Night Watchman

Night Watchman  –  22 x 36

Vincent has returned…

But it started with this sketch drawn last summer
on the first night he showed up for duty…

Then came this “Study for Nightwatch”,
painted to keep the image fresh in my mind
and to play around with the light…

Once I got that worked out, I was ready to go…but…
You see I had to wait for the sunflower to grow up.

The back story of this bunny’s journey from early spring garden bed
to his position on studio night watch
was chronicled in the Painter’s Notes for the study.

I’ve copied them here for you to read…
but you already know the ending…

Painter’s Notes for Study for Nightwatch

You know that first warm sunny day
when you understand that winter has
at least one more round in her
but damnation you are going
to clean out a garden bed…any bed.

On just such a day last March
we both huddled in our warmest fleece,
Herself putting her boots up in the sky chair
and myself blowing the cobwebs off of my weeding bench,
we passed a lovely hour or two
warming old bones in the afternoon sun.

I was hoeing away happily
when I saw something odd.

Just under the drying stalks
of last year’s hyssop
was a layer of what looked like fur.

I often throw the leavings of Finn’s coat
after her weekly brushings
out into the garden
or on top of the nearest snowbank
during the coldest months

So that was my first guess.

Then the fur moved.

Ok yes,
I screamed.

Woke Herself up actually…
and then she screamed.

Not ten minutes before
while I had been weeding the adjoining bed
I had said to Pat…
Now I’m going to be really careful because this is where
those bunnies were nesting last year.

So…the synapses fired up…
and collided.

Approaching cautiously
and much calmer now
I moved aside the covering layer of dry grasses
and peeked under the grey and white blanket of fur…

and sure enough
tiny baby bunnies
nestled in a hollow
the size of a teacup.

Oh the tenders
and gawd…
I had been hacking away
had I nicked one before the discovery ?

I tried my best to restore order to the nest
but I had removed almost all of the weedy
canopy that had made this new spot seem promising.

So, I added some leaves to the top
and found a wide wicker basket
and laid it over the nest
and offered up a prayer to mother nature for their souls

For the next two mornings I stood over the nest
and looked for signs of life.
Both times I saw the slightest rise and fall of the leaves
and the next day Kory came.

He’s helping me with the yard work and
as far as I can tell…so far
he has no fears.
Ok a slight shimmy in his step when he happens upon
a large spider…
but otherwise he’s a rock solid go to guy for wild animal taming.

Kory lifted the basket
and the leaves
and the fur
and sure enough
there were three living breathing bunnies
curled up in their teacup.

As anyone who knows me well
will tell you
they all got names.

Seeing as they were born in my herb bed
I dubbed them, Hyssop and Thyme and Vincent.
The last just in the case I had, accidentally mind you,
nicked one with the ancient Japanese weeding tool.

A few days later they were gone.

A week after that two of them jumped out of the way
of the string trimmer I was just about to swing along
the stone edging of the hydrangea bed.

Then, every afternoon for a month,
all three showed up at my new bird feeders,
which I have moved right outside of my easel window.

One of them kept lingering
later and later into the dusk
after siblings and squirrels
finches and doves
had long since gotten into their jammies
and been tucked into their beds.

On this night
as I was waiting for him
the sunset sent extra long low rays
through the bottom of the fence
and shooting across the tops of the grass.

And like that
the bunny hopped into that shaft of light
and stood completely still
for hours
keeping me company
as if he were on guard.

Then one of his ears twitched
and caught the fading light
and I saw the notch.

Now I am waiting for my sunflowers
to grow tall enough to pose
as the source of those angling rays
in the big portrait I want to paint…

of Vincent.

Mercy,, Mercy, Mercy

Mercy, Mercy, Mercy  –  22 x 26

It was the 80’s.

I was working at the Harvard Coop which was then quite a hopping place. In the middle of Harvard Square was a tiny alley paved in colonial cobblestone called Palmer Street. At the top of that alley was a hole in the wall music cafe called Club Passim. If you are of a certain age and had a soul that craved folk music then you already knew that.

I went to their website just now to get my facts right and it would appear it first came on the scene the year I was born, 1958, in the form of Club 47. That’s sorta fun. In 1969 it was established as the Club Passim that I came to know and love. It boasted the likes of Baez and Dylan taking the postage stamp of a stage. In my era I saw Tom Rush, Suzanne (New York City) Vega, Shawn Colvin.

