Art Prop Pests or Found Object Funk

Ugh, so I'm moving my studio around and cleaning - yes it happens to an artist too - when I discovered a little mound of "dust" on the table under a set of old antelope antlers that I have for still life reference. That's not good. That's in effect... cooties! I'm grateful to myself that I store items and supplies crafted for sale in sealed containers, but I worry for items such as my bear skull that were displayed very near those antlers that MUST be infected with a carpet beetle of some sort. Thankfully they seemed to prefer my specimens that still hold fur. This experience is something to keep in mind if you're prone to taking into your studio found objects and gifts from Nature. Personally I am mindful of the possibility of pests already, but it still happened to me! I've learned that even dried insects that one might be tempted to add to a collage or assemblage can hold tiny parasites that would be happy to munch away on your artwork unseen until damage is done! So now the battle has begun and my kitchen freezer is filled with baggies of bone, antler & fur as I hope to remove this invader and preserve props that have become special to me. The set of antlers came from a taxidermist years ago so I felt no need to take the same preventative measures that I would with an item gathered from the wild. But with arsenic having become illegal to use in taxidermy preparation every specimen added to your collection of oddities should be treated as a wild card.

BUT WHAT TO DO??

When I collect a dried insect or reptile from the wild, which I often use in my artwork, I first seal the specimen into a plastic zip bag and place it in the freezer for at least a month. Freezing should kill off pests on items that can't be treated with heat such as fragile insect wings that are commonly used in jewelry making these days. Before using it I will often spray it with a careful mist of rubbing alcohol or a cotton swab of the same if it won't damage the specimen, and though I don't know for sure if it helps with pests it does clean any remaining blood or residue well. Old fur coats and pelts can be dry-cleaned and that will take care of any parasites that they might hold. Woody items such as branches and leaves can be heat treated in the oven; times and temps will vary based upon the individual item. Bones can be boiled or baked. Metal items should be washed because they can hold some cooties too, but don't use a dish soap because it will kill a beloved rusty patina... boil and/or just use a gentle hand soap with really hot water (being careful not to get a tetanus tempting cut). IF you do find little piles of dust or tiny little worms on animal based products that you've brought into the house removing the offending article, cleaning the area, and putting the thing sealed into a deep freeze should do the trick.

Hopefully this blog post will help some of you. It certainly made me feel better to know that there are things that I can do and that discovering a few cooties isn't the end of the world, or the end of my antlers!


*Original art images ©Tree Pruitt T. E. Pruitt, unless otherwise indicated. Contact the artist prior to ANY use please.

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Cradled Birch Painting Panel

An old favorite paint brush sits ready to gesso a birch panel.

I began a new journey with an old friend tonight by pulling out a favorite paint brush to get started working on my first cradled birch panel. I've painted on birch in the past and really enjoyed the surface, but the cradled panels sturdiness is an exciting new experience! The brush I used is from Baker's Secret and was actually intended for basting food, but I discovered that it held other secrets! I've been using it since it was new for water media so much that the handle has developed patina over the years. The bristles are similar to hog bristle but offer a smoother toothy texture in base coats.

 I began with the panel right from the package. Without sanding I brushed a thin smooth coat of acrylic gesso over the top and sides of the panel, following the wood grain. As much as I want to do this painting it was a tough choice to cover that lovely even birch grain! There are so very many things that could be done with these boards, and I'm looking forward to using pyrography in a future project! The gesso sucked into the raw wood and dried quickly. The second layer that I applied was lain thicker and with random brush strokes to create texture. Once that dried I pulled out a jar of old white acrylic paint. Being towards the bottom of the jar the paint has thickened to a tacky paste that, when applied, brushes further texture out onto the surface. When that dried I was left with a wonderful mildly slick bright surface begging to be marked... I WAS left with it, but that quickly changed as color found its way onto my brush and painting has now begun in earnest!


*Original art images ©Tree Pruitt T. E. Pruitt, unless otherwise indicated. Contact the artist prior to ANY use please.

