Originally posted on Infinity + some + 2:
Searching for some earlier painting for which I had received an order, I came across two sketches I did on-site in the USA, in the Winter of 2010, both in ink and watercolour. It was an extremely cold winter, and I hardly did any sketching outside on that trip. And when we came back, I probably thought that these 2 from Friar’s point were not good enough to be published. But seeing them again, I feel that they are quite lovely, and perhaps some people in the world, originally from that town or having spent some time there, might enjoy seeing them.
As I did them we were on our way from Memphis to New Orleans, and spent 2 days in Clarksdale, exploring the town itself and the surroundings. We were especially interested in The Mississippi Blues Trail, trying to see as many markers as possible. Friars Point had been honoured by the Mississippi Blues Commission which placed a historic marker for Robert Lee ‘Nighthawk’ McCollum, otherwise known as Robert Nighthawk. And this is how we came to Friar’s point. We enjoyed the trip, although Friar’s point as itself seems like a weird place to me, a little bit scary even. We Europeans are not used to such kinds of villages. Our villages are cosy somehow, and the houses really give the impression that they and their inhabitants are living together… it was so different there. It seemed to me that each house was by itself… well, in fact, I got that impression very often in the USA, probably they have so much space there that they don’t need to build their houses on top of each other! But we did meet very lovely people there, eager to speak to us and help us, one lady in particular who stopped in her car and urged us to explore her village, full of pride.
Originally posted on Teri Malo's Studio Blog:
From the Dune, a morning glimpse over the edge of a dune looking to the sea, is a study in quiet color and soft light. It was the grazing light catching the top of the dune that caught my eye, and the challenge of painting dune grass and vegetation without getting caught up in too many details. All paintings are about finding a harmony of parts to make a whole. In this case, the gray, muted tones set the initial harmony, and everything else had to reinforce the quiet, subtle light. The grass could not be allowed to detract from the overall ambience – too much detail or contrast and the spell would be broken. So here is the result. Enjoy!