There’s a lot that can be said about the year 2017. I prefer to focus on the positive, and it’s easier for me to do so through images than words. So here’s a gallery of photos I took in 2017. Many of these images I’ve already posted on Facebook or Instagram, but it’s nice to have them all together here in a commercial-free environment. I hope you enjoy them.
Recently, for personal enrichment, I completed an online photography course taught by the legendary artist Annie Leibovitz. I am enjoying learning more about photographing people, and I’m looking forward to taking my photography to a new level in 2018.
Interested in purchasing prints or a license to republish any of these photos? Get in touch.
My newest painting portrays Mt. Tom, as seen from the Fort Hill section of Easthampton, Massachusetts. Early summer corn grows in the foreground.
A friend of mine was looking for some art to hang on the wall of his new office, so I obliged. I produced this 44 by 55 inch acrylic-on-canvas painting in one month. I also built a custom frame from select pine, and painted it a deep “espresso” color.
In years past, I might have taken several months to complete a work of this size. This time, I was thankful for the tight deadline, and the opportunity to try a new approach to getting work done more efficiently.
All apologies to the late George Herbert for appropriating his title. But it’s an apt approach to weathering the crazy and noisy political zeitgeist of 2017. Of course it’s important to stay concerned, informed, and involved. But it’s also important to practice fierce self-care, to stop to smell the roses, and to remove oneself from the fray frequently, in order to recharge the batteries.
These photos I’ve taken remind and reassure me that the world is still a beautiful and incredible place.
A few years ago I set about to make a series of hand-painted canvas tote bags. I ordered a couple dozen plain canvas bags online. I drew up a simple, happy, graphic image that seemed like it would be easy to reproduce. I cut out a paper stencil so that I could transfer the drawing consistently from bag to bag. I cleared all the flat surfaces in my studio. Then I got busy making the acrylic paintings.
My original intention had been to put these on Etsy, sell a bunch of them, and fund my next art project. But they languished in my Etsy shop, and I never sold a single one. I ended up giving most of the bags away to friends and family members, and of course I’ve kept a couple for my own use. I may have one or two left; if you want one, please get in touch.
The photo gallery below shows the process I devised to make the paintings. Instead of painting each bag’s image from start to finish, I used the mass-production approach: I performed each step on all of the bags before proceeding to the next step. So for example, first I painted a rectangle of white primer (gesso) onto each of the bags and let it dry. Then I stenciled my sketch onto each of the bags. Then I painted the blue sky onto each of the bags. And so on. The later detail steps were a bit more improvisational, so there are minor differences among the paintings that hopefully add some character.
Update November 13, 2016: I took down the show. I have updated the tenses in this post to reflect the new reality.
I exhibited some of my photographs at Mt. Tom’s Homemade Ice Cream in Easthampton, Massachusetts, October 8th through November 11th, 2016. There was an opening reception on Saturday, October 8th (as part of Easthampton’s monthly Art Walk). I loved seeing you there!
I like to take photos involving outdoor scenes, trees, water, earth, and sculpted clouds. These days I share a lot of my work online, but it has been a while since I’ve shown the physical artifacts of the process. When my friend and fellow artist Jim Ingram asked me if I’d like to show my work at his ice cream shop, I said yes.
Originally I was going to show paintings. I’ve made a few of those over the past couple of years, but not enough to fill a whole show. Later, I thought that I might show a mix of a few paintings and a few prints. But after reviewing my whole available body of work, I decided to narrow the focus to one medium, and stick to photos. I’m glad I did, because in this case it made for a more cohesive show. The prints for this show were all either 12 by 12-inch squares, or 11 by 14-inch rectangles.
Please enjoy the gallery above, which offers a glimpse of the photos that were in the show. Please get in touch if you’d like to buy one. Soon I will be listing them in my Etsy shop.
This was a fun shot to make. The photo makes it appear as if all of the fireflies are lit at the same time. In actuality, I set up a long, tripod-mounted exposure, and individual fireflies may have been represented multiple times.
In order to illuminate the peach trees and the rhubarb patch in the foreground, I walked around the perimeter of the scene with a flashlight while the camera’s shutter was open, reflecting diffuse light off a lawn chair turned on its side. I had to take a few shots to get the exposure just right. This one took about a minute and a half, as I recall.
I love the unexpected results of this kind of shot—it reminds me to appreciate the photography of yore, when long exposures were necessary under even the brightest conditions, and a degree of uncertainty was the norm.