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Falling Together

It's been a stressful past couple of years, to say the least, but my art survives the artist folly, and I am regenerating. There'd been a terribly complicated matter that led to the loss of my inventory catalog of paintings... and most ALL of my collection of actual unsold paintings ... my personal collection. Many where rescued by the general public from tragic fate by those who just happened to see art that they liked -- that is the biggest honor an artist can receive, and I am thankful to those people!! Some works of my art have sadly met fates unknown to me still. What can I say now other than the modern phrase that "*it happens"; Floods and financial disaster have plagued many an artist in the past and they still persevered through the trauma -- as I intend to do. Not that I equate myself with a Master by any means, but Picasso said something to the effect that once an artwork leaves the artists' studio it has a life of its own -- independent of the creator whether sought or sold. May my creations life well! 

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Brightening the Post-Holiday with Blues

 In the depths of Winters moody darkness it's helpful and fun to find projects to craft that will add a bright spot to your spirit. I decided to craft up a new brightness in our lives by making a glass bead wire mobile. The holiday season this year found our home filled with sparkle, light, and decoration, but after it had passed taking down the ol' Yule tree left us feeling less than festive. Once replaced, the candle holder that usually hangs in the archway where the lit tree had been sitting looked dark and dull. I didn't want us starting a new year with a dull feeling hanging around, so that's where I put the mobile! A slight touch or a breeze will start the beads to movement, catching the light and also moving Chi life energy around. I wrapped some quartz crystals and used blue beads that look like frozen drops of water and captured air; We here are both Fire signs, so the energy of Water should offer a calming balance to us and Air should feed the fire of our creativity. At the bottom of the mobile hangs a faceted heart which not only sparkles nicely but hangs there to represent the desire for our loving energy to continue to effect our environment in positive ways and for that love to grow in the coming year. Over time too the steel wire will likely oxidize a bit changing into a nice warm red, which will certainly cause us to continue to enjoy the piece as well as serving as a reminder that change can be a good thing. Overall it's just a hanging wire mobile, but as with everything handmade it's what it means to the person enjoying it that matters most!

 Now that the excitement of the holiday season has passed don't let your inner artist go hungry... feed it some good energy by crafting up a project that will light up your life in some way that's special to you!

Happy new year to you all! --Tree

 

"Crystal Water" wire mobile by TE Pruitt.



*Original art images ©Tree Pruitt T. E. Pruitt, unless otherwise indicated. Contact the artist prior to ANY use please.

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Rusty Old Sign

Managed to get out for an inspirational walk a few days ago and snapped a few photos. I'm fond of the rusted old lettering on this sign. I also like the quirky division of space in this photograph with that misty blue sky against the rough red bricks.

Digital photograph of a rusted sign on an old brick building in town (Kokomo, Indiana).
See a larger image and prints of this image that are available at my deviantArt Gallery...
 Old Building: Shipping and Receiving, by Tree Pruitt 2012

 

*Original art images ©Tree Pruitt, unless otherwise indicated. Contact the artist prior to use.

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Dot Line and Scribble

This new painting is an impression of imagery inspired by the 1965 Jazz musical animation short, "The Dot and the Line: A Romance in Lower Mathematics" (MGM), which was inspired by a book that Norton Juster had written a few years earlier. The painting was begun just before the passing of influential animator and producer of the cartoon, Chuck Jones, and was just recently finished to a point where I feel good when I stand in front of it. I enjoy what the layers of paint do in the light, in addition to the somewhat whimsical theme. This is one of those instances where I don't care very much whether or not a viewer "gets it". Usually I care a great deal about the final imagery when dealing with art that is Conceptual and/or Representational especially, but when I began this painting I was feeling the unhindered abandon of "Scribble". I'd found a copy of the original book which of course brought to mind the cartoon that had jazzed me up so much as a kid (big Tom and Jerry watcher here), and that was plenty to get the inspirational fires burning for fun. Overall I supposed this painting is/was about self gratification and experimentation... mine as well as the characters in the story.


"Dot Line and Scribble" by Tree Pruitt, 30" x 20" oil painting on canvas.

