Evolution of a Work - 'Tree Groves - Hot Midday'Tree'

I started this painting outdoors on a hot, August midday.  I know that this is often not a very amenable time of day to paint, since the light is straight overhead. Yet in this case, I like how the shadows directly under the trees anchor them to the ground.   I blocked in most of the main shapes, trying to get the intervals between the tree groups accurate, since this rhythm of spacing was one of the things that most interested me about the scene.

'Tree Groves' - initial plein air sketch

In this second stage below, I concentrated on developing the color and texture in the foreground.  I also did a wash, liquifying the pastel with mineral spirits to solidify the major shapes.  I felt like the foreground needed something to hold it in place, and the reddish color seemed to do it.  I might have gotten the idea from some dried grasses which were in the scene, but more than anything, it just seemed called for.

'Tree Groves' - colors added

The main adjustments to finish the painting then were to darken and define the trees a bit more.

'Tree Groves - Hot Midday' by Alice Kelsey - completed

I like the varied distances between the tree trunks, and the way the more active pastel strokes in the foreground contrast with the quieter ones in the background, leading to a sense of space and distance.

Evolution of a Work - "Spruce Creek - Plein Air'

I went out painting with a friend in early spring along Spruce Creek near Colrain Furnace.  We clamored around, dragging easels and boxes of pastels over logs and along steep hillsides, trying not to fall into the creek.  I was starting to think that we were wasting effort and might not find an inspiring spot to paint, until we  turned around and saw a striking light.  And then my focus suddenly shifted from wandering to a hurry-up challenge of capturing the scene before the light changed. 

I was most interested in the bright light and radiant colors on the far right bank.  The shadow areas and dark trees on the left were important in setting up this 'glow' of the sunlit area as contrast to it.  The triangular shapes of color also interested me in how different sections interacted with each other- for instance, the red grassy bank on the right abuts a green triangle of reflected color in the water, and as complementary (opposite on the color wheel) colors, they energize one another.   The cool blue interacts similarly with the pale yellow.

Sketch from on-location

I remember feeling somewhat at a loss on location.  Even though I was seeing all of these interesting things, I felt that I hadn't managed to get them down on paper.  Repeating the scrambling trek back to the car, I felt discouraged like I wasn't bringing anything of value back home.

After putting the plein air start out of sight for a few days, I pulled it out and was surprised that I liked it.  The overview of colors and shapes and their interactions were more apparent to me, and I felt they only needed to be more fully integrated.  Cropping the image to an upper square took out the distracting detail and unrelated shapes which were in the foreground, and left the dynamic interactions which had first drawn me to this scene. You can see below that I cropped quite a bit out from the original plein air start (in the photo below, you can see the tape that defines a cropped section.  Also notice the pastel marks on the bottom tape- I often test colors on the tape border before using them on the painting itself). 

Cropping to improve the composition

Now that the overall shape motifs and colors had emerged, I worked to finish the painting with a satisfying sense of wholeness, not just a literal copy of the scene.  I darkened the pine tree on the left, and stroked in a triangle of orange directly under it just because it felt like it needed to be there as a counterpoint to the other colors in the image.  The dark mass of the tree makes the light areas on the top right seem even brighter by contrast, thereby emphasizing the main aspect of the scene which had really spoken to me. 

'Spruce Creek - Plein Air' by Alice Kelsey - finished

I feel satisfied looking at the final piece, and am pleased that it went on to be juried into a national show, and was recently purchased.  Looking back on the evolution of this painting, I'm surprised that I could have left the scene that day feeling like I'd failed to do justice to what I was seeing.  Reflecting further, I realize that I often feel this uncertainty in the early stages of my works.  I'm coming to realize that this uncertainty is a necessary part of the creating process for me.... the work evolves one stepping stone at a time, following leads about where it needs to go.