But I had a unique view of that musical mecca. Literally.

Just across the alley and up one floor was the closet of a frame room which I managed for most of that decade. And for the first part of that tenure it was a windowless workshop. Until…while on a muffin break, I came up the stairs from the basement club and looked up. Huh. I never really gave it much thought but there are windows up there…where my desk was…only I faced plywood when I framed.

There was always a big turnover in that frameroom…think young college students and musicians needing work to bridge the gap until the rest of their lives came calling. On that day I had a particularly crazy group of framers who actually did go on to become musicians. Look up Sluggo…I dare you. He is a founding member of The Grannies.

A band which I am too musically challenged to classify but I can attest to the fact that Dug, excuse me Sluggo, was and is one of the grandest humans in the land. Big big heart that guy. It gives my own heart tremendous pleasure to add that he now owns and operates FRAME, voted 2017 winner of best frame shop in San Francisco.

So, with all that burgeoning creative energy working around me, I hurried up the back stairs to the closet and started pulling things off the makeshift shelving in front of what I now knew was a window. We began with a drill. A very small hole. And the light poured in.

Over the course of what I remember as a few days we enlarged that hole and waited to see if anyone discovered us. Then we got out a saw. A very small saw. After which we had a  deck of card sized hole. Waited a bit more but at this point we could actually see the weather. The next phase brought us what I remember being a horizontal rectangle about the length of a pair of my reeboks at the time. And that’s where Club Passim re-enters the story.

I could now see the top of their steps.

Where I once saw Nanci Griffith ( big fan ) leaning against the brick wall with one elbow on her guitar case and the other one lifting a cigarette to her lips. We could watch the lines form for evening concerts and the occasional film crew that came through. One famous actor (Follansbee would remember his name, Gene Wilder and Sidney Poitier come to my mind) had to run through the alley carrying a dozen eggs which he bobbled and splattered on the cobblestones. They had to clean the whole mess up after every take of which I saw three.

And here’s were the painting comes in…

I could also look down from my peep hole perch and see…my saxophone goddess.

Her name I have forgotten but not her long curly red hair…and her chops.
She would throw her case open and lean into some sweet jazz that wafted on the salty Cambridge air straight up to our window and into my heart. When I saddled my nerve I tossed a quarter in her case and asked if she gave lessons.

In my brief career as a sax player I learned two songs. As Time Goes By from Casablanca, and Cannonball Adderly’s Mercy, Mercy, Mercy.

The instrument has traveled with me lo these many decades since and somehow the muses found it this winter and brought it down from the old prop room as a dare.

As you see, I called their collective bluff, but it started, as many paintings do, with a simple gesture…

Our renegade window did eventually get spotted. Some big wig saw the light emanating from it as I worked late one night. I got all kinds of yelled at and we had to cover it back up, which may or may not have been a clandestinely removable patch.

In my dreams now it is open and I can see the stars above the chimneyed rooftops.

And I have told Herself
that if I go first
she will know
every time she hears a saxophone…
it’ll be me.

 

 

Night Philosopher

Night Philosopher  –  20 x 30

No single painting can tell the whole story.

Hell, even a story can’t tell the whole story.

Having Peter Follansbee for a best friend for over half my life has been pretty damn great.

A lot of people know him now,
he’s a famous woodworker, teacher, and …philosopher.

But what most of those people don’t know…
is that his mother Mary was a rock star.

I never knew anyone who didn’t think the world of Mary Follansbee, and I wouldn’t want to spend five seconds on a park bench with anyone who says otherwise.

She held a family of five kids together after her husband died way too early and ruled that roost with an iron skillet of a soul and a Boston Irish yell the memory of which can still make my spine snap right on up.

She challenged her righteous catholic faith openly, had little time for sarcasm but had all the time in the world to listen for the truth.

Her devotion to civil rights was on a cellular level and love was the solid core from which she moved through the world.

I miss her…her fierce abiding love…and her popovers…every day.

Those of you seeing this painting, or reading these notes, will know how important birds are in Peter’s life. He’s as fanatical about them now as he used to be about the Boston Celtics. No painting of Peter would even try to tell the whole story without an ornithological reference.

But what you may not know is that it was Mary who taught him to love those birds.

And the very first bird that she taught him to recognize was…the cedar waxwing.

