the Grand Bend Art Centre’s paint event took place at the end of September this year.
A longtime dream project for The Paint Ontario founders, Barry Richman and Teresa Marie, that came to fruition against the odds of this current pandemic climate.
If you have never been to a Plein Air competition it really is an informative experience and I think in the future, perhaps in the spring, I will speak a bit deeper on the subject. For now I think that my participation and enjoyment in this type of event, like so many things, is entirety based on how I go into it.
Luckily it was not my first rodeo and my vibe was pretty high. An event that was full of restrictions (time and location) I relished the the chance to work within them to create a piece that still speaks to my vision of art.
But lets keep moving on and delve into my notes from the field:
The event itself: Perch’n’Paint, was a low key weekend of painting which piggy backed the premier juried painting exhibition Paint Ontario. The physical base of which, for both events, being the Lambton County Heritage Museum.
This museum itself is across the road from The Pinery, an amazing sand dune preserve located on the shores of Lake Huron/Karegnondi, and part of the Ontario Parks.
Throughout this summer I had spent about 4 days a month camping in the park, generally spending my time in the Dunes campsite and respective beach. There is something about this section of the park that I haven’t been able to leave. It is a long and winding road to get to the Dunes and all of it looks enchanting, perhaps one day I will stop but it wasn’t going to be this weekend.
Needless to say I was comfortable painting in the Pinery and made plans to spend all 3 days painting and camping in that area.
The event staff had made a map with large boundaries for the event so of the 50 participants I was certain I wouldn’t see any other painters. Just myself and the world that surrounds me.
I arrived Friday evening and set up camp just before the sun set. Retiring to my nest of sleeping bags and pillows I wanted to arrive at the morning’s check in first thing. Registration started at 7am and my alarm was set.
Saturday:
Day 2
Awoke at 3:30 am, well before my alarm. Not sure but I think I fell asleep around 9 pm the previous night so still a good sleep.
A massive rain storm was set for the whole weekend, which is one major reason why I use oil paints, so I was pleasantly surprised that the sky was clear and beautiful. Illuminated with a glowing Milky Way and luminous Moon.
I immediately started the fire and heated water for coffee.
After my cup I refilled and walked down to the beach to see what the sky could tell me. Looking for signs as if that would change my intent to paint. It wouldn’t. There is something lovely about this type of event: a specific time in which I have made plans to paint and very little could stop that.
A chance to create outside of inspired motivation
Off in the distance, just at the horizon, a crescent shape cloud formation grey and sullen moved slowly towards the land.
The naked sky, shadow laden forest, and thin beach alive with spirits and in a half asleep daze I slowly made my way back to the campsite. Deciphering and writing down my findings I spent the next few hours slowly sipping coffee and enjoying the stillness
Before I knew it was 7am and time to sign in at the museum.
Pulling into the parking lot after watching the sun rise over a corn field there were already several painters waiting to sign in.
Saw some familiar faces all doughy eyed.
The event itself was well planned and every contingency to create a fun and level playing field for all took any concerns away.
The great painter Astra Nams was used as a consultant when the GBCA (Grand Bend Art Centre) team created the event and special thanks go to her great knowledge of Plein Air painting. Made everything so smooth.
Leaving the museum parking lot by 8 am I headed back to the campsite to get set up for the first painting.
In this short time the grey clouds seen on the horizon early this morning had overtaken all of the real estate above me. Creating an impending rain storm canopy.
It wasn’t a matter of if, but when it was going to start raining.
The first location, just off the main boardwalk from the Dunes campsite, was empty on the cool morning. It took several trips to get all of the gear and supports out to the beach.
As you can see in the panorama there are a million paintings just with one spin. My first thought on having set up is that the rain was going to hold off.
I spent my time making sure my thumbnail sketches were in a place that had me comfortable with the subject. Sometimes that is the most important thing for me when approaching a entirely new painting. A plethora of drawings which are meant to familiarize myself with the physicality and importance of the subject.
