These pictures are from a personal art show in Vancouver, WA, with support of the Mosaic Arts Alliance. Vinnie's Pizza is one of the organization's venues, with a gallery-like exhibition space set a bit apart from the main restaurant.  I was invited to exhibit works in July and August, and was very excited to create the eleven pieces necessary to fill the space. All the paintings were done on oil-primed linen canvas. The technique I used starts with an underpainting that it is done in water-mixable oils. I then proceed working with regular oil paints. I like painting mostly in the alla prima(wet-on-wet) technique, but sometimes I employ a combination of both traditional and the alla prima techniques. All my paintings are varnished upon completion for protection. 

"Reflecting Color and Light" 6"x 6", oil

“In order for the light to shine so brightly, the darkness must be present.” – Sir Francis Bacon 

When I set up this painting, I was interested in a traditional approach while creating a warm atmosphere.I pulled out my warm colors like cadmium red and cadmium yellow and complemented them with ultramarine blue. I also used a low light that brought out the brightness of each of the local color and their reflections.

"Sunflower on White Cloth" 6"x 6", oil"

"Light-enchanted sunflower, thou
Who gazest ever true and tender
On the sun's revolving splendour."
- Pedro Calderon de la Barca

" Sunflower on White Cloth" was painted when my husband brought me a beautiful bouquet of sunflowers. I love their bright color but I didn't want to rival their brilliant yellow orange hue by adding any other strong color. So I kept the palette limited to three main colors: cadmium yellow, cadmium red, ivory black to which I added white. The subdued atmosphere I created has an ambiance that brings the sunflower's rich colors out. The softness of the white cloth contrasts with the sunflower's brilliant hues. 

"Red Begonia with  Lemon"  8 x 8, oil

SOLD
(This piece is in a private collection in Tampa, Florida)

“Aspirin is so good for roses, brandy for sweet peas, and a
squeeze of lemon-juice for the fleshy flowers, like begonias.” 

Gerald Durrell, My Family and Other Animals

I  have been looking for a while at David Leffel's paintings, and have also read his book " Oil Painting Secrets from a Master".

I wanted to apply some of his teachings in "Red Begonia with Lemon". Now, I'm not sure how much of his teachings I was able to apply in this painting, but I am sure that I was able to capture something of the lighting and atmosphere that Leffel emphasizes in his book. 

Glass Bowl with Tangerine, 6 x 6, oil

SOLD
(This piece is in a private collection in Pearland, Texas)

"There is no blue without yellow and without orange."

Vincent Van Gogh

My inspiration for "Glass Bowl with Tangerine" came from a modern-looking bowl I found, and I thought it deserved to be in a painting with a modern color scheme as well. 

The background became a beautiful purple-blue, complementing the vibrant orange of the tangerine in the foreground. Overall I am satisfied with both the brilliant colors and a contemporary look.

Red Flowers With Citrus, 5"x 7", oil

Used throughout a room, orange can become surprisingly neutral 

and yet it can be bright and mood-enhancing. (Jonathan Adler),

"Red Flowers with Citrus" was painted on a linen panel. Whenever I paint on linen, my paintings get a traditional look to them. The low lighting is reminiscent of a chiaroscuro painting. Also, the little  mandarins have an appealing warm glow. There is a mysterious atmosphere that surrounds this warm painting. I almost feel that there should be a candle somewhere in the background.

Crystal Light with Fruit, 8"x 8", oil

SOLD
(This piece is in a private collection in Grass Valley, California.)

“Imagine a Carthage sown with salt, and all the sowers gone, and the seeds
lain however long in the earth, till there rose finally in vegetable profusion
leaves and trees of rime and brine. What flowering would there be in such
a garden? Light would force each salt calyx to open in prisms, and to fruit
heavily with bright globes of water–-peaches and grapes are little more than
that, and where the world was salt there would be greater need of slaking. 

Marilynne Robinson, "Housekeeping"

 Before painting "Crystal Light with Fruit" I wanted to use a light that was coming from the back.of my still life .That kind of lighting made a dramatic change in the way the objects were hit by the light or reflected it. I thought that the original pattern it created on the horizontal  plane was interesting and challenging and worth the effort to paint.

Apple in Kaleidoscope Light, 5"x 7", oil

“I found I could say things with color and shapes that I couldn’t 

say any other way – things I had no words for.” 

Georgia O’Keeffe

When I set up this still life I wanted to create a simple composition--an apple on a cobalt plate with a teaspoon next to it. The light was extremely bright that day, resulting in a background that became a kaleidoscope of lights reflecting the varied colors of the objects. I was tempted to make an abstract painting, but resisted the temptation and put as much effort into creating the brightest and most colorful image I could paint.

In the Afternoon Light, 6" x 8", oil

Sold

(This piece is in a private collection in Burien, Washington)

“How swiftly the strained honey

of afternoon light

flows into darkness

and the closed bud shrugs off

its special mystery

in order to break into blossom:

as if what exists, exists

so that it can be lostI 

and become precious”

― Lisel Mueller

With "In the Afternoon Light" I wanted to capture the glorious light that comes through the North window and onto my still life's objects. The glass takes on a life of its own and looks like it is filled with pieces of precious stones. (I have always been fascinated by those drops of light that glow like diamonds.) The colors of the fruit receive a warm glow when the light spreads to them, enriching everything it touches and giving the painting an inner life.