I’m sure that some of the fireflies appear in the photo not because of their own phosphorescence, but because they are being lit from the side by my flashlight. The glowing effect is magical nonetheless, and hopefully it captures the spirit of an early summer evening.
Over the twenty-eight years that I’ve been a naturalized New Englander, I’ve developed a personal tradition: every year, I must artisanally hand-shovel the first snowfall. In fact, I try to avoid using a gasoline-powered snowblower for as long as I can into the season. This ceases to be practical after the second or third foot of snow has fallen in as many weeks, which eventually does happen.
This year the first real snowfall came pretty late—December 28th. (I’m not counting the flurries that flew early in October.) We didn’t get a deep accumulation—it was only three or four inches. But what little fell was wet, heavy as bricks, and covered with a brittle crust of ice, leading me to question the wisdom of shoveling the whole driveway by hand (and by back). But I forged ahead and did my work, and in the process reminded myself of why I had concocted my silly tradition in the first place.
It had something to do with being rugged and stoic in the face of daunting odds and conditions, which I’ve romanticized as a New England trait. It also puts me in touch with an earlier, more thoughtful, less mechanized way of doing things. We live in such a privileged, materialistic society that makes it so easy to step on a pedal and end up miles from where we were half an hour ago. In this light, I think it is so important to maintain a perspective that honors the laws of physics and the idea that what goes up must come down. Whatever seems easy (like pushing a button and starting an orange robot that makes easy work of snow removal) must be paid for somewhere else in the universe, probably by some innocent butterfly whose only crime was flapping its wings.
So I return to my shoveling, thinking these deep thoughts, fancying myself some kind of modern-day Thoreau, “wishing to speak a word for Nature.” But I burst my own bubble when I catch myself grumbling about how hard it is to live in a place that experiences extreme winters. (I’m sure that my friends in Wisconsin, Minnesota, and Manitoba will chuckle at this characterization of Massachusetts.) There’s always a five-to-ten-foot strip where the driveway meets the road, where big plow trucks throw salty slush, adding the snow from the road to the snow already on your driveway, gluing everything together into a giant block of concrete, and turning your evening into a major excavation project.
But the complaining reflex doesn’t last for long, as I snap back to the perspective of how fortunate and grateful I am. After so many years of struggling and wanting, I finally have a driveway TO shovel. And I think about people in Missouri and Louisiana whose homes are being flooded, and worry about them. I think about people who are being held captive, even if it’s a prison of their own making—a mental scaffolding of religious fanaticism, political fervor, or lust for attention. And my heart goes out to them, and hopes that one day they will find peace within themselves. I think a lot about people who face health challenges, and all the associated pain. My heart goes out to everyone in the world who is suffering, and it makes my little mountain of ice seem so inconsequential.
I painted this peaceful, melancholy scene based on a photograph I took in the old part of Oconee Hill Cemetery in Athens, Georgia. I worked on this oil painting while studying under the late Richard Yarde at the University of Massachusetts, in the early 1990s.
Technical details and availability
1994; oil on canvas; medium-sized; private collection (not for sale).
One of my favorite things about the place where I live: the awe-inspiring colors of foliage and sky
There is so much to be thankful for. This time of year, one of the things I am most thankful for is New England, the place where I live. The colors of the foliage and the sky are awe-inspiring. They make me want to paint.
I took this photo of Easthampton, Massachusetts from the Log Cabin, a banquet hall atop Mt. Tom, in neighboring Holyoke, Massachusetts.
Flowers are such rewarding subjects to paint. Not only do they hold relatively still, but they are full of color and intriguing form. Above, I tackled a blooming sunflower (and an aspiring one) standing proudly against a bright red barn wall. Oil on canvas. Private collection; not for sale.
She Loves Me
Below, I interpreted the spirit of daisies in a much more stylized way. I love how the north-south divisions in the background contrast with the radial divisions of the daisy petals. I donated this piece to the Second Annual Benefit Auction sponsored by 20things.org (website no longer active) to benefit Cancer Connection in Florence, Massachusetts. The painting was won by a wonderful person named Daisy. She loves me… She loves me not…
Have you had enough daisies yet? Below is an acrylic painting I made for the same family that commissioned the Belly Cast piece. It’s a bit more of a realistic rendering than the daisies in She Loves Me, but hopefully not too realistic.
I painted these two happy sunflowers for a friend, as a wedding gift for her cousin. I used acrylic on canvas, and framed it in a black-stained, hand-carved wooden frame.