I wanted to not just paint but to see what the paint would do. The paint rests on the canvas in several layers. At the time I'd begun I was working often with dark under-paintings, so I knew I wanted to play with something bright that time. In some of the lightest areas the gesso of the canvas prime shows through as a matte white. Strokes of slick Titanium White feather over that and into a warm mix of colors with overlapping strokes. This allows the light in a room to pass through those textured layers, giving a sense of vibration. In my photos it seems to look blotchy and dingy rather than shimmery because, though I may photograph a lot of things well, photographing my canvas art is something I've not mastered. At the bottom of the painting a muted green was scraped via pallet knife over the bright layers while they were still slightly tacky to the touch so that they smeared and mixed a bit.

One of the reasons it's taken so long for this painting to feel finished has to do with some of the methods I used. I wanted to be sure of the paintings soundness (no music pun intended there) before calling it as finished. The thick line that passes through the middle (Indian Red) was forced to crackle. Without having an over-the-counter crackle medium at hand I experimented with using a medium that improves paint adhesion, and I also removed some of the oil from the paint (via setting it on absorbent paper) for a fluid mixture. I applied that over the old layer of paint with a higher fat content, then waited for that to set-up. After a few months the line did indeed crackle! After a few more months passed I scrapped at the line with a razor blade to remove any flakes of paint that had cracked up and to reveal the lighter colors underneath randomly. I like the effect. The final touches that were added included a thin solid black line over top of the thicker crackled line. This line of Lamp Black paint was given a high amount of oil (fat) to a mixture of the same adhesion medium. In theory it should not crack, but should remain solid for the life of the painting (knock on wood).

Always a beloved inspiration theme, a bit of a tribute to a beloved artist, and a fun project that I think worked.

http://en.wikipedia.org/wiki/The_Dot_and_the_Line

"Dot Line and Scribble" 2012 by Tree Pruitt, 30" x 20" oil painting on canvas. *Original art images ©Tree Pruitt, unless otherwise indicated. Contact the artist prior to use.

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Polygonia Butterfly

 

A Polygonia butterfly, specifically here the Question Mark Butterfly (Polygonia interrogationis), resembles both a moth and a dead leaf when it's wings are closed because of the drab brown color on the underside of the wings and "hairy" appearance. Personally I think it looks like a cameleon with those eyes! :) This friendly critter joined me on the patio one day to pose for some photos. Learn more about them at Wiki http://en.wikipedia.org/wiki/Polygonia_interrogationis or see the great photos here http://www.carolinanature.com/butterflies/qmark.html 

 

*Original art images ©Tree Pruitt, unless otherwise indicated. Contact the artist prior to ANY use.

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Varity Is Vital

  One of the things I like to do outside of the realm of visual art involves music. I play with a bass guitar. Notice I didn't say that I'm a bass player? That's because I've only actually learned enough over the years to cause some trouble if the volume's turned up too far; I play with it. It doesn't matter if it's good or bad quality playing to me because how it feels is more important. An added bonus is the emotive quality of the instrument because it can help to clear out a mood. If I'm about to work on a bright happy painting but the day has been gloomy I can dump those blues out with the bass. The fingers and wrists get a powerful change of activity from visual artwork action! I notice that the muscles in my upper arms get stronger too the more I play, which allows for greater endurance and a more steady hand when painting. Much of the same holds true for the legs because just like when working on a larger sized painting Rockin' out happens best when standing. So my entire body gets a kick in a different direction when I'm playing the bass versus when I'm painting, drawing, or sculpting.

  Years ago while working on my first full wall mural I learned the importance of diversifying action... the hard way. The painting was of a near life-sized African Acacia tree; a fairly large project! The branches bent around two walls and onto a high ceiling. Each branch had one or two creatures that might actually be on the savannah; from tiny termites crawling up the trunk to a well fed leopard lounged over a branch all his own. When the entire painting was close to a finish I noticed a smaller off-branch up high offered a perfect spot to add a rich red oxpecker bird, so I grabbed the step ladder and paint pallet. As excitement grew I really got focused on what I was doing; placing tiny little detailed feathers and a few surrounding leaves. Holding my hand as still as possible I repeated the same motion over and over to create consistent paintbrush strokes. Sound nice? I thought it was, but I was wrong.

