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The latest news is one that I can’t make totally public — a well-respected NYC architect invited me to hang six small and one large painting in her office in midtown. The paintings will be on loan for about six months.  It is an exciting opportunity to have my work potentially seen by high end residential and commercial clients, but it is not “open to the public”. I let the architect select which paintings she’d like. I was most surprised that she chose these three interiors:

corner of the studio

Corner of the Studio

 

vermont condo dining area

Vermont Condo

warm glow in living room

Warm Glow in Living Room

And not so surprised about these three cityscapes:

ginger's bar

Ginger’s Bar

abc construction co.

ABC Construction Co.

Purple and Blue Awnings on Smith Street

Purple and Blue Awnings on Smith Street

And, I was most pleased that she chose this large unusual composition that I started while at the Vermont Studio Center (a month-long artist residency). I reworked it a few years later in my own Brooklyn studio to “correct” the light (thanks to looking at some Hopper interiors!).

Studio in Vermont

Studio in Vermont

Cross your fingers that someone will be interested in taking a piece home with them (after paying, of course!).

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I saw this view near the end of this past fall as I walked toward my parked car. The combination of late afternoon light on the tall weeds and stark shapes of the buildings surrounding the lot caught my eye.  It called for a large-ish canvas (for me, anyway!), and all I had was an old linen one that had a painting on it from a couple of years ago that I had worked on for months, expending many frustrating hours on it – it was supposed to be an ode to Matisse with models and background draped in multi-patterned fabrics. But, never mind. That painting was not to live on in perpetuity except perhaps if some curious art historian decides to x-ray the new painting a few hundred years from now… Anyway, I digress!

I found this painting to a bit challenging. The areas in shadow needed to remain interesting and contribute to the sense of depth. Once I got the shadowed areas figured out, the lit areas made more sense. This is often the case when painting – “it’s all relative”.

In the end, I thoroughly enjoyed working on this painting, creating glazed layers to mimic the patina of the old paints and stains on the back sides of the old buildings.

Lot on 8th Street, oil on linen, 18"x24"

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