Show Opening in Bellefonte

"Red Barn and Shed in Winter", Oil

I attended the opening reception for the Holiday Show and Sale at the Bellefonte Art Museum today, and enjoyed seeing an interesting array of artwork by area artists. The show looks colorful and inviting, with paintings in many media and styles, photographs, prints, fiber arts, ceramics, and wood boxes and sculpture. Three of my paintings (two oils of local landscapes, and a pastel still life of a plum 'with attitude') are exhibited and available for purchase, including the one shown above. The show/sale continues through January 13, and I hope that you get a chance to see it. Here's the specifics:

Where: Bellefonte Art Museum, 133 N. Allegheny St., Bellefonte, PA
When: Nov. 30 - Jan. 13
Hours:  Fridays - Sundays, 12 - 4:30 pm

Palmer Museum- Gallery Talk

I attended a gallery talk about Japanese Woodblock Prints at the Palmer Museum on Friday, and enjoyed it immensely! The museum has a special exhibit of these works, "Floating Between Worlds: A Conversation about Japanese Woodblock Prints", which ends December 9. Gallery talks and other special events take place several times a month at the Palmer Museum, and I'm really glad to have these opportunities to learn about different media and styles! If you're interested, check out http://www.palmermuseum.psu.edu/events.html

Evolution of a Work - 'Winter Field and Wild Cherry'

I like the peaceful feeling and sense of distance in this piece, which was inspired during a walk around a neighbor's farm.  In winter, neutral colors predominated, and the red of twigs on the cherry trees became even more prominent in contrast to the background colors.

'Winter Field and Wild Cherry' by Alice Kelsey - completed

I set up my easel and made this quick pastel sketch on location.  It was pretty cold, so there was no question of working for a prolonged time!  Even though I recorded only the bare essence of the scene, there is something about painting on location that enables me to see more and get a feel of the conditions of that particular day.

Initial sketch made on location

Back in the studio, I worked over the top of the field sketch (see image below), elaborating on the colors, emphasizing the pull to the distance with colors growing lighter and bluer, and the energetic tangle of the red twigs.  I liked the mood and feel of the piece, but I just didn't feel the composition was resolved.  My eye didn't move throughout it- rather the two trees in the foreground either drew my attention or my eye moved to the hedgerow... but the parts of the painting didn't seem to relate to each other, and the shapes didn't lead my eye to circulate throughout the painting in a pleasing way.

'Winter Field and Wild Cherry' part way done

For several months I was stuck on what to do with this piece, until one day after I hadn't seen it for a while, I pulled it out from storage and I saw what it needed.  I took out the base of the left hand foreground tree, and then cropped out the left side of the painting, leaving about two-thirds of the original composition (compare the pre-crop and final version of the painting below).  In this resulting square format, the movement from the right foreground tree to the hedgerow seems balanced and pleasing to me - my eye circulates freely through the painting without getting 'stuck' on any one spot.  I also simplified the shapes by quieting the colors in the fields, and taking out the underbrush in the left foreground because it created a visual barrier to the rest of the painting.

I really like this piece with its apparent simplicity, yet strong mood and lots of space and textures for the viewer to explore.  It has that harmony 'as a whole' that I strive for, and I'm really pleased when I can get it, like in this painting.  In the end, it really reminds me of what I felt walking on this land on that cold day (and my gratitude for being there).

'Winter Field and Wild Cherry' before cropping

'Winter Field and Wild Cherry' by Alice Kelsey - finished

Rewarding Time at Lewisburg's 'Stroll Through the Arts'

"Redbuds at the River"

I enjoyed sharing my artwork and talking with art appreciators last night at Faustina's Gallery in Lewisburg, PA. I was one of many artists in and about the town sharing our latest creations during the annual 'Art Stroll' event, and greatly appreciate the comments from viewers about what they see and feel in my paintings. Some frequent comments related to a strong sense of color, distinctive style, expressive gestural mark-making, and a poetic quality of overall mood. I'm really glad that these qualities in my paintings come through to viewers, since they are very powerful aspects of what inspires me as an artist, and what I feel that original visual art is able to add to enrich our lives. The joint exhibit, 'Upstream: Images of Susquehanna Waterways,' includes twenty of my recent oil and pastel paintings, and continues through November 17 at Faustina's Gallery. I hope that you get a chance to see it- if so, please let me know what you think! The gallery is located at 229 Market St., Lewisburg, PA and is open Tuesday - Saturday, 10 am - 5 pm, and by appointment (phone 570-524-5080.)

