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?
What do you think?
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?