About the Painting

Birds on a Wet Lawn

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Birds on a Wet Lawn is first in a series of large paintings featuring birds on a high horizon line. It’s the first time in a while that I’ve included an objective element in an otherwise non-objective piece. I’ve explored the subject of birds in the past, and you can probably count on a re-appearance from time to time.

There are so many reasons to include birds in a painting—their beauty, their freedom in flight, their uninhibited motion, their oneness with the environment. In this case though, I believe I was expressing a memory.

I’m careful to keep my lawn organic, not wanting chemicals endangering the pets and people who enjoy my yard, or to drain into our soil and water. So one of the organic products used to keep the grass healthy is molasses. Yes, molasses, in a pellet form. When this aromatic product is applied to the lawn, there’s a delightful gathering of neighborhood birds of all kinds, enjoying a fragrant feast. It’s a small memory, but a pleasant one, that is captured here.

Now for my process. As usual, I applied the texture first, with mostly random horizontal grooves, with some concentric arcs interspersed throughout the lower three-quarters of the design. The paint follows the texture in places, but in others, it skips across like a stone across the water. You’ll see the effect when you examine closely.

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The birds themselves were originally created from stamps that I carve out of rubber. For this painting, I took that technique a step farther by stamping the images, scanning them into my computer, printing them out, then using an image transfer method to apply them to the canvas.

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Green shades and tints are predominant, enhanced with deep blues, turquoise, and some yellow and white. The upper portion has a hazy effect, with white raining down over the birds. The entire painting is finished with red, orange, and blue splatters.

Birds on a Wet Lawn is 40” x 40” on deep gallery-wrapped canvas, wired and ready to hang. You can see it in context here, along with the two other paintings currently in the series. I’ll write about them in future posts.

Contact me if you’re interested in owning this or any of my other paintings. I can also make museum quality prints of Birds on a Wet Lawn available at a lower cost, and in several sizes smaller than the original.

Join me on Facebook and Instagram for behind-the-scenes peeks and first postings of new work.

All art is copyrighted and may not be reproduced without express written permission. Copyright 2017 Laura Hunt


 

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About the Painting

Elements of Time

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If you’ve read some of my earlier posts, you’ll know that the high horizon line is a favorite compositional approach for me. I used it again in Elements of Time. As the title suggest, I was drawn to the visual effect of time, weather, and age on surfaces. Texture, of course, is always an element in my paintings, and a close-up examination rewards you with a worn lusciousness that begs to be touched.

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Elements of Time is composed of many layers of earthy colors and glazes that enhance the painting’s depth. Above the horizon are layers of paler tones built on one of my favorite materials, gauze (detail below), anchored underneath with an irregular row of gold vertical raised “rods” that march across the division between dark and light. Splatters in red orange, blue, and ecru complete the composition. I used my favorite square format, which creates a sense of stability.

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Elements of Time is painted on a 20 x 20 gallery-wrapped deep canvas.You can see it in a contextual photo here. Check out the FAQ page to learn how you may purchase this or any of my paintings.

Join me on Facebook and Instagram for behind-the-scenes peeks and first postings of new work.

All art is copyrighted and may not be reproduced without express written permission. Copyright 2016 Laura Hunt

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About the Painting

Hey, what time is it?

This post will focus on a series of small paintings I call the Time of Day. Small and intimate, these four paintings are my expression of the range of atmosphere and emotion I have felt as the day moves through its various moods.

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Midnight: dark and mysterious with the Milky Way reigning over the night sky, evoking a sense of wonder.

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Morning: full of hope, dewy, lush and green, pale sunshine casting an optimistic glow as I rise, sip a cup of coffee, and start my day.

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Midday: hot summer sun climbing into the sky, swirling solar storms washing out the barely blue dome, sending me to the fridge for something cool.

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Sundown: Riotous colors over a serene landscape, memories of the grassy rolling plains of Central Texas and an end to my chores for the day before heading inside for supper and homework.

Each painting was created using acrylic paint on a 12” x 12” standard canvas, and is wired ready to hang. They can be arranged as shown in context here, in a square configuration, but other arrangements are equally effective. You decide! Learn how to purchase this series or any painting of your choice on the FAQ page.

Join me on Facebook and Instagram for behind-the-scenes peeks and first postings of new work.

All art is copyrighted and may not be reproduced without express written permission. Copyright 2016 Laura Hunt

 

 

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About the Painting

Strength with sweetness

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I wanted to create a painting with a sweep of color in the composition, something that might invoke a wave, or a transition from something powerful to something  still strong, but different in character. I began by laying down texture and covering it with strands of blue, various shades on top of one another. As the piece evolved, it became clear that there would be a field of pearlescence, the top right section in the view above. (Oenomel can be hung effectively either horizontally or vertically.)

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I began to add some warmth by overlapping reds, pinks, yellows, oranges, yellow–candy colors, I thought. I unified things by laying down the cool ocean colors alongside the candy colors. Some pearly gems appeared, like pops of jewelry. I built layer upon layer, finalizing the painting with splashes and splatters of contrasting colors–white, dark and medium blues, and whatever felt right at the time.