Studio Tour and Demo. Oct. 20 & 21

Alice Kelsey painting in studio

Here's an interesting, fun opportunity to see original artwork in many media, and a glimpse of the working set-up and approaches used by area artists. I'm one of over twenty artists participating in the Art Alliance of Central PA's "Fall Colors Studio Tour." I welcome you to visit my studio and studio gallery on Saturday, October 20 and Sunday, October 21, from 11 am to 4 pm. I'll display finished oil and pastel paintings in my studio gallery, and also demonstrate pastel technique with an in-progress work in my studio. I'd enjoy sharing my work, and workspace with you, and hope that you can drop by (637 Loveville Rd., Warriors Mark, PA 16877, 814-692-4438.) Might be fun to make a day of it with a road trip to many other studios as well! A brochure listing participating artists and a map can be found at http://www.artalliancepa.org/news.htm

Stream Paintings Coming Together

"Spruce Creek- Plein Air", Pastel

The series of paintings of area streams which I've been creating over the past year are coming together! As I finish framing them in preparation for the joint exhibit, and they hang next to each other on the walls of my studio gallery, they speak to me of the forces of nature and harmony in the places where I traveled to paint on location. In this series of paintings, I wanted to create a body of work giving an overview of the watershed (mostly tributaries to the West Branch Susquehanna), over four seasons. Together with fellow artist, friend, and flyfisher Jeanne McKinney, I painted at over twenty sites during the past year, from mountain brooks, to valley streams, and on to the Susquehanna itself.

As I frame the paintings one by one, the fifteen finished works which will soon be in the show gather on the walls of my studio gallery, enriching me with the 'voices' of these places, and resonance as a group. I am glad to have been to these places, and feel gratified in my part in capturing some of their spirit in oil and pastel. There is some of my voice too- a relatedness between the works in marks and touch- and I feel very satisfied in doing my work.

I'd love to share them with you if you are able to see the show (see www,alicekelsey.com for details of where & when.)

Juggling

I'm happy, yet tired, preparing for my joint exhibition which opens in a bit over three weeks. This time in the creative cycle, 'harvest time', feels a bit like juggling- keeping lots of balls up in the air in a steady rhythm- put those crucial finishing touches on paintings, choose frames, cut mats, mount painting in frame, and get the word out about the exhibit. I enjoy the process and satisfaction of each of these parts of my job as an artist , yet need to be very focused and reach a bit here and there to keep up with the cycle  of steps- if one ball falls, the whole process falls apart!

Luckily, I do know how to juggle (literally juggle, I mean- a fun little thing I fell in to learning many years ago.) Today I put varnish on custom hardwood frames made by my husband, worked on an oil painting, went on a walk, and tonight I'm framing, and loading art supplies in my backpack for an early morning plein air painting excursion. I'm looking forward to being back out in the land, which so consistently fills me back up again! AND, I'm really excited about the exhibit of this 'crop' of work (opens Oct. 19 at the Faustina Gallery in Lewisburg, PA)- I'll post more about that soon!

Evolution of a Work - 'White Deer Creek'

'White Deer Creek" by Alice Kelsey - finished

I was journeying around in R.B. Winter State Park in Central Pennsylvania with Jeanne McKinney, my collaborator for the "Upstream: Images of Susquehanna Waterways" show (which opens on Oct. 19 in Lewisburg, PA).  It was late afternoon, and we'd already been painting at a different stream.  I was tired and wasn't sure if I could find the creative energy to start a new work, but when we came across this scene along White Deer Creek, I lit up inside seeing the slanting sun strike the far bank, a dramatic light in the midst of deep woods darkish shadow. It glowed, and touched me, and soon I was immersed in painting.... just reaching for ways to somehow get close to putting on paper what I saw around me and my gratitude for it. I especially liked the triangle in the distance where the green bank glowed, and the reflections and cascades of several pools.   When I was working on the spot, I focused on trying to get that mood and the sense of light sparkling in, and capturing enough of the structure to remind me so I could work on it back in the studio, rather than worrying about the details. 

