abstracts. But, I think the psychological effect of the heat outside is impacting my success since I’ve recently failed at two attempts of a 52 x 52 inch original… each has clear process mistakes in them and the overall finished paintings just failed to come together. And, due to my unique process of layering oil paints and metallic watercolors, these aren’t “fixable”.
I must keep trying though, as I must finish a spectacular 52 x 52 inch painting for a special exhibit that starts in September… the dog days are ticking!
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.
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?
One of my all-time, most favorite paintings I’ve made is “Purple Day”. Finished back in 2005 and sold right here in Portland at the Art in the Pearl festival, I miss this painting every time I think of it.
As an artist, I have many of my own paintings that I rotate on my own walls at home and a few – maybe five – that I consider in my “permanent” collection… “Purple Day” would have been a fine addition to that collection!
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.
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?
I’m continuing my quest to master mixing oil and watercolors successfully and just might have a new series emerging: winter aspens. Or winter birch. I’m a bit torn since I love the aspen trees of my native Colorado in winter, but also love the birch found in the Pacific Northwest where I’ve spent many months painting in the winter over the last decade (and now live).
Here are two of my most recent winter trees – layers of oil paint (I use oil sticks such as Winsor & Newton Oilbars), followed by layers of watercolor paint (some traditional paints along with my own mix of metallic pigment powders). At just the right time, I scrape the tree shapes out with an old favorite tool: pieces of cut up credit cards.
I’m loving these early results… what do you think?
I’m still getting settled into my new studio space on the northwestern edge of Portland’s Pearl District. My space is small – about 1/4 the size of my studio in Columbus (and more expensive!). For now, I’m making it work!