Resting
48"H x 37"W
Two bleached horse bones on a white surface. Oil on board.
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Morning Maine Blue Hubbard-Quiet
24"H x 18"W
Study of a blue hubbard squash painted on Britas veranda in Ilseboro in the morning.
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pepino melon/heart.beat.
60"H x 48"W
oil on canvas. This painting is of a tiny perfect foreign melon that I discovered in the local market. It was painted during a period of imposed stillness. Of trying to discern who I now am. I like hanging this painting with the two blue hubbard paintings on either side- like a triptych.
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Afternoon Maine Blue Hubbard-Aglow
24"H x 18"W
One of two color and form studies done of a hubbard squash on the veranda-during a residency in Maine. This one was done in the late afternoon.
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Papaya
36"H x 24"W
"Papaya" is an oil painting on prepared board. Large papayas like this one remind me of the years I spent in Mexico. They are usually bruised. Heavy. Their skins are thin and delicate- providing little protection for the massive ripe fruit within. This piece has gone through many changes. The last was the inclusion of the water, or river-like area on the right. Papaya as earth form.
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Pattypan at Dusk
18"H x 24"W
Oil on prepared board. I visited the pottery studio of my friend Carol Clamer during a sale of her work. The work was strong and beautiful- but out of my price range. I left with this flawless white pattypan squash- a gift from Carol. It had been a gift to her from a local Dixon farmer. I worked on this piece at dusk- placing the white squash on a white table cloth. Due to the quality of light in the studio, neither of course looked white. This painting changes under bright lights: The colors look intense, almost garish- not pewterish, as the squash appeared to me, barely visible in the wanning light and as the painting itself appears under natural light, or with distance. It becomes three dimensional, more real, in waning light. I must have seen those colors- squinting in the dimly lit room. They must have been there, but were not easily distinguished. Or else they wouldn't blend as they do to create the effect that I saw when the light is the same as it was. This piece is dedicated to the memory of my dear friend Carol, who stayed on me about painting her squash.
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