Plein air sketch made on location

When I looked at the sketch in the studio, I felt that the painting needed to be a bigger scale (size) than my initial field sketch (17" x 11".)  So I grabbed a 24" by 18" piece of paper, pretty big for a pastel, but something just called for that size- it was a Big Scene.  I really wanted to lay in lots of dark underneath because the wooded streams really are largely dark brown, and the other colors glow off that darkness.  So that's how I initially began working on the larger version, getting those darker values and basic drawing structure accurate, and working loosely to have some energy to harness.

Initial lay  studio version (large)

I then started to lay-in some colors, especially that lit up far bank that really inspired me on location.  I then  paid attention to the flow of the water with the three sections of riffles, where the white bands create a rhythm.  I lightened up the farther forest to help it recede.  I like the transparent look of the water pouring over the foreground rocks, with that 'slick', 'skimming' feel of moving water.  I am really happy with how the final painting holds on to what really spoke to me at that day and time, and for the gift of having been there to share in nature's creation.

Starting to lay in colors

Evolution of a work - 'Penns Creek in Sun and Shade'

I had walked in along Penns Creek near Weikert, and had that sudden feeling of connection to this spot.  As I examined that feeling, trying to pinpoint what struck me me about the scene - I organized the painting around these.  One was the sweep of the dark shaded woods in the background, an arc shape, contrasting to where the sun struck a little island on the right, where the grass was all lit up.  I was really interested in the reflections, part of them in the sun and part of them in the shade.  So I used a purpley/pink underpainting to capture the range of values out on location, and sense of motion and life.  I knew I needed a chance to unify the painting, and planned to do that back in the studio. 

As it came into the studio from working on location

I added more mid-tone subtleties, and more local color where the water in the foreground in the shade reflected the green of the tree, while still allowing some of the underpainting color to come through - this adds a quality of life and rich color.  I also added the warm colors in the area where the sun was striking the yellows of the sun-lit tree and island. 

After working on it in the studio - nearly done

I also adjusted where the riffles were located in front of the island, raising the right corner up a bit.  Even though the plein air sketch was how the scene actually was, the location of the riffles left a feeling of imbalance in the painting, of the right edge of the painting falling down. Just for the pictorial unity, I raised that up.  I really like the full of life and balanced feeling of the painting, which in the end it reflects what I connected with on location.

The Show is On!

Alice Kelsey at Longwood Art Gallery Opening Reception

Here I am surrounded by my pastel and oil paintings at the opening reception for my show at the Longwood Art Gallery in Kennett Square, PA! I enjoyed seeing my latest body of work displayed as a group, and talking with visitors about the process and the finished paintings. The show runs through September 29, and I'd be delighted to hear your comments if you get a chance to drop by- see my website www.alicekelsey.com for gallery hours and directions. Images of the paintings are also posted on my website if you'd like a 'virtual tour'!

Evolution of a Work - "Coming of Spring - Golden Evening Light"

Alice Kelsey painting field sketch for 'Coming of Spring - Golden Evening Light'

I was inspired to dash out with oil paints to our upper field on a spring evening when the horizontal golden light lit up the edge of the woods and a strip of the field.  I worked quickly to get some of it on a field sketch (see below).  The light was changing so quickly that the most helpful part of this process was being there engaging with it, not trying to instantly create a finished image. 

Original field sketch, 'Coming of Spring - Golden Evening Light"

From the field sketch, and mostly my memories and enthusiasm for being there, I created a larger in-studio version.  The large scale of the finished work seemed called for with the feeling of the scene.  I also like the changing of the day (into evening) and of the season (winter to spring) going on in this scene, and how the loose strokes helped convey that strong mood.

