The tickle for new skies began last fall. I was beginning to feel a little bit—dare I say—bored(?) with what I was seeing on the canvas. As much as I loved what I was painting (I’ll never really tire of big, white clouds and bright joyful colours), I could see myself playing it ‘safe’, and relying on the ease of what I already knew to carry me forward.
While there's a time to stay and explore—to go deep with one concept rather than explore wider possibilities—this boredom was me not being fully present with the process and needing to face the challenge of looking outside my comfort zone for fresh inspiration.
I should note here that the need to push myself creatively is precisely the reason why abstracts are so vital to my work. Each and every abstract feels like I’m flinging my naked self off a rocky cliff into unknown—possibly shark-infested—waters below. It's impossible to get bored when the stakes are that high.
But within my landscape work, I was seeing places and spaces I'd explored before in a way that I'd seen before, and the yearning to get excited by my skies again was undeniable. I was craving something new and feeling ready to take on the challenge of testing the unknown.
Cue weeks of studio mess, some really hideous stuff, and piles of discards.
Hours and hours of uncertainty and frustration.
Gobs of paint (hello 'texture') and weird (hello 'interesting') mixes of new colour.
It has been both thrilling and exhausting. Many days I’d leave the studio feeling like I’d made zero progress towards what I was searching for, but also intensely engaged with every moment. My curiosity was alight. As hard as the process was, is, or can be, I felt alive with the work again.
So that's where I’ve been: eyeball deep in paint and setting everything else aside as I obsess over this new work. My impatient self is trying to stay patient with the process—I want to be THERE already!—but also know that there really is no finish line, just important pauses along the way to stop and question and explore and learn and grow.
"If we don't change, we don't grow, and if we don't grow we aren't living” - Gail Sheehy
Stay tuned!
]]>If you're going for a single piece of art, I would encourage you to go big. Make a statement! Fill the wall! Create some impact! There's nothing sadder than a too-small print looking lost and lonely on a wall. Using fewer but larger design elements on a wall, even a small one, won't make a space look overcrowded but rather elevated by a minimalist approach to styling.
I love the way over-sized artwork looks in a smallish room, especially a living room. Think of it as visual punctuation; emphasizing a colour scheme and unifying the styling direction. Bonus points for big art that adds a feeling of luxury without using up any floor space.
Abstract artwork can become more interesting at scale. It asks you to dive into a world of vibrant colors, captivating shapes, and fascinating textures. There’s nothing like a big abstract painting to draw your gaze and hold your attention.
Decor choices in the foyer set the tone for your home's ambiance, radiating energy and setting the the mood of your space. Give your entryway a makeover and welcome your guests without saying a word. Don't shy away from a bold choice that makes a fabulous impression!
Yellow has so many different personalities along the spectrum where it lies between green and orange. It can be soft and warm, or bright and arresting. It mellows or it bellows! I am constantly reaching for yellow in my studio - using it alone or mixing in with other colours. It's the key ingredient in my favourite lime green, and the most delicate drop in a creamy white cloud. Being a primary colour its place on an artist’s palette is important - I couldn't paint without it.
Pulling together yellow color schemes can be an interesting challenge, and I find that yellow isn’t necessarily an easy colour to use on its own. You might have picked up through my work that although I love colour, I absolutely DO NOT LIKE a colour theme that looks ‘primary school’ or is intensely graphic in nature. This applies to yellow in a big way. My yellow paintings tend to lean a little 'autumn' (I Iove how orange and yellow fire each other up) but when going big with it, I prefer it toned down to a softer, prettier hue.
I have to admit, even though yellow was a favourite childhood colour, I shied away in using it in my work because it's not really that easy to use in an appealing and sophisticated way, and I think I was intimidated and/or just unsure of my ability to use it effectively. But then a few years ago a client came to me with a simple request. She wanted a big, yellow abstract painting - and the yellow spark in me was lit! It was through this painting that I discovered, or re-discovered, what a fabulous colour yellow can be.
I use yellow now more than ever, as a straight-from-the-tube dollop of joy in an abstract painting, or regularly mixed in and amongst my landscape colours as the warmth of a golden sun glows throughout a scene.
All this to say, do not fear yellow! There's a reason it's the colour of happy face emojis. Smile and enjoy it! 😀
]]>I see a continued delight in unusual colours and the way they tickle each other mischievously. I feel a growing confidence to let the weird out unabashedly. There's an acceptance of imperfection here that I really wrestle with in the majority of my work.
My new workspace at the Cotton Factory in Hamilton is as near to perfect as I can imagine (for now … still dreaming!) Every day I open the door and see the natural light streaming in I feel a tingle of “lucky me”!!
A thrilling photoshoot with Marta Hewson and her team, putting a fashion spin on photos for my ‘Sommersault’ collection of abstract paintings. It was a big day that celebrated the completion of this summer series of abstract paintings. Marta's editorial eye is second to none and and working with her to craft a series of images of me and my work was a joy.
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An action-packed visit from ‘the other Bee’ this summer made the most of every moment of her time here. We launched canvas prints this year thanks that visit. Good times! Poppy is still sulking by the door, hoping she’s coming back soon. Me too.
Without question, the best weekend around here was getting silly with my film friend Alex to develop ‘Buttercup’, our feature film debut. It was so much fun! Time to make popcorn and watch again! Stay tuned for a sequel of sorts in the new year - we have ideas!
As someone who’s self-worth is directly tied to the success of their work, and self-identity almost entirely tangled up with their work …. let’s just say it was an emotional year of high highs and low lows, made worse by crushing world news. Lots of introspection about purpose and expression. Lots of quiet amidst the noise. I hermitted.
But for all the tough days and paintings still available (I still believe 'Tidal' will find a home one day - it feels too beautiful for words) overall, I’m really pleased with the art I created, and even more proud that I persevered though some major creative and personal challenges. I remain deliriously and destructively addicted to the painting process. I am so deeply grateful for everyone who continues to value my work, cheer me on and purchase art in these tough economic waters.
As a teaser for things to come … here’s a look at the little landscape that I think is about to change everything…
2023 - you tired me out in so many ways! So. Many! Ways! But not when it comes to my love of paint, my need to colour the world and the pure joy I have for the work I do. That creative candle burns happily at both ends and is the light leading me into the studio now and into the New Year tomorrow.
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In an ideal world, it would be a straightforward march across the finish line from there. With the underpainting completed, perhaps a few loose and sketchy brushstrokes to outline the plan, it should be easy to cover up that red base coat and watch the final painting come together without any mistakes, right? Perfection from start to finish.
Well, perfection has no home in my studio, and many of my paintings go awry at least once, often multiple times along the way, and sometimes altogether.