So she’s there
just over his shoulder
his biggest champion
who would be mighty proud
to know that his children
can spot a cedar waxwing
from a country mile away.

 

A Little Night Knitting

A Little Night Knitting  –  18 x 18

On those long winter nights
alone on an island
pining for her captain

the rhythmic click click clicking
of the long metal needles is heard

as they catch the moon beams
dancing over waves

that somewhere
oceans away

have lapped along the starboard side
of a weathered wooden ship.

As she knits
and purls
and knits
and purls

the tips of those needles
wave a tiny patter of light

a private message
in a language of their own
sweet and sacred semaphore.


 

Ok,
now I see it.

The muses are leading us into a story of their own making.
I stumbled upon that while writing the Painter’s Notes just now.

Apparently the captain has left his mitten back home
onshore, with her.

As she plys her own ribbing
by the light of an island moon,
I wonder for whom do they knit ?

And from where is that nuthatch pulling her strand ?

Above is the original sketch I found in a pile of sketches.

I never know where these ideas come from,
but I have learned to jot them down forthwith.

It’s interesting to see the twists and turns
that happen along the way
from a spark of idea
snatched out of the ether
and set aside to percolate.

I’m curious now…
The brushes and I are in for the ride.

Granary Gallery 2019

It has become a tradition to unroll the new paintings for the annual Granary Gallery show here on the blog. The work flow has evolved along with the technology and I now use the time spent focusing on each painting, loading them individually onto my website, as the time I also write their accompanying Painter’s Notes.

So, for the next fifteen days, picture me in the studio office, sitting in a comfy chair,
this is my view…

And let me say right off the bat…
the best part about this view…
this week…
is that it is air-conditioned.

I wrote in the last blog post about adding the photographing of each painting into that aforementioned work flow. After shooting, the files get brought here at the mothership to be processed in Photoshop. That tech part I am comfortable with and once I have an archivally satisfactory image stored on my hard drive I can begin getting them up on my website.

So, with no further ado…I give you…

GG 2019

Captain’s Log  –  18 x 24

This painting is all about the mitten.

For the featured summer shows, the staff at the Granary Gallery do something a little extra to bring each  artist’s work to life. They masterfully reflect the essence of the art work by arranging  antiques, props, artifacts and flowers subtly positioned to add depth and often whimsy to enhance the patron’s experience.

They stay late on the Saturday night before the openings and make all the decisions about hanging and arranging with a keen collective eye to design. So it is always a fun surprise to walk into the show on Sunday afternoon and see, for the first time, what they have created.

On one such occasion, tucked amongst a pile of some wooly and maritime artifacts which were displayed under one of my paintings,
I remebered it being one of the sheep
but it may have been the spinning loft
or quite possibly the black Irish horse Macy
anyway on this occasion…
I spied the mitten.

All of three inches, it was held to a tiny ball of yarn by four shiny steel needles thin enough to put inside the stem of a spring violet. I was in love. Honestly, to hold this gem in the palm of your hand and see the impossibly small stitches took this knitters’ breath clean away.

They said it had been found in an old sea captain’s chest. OK well there you go…I’m hooked. I begged to take it home to show the Muses and, now leaning against the window frame by my easel, it has become a powerful talisman. My imagination soars when I ponder who worked those triple ought sticks, who spun that finest of wool, for whom was it stitched, and on what fateful voyage.

Because it is what I do, I have begun to work some of these scenarios out… in paint.

There are two in this year’s show. So that probably means the Muses have a series in the cards.

The Captain’s Log let me play with some old favorites among the prop shelves. And I found some of my earliest homespun yarn which was almost as thin as that used by the captain…or was it his wife…or perhaps the harpooner…with which I tried a tiny ribbing stitch to get the feel of the needles.

Ouch. Those babies are surgically sharp. I had spent this last winter twiddling size one needles around while knitting socks, and my fingers had the callouses to prove it, but the Captain’s sticks are wicked barbed wee deevils. I have a new respect for the men and women of the Aran Islands shown in old black and white photos flying those same steel shafts around at high speed while simultaneously tending their flocks and seeing to supper and minding the bairns lo those centuries ago.

Ah…when idle hands…
and magical gallery moments
meet on the easel…

whatever will come next…

 

 

Dreams and Secrets

Feeling mournful on this morning,
I am finding the light I seek
in the wonders of a grandchild.

