impressionism

Art, Nature & Soul #30

“I’ve Seen The Light” ,

Over the past 6 years, we've been going out to Ptown on Cape Cod. Friday nights they have a gallery walk, that have featured artists on these nights. I stumbled upon 'Hilda Neily Gallery' early on and was immediately intrigued. A few years later, in 2017 a living retrospective on H. Neily & this painting, ’HEAT', was in her gallery and felt, I had found an immediate kindred spirit in her work, as she was getting back to her roots and incorperating some drip work, as well.

~Hilda Neily started painting with Henry Hensche at The Cape School in Provincetown in the early 1970's. Hensche started The Cape School in 1933, carrying on and developing the ideas of his teacher, Charles Hawthorne, who started the first art school in Provincetown. It was Hawthorne's school that led to Provincetown becoming one of America's preeminent art communities.

So then this happened, last year May 2018~ Not at her gallery but several blocks away on Macmillan Wharf, I stopped to view some student work, at a hut, of The Cape Cod School of Art. I'm asking questions about the art and the person is asking questions about Blaze(our pup) and loving on him. The conversation goes on and we're talking more about art. She starts telling me, that the school and she teaches, ”color how to see color and that once you get it, it's like dropping acid." So I tell her that I'm an admirer of Hilda Neilys work, she seems to understand that, like none other. She says, "I am Hilda Neily." I've been stopping in at her gallery over the past five years, had only seen photos of her, always painting, from the back or side profile, but never met her. Our conversation went on and on, about art, dogs and our partners. What a kick and a thrill, would love the opportunity to study with her.

With that I decided I must study with this artist, so this year, August 2019, I attended the 3 hour a day, 5 day workshop. As an artist , there’s always more to be learned & explored. It's emphasis is color and light, Hilda had me at, "once you get it, it's like dropping acid" & so we shall see. BaHaHaa😀

So, it was, I set out with this goal in mind, too learn to see the light saturated color and add it to my more tonal/colorist palette in approach paintings, thus integrating that blast of light to my work. But keep in mind that while I’ve attended some classes, studied via book & dvd, various great artists painting techniques, that it has been about 25 years since I’ve taken a class or workshop. Within my studies, which have been to learn and find what made those artists successful, not to do what they do, but perhaps incorporate some small amount of that magic into my artworks. Which is to say not immerse myself in their discipline, but utilize it within mine. The last class I took being a Remrandt style painting class at the S.A.I.C.. That would be the extreme polar opposite in approach, for various reasons, one being the palette was only 4 colors, Titanium White, Ivory Black, Venetian Red & Yellow Ochre. Teach, the instructor that is, then, was surprised at the amount of color I could express with this limited palette.

*Note 1~How I see color. I’m said to be highly color sensitive. I’ve come to see it, not as big blocks of color, but more like all the colors that are reflected within the color, that make the color, thus I’ve tended to express it broken. Ones eye tends to average it all out, at least from a distance, to an uniform color, but up close a more complex variation appears and is expressed, at least from my perspective, intent & purpose.

My Background, a partial context~ I’ve drawn and painted, been involved with the arts, the entirity of my life. Over the past 15 years have focused, prolifically on creating & exhibiting my artwork. I’m mostly self taught as I have little formal training, thus am highly experimental, in the past, however, am more refined of late. I’ve also been in the custom framing and fine art sales business, since 1986, thus am said to have a keen eye for color. If you know what slant rhyme is, I’m a slant colorist. For further info, refer to my website, about the artist, blogs or Facebooks about me.

Workshop~

Day #1- A sunny day at the Cape Cod School of Art, a class of 16-18 peeps. We set up are easels outside to do block studies, to see how color and light interact upon each other. That is to say how different colors reflect and change color, depending on the intensity of light or shadow. I set off doing what I do, how I do and had a very nice painting going, as I tend to work fast and matter-of factly. As some of the students perused each others work, some viewed mine and I heard things like, “he speaks his own language”, and I thought, cool. Then instructor came by and started working the painting, knocking down my work, in fact scrapping it off, showing and expressing why it was not correct. I was mortified, for one, I do not scrape off paint, its expensive. I tend to take pieces to their completion, if they’re not successful, I move on, but keep them around awhile as learning tools, to see what was wrong. Feeling out of sorts, at this point, I realized that the persons involved in this workshop were all at various levels of painting experience, including myself, as I’d have to unlearn, or rather try to stop doing what I do, if I were to get anything out of the experience. Although, the instructor did like some of my color notes and said so. At the end of the 3 hours, we set up our paintings in the classroom for critique. Mine stood out from the rest, for one reason or the other and not necessarily for goodones, or so I thought. Once they were set up, a woman I had not met, pointed at my work and asked who’s is that. I kept silent, then ‘C’ asked again and I replied mine. She, ‘C’, then said it looks like a HENSCHE. For review, Henry Hensche was the Cape Cod school of art instructor whu trained Hilda Neily, my current instructor. I felt a shiny lining, a ray of light, if you will.

