February Pasture

soft pastel on hotpress, pumice ground added
41x32 cm (16x12.5 in)

Last Saturday, anticipating the series of storms headed our way, I drove to the food coop about 16 miles away to stock up. I like to drive back roads whenever possible to enjoy the scenery without the distraction of traffic. It was about mid-afternoon, and the first of the storms was moving in as I passed through an area of open farmland along the top of a ridge. This scene caught my eye and captured me. Oh, I wished I had thought to bring my camera and sketchpad with me! I was too task oriented when I left, I guess.

At home, I thought about how I wanted to capture the impression it made on me. Next morning, I painted this. It is more complex than it seems. This is one I'll frame for the gallery. (Some paintings are destined for the grey box in the closet.)

Painting and kiln-working glass make a good combination. They feed each other without either getting in the way of the other. This seems to be true for many kiln-workers. And it gives us something to do while waiting for the kiln to do whatever it is going to do (opening the kiln often reveals surprise results). I had set up another small experimental composition of float glass and put it in the kiln just before I began this painting. Now I have another painting to frame, and -maybe - another glass work to mount.

I need to set up a photo booth so I can take presentable pictures of my glass. Stuff is notoriously difficult to photograph.