Next weekend I’m again holding the popular “Loosen Up” workshop. This will be among a small group of mid-level painters wanting to add vitality and freedom to their work. Over the two days, I will demonstrate and participants will make paintings in four different subjects: a loose floral, an expressive landscape, an accurate face and an impressionistic figure. These are always great fun and motivational. Slots are still available. The cost: $225. If interested, contact San Clemente Art Supply at 949-369-6603. 

Jar of Yellow, acrylic on paper, 12×9, is typical of the kind of approach we’ll take to a floral. This little piece was done in a workshop setting and was later sold at Westervelt Fine Art in Laguna Niguel, California.

I’ll demonstrate in both acrylic and oil. Participants will use whichever of these two mediums they prefer.

Field of Dreams 2, 12×16, oil on canvas panel, is an example of the approach we’ll take to landscape. This one I painted after a return from Montana, but in fact was made from my imagination. In the workshop we will use photo reference.

Conductor, 24×24, oil on canvas, an example of correct anatomy of a face without a lot of worry about detail. I did it fairly quickly from a tiny reference photo and presented it as a gift to this guest conductor for the Dana Point Symphony. He now has it in his native Brazil.

Standing Ready, 16×12, oil on canvas. This one, half drawing, half painting, fell together during Art Walk in Laguna Beach. It’s another approach to figure painting, without a lot of worry about precision, though the anatomy still has to be right (or at least close). It’s a feel we’ll be after, something that hits the emotions.

A lot of this comes through in the talking about it, which we’ll be doing. And it’s practicing how to start a painting (very loose), and how to finish it (before it’s too tight).

The workshop is for artists with some experience but want to become more expressive. If you’re one of these, you qualify. If you know someone, feel free to forward this to them.

Saturday and Sunday, July 21, 22, 9:00-4:00, at San Clemente Art Supply, 1531 N. El Camino Real.

Again, sign up directly with San Clemente Art Supply, 949-369-6603, or directly on their website.

________

PS

On another note, I’ll be present and showing some of my western subjects Thursday evening at Wildfire Mercantile in San Juan Capistrano. That’ll be 5:00-8:00, July 19, outdoors. I’ll have some originals as well as prints, including the one below. Address: 26850 Ortega Hwy Unit K, San Juan Capistrano, CA 92675.  Here’s their website.

2 Comments

We’ve been back just a week from our three weeks away and immediately we’re in the throes of our next show this coming Friday. (See invitation below.)
We were in Holland and Spain . . . . more about that on a future blog. Meantime, here’s a new piece and the evolution of its making.

It’s part straight abstract, and part recognizable figure, the two interacting and full of motion. Title: Madrid, 54″x41″, mixed media on canvas.

The original inspiration was from a quick shot of a bit of peeling paint and old glue on a wall in Madrid. (There’s art everywhere.)

The day after arriving home I spread a piece of canvas on the studio floor and started texturing layers of acrylic, with a trip to the store for just the right colors.

Applying some random white, I thought I recognized a dancer. Turning it vertical and pinning it to the wall, sure enough, there she was.

In Spain I filled a sketchbook page of gesture drawing of flamenco dancers. This, then, was reference.

We loved the flamenco displays as we’d encounter them. This is a street performance, the photo of which worked perfectly for my painting. (Notice it’s “flopped” to fit the patterns that had appeared on my abstract.)

Here she is for the photo shoot on our garage door . . . shown here just to give an idea of size. Note it’s on canvas not yet stretched, an approach I often use.

A close up of the face, painted in oils, and some of the wild texture. The interaction between realism and random is all part of the poetry, just like life.
She, with a whole lot of other paintings, will be featured at the studio show this coming Friday. It’s just for one evening. Don’t miss it. Details here:

Other Coming Events

This week, Thursday evening, I’ll be giving a lecture/demo on “How to Start a Painting.” It’s at San Clemente Art Supply, 1531 North El Camino Real, at 6:30 p.m. The cost, just $5.00. Reserve your spot at (949) 369-6603. Or just come. 

