Day 16 & 17 - Forty Paintings in Forty Days

Day 16

The stuff that I'm drawn to paint is becoming apparent. Within these acres of antique barns exists not just a treasure trove of infinite subject but also roads, paths and walkways that lead to something. Take a stroll between the two Gary Sciacca barns, along past the shed on the left to the barn in the background. I enjoy taking you on a tour into my paintings.

Full morning light makes this piece rather high key. I want a do-over when this scene is backlit with darker values later in the afternoon. Maybe towards the end of this project.

Sciacca's Barns, 8"x10", oil on panel

Day 17 

Way in the very back of the barn area is a large mowed field that sharply slopes down to a road. Vans and trailers are parked way in the back and the manure is piled high before being hauled away. In my stubborn quest to get a handle on painting trees I set up by the dorms looking out across the field. A couple of horses were being hacked up and down the steep hill and enjoying themselves immensely. I painted a high-headed, high-stepping horse right smack into the middle of the composition. So much for rules.

Back Field, 11"x14", oil on canvas panel

At the start of my painting, I got some help.

Fields of dreams,
Sharon

Day 15 - Forty Paintings in Forty Days

I went out early this morning, around 5:30. My original plan was to paint a backlit scene of the starting gate. As I pulled into the parking area, a young man (wearing a NYRA Parking t-shirt) approached me to inform me that I couldn't park here. It's reserved for security. What? It was fine a week and a half ago. He implored me that his boss would be very upset if he didn't enforce the "rules". There was only one other car and it's 5:30am and I'll only be here a couple of hours. I told myself to go park elsewhere and not give the kid a bad time.

I ended up in a trainers stand at the end of the chute. I loved the diagonal lines created by the fences even though my perspective was from above.

The Chute, 7"x5", oil on panel

Glad I did,
Sharon

Day 14 - Forty Paintings in Forty Days

I worked in the studio all day coating giclees and painting customized jockey silks. I didn't make it over to Oklahoma until around 3:30. Afternoon feed time would proceed shortly as I set up. I felt rushed and distracted and it showed in my painting. Dealing with mud again in the tree although I looked intently and it was the same value as the background of the barn except for the dappled sun. What a mess of paint I slapped on.

White Bandages, 10"x8", oil on panel

I do like the indication of the bandages. You know those horses have their heads buried in their tubs in the corner. Lots of stomping and hollering a few minutes prior.

Feed me, right now,
Sharon

Day 13 - Forty Paintings in Forty Days

Another late morning painting. This is Elm Court which used to back up to where the horse vans parked, now it's handicap parking. The vans roll into the barn area at any time during training - that was never allowed in the past.

Three barns are perpendicular to each other creating interesting shapes and diagonals. I'm not sure what the little building in the front is but there's an official-looking red sign, probably fire-related. I'm pleased with the contrast and I'm feeling more confident. Speaking of that, after a couple of weeks of exploring the barn area, hands and arms outstretched with fingers framing a scene, my self-consciousness is melting away. I'm a curiosity. Even George Weaver's dog sat down at the end of the shedrow and quietly stared at me for several minutes. The idea is to stay out of everyone's way and that's why you'll usually find me set up between a manure pit and a dumpster!

Elm Court, 11"x14", oil on canvas panel

The substrate is a Raymar canvas panel. Not especially enamored with it, maybe because I've been painting on a smooth Masonite-type panel.

Just pretend I'm not here,
Sharon

Day 12 - Forty Paintings in Forty Days

After training, after the horses are done up and fed, shedrow raked and tack cleaned, the bustle quiets down until afternoon feed time. Maybe a horse is in or being schooled in the paddock. The blacksmith may arrive to shoe a couple. Other than that, it's an afternoon siesta.

I set up my easel late this morning. There were a few horses still on the track but it closed shortly after I arrived. The special thing about Saratoga is the calming atmosphere for both people and animals. Maybe it's all the negative ions produced by the ancient trees or maybe it's the pristine northern air.

Halfway into my painting I began to really listen. The barn behind me opened the back stall doors and I could hear the horses eating hay, walking around the stalls, blowing the dust out of their nostrils, chewing on the window frame and raking their noses against the screen. An occasional whinny, foot stomp or cough broke the atmosphere. All the while a warm breeze pushed billowing clouds across a sky that could have been painted by Munnings.

Quiet Afternoon, 11"x14", oil on panel

These are the barns at the first turn of the Oklahoma Training Track. I know them well because Michael and I were stabled in the middle one when he had his string here in the early to mid eighties.  Generations of legendary humans and horses haunt this place. Bobbie Frankel used to be right here sitting on his bench, Happy by his side. Do you believe in ghosts? I can't say if spirits hang around forever but if they don't, I put them back today.