Completed painting 'Coming of Spring - Golden Evening Light" by Alice Kelsey.  Oil on Canvas  20" X 30"

This finished work is now at the Longwood Gallery in Kennett Square, in a beautiful gold frame, all ready for tomorrow's opening reception (September 7, 2012, 6 to 9 pm).  It is very satisfying for me to reflect on the journey from field to gallery, and to have an opportunity to show a body of my recent work as a featured artist this month at the Longwood Gallery.  The show runs through September 29, 2012.

Ready for Show! Paintings Return to Homeland!

"Homeland- Across the Valley", Pastel, 12 x 13 in.

Yes! My paintings are finished and framed, and ready to travel to eastern PA (Kennett Square) for an exhibition at The Longwood Art Gallery! I'm one of the featured artists at the gallery for the month of September, and will be there in person for the opening reception this coming Friday (9/7), 6 - 9 pm.

This show is especially meaningful for me since I'm returning with my artwork to the area where I grew up, and exhibiting paintings of this homeland which I started during May in a five day painting expedition to the area. I'm really pleased with the works themselves- lots of light and expressive strokes and colors- and there's something very special about my artwork being part of a cycle; this land nurtured me as an artist, and now I return with my artwork to celebrate the land! It would be wonderful to share the work with you if you are able to make it to the show!

My website (www.alicekelsey.com) also has images of works in the show (see 'New Works' section), and a new, improved feature where the image can be enlarged for a better view- just single-click on the thumbnail and see what happens!

Show Coming! Framing flurry!

Framing in-progress!

It's one week to delivery day for my exhibit at Longwood Art Gallery (Kennett Square, PA), and I'm busy framing the newest 'crop' of pastels and oils. Although it's a slow and exacting process (every 1/16" counts, and one smudge on a white mat does it in), I like seeing my paintings through to the final presentation, literally coming off the drawing board, and in to a protected and complimentary frame. Several pieces will be in natural unstained cherry hardwood (custom-made by my husband), and others will appear in a new style gold/ red undertone frame which I recently discovered and like a lot. For more info. about the exhibit in eastern PA (opening reception Friday, Sept. 7, 6- 9 pm), take a look a my website (www.alicekelsey.com)- there's also photos of many of my new works (more coming soon!)

Finishing Day

"Penns Creek in Sun and Shade", Pastel

I've been in the studio lately, completing a series of paintings which were started on location earlier this summer. It seems like I often work this way- explore around outdoors, find places which I resonate with, paint on location searching for the feel and colors of the place, and then bring home the 'starts'. Often I need to 'rest' the painting at this point, until I can see it more as a whole, and know what (usually little) touches it needs to come in to a pleasing balance and clear mood. This part is often the hardest for me, and I'm very pleased that several paintings have 'ripened' this week, and now stand on their own, ready to frame and go out in the world!

Frames: Choices and Construction

Tim making natural cherry frames

Here's a photo of my husband Tim working in his shop, making frames for my upcoming shows.

 I find that the frame is very important in presenting the painting- a final stage in finishing the work, really, since it can help to support the work, or may actually detract from it if doesn't harmonize with the painting. There's so many variables in moulding selection:  finish (wood, gold or silver leaf, shiny or matte), color,  width, texture (distressed or smooth), and shape to mention a few! I often prefer frames with clean and simple lines, and am very fortunate to have a husband who is a woodworker, and creates custom frames that partner beautifully with my work. I like how the grain of the wood, native Pennsylvania hardwoods such as cherry, maple, and walnut, creates gentle motion in the frame where my eye travels and returns to the painting. The natural wood seems especially pleasing with the series of paintings which I'll be exhibiting this fall- landscapes of Chester County, PA and paintings of central PA streams- more about this in upcoming posts! And then there's mat choices- single mat, double mat, color, etc.- sounds like something else to explore in a future entry!

If readers have any thoughts and experiences about framing choices, I'd love to hear your comments!

Many thanks, Tim!