On Sunday, June 24, I’ll be speaking on my new Beatitudes series at Granite Creek Church in Claremont, 1580 N Claremont Blvd. Two times: 9:30 and 11:00 a.m.

Speaking of that, a YouTube version of that talk, as given in Anchorage, is now on my website, in both the full 40 minutes and a five-minute trailer . . . plus the one-minute overview showing them at first completion. Check them out here.

7 Comments

Painting during a public event has become a reoccurring theme. But the last two, just months apart, took on a new dimension . . . group participation . . . with fingers and hands dipped in paint.

For all photos, double click for larger view.

FIRST EVENT–TUCSON

In February we were at the Conquistador Hilton in Tucson, Arizona. The occasion was a staff retreat for Seed Company, at their 25th anniversary. Among other things they were commemorating their sponsorship the 1500th language for Bible translation where national speakers themselves are the prime translators.

Here was the new thing: One evening everybody lined up and briefly placed their hand in a palette of paint, all 400 participants, and imprinted it on a big piece of canvas.

We did roughly equal numbers for left hand and right, tall and short.  It was great fun, everyone loving the creativity of it all.

The following morning participants came around identifying their particular handprint. It was its own statement of everybody working together and coming up with something of uniqueness and intrinsic beauty. We could have left it just like that, but I had other plans.

Speaking of intrinsic beauty, the full-table palette itself became its own work of art, with overlapping warms and cools. Too bad Anne’s not in the photo, as she was the one who oversaw the resupplying the paint and the process. All looks calm here but it was wonderfully chaotic when it was happening.

Then later, while all were occupied elsewhere, I put up this image of a beautiful Havu woman of Congo (Seed Company’s 1500th language). I used oil paint, thinned down, allowing the acrylic hand prints to show through. The Scripture came on last, completing it all. (Double click it to see better.)

I must say, people were stunned and amazed at what they’d been part of . . . and are part of, in the work they’ve signed up for. The completed painting now hangs prominently in the entrance of Seed Company offices in Arlington, Texas. I’m grateful.

Now for the next one . . .

SECOND EVENT–SAN DIEGO

It was just last week that we were with Seed Company again, this time at the luxuriant Fairmont Grand Del Mar.

Invited guests numbered around 300, plus assisting staff, this time for raising interest and funds. Very inspirational. I had an improvised “studio” set up in the back of the ballroom for painting. (For me, who always sketches while he listens, it was the best of all worlds.)

For this painting I began with a drawing already charcoaled in. Again guests lined up, this time to place in the paint just one finger . . . right up to the joint. Anne was invaluable in guiding the process.

Here’s how it looked by the time everyone had done their finger painting part.

Then I went to work, rendering the rest of the piece, taking breaks to visit with people as they dropped by and watched the painting come to life.

The final product: A rice field, part done by finger, part by brush. The choice of image was to represent the “cluster” approach on the field where work in related languages is addressed in unison. (Double click to see better.)

When the painting was finished we rushed it to a printer for overnight service. A crew of volunteers assembled the prints into pre-cut mats to give to guests. They loved it, wanting me to sign. But they had been just as participant, which was all part of the symbolism. Without them, none of the world-wide work would be happening.

Who knew that art would also have a small part?

Once again, I’m grateful. Thanks for reading.

29 Comments

Ha! That was the postcard that came in the mail yesterday. It was from one “Cassie” of Corona, considerably inland. The picture of our place was apparently to prove she means business. I’m tempted to call Cassie and name my price. Of course to me, as is, will mean with us in it!

What she would be willing to pay for these two living beings may give her pause. The fact that we’re not as young as we were when we first moved in may diminish our value a little. Then again, it may augment it. In those 40 years there’s been a lot of life.

And a lot of that life is evidenced by all the décor, the artifacts from our travels, the hand-made ceramics, the furniture . . . each piece with a story . . . the unique tableware from everywhere. Bowers Museum might be interested in it as is, but I don’t know if Cassie would appreciate.