If I'm faced with something that isn't working or feels wrong in some way, I often retreat back to red. I use it somewhat like an eraser, covering up areas that aren't working. This allows me a "do-over" of sorts, putting me back at the starting point to take a second run at what I was working on.
Layering paint over paint is a fundamental aspect of the creative process for most parinters, in all mediums. The guiding principle is 'fat over thin,' heavier applications over thinner layers, mainly for drying purposes.
Layers build depth of colour. For instance, a wash of one colour over another allows the colour underneath to seep or peek through which affects whatever is on top. Layers of material or paint can add interest and texture as the paint builds up (although this is not always welcome if the marks from underneath show through in ways that distract).
Layering is also just part of the painting process, adding/subtracting with each decision of the brush. Red is my subtraction colour. My do-over button. My U-turn back to the beginning.
But there comes a point when there's too much paint on a canvas—a moment when the surface is marked and gummy from layer upon layer upon layer of paint. All canvas texture has long since disappeared beneath the paint, and any additional layers might not apply evenly or feel good on the brush going down.
There are marks and grooves and dried blobs from whatever's underneath leading to some inevitable frustration for the painter. At this point, it's easy for the artist to feel as if the canvas is cursed. Only then do I rip it off the frame to start over with a fresh piece of canvas. (I've written more about that here)
Until that point, it's layers.
Interestingly, while I like my skies to feel light and ethereal and aim for light application of paint to match, I'm much more tolerant of "too much" paint when it comes to my abstracts. I don't mind seeing underneath marks showing, or the solid look of a thick surface. To me it's a reflection of the effort put into the work, the mistakes and wrong turns made along the way. I actually quite like seeing evidence of the struggle as it reminds me that the beautiful end was worth the messy middle.
]]>Orange is so much more than the colour of Halloween and safety cones! It's a fabulous zinger of a colour that elevates the energy of a room, begs for attention, and can create interest in a most dynamic and unusual way. It radiates, it glows, it's a playful squeeze of heat that offers no apologies. 'Look at me Dammit' indeed. Look at me!
But it took years for me to develop the confidence, even bravery, to use orange in my work. It's not a colour for the faint of heart. I've spent years growing to love its beautiful intensity, understanding where it fits within my paintings, when to add it in, when to paint it out, and how to use it effectively.
Most importantly, it has taken decades to learn what other colours it's happy to play with within a composition. Its heat can be turned up when paired with pink or cooled down with a touch of teal. The amount of colour, balance, placement, and saturation are all incredibly important when using a colour like orange - it can go from "Oh Wow Yes" to "OMG NO" pretty quickly.
If an abstract painting is sitting in the 'meh' department and lacking the kind of spark I like to see in my work, blobbing on some orange is a sure-fire way to dramatically change the conversation I’m having with the canvas. I can practically feel my pulse increase to match the frequency of the colour and I’m immediately drawn into a daring, exciting new journey.
There's a risk to using orange and it can be a crash and burn exercise - mixing it with other colours can often lead to a muddy mess. But equally, if those blobs land in just the right places, beside other blobs of colour that have landed in just the right places, something phenomenal and completely unexpected could appear. The greater the risk, the greater the reward, right?
Orange needn't be a colour to fear, or be wary of, as so many are. It's here for your enjoyment! It's a super colour and there are lots of ways to incorporate it into your world that add just the right pop of lively fun. I dare you to look at it differently.
Welcoming a piece of orange wall art into your home - even just something little - shows personality, an elevated appreciation for colour and says something about you as an individual in the best possible way. I promise you; orange is the opposite of just a safety beacon - it can be sophisticated and unusual and wonderfully, unexpectedly, beautiful. There's really nothing like it.
]]>It's the most colourful time of the year at the studio and my space is full to bursting with fresh paintings of abstract landscapes ready to go, ready for you!
Each piece has been painted on a gallery-wrapped canvas with the sides painted (no extra frame is necessary!). They're varnished and wired to hang right away. It's my final offering of originals this year!
The name/number of each painting reflects its size i.e. the first number is a size indicator (8-1 is an 8" x 8" etc.) and the second number is its place in the series.
Update: The collection has sold but from time to time I'm sneaking in a new sky.
The up to date listings of all original paintings available for sale can always be found here.
Happy browsing! 💙💜💚🧡🩷💛
Small Art, Big Heart! |
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Breezy skies created with no particular scene in mind other than the idea of a place imagined in my heart and mind, satisfying my need for peace and light as the days grow darker. |
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Lively brushstrokes that spark joy, skies that swoop along the horizon, clouds that billow in colour and the lands below grounded with an energy that quiets the wind. |
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12-19 |
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Each landscape painting has a feeling of wide-openness, arms outstretched, heart-full, taking it all in. |
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24-04 |
When I brought that feeling with me to the studio and began to bring it to life with paint, I found there was much to be learned about embracing tranquility to reveal it on canvas. Recognizing the contrast between *that* feeling and the bustle of everyday life was the first step on the way. To recreate the peaceful sensation of my pink sky moment, I needed quiet. Quiet moments in the studio, pushing paint around the canvas, watching something beautiful unfold. In those moments of quiet, the beauty of 'Stilling' revealed itself in subtle ways, often unfolding unexpectedly. The beauty of this particular painting doesn't come from a grand idea upfront or bold composition. It's in the delicate pink brushstrokes that remind us of our dreams. The vast horizon stretching across the canvas paints the backdrop for countless possibilities. Oh, wow, yes! There is wisdom in 'Stilling'.
I find it comforting to be reminded of the lasting impact of tranquil moments and hope that everyone finds their own sense of 'Stilling'. A moment where the world slows down just a bit so we can notice the beauty in the everyday. Some place to filter out the noise and just enjoy the simple beauty of a pink sky stretching off into the distance. All of that. That's the idea of 'Stilling'.
If you like the idea of a soft pink sky to give you a moment of pause and a feeling of tranquility, let a wall art print of 'Stilling' be a reminder in your home that calm is valuable even when you have to carve quiet out of the noise.
]]>And it was in that spirit, and with great excitement to paint, that I dove into this latest series of abstracts. Exploring colour in what felt like a new way, mixing with more bravery, painting with more confidence, allowing mistakes to come and go, understanding that hiccups along the way are part of the journey. The end result is this perfectly imperfect catastrophe of glorious colour - a collective expression of joy and fun and intense curiosity.
Adding a splash of colour to life changes the energy in the air - it has a power to affect mood, stir emotion, spark a smile, enliven your heart. Abstract artworks in particular ask for your participation in that response which is why, even if you can't put your finger on what it is you're drawn to, you can fall madly in love with a painting that is simply a glorious dance of colour, as each of these paintings are.