Physicality: The shape of things, where they sit in the space, the size and ratios of objects, the colours, the value scale, and light
Importance: the “why” of painting. Why am I painting this? What about this scene am I trying to express or show? How am I going to do this?
Working in this way I have found allows me to get through the learning of a painting, and when it comes time to start on the canvas I am unfettered with the concern of trying to draw or paint something and am able to fully immerse myself in the spirit of the place. Allowing for the particular energy or vibe to take over and work through me.
I want to understand a subject but not so much that I become bored. That the drawing or painting is just by wrote. That there is still some quality of the unknown which keeps a sense of magic in what I do.
I have been using this method for quite some time and now really enjoy putting all of the sketches away when I initially step up to the canvas. Hoping to meet anew the landscape before me with fresh eyes.
I think I love the results of pressure. That there is only one shot to get this right. Keeps me focused, keeps me honest. I have been using permanent marker to create the under drawing. Line economy and a sure footed stroke are only possible if I can be free of questions and concerns.
this pathway to painting is akin to a concert pianist spending hours practing a piece of music and then having the ability to be fully immersed in the experience during the performance.
This under drawing is the result of the method
I had the presence of mind to take photos as the painting progressed and was lucky enough to have the downpour hold off until the last 40 minutes of the painting. Just enough time to get soaked but still keep my spirits dry enough to finish and continue on with the day.
This last video will give you an idea of how wet it actually was. I am soaked and there is water dripping off the bottom of the canvas.
This painting sold the next day to one of my collectors from London and I often wonder how it is doing. The experience feels like a dream due to the early morning and not having any physical evidence of the painting itself.
So far my weekend was a dream
1 painting down and 2 more to go
Back at the campsite I was soaked and decided to drive to the nearby thrift store on the other side of Exeter to dry off and hopefully find some warmer clothes.
It is one of the best I have been to so my chances were good.
I ended up with some new jeans and flannel jacket and with the heat on full blast in the car had sufficiently brought my core temp back up to normal.
Some camp site modelling and snacks and I was off to what would be the second, and final location.
Just 200 metres from my first spot was a dune plateau with an expansive view. Nestled in a protective dip in the land it allowed for some protection from the wind.
The westerly gusts pushed the rain inland and the sun began to dance across the peaks of the water.
How could I not paint this!
As you can see I had prepped the canvas with an idea already formed.
The longer 12 x 24 inch canvas meant for a study of the water and the two squares meant to be a way to quickly capture the beautiful sunsets on the lake
Forgoing the thumbnails and studies I worked out the under drawing in chalk pastel. Making sure to keep it loose and full of energy. I wanted the viewer to feel the waves and win approaching them in the painting
Before laying paint to panel I had pre mixed all of the colours for the water. The lake was ever changing and wind seemed to come from slightly different directions with each gust. Blocking in the waves as quickly as possible I left the white of the wave caps empty. The white that you see is gesso underneath. I wanted the strokes of the coloured water to suggest the movement of the wave.
Finishing up the sky just in time for a short break before the sunset began.
This painting sold three weeks later to collector from Paris and had won best water scene at the event.
The last painting I finished of the setting sun just before it fell beneath the horizon is currently showing at Westland Gallery in London Ontario.
I went to bed after painting four canvases and felt wiped.
Had an early fire and fell asleep.
The next morning I awoke at the crack of dawn, got a swim and a little painting in before heading to the museum for closing ceremonies
Packed up the site, dropped off the paintings, talked with some collectors and fellow artists and started the lazy Sunday drive home to Guelph.
A weekend full of treating painting and moments that I still think about. I’m excited to head back perhaps this winter to do some more painting. The peace that I experience in the environment of the the Pinery is unfound anywhere else.
I think this is the reason that I love Ontario. It is possible to drive two hours and feel like I am in a totally different part of the world.
I’m excited to explore and find more hidden gems
Perhaps I will see you out there