Suncrisp

Suncrisp

7" x 7"

original watercolor on paper

Named Suncrisp for obvious reasons, this apple was painted on Thanksgiving at my childhood home.  I'm thankful for my studio.  

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Northern Spy

Northern Spy

5" x 5" 

watercolor on paper

Shadowy in hue and small enough to fit in tight spaces, the Northern Spy is ripe for espionage. 

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Cameo

Cameo

5" x 5" 

original watercolor on paper 

Twenty-six years ago in Dryden, Washington, the Cameo apple cultivar was discovered.  It was growing from a lone tree in an orchard otherwise populated by Red Delicious trees.  The parentage of this apple-orphan remain unknown.  

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Cortland

 Cortland

4" x 8" 

watercolor on paper

A hybrid of "Mcintosh" and "Ben Davis" varieties, the Cortland apple was conceived in Geneva, New York in 1898 and is named after Cortland County, New York. 

This painting was conceived in my bedroom studio, New York, NY, on the 24th of November, 2013.

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Empire

Empire

5" x 5" 

watercolor on paper

Empire, painted in the Big Apple.

$95.00 

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Fuji

Fuji

5" x 5"

original watercolor on paper

Another day another apple. 

$95.00

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Honeycrisp

Honeycrisp

5" x 5" 

original watercolor on paper

Yesterday I wrote that painting an apple a day keeps the art blues away. I had had a frustrating day in the studio trying to plan a large painting.  I felt incapable of focusing on one idea, and overwhelmed by possibilities.  Too often this feeling leads to inactivity.

I took a break from planning this larger painting, picked up a small scrap of paper, and painted the Macoun apple on my counter.  I've been painting and drawing apples for years.  Each one is different and they're a great subject for watercolors because the texture of their skin is so shiny and reflective.  

So, for the next thirty days, I'm going to paint an apple a day.  Even bad days in the studio should be fruitful.  

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Macoun

Macoun

6" x 6"

original watercolor on paper

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New York Life

New York Life

22" x 30"

watercolor on paper

This painting was inspired by Joan Didion's timeless essay, "Goodbye to All That," about her experience living in New York City in her twenties.

For the last year I've been lucky enough to have a very good view of some notable Manhattan buildings from my studio window.  They include the New York Life building, the Met Life Tower, and One Madison.  To me, they resemble a phalanx of mismatched soldiers each keeping watch over Madison Square Park.

As I worked on this painting each afternoon, the view became increasingly obstructed by the construction of condominiums on the western side of the park. It seemed like with each day, a new floor of the building would be erected.  I couldn't decide if this was more remarkable because of how quickly the construction team worked, or how slowly I did.

Beyond the changes in the city scape, the end of daylight savings meant I had to adjust what time in the afternoon I could work on the painting, in order to maintain a degree of consistency in the light and shadow angles. Life doesn't stay the same anywhere, but it's safe to say that in New York life changes the fastest.