A number of these paintings are available as fine art prints - on museum quality paper as well as canvas prints. So if you've got your eyes on one of the big pieces, or something that's already been sold, tumble over to the Somersault art prints page to find the colour to punch up your walls!
So here we go - with a playful open-hearted spirit, let's somersault into colour together.
P.S. *pro-tip* you can see a listing of all my abstract originals following the link in the menu above (Originals > Abstract Originals).
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But the requests for canvas prints kept rolling in from all directions and couldn’t be ignored. So, we rolled up our sleeves and put the idea to the test again. After much investigation, and a touch of serendipity, we honed in on some great suppliers, got samples in from four printers across three countries and, much to my delight (and surprise TBH), all passed my quality standards. Exceeded even! The colours were rich, the canvas bright white, weave tight and the images looked great. Definitely prints I’d be happy to sign my name to!
And speakng of signing …
… deciding on where and how to add my signature turned out to be technically and visually trickier than one would think. I typically don’t sign my name on the front of an original painting but rather on the back, and sign in the white border of paper prints.
Since canvas prints don’t have margins – the image fills the entire front-facing space with a printed border added for stretching over a frame later - I opted to have a signature printed midway up one side, not on the front. It’s a contemporary placement that allows for my name being visible without it interfering with the brushstrokes on the front image itself.
There are some more details on my canvas prints here.
Browse my collection of abstact landscapes, signature skies and contemporary flower paintings to discover the ideal artwork that will elevate your home decor, available on fine art print or now also on canvas!
]]>I see my true self, flaws and all, in my abstract paintings. The playful, curious, mischievous, weird, imaginative, little ol’ me in every brushstroke. With every splash of colour, my abstract art practice lets me dive headfirst into a world of endless creativity, exploration and experimentation. Abstract painting is a journey guided by curiosity, wonder, and a willingness to embrace the unknown. A daring dance with a perfectly imperfect expression of idea and emotion. While it’s the most challenging and frustrating aspect of my painting practice, it’s also incredibly rewarding, super fun and deeply satisfying (when paintings work out!).
I’m asked about teaching all the time. Begged to run workshops or online courses to demonstrate techniques and explain how to paint abstracts. Sorry – no can do. It’s such an internal, intuitive process – a mystery still even to me! – that my only answer tends to be “I just blob paint down and smoosh it around until it pleases me”. Not the most helpful answer, is it?
So, if you’ll bear with me, I’ve done my best to put my process for abstract painting into words.
There is no rhyme or reason to my colour palettes other than to say the colours I choose and mix are intimately tied to how I’m feeling in that moment. There are orange days and there are soft blue days. There are days I want to keep white space – to feel the clean, bright openness of “empty” space, and there are days I just need to fill every inch with colour.
I usually have some idea of the colour direction I want to head in, favourite choices and combinations that have become second nature to me after decades and decades of painting. Within those general palettes I like to experiment, mix, blend and place new colours in new ways to see if anything sparks joy. It’s all colour, all play, all day.
From start to finish, painting (abstract or otherwise), is an ongoing conversation with the canvas, listening to the colours, talking with the brushstrokes and responding to the paint. It’s an endless question and answer. Solving creative problems and choosing and testing options until a painting feels done. It’s never a straight-forward journey – that’s what keeps it so fascinating!
“What happens if....”
“What if I try this …”
“I wonder how this will …”
“What’s not feeling right? What’s distracting my eye? What needs to go?”
“How will this affect that?”
When I talk about exploring, these are the types of questions that roll through my head. They’re questions that set the wheels of my creative process in motion, pushing me to explore uncharted territory. What if I try these bold colours together – is it too much? What if I partially mix colours in an unconventional way? Will layers of texture help add interest or distract from the original intent?
I’m not just contemplating colours and shapes; I’m enlivening my spirit, probing the depths of my imagination, reaching into my heart for guidance and the courage to express self through blobs of paint on my canvas.
Exploration is the essence of the abstract journey and the uncertainties that arise along the way, far from being obstacles, are instead stepping stones that lead me closer to the magic. It's within these moments of ambiguity that I find myself most connected to the rhythm of the artistic process, most challenged by what arises, most alive in the flow of it all
The magic in abstract paintings reveals itself in the space between intention and serendipity. Creating the room for this magic to happen means accepting uncertainty as a companion, quieting my critical voice and embracing the whispers of my heart.
Most importantly, I try to shut down fear – fear of mixing a gross colour, fear of wasting paint, fear of seeing something ugly, fear of messing up whatever good might be happening...and on and on and on. My attitude needs to stay light-hearted and just let curiosity and wonder steer me along the way.
If I go wrong, it’s an opportunity to problem solve and go right, a chance to test my creativity to find a way through to something beautiful.
Or not, and time to simply start over.
When it comes to my abstract work (er, play?) there is no one formula I follow, no shortcuts to success, no rhyme or reason to what I create other than to connect to my innermost self, tap into my playful curiosity and submerge myself in a love for colour. Abstracts aren’t just a creative endeavour; they’re a journey of self-discovery. It's a process that encourages me to shed inhibitions, embrace the unknown, and paint my emotions onto a canvas.
Whether a piece emerges as something spectacular or destined for the dump as a lesson learned, the beauty lies in the journey itself – a journey that is, indeed, worth every splash of colour and every moment of wonder.
As I write this I’m in the midst of adding the final touches to a new collection of original abstract paintings and art prints. The "Somersault" collection is now available on my shop so if you were hoping to collect and original painting this year, nows your chance! And be sure to follow my abstract life on Instagram @thisbeesme
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Self portrait 2013 |
Self portrait 2014 |
Life drawing has never been my thing - I'm neither particularly good at it nor, to be completely honest, am I interested in it. While I can certainly appreciate the technical and creative process of it, I'm enormously more excited by emotionally expressive art. So, years ago, when I found myself at the back of a life drawing class that was a course graduation requirement and tasked with a self-portrait assignment, I did the only thing I could do, the only thing I wanted to do, the only thing I was compelled to do. I rebelled in the most colourful way.
Self portrait 2015 "Lifelong love letter" |
Self portrait 2017 |
While the other students had mirrors in front of them, intently studying their nose structure and measuring the distance between their eyes, I was slathering orange across my canvas. It was the first time I had intentionally used paint and brushstrokes to consciously record how I was feeling in that moment. The discovery of ME in paint, on canvas, was a geyser of realization. Needless to say, I didn't pass Life Drawing, but it was the first major breakthrough into connecting with my true self through art and a HUGE leap forward for me. (I have to say, when I turned in that weird composition of colour as my ‘self-portrait,’ I had a beautiful and honest conversation with my instructor about what it means to be an artist. He was most complimentary, not necessarily in my painting, but in listening to my intuition and staying authentic to my own expression of self. Such encouraging, important words I remember to this day).