Day #2- Began with 3 hour workshop. Overcast, grey day, H. Neily did a grey day demo. Which should have been perfect for me and yet in order to learn this way of seeing, I must abandon my artist ways, so I can then integrate this new info into my artwork, moving forward, thus challenged. Challenge one, see in blocks of color. Challenge two, I primarily use brushes and palette knife is a sublemental tool usually. Now I’m only using palette knife. Challenge three, I tend to mix color on the canvas. Challenge four, the scrape off still freaks me out. Challenge five, My panels are typically toned iron oxide, prism violet or grey, some canvas, others smooth. I’m asked too paint on white smooth boards only. My initial thought is, Great, now even the panel will reflect the light and color, but, thought, perhaps that’s intended. As Hilda states to me, “Grey board saaaad, white board HAPPY.” Adding, “the world is so messed up,” and I finishing with, “why would we want to add to that?” A most challenging day, to say the least & had to set my ego aside for the remainder of the workshop.

Day #3- We all met at a dune crest that overlooks cottages, salt marshes, the Atlantic and Ptown, off in the distance. Also, this was near where we stayed and I already had fallen in love with the view. It started as a sunshiny day. Several of her assitants, would peruse the other painters, coach and give direction. Several of them, over of this & previous days would stop by me, like what I was doing, then Hilda would come over to see what I was doing, blend or scrape off. I was working on a painting, as I’ve stated before I work quickly, so by the time Hilda got to me I had built a great many details into the painting and had what I thought a top 25%. A top 25%, is a really, really good painting. She began to blend and knock down the sky, my heart sank and my eyes bulged out of my head as my stomach flipped over, no joke. She continued, and spoke of blocks of color then stopped, stood back, partially , I think realizing, sometimes regardless of getting the light right, a good painting is a good painting. I finished knocking the colors together and removing all details. Went to see what another painter and assitant was doing. He had built up a good painting, as well. I told him I thought I had something too, he had commented as much, just 10 minutes prior. When I told him of Hilda’s reaction to it, he said, it’s best to just follow the instructors direction and perhaps the meaning would become clear. I then looked & found an opportunity to tell Hilda how I came to the workshop and showed her some of my most recent artworks, to give some context and tell her what my goal was, to see and understand the light saturated color in which she painted. The day was done and I got back to the Hotel. I had taken some photos, I had every day since the workshop began. I had taken a photo of Hilda’s and my piece that day. Eureeka, side by side in the photos we had the same color range, I had got it. While my broken color had everything there it wasn’t until they were blended, could the instructor, standing right up on it, see if I had it correct. I was thinking painting, I should have been thinking color study and realised this way of seeing and the approach is just the opposite of my regular one.

Day #4-Before I left for the workshop, I had told Don it seemed that no matter how I painted, Hilda would correct it the other direction. I felt that she was perhaps challenging me. He said, “it’s like a zen riddle, to see what you got, go with it,” and so I did. Light is a fleeting thing, to say the least. The day began as a bright shiny one and so we, set up our easels & painted from atop the dune crest this time over looking the sea. I just love the view high upon the crest where we’re staying, ironically the crest, as it turned out, is also where we’re doing the last three days of our color studies.I painted the trees in the foreground, cottages, ocean & sky. No I was painting blocks of color and was told, “yes, that’s better.” Then our sunny sky closed in, an overcast one. That means my warm & cool color variations changed and that equals a scrap off and a start over. So I scraped off and began again. More relaxed and going with the flow, I painted the scene, light included and so 1 piece completed. But was told,” to think color study not painting, find the light.” I believe Hilda’s guidance has been so beneficial and I’m so psyched to have had this opportunity to paint with her.