Loss

I feel like a long-time friend once described- tumbled around like "I've just come out of the dryer."  My art-making has been at a standstill as I've been overwhelmed with trying to sort out my mom's health and financial needs.  She became abruptly confused and delusional in mid-May, and has not come back. Her need for constant supervision and care means an end to chapters in her life where she had once found meaning, and struggles for family to put new frameworks in place for her care and stability moving forward.

In the whirlwind of what must go- her art collection, her independence, her house, her recent memories- I reflect on what remains, and glimmers of new unexpected places where love and joy re-seed. She is charismatic and warm, as always. She loves art and music, and hearing about her grandchildren. She believes that she is once again running her art gallery or teaching school. She likes coconut cake quite a bit! My mom wants to go home, yet doesn't quite know where that might be... seems to fluctuate day-to-day, an amalgam of many places where she once lived and called home. Now I am struck with tenderness of both joy and sadness, in distilling values of what really counts in this life down to the immutable elements, what I see is Love and Joy and Peace. May my mom find this kind of home.

I think that I will paint these feelings and reflections, letting the canvas be whatever it needs to be. Maybe not something that ends up in a frame, or on a wall, but is nevertheless important. I thank my mom, along with many others, for affirming my calling as an artist. In her last house I found a book of my artwork in which I had inscribed "For my mom, with thanks for your appreciation, valuation, and affirmation of aesthetics." I also found paintings which she herself had done as a child, and one by my grand-father, and these I keep as deeply valuable in that inward way.

In these experiences, as losses pare away, the tender Joy which shines forth for me is the authenticity and importance of my calling as an artist. Something stirs more powerfully, more freely inside me to create, to do my purpose. I am grateful today to walk on, into my studio, warm up with gestural flashes, and develop works-in progress. I'm in the midst of completing a series of paintings of area streams which will be in a joint exhibit this fall, and to do this work, I myself need to be in the Current. I feel closer to this than ever. How Joyful, Loving, and Peaceful!

Painting Expedition to Rock Run

Alice Kelsey and Jeanne McKinney Painting at Rock Run

What a fine day! Yesterday, I went exploring and painting off the beaten path north of Williamsport. Fellow pastelist Jeanne McKinney, and I found a swift freestone stream, and painted on location throughout the day. My husband Tim helped out by 'testing the waters', flyfishing in pocket water and pools, as well as taking many spectacular photos of the stream, and the artists painting. Thanks, Tim!

I was struck by the tumbling, rumbling, rocky character of this stream, so different from the spring-fed limestone creeks near home. The water pounds over ledges, carves rock as it glides insistently, swirls kettles, and churns channels. The colors are remarkably different as well- pinkish, blueish rocks, and a glowing cool light green at the head of pools. We painted a run in the morning, and a junction pool (where a tributary enters) in the afternoon. Along the way to settling on these sites to paint, we saw a large waterfall (heard it pommeling down even before we could see it), and a little snake- great outdoors! The paintings which I brought home seem to have the colors, and feel of the current, and I'll work on them a bit in the studio as well to balance elements to a satisfying wholeness.

Demo Done!

I enjoyed sharing my artwork, and demonstrating the pastel medium during last weekend's 'Art in the Square' outdoor arts and crafts festival. Many thanks to Longwood Art Gallery for inviting me to do this demonstration!

It was an unusually chilly day, and I definitely felt in touch with the elements as I set my easel and pastels up on the sidewalk outside the gallery! My experience with outdoor painting, and appropriate gear and attire sure came in handy- I was grateful for my windproof pants, vest, and jacket, topped off with a ski cap. I sure hadn't expected to need all these layers in late April in Chester County! I enjoyed talking with passers-by about pastels, art in general, and my in-progress painting, and sense that people were excited about the beauty of the medium. In between talking with interesting people, and rubbing my hands to stay warm, I managed to nearly complete a pastel of a stream close to home. I also appreciated the kind and positive feedback from people about my work. All in all, it was a wonderful day, taking my art out in to the world!