Self portrait 2018 This was repainted as a GIANT canvas and became the first abstract I sold in my shop! |
Self portrait 2019 |
Since then, I've tried to paint a ‘self-portrait’ each year. Interestingly, they've always been abstract (that says something right there, doesn't it?). These are paintings that are just for me, where I seek to capture how I'm feeling as it relates to my work, reflecting the style and colours I’m drawn to at that time, and generally trying to express where I am along my creative journey with work that best represents where I am with my art.
Self portrait 2020 |
Self portrait 2021 |
Along the way and in a few desperate moments, I had to sell a few (I'M SO MAD AT MYSELF!!), but I've managed to hold on and not lose, over time, a number of them. I thought it would be fun to share a few with you here. It's so interesting to see the experimental colour choices develop, the growth of confidence in brushstrokes, increasingly more unusual and interesting designs and shapes, and a deepening of the authenticity of ideas.
Self portrait 2022, 'Rose' An abstract painting included in the 'Summer Detours' collection |
This look back is making me want to look forward and think my 2023 self-portrait day needs to happen STAT! Excited to dedicate a day to it soon.
]]>The magic happens in the space between the carefully planned concept and the last brushstroke. I need to leave room for that magic to happen.
The kind of creative freedom and trust in the mysterious abstract painting process is usually a step too far for most clients, which I totally understand. However, recently, an amazing couple presented me with a creative challenge that was too tempting to pass up. They referenced three of my favourite paintings and expressed their hope for something that combined the colours of one, the design idea of another and the brushstrokes of the third. Most importantly, they entrusted me completely to do what I do best.
I couldn’t say yes fast enough!
The painting turned out to be a puzzle that needed to be solved. The first challenge was to avoid recreating all three reference photos at once and instead, dig deep to find the image I was dreaming of deep down in my heart. With my gaze focused, colour palette selected, and tunes playing in the background, I dove in.
Soon enough I found myself immersed in a sea of rich blues and greens, with drips of colour pooling in all the right places. I was swimming with floral-inspired shapes that seemed to sway and flow on unseen waves. Somehow these paintings capture the very essence of beauty and tranquillity, forming a peaceful and joyful garden of ocean foliage—a sea garden.
Somewhere on the journey ... meandering toward the destination
A few more twists and turns later, I arrived at the 'Sea Garden'
The journey behind each abstract painting resembles a dance between intention and serendipity, where the final piece reveals itself as a testament to the magic that can emerge on the canvas. To bring this ‘Sea Garden’ to life I needed to embrace the whispers of my heart and immerse myself in the mesmerizing world of rich blues, vibrant greens, and fluid forms reminiscent of delicate blooms.
I am grateful for the opportunity to share my journey and also offer these abstract ‘Sea Gardens’ (#1 & #2) as art prints in several sizes and formats. May these abstract sea gardens serve as a gentle reminder that beauty thrives in the untamed and the unexpected, and may they infuse a space in your home with boundless creative energy.
This summer I'm diving wholeheartedly into an exploration of abstract colour and experimenting in ways feel exciting and new. Join me and follow along with the journey on my abstract Instagram account @thisbeeisme!
]]>It's a phrase that perfectly captures both the look and feel of this collection as these paintings are simple, honest snapshots of an everyday, ruggedly beautiful land. Unembellished. Real. Tangled treelines deeply rooted against blustery skies. A limited palette of muted, natural colours. Along with a surprising amount of interest, I found such strength and peace in the idea of 'earthbound'. And rather than hopping all around the rainbow, I gave myself permission to stay in this one place and get to know the landscape over and over and over again, each time a little different, each time revealing new details, new places to explore.
Below is an overview of the 30+ original paintings in the collection. There is a LOT here, so be sure to make a cup of tea, take your time, and scroll through all the way to the bottom!
Update: Most of these forest paintings have now sold. Those still available can be found in the 'Down to Earth' collection in my web shop. Several of the stunning statement pieces in the series continue to be available as fine art prints and canvas prints.
12-1 $395 |
12-2 $395 |
12-3 $395 |
24-1 $995 |
24-2 $995 |
12-4 $395 |
12-5 $395 |
12-6 $395 |
24-3 $995 |
24-4 $925 *Stretcher frame has a very slight warp that has been corrected so it hangs flat against the wall |
12-7 $395 |
12-8 $395 |
12-9 $395 |
24-5 $995 |
24-6 $995 |
12-10 $395 |
12-11 $395 |
12-12 $395 |
24-7 $995 |
24-8 $995 |
12-13 $395 |
12-14 $395 |
12-15 *OIL* $425 |
'Westlake' 40" W x 48" H
$3000
'Not yet Spring' 48" W x 30" H
$2250
The collection will be available for sale May 2nd at 11am Eastern.
All links will be live then.
And where I've been these past few months has been searching for a deep connection with my work; wanting my paintings to capture the uncomplicated love I have for the natural world and the peace I find within it.
In winter I find myself walking the same icy loop around the park, hiking the same long path through the forest. I let my mind wander as I go, watching the land, feeling the wind, listening to the trees. Gathering inspiration in the winter is always a challenge, but it's there if I'm looking closely enough.
After much contemplation and following what felt aligned with my heart, I set aside my highly imagined and colour-filled skies and instead, focused my attention on the ground beneath my feet and the view spread out immediately before me:
... were the words that kept running through my mind and around which this series developed. It's a phrase that perfectly captures both the look and feel of this collection as these paintings are simple, honest snapshots of an everyday, ruggedly beautiful land. Unembellished. Real. Tangled treelines deeply rooted against blustery skies. A limited palette of muted, natural colours. Along with a surprising amount of interest, I found such strength and peace in the idea of 'earthbound'. And rather than hopping all around the rainbow, I gave myself permission to stay in this one place and get to know the landscape over and over and over again, each time a little different, each time revealing new details, new places to explore.
This is a collection tied together by a common view and by the use of two 'hero' colours which run throughout - those deep, dark evergreens, and the muddy browns of the earth itself. As always, I was chasing the light, looking for shadows and playing with the brushstrokes... but still wanting the end result to feel grounded and peaceful.
Each of these paintings captures the core of what I love about getting outdoors - the sweeping calm of a big, breezy sky, gathering energy from the wind and wisdom from the forest, feeling connected to the land, and finding beauty in the realness of an 'ordinary' view.