Day #5-The last day, was a full sunny one atop the dune crest and I stuck, strictly to color studies and finding the fleeting light. They were a great bunch of people to paint with. I walked around easel to easel, to see what others were doing. Hilda and the group huddled around her as she corrected anothers painting, explaining what she saw, as she worked. I worked the patches of color in a minalimist way akin, in my head, to Rothko. Hilda made her way to me. Are you afraid of color, she said. No look, I responded. The painting at an angle, lined up the 3 layers of the scape perfectly. I squinted down and said, If you look all the colors are spot on. “Really” she retorted, “come now.” “Are you color blind,” she playfully asked, as she began to correct my piece. “no I have a keen sense of color” I said and another painter said, “That’s another kind of color. So it was as Hilda corrected the center areas of my color study, Within each of the centers of land, sea & sky, she left the correct color notes of light.I said, yes that’s perfect and I did another study and Hilda came by again and said, yes, that’s better and I responded ,”yes, I’ve seen the light!” To which she, with a smile on her face said,” that’d be a great title for an article, I said it will be my blog.

Rarely do the stares align, but, it’s always been my mission to seek and find those artists whom I have shared ideas with & who best encapsulate the finest qualities in art and study with them. Hilda Neily is such an artist of these qualities. It has truly been both a challenging & an eye opening experience. Hilda said, “See you next year,” another assitant said to come to some of the ‘drop ins’, & ‘C’ said, “you know you’re a really good artist”. As an painter/artist I am always studying and working out a new problem, it’s the nature of painting the painting & hopefully finding the light, Hilda is such a light.

~Richard

as always your questions & comments are welcome.

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Hilda Neily/Richard Sperry collabrative color study,  (The blocks of color are me, the light in the center are Hilda, light blue in the sky, bright blue in the water & more yellow in the shrubs/trees/grasses. Exactly what I had in mind.)

Hilda Neily/Richard Sperry collabrative color study,

(The blocks of color are me, the light in the center are Hilda, light blue in the sky, bright blue in the water & more yellow in the shrubs/trees/grasses. Exactly what I had in mind.)

Art, Nature & Soul #28

One fall the 3rd week of October, some 15 years ago, Don, myself and three of our pups, loaded up in our Dodge Grand Caravan and headed for Mount Desert Island (MDI) Maine. On a road trip you can take in the colors of fall and they were particularly vibrant this year as we drove from Illinois to Maine observing the different trees and colors of the states. We arrived in the coastal town of Bar Harbor on MDI and ”it’s so beautiful”, that’s right beautiful & I continued to say that more times than ever before over our week stay. It was solidly 55-75 degrees & perfect walking weather.

New England has always been of fascination to me. I had family out east when I was growing up. The ocean, its old world charm and history had me hooked from the beginning. Everywhere on MDI was yet another picuresque and paintable vista around every turn and so was the inspiration for this piece. A nested harbor for the lobster man of Maine. Egg Rock Light is in the distance as gulls and sea birds circle around in search of food, flanked by spits of land & coastal pines. It’s a cool day and the waters are choppy, but perfect for the fisherman as the boats come and go in search of their catch of the day. A seagull sits sentry upon the scene as the men on the docks pull up cages, small boat, still another sits fishing while a lobster scurries loose on the pier unbeknowst to all but the pup, Kai-Guy, our oldest & first Shiba Inu, knows its there and wants to play.

Its lasting impression survives in this and other such images I created and painted of the area. Where , the sea beckons me, people still make there living fishing, & lobster is served every which you can, even as fast food.

As always feel free to comment. ~Richard

Rock Lobster, 30”x24” oil (2008) NFS

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Art, Nature & Soul #27

Commissions Welcome! While it would be great if everything one painted sold, it’s not the case. The truth is, if you’re a more prolific artist, you produce a lot of art. The majority of it is good, some superior and fewer pieces, are just experiments that went askew . That said, the market is satuarated with art, artists and painters trying to sell their work, especially in recent history. It seems a great many people are trying to find a more balanced lifestyle, thus, creating fills the need, that’s great and I encourage that whole heartedly. I’ve often thought about holding & teaching an art expression/therapy group. I still may, in the near future.

