Waking up in Provence I felt as though I was dreaming. Jet lagged I’d slept ’til 6, stepped onto the balcony ~ “I must be in someone else’s life!”
The garden below beckoned with aquamarine water and quiet seclusion.
I slipped on a suit and into the pool.
Floating alone, I wondered at the magic that brought me here.
Hollyhocks bobbed their deep fuschia heads above me. Sun-drenched clouds washed the Cerulean sky with light.
The first paintings were as dreamy and washed as lavender itself.
A good nights sleep didn’t make my trek to the lavender fields any less dream-like. Expecting vibrant purple filled fields ~ instead I discovered internet photos over saturated. A little past peak, like myself, lavender felt delicate and light.
The fragrance too, wafted in and out of awareness. Like the dream, illusive and uncertain.
After 35 years of painting with opaque mediums, Provence inspired my first works in watercolor. I opted for a pack of postcards and thin washes of paint when the sun proved to be just too hot to paint at the easel with oil paint. Sitting instead at a cafe table waiting for lunch to be served, I stuck the brush in a vase of water and began what was to become my “new direction.”
Later in my residency, I began experimenting with washes of oil paint thinned with turpentine. I picked up some willow charcoal and drew back into the wet paint, fusing the two media. By the end of my six week stay, things were feeling a bit more solid.
As I added pastels to the mixture of media, the paintings took on a more robust appearance. Controlling the new palette became difficult and winter gave me a time to dial back a few notches and work with earth tones.
Painting over top of the winter version, I lit into the palette with fresh spring colors the following spring. It sat for awhile in a half-way state, waiting for me to catch up and wrap my head around all the changes.
I wouldn’t have known that this painting was part of this collection at all, had it not been for a friend who came by the studio and pulled it out of my stack.
Of course when a painting gets pulled out and put near my easel it gets re-evaluated by my overly critical eye. And that’s exactly how this one got finished one last time. One or two last colours ~ well, I like it much better now.
C’est la vie!