There are 31 paintings in this collection that will be available for sale from Tuesday, May 2 at 11 am Eastern. I have created a collection preview for you to stroll through the full collection. I'd love for you to make a cup of tea, settle in to explore the land through my eyes and discover a new beauty of the land that surrounds us every day.
Feet on the ground, heart in the work. Enjoy.
Update: Unsold paintings can been seen in the webshop for this collection. Archival fine art prints and canvas prints are available for several of the statement artworks in this series.
An interesting stage of painting – one often not seen or appreciated because it happens underneath the final image – is underpainting.
Underpainting is the step after the canvas is sealed with gesso and before starting on the final image. It’s one of the first decisions I make when approaching a painting and an important technique in laying down a foundation for an artwork, creating a preliminary layer of colour that acts as a base for subsequent layers of paint. From time to time, you’ll see me use a red underpainting with acrylics, but I use other colours too (and sometimes skip this step entirely).
There are several benefits to underpainting, but overall, it can make a big impact on the look of a finished painting and can help me get started. As a first step, it seals every pore and crevice on the canvas, ensuring that if I miss a spot in the final painting the colour from the underpainting with peek through. It’s also an easy way to get over any mental hurdles and eliminate the intimidation that comes from being stared down by a blank white surface. Just ‘messing up’ a pristine canvas can be a real help some days!
One of the most important advantages of underpainting is the depth and dimension it can add to the final painting. A complementary colour underpainting can create a sense of vibrancy, luminosity and colour intensity in the paint applied over top. For example, a red underpainting can be used for landscapes to create contrast between the red and blues of the scene.
Because the big benefit of underpainting is to deepen colour intensity, the choice of colour for an underpainting really matters. Why that is, and why I often use red can be explained with a bit of colour theory.
To deepen colour intensity, I want to create a dynamic contrast between the underpainting and the main colours in the final painting. For a landscape, this means a red underpainting. Red is complementary (opposite) to blue and green (think land and trees), and ‘hot’ compared to the ‘coolness’ of blue (think sky and water).
On the other hand, if I were painting a predominantly orange scene, I might choose a blue underpainting to provide a cool colour contrast. Again, the opposite colour to the final image: a cool/calm colour to contrast the heat/energy of orange.
You could also use a rainbow of colours underneath which results in a bright and lively painting because all of those colours peek through between the brushstrokes of the final piece.
But as with so many things, it depends. The best colour for underpainting depends on the subject matter and the effect I am looking for. Sometimes I just start with a white underpainting because I like my whites white and my skies to be somewhat softer than they are with an under colour.
Every painting presents a different challenge to solve – some need to feel softer, some need to be bold – and underpainting is a great technique toward the final outcome no matter what. While it may take some practice and experimentation to find the best approach for your specific painting style and subject matter, the effort is well worth it. With underpainting, you can create works of art that truly stand out.
Updated: I've added some thoughts and ideas about using red 'underpainting' to paint over paintings that aren't going as initially planned.
Looking for more peaks behind my colourful skies? Follow me on Instagram to see what I’m up to in the studio or sign up here to get the inside scoop on upcoming collections!
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I swapped my paint brushes for palette knives, canvases for wood panels, and smooth brushstrokes for sculpted marks. Tunes on, deep breath ... what's the worst that could happen? Make a mess and waste a few days? Maybe, but testing and trying new things is very much part of my creative process. So I took time away from my regular painting schedule to experiment, to play, (to make a mess) and to learn what I liked/didn't about this texture thing.
Read on as I share my personal experience of an adventure in textureland.
The key takeaway is how much I learned: what I like in my work and enjoy about my process, the importance of paying attention to intuition, and staying true to my creative voice no matter the material I'm using.
I discovered quickly how beautifully soothing and addictive it is to simply mix texture mediums into paint. The dense smooth feeling of heavy-bodied paint is gorgeous! Think thick, butter frosting and you'll know exactly what I mean. (I had to resist the impulse to taste some of the cold wax after mixing it into the oil paint - it looked so creamy! Even though I’m quite sure it doesn't taste as delicious as it looks).
After hours spent practising using a palette knife, I found that it was MUCH harder than I expected. I'm so intuitively comfortable with a brush that it was frustrating to not be able to move around the surface making varying marks and strokes with the same ease.
The other significant realization was that as someone who needs to feel an underlying sense of peace and calm and order in her work, the texture + colour + scene/object was just too busy for my brain and for my liking. I needed to simplify my approach to these pieces.
In the end, I decided that I wanted the texture itself to be the star of the show. Composition, colour, and ideas needed to be simple and take a quiet, supporting role. Keep the texture, lose the chaos.
With that in mind, and focusing on fast-drying pastes and acrylics, things started to come together. Layers upon layers of material went down - smoothing out, building up, carving lines, leaving blobs, creating shapes ...this is where the real fun was - watching the surface mould and change before my eyes, watching for the moment that it all felt right without mucking it up. Something else I learned was just how difficult it is to try to fix just one little thing without affecting the whole.
Take a look at the final pieces here!
All in all, it was a super worthwhile detour into the world of textured mediums, but a detour it was. One that I'll revisit at some point because I have a specific idea to explore (and materials to use up) but it's time to get back to painting, to my brushes and the development of my spring landscape collection, already underway!
]]>Mother's Day is *the* occasion to show your mum that you appreciate her and all that she does with a gift that says a great big "Thank You!” When you want to look beyond the traditional (and much-loved) flowers, treats and spa indulgences it can become a little more of a challenge to find the perfect something she might never have bought for herself.
This year why not surprise your mum the gift of a timeless piece of beautiful sky? The art prints in my signature skies collection pack a brilliant dose of sunshine and all the colour of a gorgeous spring day into a variety of sizes.
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There are 27, 8” x 8” oil paintings in the collection. Each is painted on gallery-wrapped canvas with painted edges and is ready to hang right away.
The original 'Wintergarden' inspiration, a 48" x 48" acrylic on canvas is also available! It's a knockout piece that makes a spectacular colourful statement.
The the little originals in the collection have sold, but you can still enjoy the joy in these abstract bursts of colour as blank greeting cards and the painting at the center of this colleciton - 'Wintergarden' - is available as a stunning fine art print!
10-1 | 10-2 |
10-3 | 10-4 |
10-5 | 10-6 |
10-7 | 10-8 |
10-9 | 10-10 |
10-11 | 10-12 |
10-13 | 10-14 |
10-15 | 10-16 |
10-17 | 10-18 |
10-19 | 10-20 |
10-21 | 10-22 |
10-23 | 10-24 |
10-25 | 10-26 |
If you love paint and playing with colour as much as I do, follow my abstract life on Instagram @thisbeeisme
]]>In those few and far-between moments of calm when the wind subsides and the snowfall eases off, I’ve been bundling up and venturing out to trudge through the snow and enjoy the wonder of a fresh snowfall and the beauty there is to be discovered in winter.