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The hardest part of creating this piece came in naming it. (Can’t seem to go with “Untitled.”) As I often do, I search my “Word of the Day” app, and stumbled across the word “oenomel,” which means “strength with sweetness,” like wine with honey. Perfect! Done!

Oenomel is a large painting, acrylics/mixed media on 20″ x 60″ gallery-wrapped canvas. As mentioned above, it can be installed vertically or horizontally, according to your preference. To see it both ways in context, click here and scroll down a bit in the Large Paintings section. Learn how to purchase this or any painting of your choice on the FAQ page.

Join me on Facebook and Instagram for behind-the-scenes peeks and first postings of new work.

All art is copyrighted and may not be reproduced without permission. Copyright 2016 Laura Hunt


 

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About the Painting

Leaves letting go

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Last Leaves celebrates the intersection of fall and winter, the remnants of warmth greeting the waning light of winter, and the prospect of a wintry mix in the forecast. The leaves that have hung on for dear life at last release their color and their grip with a sigh. A jumble of manmade characters intrudes; it reminds me of the urban streets in my Fort Worth, Texas, neighborhood that benefit so much from the gift of shade during our intense summers.

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The background is largely a soft, wintry gray, with bursts of amped-up yellow. Wet-sanded leaf shapes reveal the faded turquoise, red, and orange underneath, and strips of vintage maps. The energy in the change in weather is expressed with a layer of splatters in white, turquoise, and black.

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Last Leaves is painted using acrylics/mixed media on a 24” x 24” standard wrapped canvas. You can see it in context in the Mid-Sized Paintings section here, and learn how to purchase this or the painting of your choice on the FAQ page.

Join me on Facebook and Instagram for behind-the-scenes peeks and first postings of new work.

All art is copyrighted and may not be reproduced without permission. Copyright 2016 Laura Hunt

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About the Painting

Ocean wetness

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Ocean colors dominate Deep Water, with deep blues, sky blues, aquas and turquoises, blended with watery greens that all cooperate to immerse the viewer into the ebb and flow. Strips of topographical ocean maps collaged into the painting reinforce the wetness with their torn edges and shades of aqua.

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I created a highly textured section at the bottom that brings to mind the mystery of the ocean floor. The top section recalls the docks and piers made by human hands. If you look closely, you will see wave shapes I stamped into the design on handmade paper for a whimsical note. I think of them as a treat for those who take the time to dive into the experience of this painting. Final splatters of red, white, pale blue, and almost black blues offer the vitality that creatures contribute to the life of the sea.

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In planning a painting with water as the subject matter, I wanted to get beyond literal repetition of wave shapes. Each flowing form is different from the next, creating an overall impression of pattern, but with the constant change of  pattern elements. All this was developed over an underlying structure of textural marks that I find a necessary element in my work.

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We human beings seek out bodies of water. Rivers, lakes, ponds, oceans, even puddles, are places where we renew out souls. This tall, narrow painting creates the opportunity to dive deep into peace, cleansing, and regeneration. It’s well-suited to inhabit a narrow vertical space in your home or office, and to remind you of your favorite ocean dreams and seaside memories.

Deep Water is an acrylics/mixed media painting, 20” x 60” on gallery-wrapped canvas. See it in context here, and learn about the purchase process on the FAQ page.

Join me on Facebook and Instagram for behind-the-scenes peeks and first postings of new work.

All art is copyrighted and may not be reproduced without permission. Copyright 2016 Laura Hunt

 

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About the Painting

Revealing my Crosswise process

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A passion for texture is a major motivator for my work. Laying down texture is my go-to first step. That’s where I consider the composition of the piece, playing with the depth, the character, and tactile qualities that will guide what happens next. I’ve created a number of paintings using layered stripes, sometimes horizontally, sometimes vertically, to produce exciting clashes abutting and layered on top of each other.

In Crosswise, I laid down my texture—well—crosswise, parallel with the shorter side of the canvas. While painting the stripes in the same direction might have been pretty, I wanted a tension at play. So instead, I painted the layers of stripes vertically, in direct opposition to the underlying texture. The result is a rich vibration that you can see in the detail photos here as the brush skips over the ridges.

16379-crosswise-detail-4-loThe painting progresses from the cool greens and blues of fields and streams at the bottom to the warm reds, oranges, and yellows of sunshine and flames at the top. Gold gem-like dots punctuate the painting’s verticality and provide a surprise to be found by the viewer.

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But nothing is perfect! Nature causes decay and corrosion on objects, which this painting expresses with the worn-away passage at the top. Random splatters top off the painting with spontaneous exuberance, a contrast to the relative discipline of the underlying structure.

Crosswise is painted on standard gallery-wrapped 22 x 28 canvas, and is ready to hang. See the painting in context here.

Join me on Facebook and Instagram for behind-the-scenes peeks and first postings of new work.

All art is copyrighted and may not be reproduced without permission. Copyright 2016 Laura Hunt

 

 

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