That said, commissioned artwork is yet another avenue of services, that I offer, as painter. From abstract to portraits and everywhere in between, even bookcovers, have been some of the requests I’ve honored upon commission. It can be more of a challenge to paint commissioned piece, as it’s, in part bridging a clients vision to mine. Although most clients know what I do and their expectations correlate to them from the start. I’ve been doing commissioned work since I was a young teenager. Some of them commercial business signs, still others pastel portraits, & even stained glass windows, are some works I’ve accomplished upon request .

This piece was commissioned by a person who had a particular vision. She lives here in the midwest & winters on the Georgia coast. The beach, ocean, & it’s abundant life, plus it’s calming effect have a great appeal to her. The sandpipers scurry and feed along the shoreline. It was with a certain color pallette and look, intended that this piece was executed and delivered to another happy collector.

as always, Your questions & comments are welcome

~Richard

‘Shoreline Beachcombers’ 24”x20” oil on canvas (Commissioned 2018)

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Art, Nature & Soul #26

Warning! Sharing Taboo Speakings, He said, Tongue in Cheek~ Some 35 years ago, filled with all the passion and thirst for kowledge of a young man in his teens/20s, I pondered the meaning of life, with that came the questions of religion, particularly, world religions. Then, 25 years ago, having recently become fascinated with the impressionists, post-impressionists & expressionists, with a high interest in Van Gogh/Gauguin, my ‘Blue Jesus’ emerged, merging Van Gogh’s ‘Starry Night’ & Gauguin’s ‘Yellow Christ’.

Being primarily of Western European descent and raised in the midwest U.S.A. , as a young child went to a Baptist Church and then later a non-demominational Bible Church, until age 12, as was part of the custom for a moral/ethical upbringing and education, at the time. But my life particulars and experiences, for a vast variety of reasons, including confused and blurred teachings within the churches that I went to, had me questioning these ideas from an early age and sometime in High School I began to reach out for answers and study the primary religions of the world.

Interestingly, I discovered that from the earliest mythologies to the most ancient religions, a great many of the stories were similar, like the creation story. So much so, as it were, three major religions had the same origins book. The Christian, Jewish and Muslim religions are basically derived from the same book. It also seemed that much of the daily living info was practical to its time. More important is we need to keep in mind that language has changed over time as well, so it’s important to understand a words meaning in its time, not ours, and varied translations. It then became abundently clear that the divisions were unique to geographic and cultural enviornments, thus human thought process’s and logic. So it was the regional prophets of God, the universe & everything were different, while the messages were similar. So much so are the divisions though, even within the various sects of christianity and the various preacher/priests teaching, that the message had become seemingly lost to dogma & ritual. That being the common threads & central messsage of most religions~

They/we believe in, love, and honor God(however you define it), don’t do evil, selfish, and destructive things., & do good, loving, kind, and useful things instead.

Having found that when you pulled only the words of Jesus from the Bible this supported that message. Then I discovered the Unitarian/Universalists, and it was a perfect fit for me. As I realized, I did not need to make others beliefs wrong, in order to have mine, so it is that I cherish and study the peoples of the world and their various religions, so it was impressionism, post-impressionism & expressionism, for the most part, a better way for me share my ideas utilizing the visual art form, as they were more emotive and less literal.

“Blessed are the peacemakers: for they shall be called the children of God.”

~Jesus

As always, feel free to comment, peace & love always~ Richard

‘Blue Jesus’ 20”x24” oil on linen (1994)

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Art, Nature & Soul #25

En plein air is the act of painting outdoors, it literally translates, as such. But not only, it's also an approach, a matter-of-factness of impression & an expression of directness. Here's a study, I just completed from a photo.

It’s a rarity that I have time to paint outdoors with the busy life and commitments I have. But, I do spend a fair amount of time walking with the pups, twice a day, most everyday. It’s meditative, an opportunity to take all of natures beauty in, and observe it’s ever changing cycles in their abundance. Walking that much, usually around sunrise and sunset, is an opportunity to observe and I remember when I first discovered when the leaves on trees in the fall first begin to change colors. Simply, it’s where first light falls on them and day after day you can see it as the light angle changes over weeks, a month as we move closer to winter.

My eye captures the first idea of the scene. Most often I have my camera with me to capture another interpretation. Then I begin to interpret yet another at the easel, choosing a color palette & painting the painting. Most often I’m not trying to copy nature but rather express my interpretation of it. The colors are choosen to give the atmosphere I’m trying to convey. The shapes and form are often exagerated to give emphasis to the more emotive aspects of nature. Most of the time they are completed ‘Alla Prima’ (in one sitting) and sometimes going back, a day or two latter to tweek the details, thus the medium is in part the message.