What I’ve noticed most on my walks are the little details and contrasts in winter gardens: the fragile beauty of flowers that persevere in the snow, the delightful colours of frost-covered berries seen against stark, bare branches, and how the warm glow of sunlight filtering through icy crystals of frost creates a stunning and ethereal atmosphere.
With my lungs full of crisp, clean air and a cup of tea by my side, I return to my experiments in abstract painting using oil paints. There is something truly magical about working with oil paints and how they allow me to blend and layer colours to create texture and depth. In many ways, my work this winter has felt like play, and it’s very exciting to be creating work that feels entirely authentic. I see my whole self in what's emerging on the canvas.
This 'Wintergarden' collection of abstract oil paintings is full of delightful bursts of colour, each as bright and fresh as the fallen snow and as welcoming as the summer sun. Little dollops of creative joy that serve as reminders to play, explore, go your own way and be your own you.
I’ll be sharing the "Wintergarden" collection with you soon! 26 beautiful little oil paintings are in the final stages of drying and will be ready to go before you know it. I'm so excited for 2023!
A painting usually starts with a vague idea about colour and then is explored and refined as I go, honing in on the feeling I'm trying to capture and all created within the idea of a landscape.
I don't paint directly from reference photos, they're useful sometimes, but more often than not I'm kind of inventing the land and the sky as I paint. Following light and shadow and colour and feeling.
See this inky, moody sky I photographed the other evening while walking home from the studio? I've wanted to paint a midnight sky for ages but in order to do so, needed to experience exactly what I've been looking for, and this is it. (Plus maybe the addition of stars or the moon if that doesn't ruin the moment 😉)
So off I go, taking these deliciously dark colours with me into the studio today, to see if I can capture the feeling of standing under such a magnificent sky.
You can find more musings on the abstract beauty to be found in clouds in an earlier blog post. And of course, these sky painting ideas and inspiration end up on the canvas and run through my collection of signature sky art prints!
]]>I'm thrilled to present 'Deep Woods' as the final print release of the year - a painting so powerful, so enchanting, so mysterious and still that I wanted to showcase it here, on its own, rather than within a collection.
Forests are sacred places. There is a quality of air, a scent of nature, a sound to the silence, that renews weary spirits and soothes a ruffled soul. I wanted to create a painting that captured the magnificent essence of a forest and honoured my love for time amongst the trees.
An early sketch of 'Deep Woods' in oil paint
And thus began a painting journey that completely knocked me sideways. It's hard to put into words just how bowled over I am by this painting and what a tremendously challenging (and utterly agonizing) process it was from start to finish.
A painted colour strip of the initial color palette for the acrylic forest painting 'Deep Woods'
There are at least 3 full-on failed attempts at completely different paintings underneath as I lost my way numerous times. It languished in the 'ugly' stages for days while I wrestled with the composition and figured out the colour palette.
I knew something really, really special was happening but it just wasn't coming together. Then, while slathering yet another layer of paint over paint, lime green over sea green over luscious, rich emerald green, I suddenly heard myself thinking 'Deep Woods'. And that was it. Those two words were all I needed in order to finally and fully surrender to what was happening on the canvas, letting go of control and completely trusting intuition - all of which led to the beauty you see here now.
The final, finished forest painting 'Deep Woods' in my studio 💚
'Deep Woods' is a painting that has kept me company at the studio all year and has served as a constant reminder to trust the process, as a source of wisdom to believe in myself and somewhat as a guide as I keep exploring the depths of my imagination - all of which I shall take forward as I continue on with this messy, colourful, creative life of mine.
'Deep Woods' is the image for the month of December in my 2023 Wall Calendar and I'm thrilled to offer it as a greeting card as well.
This glorious forest makes a lovely Christmas card not only because of its emerald evergreen trees but also because of the peaceful nature of the scene itself. Year-end is often a time of reflection and within these brushstrokes is a sense of deep contemplation, of paths travelled and a hopeful pull towards a brighter sky ahead. It embodies the spirit of the season and I know your circle of friends would love to receive this card from you.
Creating this painting was such a journey I want to share it widely. Beautifully reproduced as an archival canvas art print, it's a statement artwork that brings an optimistic and mysterious energy to a space and creates a breathtaking focal point.
So if you went down to the woods today, you sure got a beautiful surprise! .... and options to own a piece of this magnificent forest.
]]>So forget the idea of trying to match your sofa with these paintings. That's not the intention. But on the other hand, BRAVO STANDING-O if you have a royal purple sofa with emerald green cushions and hot pink walls! Go you!
Really though, the purpose of my abstract artwork is to reach well beyond surface-level home decor parameters.
- a welcome compliment from a recent studio visitor
I hope you’ll let me challenge your idea of art for your home with these colourful art prints. To gently nudge you towards more colour and away from boring. I'd love for you to find yourself, or a playful part of yourself, within this imaginative rainbow on offer.
When going through the collection, I hope you sense something, even if you don't know what it is, that you connect to. Or that you see something within these compositions that intrigues your mind and entertains your thoughts. In reading the individual painting descriptions and in looking closely at each abstract artwork, I hope that your own happy memories of summer surface and fill an emotional part of your heart while your eyes smile.
I hope my words help widen your perception and understanding of my abstracts, me, and in turn, your understanding of what consumes me as an artist and tickles my imagination.
As if I needed some reassurance, some kind of sign that I was on the right path with these abstract paintings, the Universe handed it to me in the most obvious, delightful and spirited way. Walking through the park the other morning I saw a little boy dressed in a Spiderman onesie, cowboy boots and a Yankees baseball hat, spinning in circles trying to make his cape (a Spiderman cape?) fly while quietly singing some nonsensical made-up song. Dozens of other kids and parents were around - all dressed and playing on the swings as one would expect - and yet here was this one boy who, in the centre of it all, was completely enjoying just being himself, happily lost in his own imagination and without any pause to conform or care in the world but to make that cape fly.
They're moments of my life, snapshots of time, captured on canvas in full colour. They flirt with the idea of "weird" in what feels like a wonderfully joyful way. I like to think there's a touch of mischief hiding in the shadows - it's what keeps them interesting and alive.
As I paint, I follow my curiosity, asking myself an endless stream of creative "What if I try...." questions, and let the colours, how I’m feeling, the movement of the brush, and maybe a bit of lucky happenstance, to lead me to the answers.