Pastel Demonstration at Longwood Art Gallery

I've been invited to give a demonstration of pastel techniques at the Longwood Art Gallery this Saturday (4/28) at Kennett Square, PA! I'll be at the gallery from 11 am to 3 pm, with my plein air pastel equipment and a pastel painting in-progress. This event is part of the town's annual Art on the Square outdoor arts and crafts festival, and I'd enjoy talking with you if you have a chance to drop by. Twelve of my finished paintings are displayed in the gallery, and available for viewing and purchase. Hope to see you Saturday!

'Researching' and Painting

Gear for painting and 'research' (flyfishing)

I spent the day at the Little Juniata River today, for a combination of painting and flyfishing. Combining these two art forms actually does fit together nicely- having my waders on allowed me to get in to the middle of the river for a more pleasing composition to sketch one of the trestle bridges. And then some fish started to rise (come up to the surface of the water to eat hatching mayflies), so it was time for 'research', to put my paper down, pick up my rod, tie on a fly (which I made), and get out in the current. I had two fish on briefly (almost caught), and then things slowed down. Maybe I spooked the remaining fish, or maybe the hatch stopped, or something else changed that I can't figure out..... that's the way that it often goes with flyfishing, always a mystery to solve, and that's part of what I like so much about it. I also love the feel of casting itself, and am quite happy doing that even when I'm not catching anything! There's so much finess and feel- kind of like painting! Then I packed up, and moved to Spruce Creek to sketch the church.

The gear in the photo above (from left to right) includes a fly rod (in green case), fishing vest (beige), easel (wood), backpack for art supplies, and a box of pastels (Heilman backpacker size). Fine day! Tomorrow I work in the studio to finish pieces, and will post when ready (soon!)

Wonderful to Paint Outdoors!

Alice Kelsey painting at Spring Creek

With the sudden onrush of spring, I've taken off to paint outdoors, and it feels great! I love the feel of the elements- sun and wind and a touch of chill, and exploring on foot until I come upon places that speak to me. Right now, there's way too many to keep up with! I've been painting with a friend, and fellow artist Jeanne McKinney at area streams, and we've been out a dawn a few times to catch that special morning light and atmosphere. Even while searching for a motif, I saw many special things that I miss on an average day- a sliver of a moon beaming above darkness, a bald eagle, kindly people interested in art and flyfishing, a spring so forceful that it made bubbly rushing sounds underground about twenty yards before it emerged.. We also hiked in several miles to a remote mountain stream and old growth hemlock- a special place. I brought several 'starts' back to the studio, and am pleased to see the essence of these places in the images.

In Between (Seasons and Creating)

Alice Kelsey sketching crocuses (and cat watching)

I saw crocuses blooming right off our back porch yesterday, and was happy to see these bright, colorful harbingers of spring! I was eager to paint them, and yet couldn't quite put all of the elements together. Here's how it went.

It was rather cold, so I put on a bunch of layers, and started sketching. I saw luscious color, and wanted to try to 'get it', so I grabbed my pastel box, and started a pastel sketch. Then it started to snow heavily, getting the pastels all wet (which dissolves them), so I retreated indoors and waited until the squall left. I then layered on clothes and collected pastels again, and returned to painting outdoors. Next there were cat problems- our barn cat (see in upper left corner of photo) kept climbing all over me purring, and walking around obstructing my view of the crocuses. So I put the cat in the house! And then it started to snow heavily again! The more that I looked at the crocuses, the more that I saw a fantastic hard-to-name purpley-violet spiced with the aliveness of something growing..... and yet I couldn't find it in my pastels. And I admired the delicate forms of the plants, yet couldn't find a way to convey this with hands which felt cold and clumsy, and my focus scattered and dissipated in so many logistical challenges.

So right now I feel 'in-between'- an inspiration which fills me, yet I do not yet know how to put down on paper or canvas. I'll go out with the crocuses again today, and am thankful for the sun. And I'll put the cat in the house! And maybe I'll take oils to search for that color. I guess that there are these shifting times, stepping back and forth, in the natural world as well as creative process. I hope to continue growing!