  After the third day in a row of pecking away at the oxpecker I awoke with a very stiff wrist. By the end of that evening swelling had reached up to the top of my arm, and the pain was rather intense. I went to the emergency room for a shot to decrease that swelling! Eventually a diagnosis of tendinitis was offered, and I was told to stop painting altogether; Of course, that was not going to happen. Since the true culprit had been pointed out as the repetitive action I decided that variation needed to become a hotter spice in my life. I now end each evening with therapeutic stretching exercises. Fitting other types of art and craft activities into my week, rather than only painting or drawing, seems to have been the biggest help of all though. I rarely have an issue with my wrist these days.

  Certainly most any method to vary your own activity is probably good, whatever the motivation, but don't overlook an old band instrument hiding in a closet or attic if you have one. Wait until you're alone, dust it off, and make some noise! You don't have to be good, just have fun. Overall I think that playing with a musical instrument offers the best benefits for a visual artist as an alternative activity because it involves so many of the same fine muscle groups but uses them differently. Plus creativity could be opened, and what artist doesn't want to risk that?

  So, that's one of the ways I get my kicks when I'm not painting. What sort of things do you do when you're not doing your usual thing?



 

*Original art images ©Tree Pruitt, unless otherwise indicated. Contact the artist prior to ANY use.

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Rainforest Inspired

This month has featured numerous days of rain in my area. My houseplants are loving the soft light and the art studio is nicely cooled. So far, no hot Indian Summer like I'd expected, but enough rainy days in a row to make me think back to when I lived in Washington state. Here are two bits of art, a painting and a poem, that were inspired by the misty Pacific Northwest rainforest.

~ My Eye Will Not Forget ~

Blurred vision of a distant horizon --
Cedar rhythms dance my eye --
American rainforest a-drip with neon green.
Rivers run my pulse.
Sunset explosion of fiery, bright orange --
Solid color fills the sky,
As if upon another world!
The trees come down to kiss the shore
Where Pacific waves have their way.
Red forest trails --
My eye is filled with wonder!
Water hovers in the air.
Faces look from shapes in trees;
Primordial magic!
Moss beds and alder swamps,
Blue mountains hold a burning secret.
My eye will not forget.

©Tree Pruitt

Artwork shown, "The Road to Aberdeen", oil on canvas painting by Tree.
*See a previous post about this piece, here.

  

*Original art images ©Tree Pruitt, unless otherwise indicated. Contact the artist prior to ANY use.

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Dragon Feature

Today I'm enjoying having a piece from my ArtFire.com Studio having been selected for a special collection on the site. Curated by member, Vievespolys, these treasures prove that dragons aren't always to be feared! With a lovely assortment of things that decorate, things to wear, and things to carry the graceful side of the favored fantasy creature is featured. My ACEO, Magic Green Dragon Eye, that is in the feature is a quality digital print version of one of my favorite SFA paintings. The original hangs in front of me now, watching over my world with magic, and it thrills me to be able to share my dragon with you all! Take a look below and please do enjoy the Collection!

Yes, there are dragons!

Curated By: Vievespolys

ArtFire.com

Fine Art Paintings

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Portrait of Poet Carl Dennis

A while back I attended a poetry reading given by Pulitzer Prize winning American poet Carl Dennis, and I had the foresight to bring along a sketchbook. During the reading I was entranced by his emotive voice and body postures, so found myself taking the opportunity to capture the moment. I enjoyed the entire artistic experience.

   "Carl Dennis Poetry Reading" by Tree Pruitt

  For fun recently I used that sketch to paint this small portrait of the poet onto 5" x 7" canvas board, (signed as T. E. Pruitt), using Liquitex Artist Paints. I'm glad to show it to you and I hope you enjoyed your visit. Thanks!

