The powerful influence of Great Cranberry Island has continued through the fall and into the winter. Paintings develop from both drawings and photographs, coupled with the memory of that light-filled September experience. While living there, the paintings reflected my complete physical and emotional immersion in the space, and my experience of direct observation of its specific places. At home, the influence of the island has remained with me, but has been filtered through the lens of routine activity, thoughts of daily life, and current situations. The structures of the island became part of my visual landscape vocabulary and can now be translated into more personal images.
Previous posts have featured the drawings that resulted from my residency, as well as the process of creating new work from them. (http://ninajerome.blogspot.com/2016/11/drawing-from-drawing.html) I continue that work on paper interspersed with periods of painting on canvas. They inform each other.
Previous posts have featured the drawings that resulted from my residency, as well as the process of creating new work from them. (http://ninajerome.blogspot.com/2016/11/drawing-from-drawing.html) I continue that work on paper interspersed with periods of painting on canvas. They inform each other.
Twilight, The Pool - September, 24x30, oil
Evening Surge, 24x30, oil
Backshore Rift, 56x60, oil
Painting and drawing juxtaposition showing the original drawing source with the larger finished painting.
Deadman's Point, Upside Down, oil, 48x60
Blowdown, Long Point, 24x30, oil on canvas, 2017
Blowdown, Long Point, 24x30, oil on canvas, 2017
My painting process often involves underpainting the surface of the canvas to provide a colored ground with which to interact in the first stages of the painting. It helps me to build the composition and to establish value and color contrasts. This painting is in progress and has not been completed.
Choppy Morning Ferry Crossing, stages in progress
Choppy Morning Ferry Crossing, 24x30, oil on canvas