Sunday, July 17, 2016


All last week we began to prepare for our six week exhibit at the Saratoga Race Course. The tent is up and the grid walls and lights are in place. As I write this today, I'm feeling a mix of anticipation and nerves. So many vendors, not just us artists, have invested an enormous chunk of time and money to ensure a quality product and/or service and are now fussing over the presentation of such. I want my tent to be pleasing and welcoming. My originals are for sale with galleries this season, which leaves us to sell the giclees and the sublimation products. This was my intention.

My husband and business partner, Michael Bray, is the most reliable fellow workaholic I know. He has lived with this demanding perfectionist for over thirty-five years and rises above my expectations to produce top-quality products. After all, the images on the products are reproductions of my original paintings. While I realize that the substrate will cause differences in color and contrast, I still choose to sell something I can be proud of. I also don't mind cropping, as long as it isn't a nose, a foot or a tail and the composition remains strong.

We've always worked well together, even back when he was training horses. I know how blessed we are (at least I am).

In addition to the products and their display, there is the consideration of inventory tracking. With so much new merchandise that offers a wide choice of images, this, I think, is going to be a work in progress. PLU's and bar coding may be implemented later as we have focused our concentration on creating and displaying the product. Sometimes I feel a bit of trepidation as I wonder if we don't offer too many choices. However, that may be the very asset that helped our giclee reproduction business become so successful. If we can launch this new machine and keep it running smoothly, which I believe with all conviction that will happen, then we'll have added another dimension to what I call my "art business."

This Friday, baby. This Friday, the 22nd.

Wednesday, July 13, 2016


I'm honored to be included in a group exhibit at the Brookside Museum in Ballston Spa, NY. The title of the show is "Horses!" and runs now through September 2nd. Also participating are Sue Clark, Connie Bush and Sharon Castro. Our show is sponsored by the Carousel Equestrian Boutique in Glenville, NY. Owner Susan Tybush Stuhr has personally decorated our exhibit and it looks fabulous! I'm so envious of designers...they have such a knack for making everything lovely and visually appealing. She also designed our poster:

Be sure to attend the artist reception on July 29th from 6:00-8:00. We'll also have face painting for the kids by Tina Rodriguez and decorated horse shoes by Isabella. Plus, you'll enjoy a presentation by cowboy poet extraordinaire
Mark Munzert
. If you've never heard the stories of these cowboy poets you're in for a big treat!

My tent goes up today and now the real countdown begins.
Opening day is July 22nd.

It's a love/hate relationship. On one hand, I miss all the summer fun that I pine for while watching my family and friends enjoy the season. I equate it to exhibiting at a weekend art festival times six weeks. Exhausting. On the other hand, everyday I'm at the greatest race track in the U.S. It's a  privilege to see the best horses and their connections up close and personal. And, best of all, I get to paint there!

Going to the races,

Monday, July 04, 2016

A Hint of Color

For the past couple of years I've toned down my colors and experimented with neutrals. I'd begin a painting session by making piles of cool and warm grays. Cobalt and cad orange, cad red and cerulean, different reds with greens, and my favorite: burnt sienna and ultramarine blue. Then I'd put in a surprise of high key color into my focal point to make it pop. It was a technique that was especially useful when I began painting plein air because - and please don't hate me for saying this - I think most plein air paintings (especially landscapes) are a bore.

This reminds me of a quote by the late, great, Robert Genn regarding a device he used often: "From a painter's point of view, a 'red surprise' is most effective for bringing focus and heightened interest to many works."

Then there were complaints from the partnership, even to the point of suggesting that I could possibly be developing cataracts! So, I took a scrutinizing look at my recent work and realized it was indeed slipping into the snooze category. It was therefore such a pleasure to step back and acknowledge where I'm comfortable on the color spectrum.
Orange Bucket, 11"x14", oil on panel
I've also been experimenting with transparent oxide pigments. Toning the substrate has been eliminated as I want the white surface to shine through the layers. I love them! Transparent red oxide is a spectacular color and has largely replaced burnt sienna (except in making those lovely neutrals). Even the brown oxide is beautifully vivid with an orange-y tinge (goodbye burnt umber).

Why does everything have to look so real? It doesn't. It's our job as artists to create intrigue, mystery, audacity and even a little absurdity.

Funnily (as Robert Genn would say),