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Above are 4 new works on paper that represent a change in my work routine. Images, shot with my camera on our property, were printed and used in the studio to inform my paintings. I am attempting to illustrate what attracted me to the subjects rather than to make a literal description. Some are more abstracted and provocative than others. It feels like a break-through and I expect post more.

Comments

Laurel Daniel said…
Carole - this is stunning work. I can not wait to see more!!! I love the closely cropped focus on what it's "really about" for you and the wonderful resulting patterns. So fabulous!!!!!
April 22, 2009 at 9:54 PM
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Carole's FEBRUARY BLOG

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GULF COAST SPLASH 30" x 30" Oil on Canvas This painting is the result of my sitting on a sea wall at a friend's house located on the intercoastal canal in Port Aransas, Texas. Staring at the splashes against the rocks is hypnotizing. Like snow flakes, no two splashes are alike. As a result of a trip to the west coast many years ago and watching the waves break on the beach, I painted a wave. This painting reminded me of that similar experience. Toni, do you remember buying that wave for your son's wedding gift? The colors on our Texas Gulf Coast can't compare with the incredible blue of the Pacific Ocean, but I borrowed a little of that color for my Texas splash. Artist'd Privilege! MUSEUM SHOW: At the GETTY CENTER in Los Angeles until February 28 is "Rembrandt and His Pupils: Telling the Difference". If you can't make the trip, do as I did. The interactive on the Getty's web site allows zooming in on the images. You can test yourself b
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CHECK OUT THESE IDEAS & COMMENTS:

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AUSTIN ART MUSEUM EVENTS      The Francisco Matto exhibition at the Blanton Museum is a great one for taking your children and grandchildren. But hurry, the show comes down September 27, 2009. Enter the Univ. of Texas parking garage on M.L.K. Street next to the Blanton or park across the street adjacent to the Bob Bullock Museum. It was fun taking Michael (6) and Angela (9) who returned home, discussed the show with their parents and made drawings of what they saw. They especially liked Matto's found-wood totems.      Chuck Close's digital pigment prints are at Austin Museum of Art on Congress Ave. through November 8, 2009. The artist was asked why he didn't use more models when producing the huge frontal portrait heads. He replied that he didn't like people around. We can ask Austin artist Sydney Yeager about this. She was one of his subjects.  There is also a variety of work from AMOA's permanent collection. NETFLIX SUGGESTION      We really liked THE VISITOR
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DECEMBER BLOG 2010

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Almost one year ago I posted an image of a painting that I call MOTION on my January blog. I was never completely satisfied with it but liked it enough to continiue to look for solutions. I spent an inordinate amount of time sitting and staring at the painting. I hauled it ( it is 30" x 30") to a meeting of some Austin painting friends where we share criticism of one another's work. Then finally months later, I placed it on my easel, took brush in hand and modified it enough to call it done. I would love some feedback from you readers who would go to the http://www.carolesikes.blogspot.com/ , scroll down to the painting below the HAPPY NEW YEAR on last January's blog and tell me which version you like best. A common dilemma of many if not most painters is knowing when to stop. Often when one is having fun moving paint around, the painting can become overworked. This one was a great challenge and I like nothing better. Other paintings seem to slide right onto the can
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