With reverence,
Sharon

Day 11 - Forty Paintings in Forty Days

Some things are more important than an overly ambitious commitment to a painting project and I'm fine with that. Friends and family who take the time to check in with me are a blessing. This afternoon I had the opportunity to show off the Oklahoma barn area to my dear friend Sue with an impromptu tour. We promised to meet early some morning for a creative photo session before the meet ends. Tonight we'll have dinner with my sweet niece and her cool hubby visiting from Connecticut. My bro's daughter - so special.

This afternoon I managed a quick sketch of drying saddle towels at Rudy Rodriguez's barn. I had the pleasure of showing him my painting and we had a great chat. He's a bundle of energy and a hopeless workaholic like myself. Obviously, Donald Trump has never visited a race track barn area in his life to witness first hand the dedication of the Latin workers who frankly, work their butts off 24/7. They've all been wonderful to me and I'll write a bit more on this subject later.

Rudy's Saddletowels, 7"x5", oil on panel (sold)

Tomorrow we'll both be in the booth as it's a big day with five stakes including the Whitney. With an impressive all-star field, this could be one the best races of the year. My favorite bad boy horse, Wicked Strong, is in along with Moreno, V.E. Day, Honor Code and more.

Taking it all in stride,
Sharon

Day 10 - Forty Paintings in Forty Days

I'm still a day behind and I may be more so after this busy weekend coming up. My new title could morph into Forty Paintings in Fifty Days (or more).

I tried out the new schedule of going to the booth with Michael around 9:00 and getting over to Oklahoma before 10:00. I loved it. First did a bit of searching for what to paint next (although I have a good plan so I'm not wasting time wandering needlessly) and then where to park the darn car. I like being somewhat close to my vehicle.

I'll probably alternate between sunrise and mid-day. I'm learning to establish value notes of  the shadows and then commit to them so I'm not being a light-chaser. This piece was mostly in full-sun and it was wonderful to not have to rush.

Stewart Barn, 11"x14", oil on panel (sold)

This is barn 38, Dallas Stewart's barn in Campfire Court.

I had a good day,
Sharon

Day 9 - Forty Paintings in Forty Days

Michael has offered to help me with other time arrangements. Because the sun is rising later, I may  have him drop me off at Oklahoma before he heads over to the frontside to open the booth, around 8 or 9. I won't be so rushed and will have more time to think clearly.

First light at sunrise is difficult. It's a challenge when painting plein air. Some artists are beautifully experienced with capturing the rapidly changing light. I'm not. Soft and gentle when it first appears over the horizon, it spreads a quiet film of warm light. Then it strengthens as the morning progresses into a brighter and harder edge...quickly.

I asked D. Wayne for permission to set up on his grass next to his lawn jockey. Across the way is the back of Nick Zito's barn with a row of gigantic twisted trees, probably planted at the end of the nineteenth century. I'm determined to get past this mud and paint them convincingly. Consulted with my mentor today, Robert Stebleton who gave me some great advice and suggestions. One important tip is to slooooow down.

Back of Zito's Barn, 10"x8", oil on panel

Out of breath,
Sharon

Day 8 - Forty Paintings in Forty Days

I'm not sure who's barn this is. GRW on the sign not in the picture. I'll have to find out tomorrow morning. Rush, rush, rush. The sun is rising later and very soon I'll be looking to light up my palette and easel in order to paint nocturnes!

I was drawn to the composition at the end of this barn. I love diagonals. More backlighting. I'm learning to simplify in order to complete these pieces in 2-3 hours as I have to get back home to pick up Michael who opens the booth. Sometimes my haste creates mud and I'm well aware that needs to be dealt with. Scraping it off and repainting is time consuming.

The pony tied to a tree was a bonus.

GRW, 8"x10", oil on panel

The price is $500. framed and includes free shipping within the U.S. You can purchase it with the PayPal button below or feel free to contact me for other options. I accept installments and you can also purchase it unframed for $400.

A beautiful morning,

Sharon

Day 7 - Forty Paintings in Forty Days

I'm a day behind with this post but I'll catch up in the next few days. Today I watched Frosted get beat in the Jim Dandy and took over 200 photos on the frontside. Also received some free tutoring from my good friend Mike Brown regarding how to get the most from my camera who is a cousin of Photoshop - I will never learn all the capabilities possible.

It was fun to play with color and brushstrokes:

Whitney Stand, 10"x8", oil on panel (sold)

Frosted...a most professional racehorse. I love this horse. He was gaining in the stretch and just ran out of race track. Texas Red hung on for the win.

Grays rule,

Sharon