Tuesday, May 26, 2015

"Celebration by the River Flow"

Friday, May 22, 2015

"Puddle Stomper"

Added a bit more minute dimension to this piece. 

Thursday, May 21, 2015

"Imp on a Hill"

I have been spending time in California hills, which inspired me to add more details to this tiny piece. When I'm in a wild environment I enjoy the feeling of being enveloped by the sparkle of natural life, so I added wildflowers to the sky. Added more people below to enjoy the scene.

Monday, May 18, 2015

"Bird Brain"

Please excuse the pink, which should instead be a uniform warm corn color. My images are getting larger which means I can no longer scan for accurate color.

Monday, May 4, 2015

"Small Explosion"

I'm feeling pretty good after this past weekend. What wonderfully creative thinkers walked through my studio. Total high. Thanks for coming and chatting. I'm especially beaming about those of you who took my imagery home!

The above piece went to a new home last year, but it pretty much expresses the exuberance of the weekend. Rock on!

Tuesday, April 14, 2015

at the Peninsula Museum of Art
and Art Institute

May 2 & May 3.
Saturday and Sunday
11:00 to 5:00

Friday evening 
May 1
is a
sponsored by
The Peninsula Museum of Art
6 - 9 pm.

1777 California Drive

Music, Food, Beverages

Come by and say Hi.

Monday, March 23, 2015

"Meditation in the Mist"
Acrylic on board

"The Cat and the Fiddle"
Acrylic on board

Wednesday, March 4, 2015

"Shouts and Ladders"
Ink miniature.

"Music in the Park"
Ink miniature.

Monday, March 2, 2015

"Dog Gone Happy Go Lucky"

"Mini World Favorites"

"Cheerio Talk"

Tuesday, February 24, 2015

"Mini World with Four Dogs"
4"x4" Ink

"The Music of Dreams"
2"x2" Ink

Thursday, November 13, 2014

"Whisper of Change"
Acrylic on canvas

Saturday, October 18, 2014

Developing a Scene in Blue

I am having an Open Studio on Oct. 25 & 26. 11-5.
Below are early stages of the piece I am presently working on.
You are welcome to come to the studio to see where it's at now, far beyond what you see here.

Very early stage.

The earliest stage was basically just the dark and light blues, laid on with brush and plastic baggie. I then started seeing shapes in the lower right dark area. This space developed in a way that informed me what might be going on in the center of the piece, which is where you see the painting here... with just suggestions of activity throughout.

Next in the progression of early stages.

I have been picking up a bit more form and space by adding highlights and shadows in the central area. My main concern is that I want the center to feel active, a bit foreboding, and not ...

...well, fearful. This painting was inspired by a man who said he couldn't look at blue artwork. I have learned that not everyone can look at all colors. There appears to be multiple reasons why. This intrigues me, so I am now painting into all aspects of blue, from dark to light, trying to reveal the beauty within the shadows and highlights of this color.

As with everything I make, I do not expect a certain outcome, but instead am intrigued by what is revealed one day to the next... and sometimes it is just a torrential argument with the paint. Ironically, these difficult areas often provide the depth my painting craves. Such is life, yes?

Tuesday, October 14, 2014

Oh, Those Bitter Ironies

I am going to be in an art show soon but I didn't have the art finished by publicity time. The curator grumbled, but I felt uncertain about whether the painting would actually be the one I'd submit in the end, so I didn't rush it.

I then sent the painting to get framed and wondered if I should send the curator the image before I received the art all tidy in its new protective shell. Still I held back.

Today I picked up the framed piece. The framer messed with my painting! He removed paint and left a mark where he did so. I should think this is similar to a graphic artist in a newspaper production department crop editing the copy of an editor's article and leaving in an errant punctuation mark.

There is no way to repair the damage, but luckily the damaged area will be invisible to everyone except for me. Since I do miniatures where a magnifying glass is used for viewing, I'm bummed, though, because one of my art premises is that I don't correct my art: I always march forward without erasing anything. This painting now has a clearly erased spot on the clean white paper.

And now I ponder the irony: with a framer making editorial choices, yes, there actually was a distinct chance that the piece of art could have not ended up in the show. "Scalpel! ...oops...."

I'm uncertain right now what to do. This is when I think that if I could control the world I'd frame my own art. (But if I could control the world I wouldn't be concerned about tiny edits to my art, would I.)

Wednesday, September 24, 2014

Almost finished: "Ankle-Biters and Other Charms"

An earlier version is below so you can see how things develop.

Monday, September 22, 2014

Worked a bit more on "The Journey Man". (Colors in reality are a bit less saturated and the image runs a quarter inch to the right beyond my scanning abilities.) (Sold)

Thursday, August 28, 2014

The Variables of Art Perception

Someone recently described my art as "Leigh is in her own world."

Today a visitor said when she looks at my work she sees the past, the present, and feels like she's traveled to many different countries... all in one piece of art.

We can only perceive through our own experiences. It is not a matter of being right or wrong in the way we looking at art, but rather, a matter of intention. To look into art is to see the world of the artist, and that world is only as big as the world of the viewer. It is the fascinated viewer who can look in at the artist's world and feel his/her own world expand.

Wednesday, August 13, 2014

What Do We See?

A stranger asked me recently if my thinking is similar to my painting "Blue Migration", which he was looking at at the time. I said yes. He nodded. I didn't say more. He didn't ask more. He moved on to view other art. Later I realized that his insight into my thinking is still obscured. This piece of art does not generate a consistent reaction in viewers. Some people say the piece is chaotic. Others feel it is a dream. I've heard fear expressed about it. Most commonly expressed is delight and warm comfort. Some people say maybe they see birds and others find the avian forms plus a lot more. Many people just look and say nothing, keeping their thoughts to themselves. 

I look at it and see all kinds of birds doing their thing... plus a few other creatures morphing in and out of existence. That's all.

But the way I interpret it is according to my own psyche just as that visitor had his own interpretation. I don't know how close other people get to my view of the piece. So, jumping out on a branch, I'll say what my interpretive mind sees:

The world is full of movement, variety, evolution at any given moment and this painting shows an awareness of this. Our memories fly in and out, our attention to detail shifts according to the focus of our eyes, and in this modern world we view a lot of life through mechanical lenses that might be symbolized as tunneled vision. Shifting reality is a rich and abundant enclosure that encases us as we fly towards the future. This is what I see in the painting. It is a portrait of how the human mind can grasp so much in an instant. It's a portrait of reality. It's as simple as a snapshot of a bush (if you don't want to put meaning on the birds) and as complex as the human mind (if you do).

"Blue Migration" sold.