When the visual says with colour what I can not express with words, when I see what I was seeking to find, it is done. And it's exhilarating. There's nothing, absolutely nothing, so satisfying as finishing a painting that feels completely right. It's the best validation for my existence I could possibly wish for.
I'm aiming for something greater than perfection, being guided by something wiser than me. There's truth and beauty to imperfection. Life, and art, can be messy, off-balance, challenging, and confronting - it's part of being human and it's a part of my art. Over the years I've come to accept, even appreciate, the imperfections, the 'weirdness', of my abstracts. It means they have one-of-a-kind value and tons of personality.
All this from an inkling of an idea and a lot of paint. It's the magic and mystery and wonder of art.
Whether an original or one of the abstract artwork prints available, I really hope there's at least one colourful 'Detour' you simply can't live without.
Even if it means you'll need to buy a new sofa.
]]>"Your work is so NOT beige”
- a welcome compliment from a recent studio visitor
I hope you’ll let me challenge your idea of art for your home with these colourful paintings. To gently nudge you towards more colour and away from boring. I'd love for you to find yourself, or a playful part of yourself, within this imaginative rainbow on offer.
Enjoy this preview! Take your time taking it in.
Whether an original or an art print, I really hope there's at least one colourful 'Detour' that you simply can't live without.
The shop goes live on Thursday Sept 8th at 11am Eastern. The links to the paintings will work then.
While working on a giant abstract this summer, I discovered the perfect recipe for a fabulously bold pink. Its base is the pink of field-ripe raspberries and their sticky red juice. Then comes a handful of fading peony petals, a sprinkle of hot red roses and a dash of summer spun candy floss. Finally, melting strawberry ice cream with a cherry on top ... all enjoyed high atop a Ferris wheel. And thus, I whipped up this "hot damn" of a painting. Bon appétit!
There's something cheerfully enchanting about this image. ‘Rose’ is one of those paintings that I completely, utterly, and unconditionally love without entirely knowing why. She breaks rules with a cheeky smile, skips through the palette picking colours at whim and then blushes with unabashed pride because she knows how fabulous she is. I must agree. She's a knockout.
Purple was the last colour I learned to love. It always seemed a bit outside of my comfort zone and I simply didn't understand its power or the glorious range of beauty that it held. Perhaps I was reluctant to explore, afraid of my unknowingness, or simply, a colour snob. I'm happy to see more and more purples - magenta grape here - showing up in my abstract work because it's deliciously fun. It's the life of the party! If there's a painting tempting you to the dance floor - this is the one!
My recent obsession with Emerald Green as seen through spring eyes. This fresh Jade plays with reckless abandon in the garden of colour. Painting this knockout was a curious, challenging exploration over several days involving layers upon layers of paint. But as so often is the case, the magic came through and brought this spectacular beauty into being.
Yellow has long been a secret love of mine. Yellow is bold, it is happy, it is the weirdo at the back of the classroom who entertains and breaks the rules. Its radiant smile won my heart over long ago and this zinger of a summer painting renewed my love. Think hot sun melting butter on ripe corn .... mmmm
This sweet little painting started off as one of my thoughtful colour clusters - an exercise in the intentional placement of colour - but soon found itself excitedly perched on the cusp of a holiday. The day before school lets out for summer, the eve of a vacation, one sleep away from escaping into the wide, violet yonder. It was begging me to find the fun and so I did. Some of the brushstrokes here have already taken off on their own adventure and I’m getting the sense that the others are soon to follow. As am I!
While this piece is as bright and fresh as mint itself, it feels like so much that we all enjoy about the cool treats of summer. A splashing deep dive into a briskly cold lake. A rainbow caught in the spray of a garden sprinkler. A dripping popsicle, a flower swaying in the shade, a cool breeze through the leaves. It's a respite from the heat and a welcome, cheerful summer moment.
Night rides and night hikes are a summertime pleasure. When days are too hot to pedal or log miles, I go out after dark with starlight leading the way. My route through the public rose garden is a favourite. There's a peaceful intimacy, a feeling this garden is just mine, these roses just for me when the darkness otherwise hides all but what's caught in the moonbeams.
A basket of freshly picked peaches at the farmers market struck me as the perfect inspiration for this painting. I didn't want to be too literal so stayed away from obvious oval shapes, but 'sun ripe' was the phrase floating in my head as I worked and explored a palette new for me. Happily, my brushstrokes worked their magic to deliver something juicy and warm with all the delectable velvety tones of my favourite summer fruit.
Expansive, wide open and free, a blue sky is the backdrop for so many summer memories. This beautiful bouquet of colour feels like a perfect late-summer afternoon spent in the shade of a colourful canopy and a gentle reminder to stop and enjoy the moment. It’s an end-of-season garden on full display, blossoms savouring every ray of sunshine and breath of warm air.
Some paintings are explorations of the heart, others are explorations of the mind. 'Turquoise' is an examination of creative thinking where I observed the decisions behind each brushstroke, experimented with shape and composition and measured movement to examine light vs. dark and the balance of colours. Evaluating what stays, what changes and what is eliminated in a composition is a fascinating but thoroughly internal process that amazes me to this day. I can tickle every inch of curiosity with my brush until the final piece both looks and feels as complete as this luscious burst of colour.
Taking inspiration from one of my favourites of this collection onto a giant canvas meant really letting myself explore the idea and its colours. Needless to say I fell in love with this sophisticated, muted pink all over again. That it's big makes it extra special - it has the 'WOW' factor built in! Large scale art in a home makes such a fabulous impact. It's an unapologetic reflection of what you love and a clear statement about who you are - in this case, curious, unique, colourful and fun! It's hip, it's rose, it's 'Rosehip'!
A quiet and intimate look at a moment deeper in the forest of colour. The earliest peek of a blossom to come. Finding strength, growing towards the light, wisdom in every pore. I love the stillness here and the cascading shades of green in the background. It's a painting that reminds me that ultimately, beautiful isn't complicated.
The shop goes live on Thursday Sept 8th at 11am Eastern. The links to the paintings will work then.
Even small changes or additions to your art collection can breathe new life into your home. Below, I’ve curated a selection of vertical art prints to suggest pairings that give interior design a lift. The abstract skies and horizon lines in my signature sky paintings offer a refreshing perspective on traditional landscapes and add a fresh breeze and modern design touch to any classic home.
Here are a few combinations that I think you will love!
‘Days Gone By’ and ‘Stoney Lake’: A double dose of fresh breezes and cool tones
Blue, green and grey are just the colours you need to create a restful space anywhere in your home. A pair of wall art prints in soothing cool tones like blue and grey create a peaceful bedroom art wall but are also a nice addition to a home office or living room. ‘Days Gone By’ and ‘Stoney Lake’ can be combined as a wall art set as each image reflects aspects of the other’s composition but they hang cohesively as a pair.