Anyone who knows me, knows I love a walk on the beach with the pups and so it was I captured a fleeting moment of joy & bliss, in this oil painting on board.

As always, feel free to comment or ask questions

~Richard

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A Walk On The Beach 12”x12” oil on board

Art, Nature & Soul #24

Blue has always been my favorite color. Those of a more color sensitive nature, will appreciate the tonal nature of this piece and the line I’m playing between abstract & representational art.

We went out to Cape Cod, back in 2014, it had been over a decade since I had been to the ocean. Where the vast sea and sky meet, has left a lasting impression on me. I have painted both abstract and representational artworks for over a quarter century now. Typically they have been seperate entities, with an ocassional mixing of the two on the same canvas. In an effort to unify my body of work, I began trying to break down representational ideas into they’re more abstract forms, with the intention of leaving some of those representational things intact, on the canvas.

Having studied some of my most favorite artists, both living and dead, approaches to achieving they’re goals in their artworks, I set forth to create my own trademark look. The thought being , not to do what they do, but to discover what makes/made their work successful, make my work better and perhaps apply it to my own. The list of artist is to long to state here, but you may be surprised at who they are, so ask me sometime, I’m glad to share and promote them. Myself having mostly experimented and having very little formal training, found this to be a revelation of process’s.

Here is one of the early results of a more tonal concept & approach. A variety of blue and white paints, a multitude of painting tools, a complimentary color toned canvas and the inspiration that the sea & sky provided, along with the words of one of my favorite American thinkers.

“Live in the sunshine, swim the sea, drink the wild air.”
― Ralph Waldo Emerson

As always, feel free to ask question or comment,

~Richard R. Sperry

Blue Haze' 24"x24" oil on canvas

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Art, Nature & Soul #23

Standing on a beach looking out over the vast sky and sea, stirs the imagination. In fact all bodies of water do that for me, ocean, lake, river & pond alike. Like a map they mostly converge and are connected in some way across the globe. Having grown up in a near suburb of Chicago, the Great Lakes were a fascination and later the Atlantic ocean. They, the water, bring me a great serenity & peace, but also a sense of the turbulence & reckoning of lifes possibilitites. I still spend as much time as possible near the water and at the beach. I live along the Fox River in Illinois.

Memories of my own childhood were sparked when I saw this photo of a friends child at the beach, shovel and bucket in hand. What can I create today? A question posed then setting forth to create castles in the sand. Lost in the moment, you sort of disappear, nothing else exists and all the sights, sounds, smells, tastes and thoughts subconsiously moving you along as the sun energizes your every action.

The majority of my non-abstract & current artwork feature scenes of large bodies of water. The vast and seemingly ubiqutous nature of looking out over the the sea, and the ever growing sense of complete isolation, yet connection to all life, is overwhelming as conveyed. Using all my emotion, skill, and tools, I’m setting forth, on canvas, to create a non-static relief, making you, the viewer, a part of the scene. My palette in place and using acrylic & oil paint, brushes, palette knives, & sculpting tools, I go at it, always trying to convey a sense of motion and depth, until I’m satisfied with the emotional content, as well. So please, let me take you to the beach.

As always, feel free to comment and ask questions, commissions available,

~Richard

'Boy at the Beach', 30"x20" oil on canvas (SOLD)

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Art, Nature & Soul #21

The Sandhill Crane~ Theses incredible birds, began visiting us early spring 2013 and have come every season thereafter. As it turns out, the pond behind our home is perfect for raising a couple of fledglings. Every spring they come, nest and we wait to see if they have one or two chicks. The parents begin to raise them, take them out of the pond, training and showing them , how to survive. The adults are so familar with us, they allow us and our current pups to walk within feet of them. Throughout the season, we watch and photograph these wonderful birds as they go through their annual cycle. Interestingly, their plumage changes with the seasons to give them cover from predators. The dusty blue/gray feathers, against the burnt orange coloring is my favorte. As fall arrives the colors turn more mud gray to blend in , they begin the lift off dance and flight training for the long migration south begins. A favorite of my observation times to behold them. They stay longer than I think they will and sometimes I’ve captured some great photos of them on the pond in a snow fall. They stick around, until almost Christmas every year and are gone about three months before returning for another season. I always wish them happy trails and with a little hope, anticipate their return in spring.