*About Carl Dennis 

 

"Carl Dennis Poetry Reading" by Tree Pruitt © 2011. Contact the artist prior to ANY use.

 

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Carved Willow Magic Wand

My enthusiasm has gotten the better of me, so I must tell you about a wand I'm near to finishing! This wand is designed especially for use in Wicca magic and rituals. Even though my old camera will catch better images in the daylight, I've included some snap shots here. Made of weeping willow wood, it features a hand carved Mother Earth Goddess and pyrography burned symbols. I had a hard time holding back from the fun of adding detail to the human like figure so that the stick didn't become too fragile in the center; it's still as strong as willow can be! The natural under-bark is still in place in areas and some spots have indents that strongly remind one of certain female anatomy that is sacred -- indeed vital -- to birth, and I've accentuated those to emphasize the importance of the natural Yoni like symbols.

There's a lovely light catching quartz crystal shard at the top, but I chose to end the tip of the wand with a spiral rather than a stone. I think the spiral is one of the most important of the Wiccan religious mysteries. The spiral of life is where we often find ourselves in the same places we were in the past, but on a different and hopefully more progressed level or layer of the spiral. Bettering one's self for the benefit of all should be the goal of every Wiccan; this is selfishness through selflessness, (helping others helps yourself in the long run).

On the wand, Wicca mysteries are further alluded to by more symbolism. The tangle of hair the Goddess sports represents the web of life. The open carved space in the middle of the hair is the Center of all being where energy is waiting to be fulfilled to being. The handle portion of the wand holds simple line glyphs for the Elements of Earth, Air, Fire, Water, and Spirit; indeed ALL of the Elements were involved in crafting the wand. The reverse side has words the symbols stand for burned into the wood too. At the foot of the Goddess is the double crescent and circle symbol that most commonly represents Her in the Triple Goddess aspects of Maiden, Mother, and Crone.

Wicca Willow Magic Wand

Don't think, however, that only the feminine divine is expressed here. The circle and crescent symbol of the God, often thought of as the Horned God, is directly balanced in opposite to the Goddess sign on the reverse. Wicca can often seem very Goddess centered, but because of the theory of Force and Form the God is always present even if not as visually represented as His female counterpart. The complexity of Force and Form can be summed up as the God provides the force, or driving energy, of the universe and it is the Goddess who gives it form and shape. In this wand the God is present through the sun's energy that allowed the willow tree to grow, the strength in my muscles as I carved the wood, and even the power of change that was required to make the metal hand tools I used. Though the Goddess features most prominently on this wand, I feel there is a good balance between all of the most important Wiccan symbolism.
There's little that's left to do before this 13" wand is offered for sale. I still need to buff on a finish of carnauba wax for a natural muted shine. I like using varathane because it's such a durable finish, but I think that would be too shiny for this wand. The hand rubbed finish will still be water resistant but will also have a lovely tone and feel. After the finish is applied I need to do the "core". This wand will have a magickal core which will work in a similar fashion to a totem animal medicine bag; No whimsical dragon scales or firebird feathers though! I have a very special bit of naturally shed elk fur that I'm considering placing inside the small hole I've burrowed into the handle of the wand. I'll likely consider appropriateness of the metaphysical energy of several other materials too before capping the hole closed with a tiny gem stone, sealing the core inside. It doesn't require much of any given thing to add to the magic because it's simply the blessing of the energy involved that counts. I'm always careful not to use anything dangerous, illegal, or unethical in a magical core -- that would defeat the purpose -- but I won't make final decisions until the action of "doing" is in hand. This is without a doubt the most elaborate wand I've ever crafted! I'm sorry the fun of the project is nearly over, so you can bet that I'm already contemplating another.

*Original art images ©Tree Pruitt, unless otherwise indicated. Contact the artist prior to ANY use or for purchase information.

