KirkwoodWagnerGallery Blog

August 2011 – The Bay of Fundy

I just returned from my sixth painting trip to the island of Grand Manan, in the Bay of Fundy, with the well known Toronto painter, Barry Coombs.

Water must take me back to my mother’s womb because I really like painting with a water surround. Water affects the climate, the temperature, the humidity, my outlook, the way I feel, and consequently, my subject matter.

In addition, water on Grand Manan is also not like it is anywhere else in the world… it lives… it rises, it falls and …. it does so dramatically! The Bay of Fundy has the highest tides in the world.

These are some of my pictures to capture this effect.

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June 2011 – ‘High Road to Taos’ and ‘Turquoise Trail’

I just returned from a wonderful painting trip in, and around, Santa Fe, New Mexico.

While Nancy was in an intensive one week alternative photography workshop with the internationally renowned Christopher James, I spent my days on the ‘High Road to Taos’ [Cundiyo, Cordova and Truchas] and the ‘Turquoise Trail’ [Madrid and Cerrillos] painting on 18″ x 24″ canvas and masonite boards. It is not all that easy to paint outdoors when the temperature reaches 103 F; the relative humidity is 4%; there are no clouds [except for the smoke generated from raging canyon fires] and you back over your easel to move your car to accommodate a three axle SUV!

Although it’s not easy, it is spectacularly rewarding.

These are 6 of the fruits of my adversity.

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May 2011 – Selecting The Focal Point

I just returned, with six other painters, from a two week painting trip to the very southwest corner of France. The trip was concentrated to the region occupied by the Cathar people and, in particular, the town of Limoux on the L’Aude River, hugging the east side of the Pyrennes mountains.

The region is rich with rolling vineyards, deep gorges, ancient castles, abbeys, and sycamore tree lined streets winding through farms, around old stone houses and shops.

It is difficult not be get seduced by the sensual impact of your surroundings. But as a painter, to succumb to this seduction, is poison!

What I honed during this two week trip was the ability to select a focal point. For a painting to ‘work’ it needs to provide the viewer with a focus, a reason for exploring the painting, rather than just providing a pretty picture; pretty pictures are for the camera. To find, or create, a focus in a painting is a tough job when you are accosted by warm weather, spectacular visions and an overload of smells, sights, sounds and feelings!

If you look at the five attachments you will see how I tried to accomplish this.

Bill
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