Thinking of Spring

Here's a pastel which I finished today, featuring one of my favorite finds of spring- apple blossoms! I know that we're not quite there today, but I was happy to pull out an image which I started last spring from blossoms from an old variety apple tree that came with our farm. It's one of those tall, older varieties, that creates a nice sculptural form at the edge of our pasture. It was joyful to remember this tree and spring while working on this piece today!

Exploring and Sketching at Black Moshannon!

Black Moshannon State Park

Yesterday, I loaded up my backpack with pastels and easel, lunch, and a luxury item of a thermos of hot coffee, and went hiking in Black Moshannon State Park.

I feel renewed and curious about this unique place. The bog ecosystem seems to suspend season and time- traversing moss-coated, lumpy,  rhododendron- lined sections seemed like being in a rain forest- wet and lush, more water than land. In other sections, there was snow and ice, and deciduous trees more typical of central PA. As I walked further into the interior, I passed by springs swelling from the ground, vigorous enough to create small streams heading for the lake.

Reaching a quiet inner rhythm after a while, I realized that much of my connections with the place were with sound and touch, rather than my usually predominant visual sense. I heard the wind sweep the treetops, musical bubbly trickles in the springs, and my footsteps squish in mud and moss, crunch on winter berry, and silent on sandy stretches. Warmth beamed from the sun and coolness from snow. Time seemed hard to finger.... saturated and savored richly in the moment, yet somehow evaporating before I knew it.... I guess much like the wetland itself! I did a few pencil sketches, yet the greatest treasure from the journey was the touch and sounds of the earth here where they are so close to the surface to share in, and fill my heart and spirit.

Handmade Pastel Palettes

Here's a photo of a wonderful gift from my husband! He used his woodworking skills and ingenuity to create five shallow wooden boxes to hold my pastels for in-progress paintings. This temporary storage system allows me to keep a 'palette' for each painting that I'm working on, saving the time and sometimes challenging hunt for finding just the right color for a given work. It also suits my style of creating, often working in bursts over weeks to months on each painting, resting the work until I'm clear what it needs. The curly maple box (foreground) and walnut box (on left) each contain pastel pieces which I am using for paintings this week. The boxes stack (see three stacked boxes at top of photo), an are easy to store on a shelf away from my working surface- also helpful since my studio space is small. Another nice design feature that Tim invented is the use of different woods for each box- easy to tell apart, and pretty to boot! Thanks, Tim!

Paintings Off to New Home!

I spent much of the morning today packing two paintings snugly in foam-padded Airfloat crates, and delivering them in to the hands of FedEx to ship to their new home! One of the paintings, pictured above, was recently included in a national juried exhibition in VA. I'm really happy that the works were selected to become parts of the lives of others and reach farther out in the world!

Start and Finish!

"Field and Fall Woods in Mist", Pastel, 11 x 16 in

In-Progress

Here's a pastel which I just finished (top photo). Looking back to where it started (bottom photo), I'm surprised to see how much it 'grew', and some of the ways in which it needed to change that I couldn't know until I got going with it- kind of like a trek in to uncharted land. Unlike most of my works (which begin en plein air), this one derived from a photo which my husband took at Camp Woodward. I began the pastel as a demo during the pastel workshop which I taught with the Standing Stone Art League this fall, and the bottom photo shows the wash technique which I wanted to teach (see brush strokes and transparent passages). I like to keep starts loose and simple, to establish energy and related shapes, which can be built upon and refined once present, yet are hard to add on as 'retrofits' late in the process. I liked the mood of calm interest (mist and bright colors), and arc forms, and centered the painting around these elements. Part way through, I extended the arc in the left foreground (lower left field) all the way across the image to 'support' the right side and balance the arcs elsewhere in the painting (in trees, background ridges, and the negative space of the sky). I'm pleased with the 'wholeness' of the finished work, and can look at it a long time and still find more to notice. It's fun and instructive to see 'before and after'!