Rocks and Surf

"Rocks and Surf", 8 x 10 In, Oil, 2020

NFS

Rock Study #4

"Rock Study #4", 6 x 8 In, Oil, 2014

Painted on a trip to Vancouver Island in 2014.

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Westport

"Westport", 8 x 10 In, Oil, 2020

Westport is about an hour drive from Olympia, and whether warm or cold, gray or clear skies, I love to walk the beach with the crashing waves of the Pacific.
SOLD

Ulie's Boat

"Ulie's Boat", 10 x 12 In, Oil on Museum Board

I painted Ulie's turquoise sailboat in September 2019 at the Bainbridge Island Plein Air Washington paint-out. We painted at the harbor and on the main street of Winslow. I can't remember who told me it belonged to Ulie, maybe Sylvia.


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Fisherman Bay North

"Fisherman Bay North", 8 x 10 In, Oil on Museum Board
This painting is from a trip to Lopez Island in 2012. I'm continuing to work on my artwork inventory and still surprised by the paintings that I find.

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Dock at Ediz Hook - SOLD

"Dock at Ediz Hook", 12 x 10 In, Oil on Museum Board

I am happy to say that "Dock at Ediz Hook" was accepted in the 2019 American Impressionist Small Work Exhibition in June, 2019.

Painted on a pier on Ediz Hook in Port Angeles, this painting won "Best Architecture" award from Judge Eric Jacobsen in the 2018 Paint the Peninsula competition on the Olympic Peninsula in Washington State. I painted happily with my friend, Jeanne Edwards, during the competition.

SOLD

The Strait

"The Strait", 9 x 9 In, Oil on Museum Board

We are blessed here in the Pacific Northwest with the sky, the mountains and the inland waters of the Strait of Juan de Fuca and Puget Sound. I'm thinking a great deal these days about the tragedies of the recent horrific escape of the Atlantic salmon, many diseased from being penned together in close quarters, from the industrial net pen aquaculture in Puget Sound (banned in California and Alaska) (see http://www.bellinghamherald.com/news/local/article174002181.html) and the equally horrific expansion of geoduck aquaculture on the beautiful tidelands of Puget Sound, using 43,560 PVC pipes (7 miles/16 tons) per acre. (See http://protectzanglecove.org).

Our Department of Ecology is ringing its hands like a 5-year old because it is caught between some inkling of the right thing to do and the apparent fear of the aquaculture industry. The Department buys the industry's interpretation of our Shoreline Management Act without blinking an eye or apparently even reading the Act. I may be wrong about this--regarding the 5-year oldness, because I'm guessing many 5-year olds have more brains and guts than the adults in charge of environmental decisions regarding Puget Sound in our state. The pretense of "protecting and restoring Puget Sound" and at the same time allowing these industrial operations is completely hypocritical and without conscience.

Rocks and Waves

"Rocks and Waves", 10 x 12 In, Oil on Museum Board

Sometimes I struggle with a painting. This one I did twice, thinking the second time I could resolve the problems, which mainly had to do with basic lifelessness. But the second one was just as bad. So I got mad. I took my #10 brush, loaded it up with paint that was not at all the color I had thought was the right color, just sort of random color that was on my palette mixed with other random color, and with abandon randomly painted over what was there, sort of with my eyes closed--metaphorically speaking. I let something else "decide." And it was surprisingly much better! The next day there were a couple of things I thought I would "fix", until I realized that was the whole point. This must be a metaphor for a certain attitude toward life, but I admit I can't quite make it out--how random it actually is.

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Cape Disappointment

"Cape Disappointment", 8 x 10 In, Oil on Museum Board

It is cold and wet outside and our environmental issue is on hold until January, so at last I have been painting every day in my studio. But I haven't gotten back in the habit of posting! And posting brings its own angst--when I haven't painted for awhile, in some ways I feel like I am at the beginning again. So all my paintings these days are practice and experiment--but I guess they always were, anyway.

Lopez Island Cliff - NFS

"Lopez Island Cliff", 8 x 10 In, Oil on Museum Board

After working on our neighborhood issue related to the proposed industrial geoduck operation in Zangle Cove for so many hours the last three months, I finally went through my photos on a rainy day in my studio, got out my paints and brushes and did what actually makes me feel good--paint! It was Alison Engle, a family member who lives on San Juan Island, who wondered if it was Watmough Bay. The San Juan's are magical islands in the northern part of Puget Sound and yes, our Plein Air Washington group was painting there maybe in 2012.

NFS

Nisqually Sky

"Nisqually Sky", 10 x 12 In, Oil on Museum Board
Our plein air group always makes Nisqually the first of our paint-outs for the year. This is the Nisqually Delta, where the river, originating from the Nisqually Glacier on Mount Rainier, flows into the estuary of Puget Sound. It is a beautiful flat marshy area with foot paths, meandering streams and raised walkways. The sky is big and the delta the home of innumerable species of birds and wildlife.

Fort Casey Beach Road

"Fort Casey Beach Road", 10 x 10 In, Oil on Museum Board

Sometimes I look at a view and it doesn't seem like much and so the lack of a definitive or
spectacular subject becomes a different kind of lesson. It requires a different kind of thinking.

I wish I could tell you what went on in my mind after those first thoughts about this view,
but I don't remember! But I'm guessing, looking at the painting now, that it had a lot to do
with sticking to abstraction.


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Dana Passage

5/13/15 "Dana Passage", 11 x 14, Oil on Museum Board, Unframed

This is the view from my studio and back deck--ever changing tides and sky. It is always there to paint!

Pricing for this unframed painting.
Contact me if you would like to purchase a plein air frame.

Zangle Tideland

"Zangle Tideland", 8 x 8 In, Oil on Museum Board, Unframed

To paint over and over what is directly in front of you--that is the exercise of a lifetime.

Pricing for this unframed painting.
Contact me if you would like to purchase a plein air frame.

Across to Whidbey

"Across to Whidbey", 8 x 10 In, Oil on Museum Board

This was a fast 45 minute painting from Chetzemoka Park in Port Townsend looking across the channel to Whidbey Island. I was teaching an outdoor painting class to a group of wonderfully spirited women painters. It was intense and a lot of fun--

Zangle Gray Day

"Zangle Gray Day", 6 x 6 In, Oil on Museum Board

The last Zangle Cove painting was done with a palette knife. This very small painting was done with a big round brush. The experiment is the joy of painting.

Purchase this unframed painting.
Contact me if you would like to purchase a plein air frame.

White Boathouse

"White Boathouse", 8 x 10 In, Oil on Museum Board, Unframed

When I clean up my studio I find paintings! This one is from about a year ago, painting with Eric Jacobson somewhere near Gig Harbor. The photo of the paintings is not too good, so when I get back from my trip, I may replace it!

Rocks and Waves

"Rocks and Waves", 8 x 10 In, Oil on Museum Board, Unframed

This was painted up on the coast near Ucluelet on Vancouver Island. I had done several paintings of the scene on the day before with bright sun and blue waters. But the weather came and so the colors were so different, and I decided to leave it as a simple sketch.

Cape Disappointment

"Cape Disappointment", 9 x 9 In, Oil on Museum Board, Unframed

This is another painting done about a year ago down at the mouth of the Columbia River. There is a wonderful park with both the rocks of the coast and the immense expanse of the river.

Port Townsend Beach

"Port Townsend Beach", 8 x 10 In, Oil on Museum Board, Unframed
I'm still going through my paintings from the last months and finding the ones from about a year ago when folks from Plein Air Washington painted up at Port Townsend--a community that sits on the point between Puget Sound and the Strait of Juan de Fuca.