Morning Light, 6"x 6", oil

Sold

(This piece is in a private collection in Pearland, Texas)

"Colors change; in the morning light, red shines out bright and clear and the blues merge into their surroundings, melting into the greens; but by evening the reds loose their piquancy, embracing a quieter tone and shifting toward the blues in the rainbow.  Yellow flowers remain bright, and white ones become luminous, shining like ghostly figures against a darkening green background."

― Rosemary Verey, The Scented Garden, 1981

This painting was done mostly during the early hours of the morning. I liked the reflections of the light through the glass onto the table. The light doesn't reach far enough to bathe the apple as well and because of that it looks dark but rich in color. The painting was done in the alla prima technique.

Tangerine  Sunset, 6"x 8", oil

“Soon it got dusk, a grapy dusk, a purple dusk over tangerine groves and long melon fields; the sun the color of pressed grapes, slashed with burgandy red, the fields the color of love and Spanish mysteries.”

― Jack Kerouac, On the Road

"Tangerine Sunset" is a still life that has a life of its own. I wanted to create a bright composition that started with the radiant color of the fruit and have it spread over the object accompanying it and continuing on into the background. The orange glow of the satin cloth took on the appearance of a landscape seen in a glorious sunset. The cup is decorated with a design inspired by the Spanish architect Antoni Gaudí. It was a gift from my daughter when she visited Spain.

Ripe Pears on a Plate, 6"x 8", oil

"A man watches his pear-tree day after day, impatient for the ripening of the fruit. Let him attempt to force the process, and he may spoil both fruit and tree. But let him patiently wait, and the ripe pear at length falls into his lap!" 

―  Abraham Lincoln

"Ripe Pears on a Plate" was inspired by Fiorelli pears that I admired at the market and bought with the idea that they would make for a wonderful painting. They provide bright and colorful ornaments on the plate, but, having always loved fruit above any other food, I had to resist a strong temptation  to eat my still life before it even found it way onto the canvas...

Pink Rose with Shell, 6" x 6", oil

"There is nothing more difficult for a truly creative painter than to paint a rose, because
before he can do so he has first to forget all the roses that were ever painted."

―  Henri Matisse

When I started to paint "Pink Rose with Shell" I was interested in capturing the delicate colors of the rose and shell. But by using a folded, golden silk cloth as a background my interest shifted. I noticed that it had added an interesting landscape-like formation of hills and sunset light. The sheen of the cloth gave depth and luminosity to my still life. I am very happy with the outcome.

Yellow Flowers with Egg and Lime , 6" x 6", oil

“Daffodowndilly

She wore her yellow sun-bonnet,

She wore her greenest gown;

She turned to the south wind

And curtsied up and down.

She turned to the sunlight

And shook her yellow head,

And whispered to her neighbor:

"Winter is dead.” 

― A.A. Milne, When We Were Very Young

"Yellow Flowers with Egg and Lime" was my reaction to the first signs of springtime. When I saw the verdant tendrils of spring peaking at me through my window, I knew it was time to change my pallet. Giving it an "extreme make-over", I swapped out the dark hues for my brightest colors. My composition kind of emerged by itself. When I was done, I put my brushes down immediately as to not lose the freshness of the image I had just created. 

Pears with White Flowers, 6"x 6", oil

"May it be a light to you in dark places, when all other lights go out.”
J.R.R. Tolkien, Fellowship of the Ring

This painting was inspired by the rich color of the bosc pears and the cashmere shawl upon which I laid them. The warm colors of the shawl brought out the pears' tones and also were reflected in the metal bowl. 

 I realized though that the painting needed some light-colored object. Looking out the window I noticed these miniature white daffodils in my garden, and knew instantly that they would work just perfect. The pears look like they come out of the darkness and the flowers are little lights dancing in attendance.

Mandarin with Pewter Cup, 6"x 6", oil

"Mandarin with Pewter Cup" was painted after my first attempt didn't satisfy me completely (with respect to the composition). This second time I painted the same arrangement in what I saw as a more free and modern way of expressing the subject. 

Silver Goblet with Apples, 8"x 6", oil

In this painting I wanted to show the contrast between the smooth, shiny bowl of the goblet and its more patterned stem. The apples and the leaves introduce even more variety to the textures rendered. The reflections seem to enhance the whole picture even more.

Red Rose with White Cup,  6"x 6", oil

"Red Rose with White Cup" has been done as a follow-up after "Red Rose with Pewter Cup". I loved the composition and I wanted to try a variation. I am pleased with the more modern outcome of the background. The rose was very fresh when it was given to me so it was still looking great. 

Red Rose with Pewter Cup, 6"x 6", oil
SOLD

The beautiful red rose that I received from my husband on Valentine's Day inspired me to do this piece. I wanted the rose to stand out and to render some of the softness and rich color of red velvet. The rest of the composition I made it so that it appeared to retreat, with the colors being more muted yet reflecting the rich red of the rose.

Blue Cup with Clementines, Oil, 6" x 8"
SOLD

"Blue Cup with Clementines" was intended to be a simple study. In the beginning I just wanted to focus on the clementines, but I ended putting as much work into the cup and the blueberries. After I decided how the light was going to strike every object, the execution was straightforward. I am happy with the result, but wish I could have kept closer to my original intent.