I’ve written about Rogue Valley Rosesbefore – and I’m still such a big fan. Mrs. Janet Inada graciously hosted myself and two other artists for an afternoon of painting on her A M A Z I N G rose farm in late May of this year. She grows and sells roses on their own root stock – heirloom and new varieties, and trust me, growing these roses is addictive. I have 5 and am planning for at least 5 more. Any patch of sun in my yard gets a rose!
Come to my show opening, Friday, July 18, 5 -8 pm at the Rogue Gallery, Medford, OR!
There are 20 plein air landscape paintings created in the Rogue Valley. The pieces are arranged geographically and while some have been shown before, but many are new. If I didn’t title my pieces so literally we could have a contest to see who could guess the most locations!
Pretty much anyone from Medford knows – and loves – this place. It’s been closed for years, and I hear it’s been purchased by some big outfit and will likely be torn down soon. ALL RUMORS, of course. I don’t really know anything, except that it’s a great place to paint, although the black top gets pretty hot, even this early in the warm season. It’s funny, I listen to audio books when I paint, and often I’ll look at a painting and flash back to segments of a book. Carl Hiaasen for this one – not very deep, I’m afraid, but if he wrote stories in Southern Oregon, maybe this place would be in one.
Smithfields has another painting to replace the Rabbit that found a good home. I painted this one on a high shelf while I was sitting down and it is hanging above the vegetable piece (like so) and the perspective kind of works together in the room. Not quite trompe-l’oeil but sort of tromp-l’oeil inspired.
This pear packing plant by First, Colver and C street is a great painting location. Just a few blocks from my house, I run past it several times a week and keep seeing more good vantage points to paint from. This is a warm up, I’m getting my feet wet for the outdoor painting season.
If you were to walk into the painting 50 or so feet then you would come to this point.
My favorite working method is having the model come to your studio many days in a row (nine sessions, unless I lost count) – instead of the way I used to work, which was have the model come once a week for a number of weeks. When you have the model in the room everyday, you don’t forget which pigments you were using, where things were set up and what your goals are.
Finished this piece in time for the PERISHABLE show at APU. I’m also making another project for that show, that I will take no pictures of, tell you nothing about and that is temporary so the only way to view it will be to come see it during April at APU.