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Thoughts on Ritual Tool Crafting

It's time for me to set up a wand crafting station in my new art studio space, so I'm a bit jazzed up with energy. I'd recently moved and things are just now getting settled into a peaceful state of some sort of organization. I've held off crafting wands and rattles until the main metaphysical power zones within my living space were established. Having peace and clarity is vital when crafting ritual tools. The time of year is a perfect building point for me to jump from too, as I always have a rather easy time with positive creative energy when moving towards Samhain (Halloween); I'll need creative inspiration to fit another work station into my live-in studio, but I'm confident things will flow well.

I've been having an urge to work with the natural materials required for crafting ritual tools. I've already gone through my packed projects that aren't finished yet, not only to verify they survived the move but also to rekindle the connection to the metaphysical energy of the projects.



Inner guidance told me to wait a little longer though, when I was tempted to start carving on a stick. I thought it was near time to work wands and that suspicion was confirmed recently when I felt what I refer to as a "calling". I felt pulled to a something and so began to look into the matter until I found that I was being called to stones. I've been very fortunate to come upon a large variety of quartz crystal points in which I feel an energy connection! I'm very excited to work with them and discover the paths they will take from my home. I'm positive now that somewhere in the bunch is the perfect stone to top off that stick I'd wanted to carve on until guidance put a stop to my hand. Getting the stones also confirms that it's definitely the right time to create a space for making wands and other ritual tools in my new home. I'm glad because it involves many art, craft, and ritual activities that I enjoy very much! I look forward to showing you all some finished projects very soon. Be sure to check for new releases!





*Original art images ©Tree Pruitt, unless otherwise indicated. Contact the artist prior to ANY use or for purchase information.

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Drawing on Change

I had interesting studio time yesterday. I discovered Digitally Imported, which is a site that offers continuous play music -- radio stations without the annoying commercial breaks. There are several ambient stations so I chose a "trippy" Psy Chill then moved to the studio area. An atmosphere was created and it allowed me several hours of uninterrupted focus. I did a drawing exercise where I tried to create a scene from memory and then later allowed for some free flow drawing. The second exercise ended up being a quite detailed combination of two scenes from memory, rather than random free flow drawing. I found it interesting that the pose and scene are similar to paintings I've done in the past, and the figure has a combination of my features with those of someone I know well. This seems very similar to something we do in dreams -- making combination characters. I can't say it holds any particular meaning as a symbol, but is likely the effect of simply being familiar with the forms and values of the imagery.

Another point I found interesting was the style of drawing I'd chosen. I'd reverted to a rendering style I used years ago, in my first full studio. I enjoy the return of drawing in this manner and hope my hand will carry it through to painting as well. Back then I had a greater freedom of space than ever before and everything in life was just about perfect. I was eating up everything art with unstoppable enthusiasm. The atmosphere was charged for creativity and relaxed enough for deep focus. Of course that eventually changed, and the shift was dramatic. That a style of line from back then should come through in my drawing shows that internally I'm feeling much better about my personal environment and healing is reaching a deeper level. I'm very happy that I can say I had moments I'd consider as nearly perfect bliss, but recovery from an extended bought of non-bliss has been a rugged challenge!

Above is a corner of my first full studio, crammed full of projects for the photo.

Life affects an artists art, and it was bound to show through changes of line and style. Though I was already aware of that fact, it didn't stop me from getting frustrated. There's a nasty cycle that goes a little like this...

Something traumatic and depressing happens in life. The artist wants to feel better so seeks comfort from the act of creating art. But because this thing that happened caused the artist as a person to change, the art results change; maybe there's a difference in line, brush stroke, something just doesn't seems to work right. Guess what? That's depressing, and that sense of being bummed out builds upon what was already there, intensifying the depression. During such times it's not uncommon for artists to render with a more tightly reserved type of line than with a relaxed confidence. This can make the person feel as if they don't know how to do it anymore. Some may even think they've "lost the touch" and give up art altogether. The painter Milton Avery said that such persons were never really artists in the first place and they probably made the right decision to stop waisting time. A true artist pushes through those down times, the dark times when creativity or skill seems to fail and the individual is plunged into near struggle rather than finding release in art work. When life relaxes the art work will follow. This is simply a cyle of growth, and it happens in ALL of the arts.