The air is fresh, the clouds are soft, and they are gently carried across the sky by a warm breeze.
'Stoney Lake' (left) and 'Days Gone By' (right)
'Dawning' and 'Honeymoon': Bright skies to welcome each day
A wall art set of bold and colourful prints infuses a room with happiness and positivity, and these abstract sunrises would make a striking addition to an entryway or hall. Let the art in your hallway reflect your personal style and make a statement! Both ‘Dawning’ and ‘Honeymoon’ were originally large-scale acrylic sky paintings, capturing beauty and the fresh potential embodied in every brand-new day. Together, they form an uplifting combination of prints. When paired with white or light wood frames that allow the colours to shine as the focal point, these art prints are sure to brighten any space!
'Dawning' (left) and 'Honeymoon' (right)
'What Once Was' and 'Days Gone By': soft colours for a cosy bedroom vibe
A beautiful and thoughtful presentation of two gorgeous paintings that works beautifully for bedroom decor. This photo is a lovely example of why I always recommend selecting larger prints to fill a wall. Sizing up and playing with placement helps you make a statement in style.
'What Once Was' (left) and 'Days Gone By' (right) - soft colours for a cosy bedroom vibe
The warm palettes in this trio of art prints showcase a range of muted colours, from grey to slate, blush to rust, and sage green to deep olive. This set of art prints pairs beautifully with matte black metal or walnut wood frames, adding an elegant touch to any room. Whether it’s a modern home office or a mid-century modern living room, these prints are versatile enough to enhance the atmosphere or any space.
'What Once Was' (left), 'Days Gone By' (middle), 'Tailwind' (right)
Every wall is different and every home has its own unique decor theme. Whether you are looking for two or three large prints to fill a living room wall, or a pair of small square art prints for the kitchen or bathroom, I have a wide range of colours, sizes and styles and sizes available in my art print collection.
Take a look through my collections of abstract art prints, contemporary florals, and the full range of my signature skies paintings and prints!
And yet this seems to be something people have a hard time understanding. Whenever I post a photo of the “garbage” pile or mention destroying paintings, my Instagram goes crazy. Opinions up the wazoo. I’m inundated with comments and messages like “How could you? It’s so pretty! Paint over and start again! Give it to me! Donate it to charity! Don’t you dare throw it out!” I’m questioned about it so much that I thought I’d write a more fulsome response than the snippy “because it’s mine and I can” answer.
It’s not an exact science but then, art isn’t meant to be. A painting can look fine but if it doesn’t *feel* right to me it very well may not survive. Conversely, a painting might not look perfect, but if it *feels* right to me I’ll happily sign it and find it a home. How a painting feels to me matters just as much (or more) than how it looks in the end.
I don’t want work of mine that I don’t like out there in the world, even as a charitable donation or a “freebie” for a fan. I care far too much about my reputation. And as someone both incredibly frugal and environmentally conscious, adding bad art to landfill is truly a last resort.
Before it gets to that stage, I indeed try re-working a painting, adding layers and layers of paint. Or gesso over entirely and try starting again on a “used” surface. But there comes a point when there’s simply too much material on the canvas to keep going. Dried brushstrokes, unwanted texture and grooves build up, eventually ruining the surface.
Knowing which paintings are worth sticking with and which to say goodbye to is as much an intellectual decision (how it “looks” – colours, composition etc) as an intuitive “knowing” if it has that somethin’ somethin’ I'm aiming for with my work. But honestly, after a while, the bad energy of a not-great painting builds up and it just needs to go.
If I’m particularly frustrated with a painting, I’ve been known to take a knife and slice right through the middle of it (which can feel incredibly liberating!) but usually I just un-staple the canvas and stretch/gesso a new one. There’s nothing so lovely as a pristine new canvas, full of possibility. Old with the old and ugly to make way for the new and beautiful and something I’m proud to sign my name to.
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It started with a hint of warmth in the air, longer days, and waking to the sound of early morning bird songs. As I watched the trees and gardens bloom around me on my ride into the studio each morning, the excitement and energy of spring filled me up and flowed out of my paintbrush as I painted the colourful and abstract skies I love the most.
The joyful result of my spring painting sessions is a glorious series of expansive skyscapes and beautifully dynamic clouds. Each in this series of sky paintings is painted in acrylics on gallery-wrapped canvas, and ready to add a splash of colour to your wall decor.
Although the collection of original painting has sold out, all of these beautiful midsummer skyscapes are available as archival quality fine art prints. The texture of the brushstrokes and the colour palettes work beautifully in the print format, and I'm proud to have these in my print collection. When you fall in love with one of these colourful summer skies but don't quite have the space to accommodate a full-size original, an archival print opens up a world of options to add a splash of colour to your wall decor!
My 'Aurora' sky painting is an exploration of the first light of day, with some softly daring colour choices. This cloud painting shimmers with the colours of early morning light in the moments before sunrise. From the yellow glow of the soon-to-be emerging sun at the horizon to the pink and peach tones that are pushing off the dusty green remnants of the night sky, the colours dance in translucent clouds and reflect their light into a peaceful lake below.
And speaking of pink, I got rather fixated on pink this spring - and I mean PINK, in all its fabulous hues and delicious mixes. From peach and blush tones to intense raspberry red, pink is the heartbeat of these new midsummer skies.
'Neverending' is an abstract sky painting full of drama and fascination with colour. It depicts a scene where you can imagine the sensation of feeling tiny in a vast landscape, beneath an immense vibrant sky. It's a place to pause, reflect, and find inspiration in the natural wonder above you.
Where 'Neverending' is bold and dramatic, 'Ever and Ever' is soft and gentle. The sky is filled with blush-tinted pink and peach clouds, soft enough to be blown about by the wind, but strong enough to blanket the scene. The textures in this sky painting and full-spectrum colour palette blend beautifully to reflect the energy of the abstract scene.
Looking at this new series, I can see not only my distinctly softer colour choices but also subtle, softer brushwork emerging. There's a sense of true surrender to the endless wonder of an ever-changing sky captured on these canvases. Warm. Inviting. Peace. Love.
The bright pastel colour palette in 'Belleweather' is full of joy and the fresh excitement of renewed energy. Its clouds capture all the beauty of an early morning spring sky painting on canvas.
Rounding out the collection of original skyscapes is 'Sun Spun', the most abstract and unique of the bunch. It's exactly the kind of sky painting I like to see emerging from the studio - a beautiful reminder that staying curious and trying new things is at the core of my creative heart.
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