There are two new paintings
which I am packaging up today
to wing their way out to Santa Fe
to the Sugarman Peterson Gallery

May they bring you some peace.

Dreamcatcher  –  20 x 22

Not sure if it’s the finch or her perch
but this tender glancing gesture
reminds me of a little poem
by Micheal Longley…

 

A TOUCH

after the irish

she is the touch of pink
on crab apple blossoms
and hawthorn and she melts
frost flowers with her finger

 

AND…

“There are no secrets we keep from our shoes.”  –  16 x 20

Always willingly,
but quite unknowingly,
Zoe helped me tell a story
which I’d been wanting to tell
for many many years…

Shortly after his wife Polly died
my pal Ted brought down from the attic
tied together with one sturdy twined string
a pair of purple suede pumps,
saying Polly had wanted me to have these.

Then he told me the story
that, when on a trip to San Francisco,
they had bought this pair of shoes
for a special occasion
and Ted, being Ted,
had gussied them up with some sparkly silver painted swirls
and they, the Meinelts and their shoes
had danced the night away.

When it came time to pack for the trip home
the shoes wouldn’t fit in their suitcase.
So, Polly being Polly,
she slapped some shipping labels on the soles
tied them together with that twine
and dropped them in the closest US Mail box.

In gifting them to me
I understood that the torch of a challenge
had been passed.

Over the years
the sparkle paint has faded
but the purple of those pumps
has kept on popping that story
into my creative consciousness.

Along the way,
and true to form,
the Muses threw a title down like a gauntlet…

While listening to Alexander McCall Smith’s
The #1 Ladies Detective Agency series,
a perennial studio favorite,
the character Mma Grace Makutsi,
she who graduated at 97% in her secretarial class,
utters the line..
“There are no secrets we keep from our shoes.”

The context is a bit complicated to explain
and if you’ve read this far in these painter’s notes
then you probably are already familiar
with the conversations Grace has with her shoes,
and if you aren’t then you are in for a treat
as I believe there are up to 19 books in that series now
and no, I cannot remember well enough to credit the exact
volume in which this line appears, apologies to Mr. Smith.

What is relevant for our story here
is that I stopped the flying brushes
and wrote that line down
on a scrap of paper
which has made the cut  on every list
in each sketchbook since
of what I want to paint next.

So…
when Zoe was visiting the studio last summer
and she had emptied the drawer of all the aprons
and had carefully tied each one of them on
one on top of the other,
and she asked if I had any shoes to go with her outfit…

well there ya go.

It wasn’t until she took a break from all that cooking
and collapsed with a hrrrumph
into the comfy easel chair
and propped up her exhausted and aching feet
and the muses veritably SCREAMED at me
that I…finally…had my way in.

I don’t know whether this train
will take her all the way to Botswana
but I know with all my heart
that in her dreams…
those shoes are dancing.

Contemporary Realism at Gallery 1261

Back in the studio, and my how those brushes have flown…

Island Indigo  – 10″ x 12″

The Flying Lesson  –  13.5″ x 12.5″

I am pleased to post these two new paintings which will be winging their way to Denver next week, for the opening of …

Contemporary Realism at Gallery 1261 in Denver, Colorado

They have a powerhouse collection of artists featured in this show and you can preview the work by clicking on this link…Click Here.

As we settle back home, after a whirlwind week at the Granary Gallery show, the studio has a bit more room to move around in and the muses are taking full advantage. No rest for the artiste…I am being given short spurts of time off to harvest the tomatoes, and pluck the odd green bean or two…then it is right back to the easel.

So watch this space…

Now that this new website is blazingly fast, it will be a pleasure to send out blog posts in a more regular and timely fashion. Thanks as ever, for coming along on this ride.

H

 

Anchored in Autumn

Anchored in Autumn  –  74 x 48

Step out with me
onto this majestic wooden porch
and into the glorious autumn air
on the island of Martha’s Vineyard.

What stretches out before you
is Edgartown Harbor
on a morning when only the stalwart
working fisherman are plowing the waters
sending out gently lapping waves in their wake.

I’ve been trying to find a way in
to paint this harbor’s horizon line for years.
When Anne Vose invited me to this boathouse
last October, and I stepped out onto this porch
I had found it.