This isn't to say I'm not pleased with any of the work I've produced lately; I don't devalue any of my efforts or triumphs. I felt a familiar comfort while drawing yesterday that had felt lost to me, entering nearly a trance like state of being. Expression through art had become like a religion, offering transcendental numinous experiences; feeling a connection to the Divine. It was like I'd lost faith and it now had returned. I'm trying not to be overwhelmed by this sensation or get caught up in an emotional high; afterall it's not quite that monumental really. There's no flip of the switch, but it's rather more like a spiralling dial. I find myself back at the same spot but on a different level. Only time will show what effective changes -- good or bad -- have taken place. One thing is for sure -- I enjoyed drawing -- and I'm going to go reach for that experience again right now! ;)

*Original art images ©Tree Pruitt, unless otherwise indicated. Contact the artist prior to ANY use or for purchase information.

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Wrapped In Red Painting Progress

I started this canvas painting of a woman wrapped in red fabric near the end of Summer and have been casually working it along. It's not a portrait, in fact there's no real reference image being used, and there's really no hidden symbolism involved; it's a fictitious scene of decorative art simply for the pleasure of painting. I'd like it to have a sensual feel of feminine energy - a boudoir - without being overtly sexual.

"Wrapped In Red"

The images above show a very early stage, taken in day light, and also the results of my painting session this evening. It's an exercise, as each painting is in truth an exercise of one sort or another. Without a live model, or reference photos, it's been difficult to remember to be mindful of light sources and reflections, but I'm confident it will come around in the end. The most important factor for myself is that I was able to really relax while painting and allow the image to grow without too much worry of what's "correct". It's clear to see that a long necklace of pearls has been added, as well as definition to the eyes. The painting hanging on the wall within the room is a representation of my "The Ragnar Waits", which is an oil painting of a boat dock. Peacock feathers stand out on the background dresser, adding an air of romance, yet always to myself a symbol of the mystic female; the eye of the Goddess. There's much more to be done, but I'm happy with the progress I've made thus far.

*Original art images ©Tree Pruitt, unless otherwise indicated. Contact the artist prior to ANY use or for purchase information.

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Medicine Woman Painting Near Finished

Recently I was overcome with the urge to sort of doodle, to allow imagery free flow from within, and the un-finished canvas shown here is the result. I had lain down to go to sleep, a few days ago, when the mental pictures began to flow. I grabbed some sketch paper to take notes and refer back to the next day. Tonight I feel as if I've worked this piece to a state of being very close to finished, so I took a couple of quick snap shots to look at it in a different way. Since it was moving towards evening the photos are dark, but I think the elements can all be seen well enough for now. Clicking an image will open a slightly larger version in a new window. The entire painting is done with Liquitex Acrylics and Prismacolor Pencils on canvas.

Generally a painting is well planned, or even fully mapped out, but I've had fun allowing this one to grow as it seemed to like. I can't say what inspired the concept; sometimes these things just happen. I've been in a phase of using Impressionistic brush strokes a little on the wild side, so it's been a bit of a challenge to switch back to Realism ... but this painting isn't exactly 'reality' based, is it? The main character is a young Native American woman wearing eagle feathers in her hair and a poignant expression; perhaps she's only recently discovered her Path as a Medicine Woman, perhaps she looks upon us with compassion. Her vision emerges from the energy of spider, the weaver of life. Behind her is the strong presence of raven, who is nearly always a symbol of magic in cultures and mythology. Behind her hovers a white moth intended to portray the presence of the spirits of ancestors. The background houses spirit orbs, pine trees, distant mountains, and a salamander in the Full Moon watches over the valley below.



I think I'll work on her jewelry accessories a bit more, and perhaps add a touch of a silver glint to the spider webbing in places. Whatever my choices are, when the painting IS finished I'll happily show it here in a better light.




*Original art images ©Tree Pruitt, unless otherwise indicated. Contact the artist prior to ANY use or for purchase information.

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