Monday, March 31, 2008

Riverbank, Lyndale Drive No.1
16.5 x 19.8 cm (6.5" x 7.75")

The snow is slowly disappearing in Winnipeg. We've yet to have any really warm days.

The scan of the painting isn't entirely accurate. The scanner I'm using doesn't seem to pick up red very well. There are a number of dark red weeds in the original painting which the scanner didn't catch at all.

Redhead Reclining

30.5 x 45.7 cm (12" x 18")

Despite the model's relaxed look, she was far from comfortable. It was a cold evening in the studio, which required frequent breaks for the model to warm up and stretch.

Friday, March 28, 2008

Night Lights, North Dakota
16.5 x 19.8 cm (6.5" x 7.75")

This is an invention based on a something I remember from one night last fall. I was driving back to Winnipeg from Grand Forks, North Dakota. It was a foggy night. Things were blurred and there were lights in the distance. This painting reminds me of that night, and similar nights.

Thursday, March 27, 2008


graphite, ink, and watercolour
39.4 x 26.0 cm (15.5" x 10.25")

This drawing is several years old. It was completely forgotten until last night, when I rediscovered it along with some other forgotten work.

It's simplicity is it's strong point.

Wednesday, March 26, 2008

Green Woman

charcoal and pastel
30.5 x 21.6 cm (12" x 8.5")

I haven't much to say about this drawing. It was done last night in about forty minutes. As you can see, parts of the head were rubbed out and then redrawn.

Our stoic model was a little puzzled by the whole affair, having her portrait drawn, that is. She survived.

Tuesday, March 25, 2008

Orange Runway

digital image

The original drawing on which this digital image is based was done in ink, charcoal, and pastel. The drawing is several years old.

I find this digital image annoying. I am, however, prepared to be annoyed every once in awhile.

Monday, March 24, 2008

Masked Model

ink, charcoal, and pastel
45.7 x 30.5 cm (18" x 12")

I struggled with this drawing. I made several false starts using charcoal, and then switched to pen and ink to do the basic drawing. Pen and ink can force you to concentrate more on what you are doing, since you know that mistakes are not erasable. However, ink does not necessarily go well with charcoal and pastel, and in this case, when the drawing was sprayed with fixative, the ink lines became more dominant, adding an unintended element to the drawing. This is particularly evident in the area around the eyes, which after spraying took on its current mask-like appearance.

I'm tempted to continue working on this drawing. It would change with more work, but it would not likely improve.

Friday, March 21, 2008

Toboggan Run, Westview Park
16.5 x 19.8 cm (6.5" x 7.75")

Last Friday I posted a gouache version of the same scene. This oil was painted before the gouache. The two paintings are very similar. I don't know which I prefer.

The gouache version has been reposted immediately below.
Toboggan Run

22.9 x 30.5 cm (9" x 12")

Thursday, March 20, 2008

Red and Green Face
charcoal and pastel
25.9 x 45.7 cm (10.2" x 18")

I'm ambivalent about this drawing. The body seems too big for the head. I redrew the body several times, and settled for what you see. You be the judge.

Wednesday, March 19, 2008


graphite, ink, and pastel
45.7 x 30.5 cm (18" x 12")

M. is a great model. No one stays as still.

I seem to have forgotten the bellybutton in this drawing. By the way, would the absence of a bellybutton be an improvement or not? And why do some people have bellybuttons, and other people have navels? Finally, why do some people write bellybutton as one word, while others write it as two, belly button?

Tuesday, March 18, 2008

Untitled No.5
digital image

This digital image is based on an unsuccessful pastel. As it stands, the image is a little ambiguous. It's a landscape, but of what land, and when.

Monday, March 17, 2008

30.5 x 45.7 cm (12" x 18")

For this drawing the model was playing dead. Shot while wearing only a fur boa, brown sleeves, and some black lace, she fell back on her fur coat, where she lay until the drawing session was over and she decided to come back to life.

There's the beginning of a novel here, a bad novel. But at least we've got a cover painting.