On a somewhat mystical note, if not only a, there are no concidences type thinking. I had raised a family of 4 Shiba Inus, a father, mother, daughter and son. The first, the father was Kai-Guy, the ambassador. The male pup, Kodi, was adopted by a family, we dog sit him, about twice a year throughout his life and he returned to us toward the end of his life. They lived nice long lives and in 2012 the last two passed on, Snowy, the daughter at 15.5 years and then the mom, Sunny just before her 17th year, that November. People who know me, know my feelings on life, the universe and how everything is connected in ways and for reasons we do not always see, know or understand. With that said, the Sandhill Cranes arrived early the next spring. I’ve come to see them as incarnations of our family of pups. It may seem odd to many, but it has been a beautiful way for me to cope with their losses. Life is for the greater %, how we choose to see it & what we make of it.

The painting style and techniques in this painting are a fusion of decades of experimenting and learning, come together on canvas. I usually begin with a three color splash and drip, tonal wash, to find the rhythm of the piece. Then a liberal amount of Titanium White is swirled upon the canvas before I begin adding design elements of color, shape, texture, line, balance & harmony. Typically, I think about the fractal nature of the physical world, patterns within patterns, within patterns, broke up by random chaos. My color palette has been fairly consistant and refined over more than a quarter century. I use brushes, palette knives, scratching tools and kleenex to move the paint around until I’m satisfied with the results, it’s then completed with a scratched in, signature.

'At the Pond', 24"x20" oil on canvas (2017) private collection

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Art, Nature & Soul #20

Portrait & figurative artwork, has always appealed to me. Striving to understand both the physical, and the emotional aspects of the human form and expressing them into an artistic translation, has been an aspiration of mine. As a very shy, reserved and introverted child, I often had a camera or drawing utensil with me in, in which to observe and capture the physical psyche of a person, in an effort to understand mine and everyone elses.

From a photo snapshots, bic pen doodles & caricatures, to pen & ink cross contours, ebony pencil drawings & soft pastel portraits in high school, my interest in the human form increased. With that and my drive to understand myself and the people around me, sent me realling in all directions of artistic expression and then finally acrylic and oil painting. I experimented & explored the various genres & applications, all continuing to create and expand my base of learning, as untrained artist with alittle formal education in the arena. Art has always served as my escape, my cahtarsis and therapy.

Fusing the physical and emotional aspects of a person, in a figure or portrait can be quite a donting challenge and yet I wouldn’t have it any other way. To capture the spirit of the soul of a person, not only their appearance or expression, Is quite a thrill when it happens. While I priamarily do abstract and minamalistic, transitional scapes these days, occassionally I do a portrait or figurative piece and sometimes I receive a commission, such was the case with this piece.

‘SCOTT” 16”x20” oil on linen SOLD Commission Work

As always feel free to comment, and know I take commissions and ship.

~Richard

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Art, Nature & Soul #14

I have raised a variety of critters most of my life. As a child we had dogs, birds, fish & turtles, as an adult cats, dogs, birds, fish, tortoises and even hermit crabs have been companion critters. I've always felt it was important for children to raise a pet of some sort, to teach them a healthy respect for, and understanding of, other animal life. If you haven't raised a critter or two you probably did not know they also have an emotional life.

At one point we raised a family of Shiba Inus. A father, mother, daughter, & son, this is a  mother/daughter piece I painted the year they both passed being the last surviving members of that pack. Sunny nearly 17(on right) and Snowy 15 1/2(on left) had a tamaltuous and sometimes competitive relationship, most of their lives. In their final years, while always protective, they became very nurturing,  tender and loving  of each other. There were a great many moments caught on camera & film and this one in paint of one of thoose fleeting moments of endearment.

Me, not generally being of a realistic or literal visual interpretive nature, but more of an emotive one, went to work painting them.  I tend to like a more alla prima, direct, & intuitive approach, to capture and transmit my emotional visual energies to canvas, in an attempt to avoid a contrived, overthought or static relief. With a combination of oil paint, brush, and palette knife, I intended to carve a matter-of-fact rendition of the two that captures both their likeness's, as well as the emotions of this tender moment shared by them, mother and daughter and was most happy with the results.  

As always feel free to coment.

'Still Moments' 20"x16" oil on canvas (2012, NFS)    

  

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