In order to get the widest view of this historic waterfront,
the perspective is a huge component in the composition.
Long expanse of two and three story buildings
means a wide panel with a thin line of tiny houses
and a whole lot of sea and sky.

So to have the boathouse act as a frame
and the boats in harbor to help provide a swing of direction for the eye
it was possible for me to tell a richer story.
One that connects the generations of an island family
with the vibrant history and culture of an active island town.

I’ve given you an idea of some of the cobblestones
on the road that lead me here.

Now I want to let you zoom in and see
some of the brushstrokes that occupied
the 80 days and 80 nights I spent at the easel
to complete the journey…

 

 

…and I leave you with my personally favorite part of this painting…

The Boathouse

The Boathouse  –  34 x 28

After climbing down those long steep steps from the bluff
and peeking around inside the room below
we have climbed up again
to the top floor of the boathouse.

Last fall I was invited by Anne Vose to join her on the porch
and take an artistic measure of the historic structure.

While she and Pat sat in rockers outside
solving all the problems of the world
I explored the world of wonders within.

I talked, in The Changing Room painters notes,
about the way the water reflects the sunlight back up
into the room and bounces off the differing surfaces.

Up here, another level above the ocean,
the angles are longer and sharper
so they jut straight up into the corners
of the veridian stained rafters
and then ease down to those luscious wooden walls
to nestle softly on the antique weavings of carpet and chintz.

And that light engages with every one
of the deep rich colors inhabiting this chamber.

Those stairs rippling through the old glass in the back window
are echoed in the black and white photo framed alongside.
The robin’s egg blue that was once the only color
on the glider’s frame repeats on the inside window frames
then fades into a pale sage green on the mouldings’ exteriors.

The deep red of the oriental carpet
is straight out of my Barok Red tube of Old Holland Paint,
and the hunter green might as well have a fox running out ahead.

And then there are the faces…
the teasing visages of the man carved in the table
and the pastel of the flirtatious flapper.

Like the shiny dots of sunlight
around the edges of the porcelain
there was a glisten in the corner of her eye
when Anne recounted the day the pilings were
being repaired and one whole side of the boathouse
collapsed into the harbor.

Not only can you trace the depth of the family’s roots
through the objects in this room
but you can understand the core feelings
of love for this vintage island treasure
in the emotional telling of that tale…

right up until she gets to the part
where she chuckles and says…

not…
one…
single…
plate…
nor cream pitcher…
or teacup…

was so much as nicked by the calamity.

That’s what I call a
prevailingly powerful karma.

The Changing Room

The Changing Room  —  20 x 24

Come along with me
as we go back in time

to a boathouse in a harbor
in what they call the shoulder season,
those weeks between the chaos of summer
with traffic and tourists and hot muggy sunburns,
and the first frosts of the winter to come.

You arrive at the top of a very high bluff
with a vast harbor spread out before you.
Then you climb down
and down
and down
two very long flights of white washed steps
then across the wooden planked dock …

To he Vose Boathouse
an historic architectural wonder
built directly in the Edgartown Harbor.
The family received a letter of approval from the war department
in 1899 (it hangs on the wall today) for it to be built there
and nothing says Vintage Vineyard like this space.

We will begin our painterly tour
with a peak into that first door you come to
just through the dock gate
on the bottom floor
into what I have called
the changing room

The lovingly maintained wooden doors,
with their inlayed repairs for repurposed hardware,
line two walls with small locker rooms
that each have windows framing
expansive views of the harbor
and out across to the tiny island of Chappaquiddick.

The light bounces softly across the water
and lays like a butterfly on the kid glove surfaces
of that weathered wood
then sparkles off of the lacquered canoes
and the worn ochre of an oar.

But my favorite part
is that there are spaces in between each floorboard
through which you can see the iridescent sea beneath.

As the sun slants in the October morning light
the colors below are breathtaking.

From the classic canoe
to the sweeping parsons bench
there is something solidly New England here.

It was so quiet when I was working there
that the only sounds were the gulls cawing overhead
and the gentle lapping of the wakes as the working fisherman
motored their way out past the boathouse out to sea.

I can picture it now…
in a family filled summer
with the noises of
children wriggling into swimsuits
and parents toting wicker baskets
which the grandparents have stuffed
with picnics and rainhats…

and through the years
and all of that chaos
and glee
I can feel the boathouse
enfolding them all
like a great big
cedar wrapped hug.