Friday, March 14, 2008

Toboggan Run

22.9 x 30.5 cm (9" x 12")

Not Everest, just a Westview Park toboggan run. (Westview Park is a former City of Winnipeg landfill site.)

toboggan |təˈbägən| noun

ORIGIN early 19th cent.: from Canadian French tabaganne, from Micmac topaĝan ‘sled.’

For a list of languages in Canada click here, and for an incomplete list of native North American words in English click here.

Thursday, March 13, 2008

Facing the Other Way

charcoal and pastel
30.5 x 22.9 cm (12" x 9")

The body is a little odd looking in this drawing, even though the drawing is close to what I saw. The right hand remains unfinished.

This was probalbly a fifteen or ten minute drawing.

Wednesday, March 12, 2008

For some of the exhibitions and events currently on in Winnipeg, check the View On Canadian Art for March 5th.


11.4 x 8.4 cm (4.5" x 3.3")

A truly small drawing done last fall in the Corcoran Museum in Washington, D.C. It's a drawing of a Rodin sculpture, Eve (1881).

There was a woman looking over my shoulder while I drew. She wasn't impressed. But of course, neither was I.

Tuesday, March 11, 2008

Twisting Pose

charcoal and pastel
30.5 x 21.6 cm (12" x 8.5")

These nudes in pastel are perhaps becoming a little facile. It may be time to switch media, or somehow change my approach. Suggestions are welcome.

Monday, March 10, 2008

Uncomfortable Pose

45.7 x 22.9 cm (18" x 12")

The model felt that this pose wasn't too bad, while to me it looked uncomfortable. In any case she persevered and held the pose throughout the evening.

It was very cold in the studio last Thursday when this drawing was done. Another artist and myself were wearing toques and a couple of sweaters each. We kept asking the model if she was cold, and she kept telling us that she was fine. She did have a parabolic heater at her feet, but I couldn't see how she could not be cold. The artists offered to do the session with her clothed. She declined. In the end, the heat, like the pose, was the model's decision. Thank God for models.

Friday, March 07, 2008


43.2 x 29.2 cm (17" x 11.5")

Not a great drawing, but not every drawing is going to be great.

The model for this drawing is a actor and playwright. He has productions coming up in Toronto and Winnipeg. I'll post the dates and venues of the shows when they're finalized.

Thursday, March 06, 2008

White Legs
ink and pastel
30.5 x 45.7 cm (12" x 18")

This drawing was done with inexpensive pastels, so that it has less colour density and vibrancy than my other recent drawings, which have been done with better quality pastels. Colour, however, isn't everything.

The drawing was sprayed with a fixative. This brought out the underlying ink drawing, and has given the drawing a slightly harder edge than it had before it was sprayed.

The model has an aversion to sunlight, hence her pale skin.

Wednesday, March 05, 2008

This is a short video on the work of American photographer, Sally Mann, from The Genius of Photography - We Are Family, a six part series from Ovation TV.

She has a couple of interesting things to say regarding her family and her photography. (The resolution of the video isn't great.)

Tuesday, March 04, 2008

Stiff Neck
30.5 x 45.7 cm (12" x 18")

This pose left the model with a stiff neck, hence the title.

Any resemblance between this drawing and David's, The Death of Marat, is purely coincidental (although it's possible that the model, because of the pain he was experiencing, may have felt like he was re-enacting the scene).

(The Death of Marat by Jacques-Louis David is immediately below.)

The Death of Marat

oil on canvas
162 x 128 cm

Jacques-Louis David, 1793.

Royal Museums of Fine Art of Belgium, Brussels.

Monday, March 03, 2008

Wistful Frida

ink and watercolour
30.5 x 45.7 cm (12" x 18")

Winnipeg's anonymous Frida Kahlo artist is back at work. (Previous paintings of Frida can be seen in the archives for November 2007.)

With this painting I love the sense one has, of an artist being completely involved the work, without any concerns over what anyone might think. It allows one to enjoy the painting in a similar way.

(By the way, that's Frida's pet dog, Diego, peaking up from the corner of the page.)