Then there’s the art. With both of us continually producing, there is original work on every wall, multiple and ever changing. More, there’s “the annex,” a walk-in attic with enough artwork in storage to supply all the grandkids with a small inheritance. That is, if we could find the buyers.

Hey, maybe Cassie is the answer!

Add to all this the cars in the garage, the landscaping, the stonework, the garage doors of reclaimed lumber from an old Tennessee barn, the majestic eucalyptus grove just behind . . . that’s all going to add to the as is.

And what Cassie can’t see from the front is how every square inch inside has been customized over the years. Our as is has become something completely unique to us. Which means, beyond price.

Story: Sometimes, when my parents were alive and still living in their Palos Verdes house where I grew up, a realtor would come to the door and ask if they wanted to sell. My mother, always engaging, would ask, “Then where would I live?” Answer: “Anywhere you want.” Mom: “I want to live right here!”

My sentiments exactly.

Once a realtor came to our door with the same offer. I told him we have no thoughts of selling, adding with a smile that I plan to be buried right here, in the floor!

He advised, “Don’t tell the Asians; they’re very superstitious.”

Okay I won’t. I won’t tell Cassie either. I don’t know how that would affect the as is. No matter; by then I’ll have a mansion elsewhere.

Looking forward to that.

Just in case Cassie sees this, here are some pics of the inside of our place . . . the wall art different now, but it still gives the idea.

________

PS This weekend we’re traveling to Anchorage to speak and unveil the Beatitudes paintings (see earlier blog) in their new and permanent home. (All invited!)

19 Comments

Some people get away to rest, others get away to work. For Anne, always occupied with the matters of life, it’s really the only time she can concentrate on her art. And what with the Laguna Festival coming up soon, she’s got good reason to create. As for me, I’ve always got projects in mind; but just being with her 24/7 is delight enough.

Lake Gregory on day-before-Easter morning. Actually our cabin was just up the hill a ways, but our daily walks often brought us by this place.

It’s by the gracious gift of Bruce and Sandy Wegner that we have use of this place. We move furniture around and transform it into a working studio. Here’s Anne surveying some of her finished pieces. She lost count of how many, at least 20 finished, and many more mid-way.

Just showing a few here. Love the symmetry, the textures, the layers. Anne’s work is completely unique to her.

Like her own fingerprints, there are no two the same in Annes work. Again, the layers so intrigue, here with hints of ancient runes.

It’s hard to see the scale of things here but this piece is actually the larger of the three shown, and one of the few horizontal.

On my side of the room, a whole other kind of art was happening. Here I am with one of 11 sepia-tone sketches done for an upcoming commission . . . me included so they can visualize the size. They’ll select which four they like and I paint them in oils.

Here’s a possible selection, taped up to outdoor siding.

I did a few finished oils of the international faces I like. This is of a Nepalese woman, the painting in fact headed for Nepal.

Wanting to get back to my western theme I became intrigued with rendering a longhorn steer in various color combinations. The large one is acrylic on canvas, the six miniatures are a mix of acrylic and oil on printmaking paper. I’m thinking the six could make for an interesting print, stacked vertically. Thoughts?

It was impossible to photograph Anne among all her work as it was spread out all over the house. But I put mine together (sans the 11 sepia sketches) for this last day array. Those two large abstracts were actually paint-overs of pieces I no longer liked. The small florals on paper were fun and turned out well, as did the formal oil portrait of a Chinese grandmother on a jade colored couch.

So, it was productive time. Anne commented how, for her, two weeks is best, better than one, or even ten days. The rhythm flows for her and she’s not constantly thinking she’s running out of time. I was impressed how she would stay at it hour after hour all day long seeming without a break. Very focused.

Still, in the evening there was reading time, or a movie disk. All quite perfect!

P.S.

We did take a quick break in the middle of it all however, for an afternoon and evening.

Daughter Allison was having her long-planned one-woman show at the OC Contemporary Gallery (above) in San Clemente. We’d thought we have to miss it, but then considered that as it was only a couple of hours away, we’d go. And were we happy we did!

We were very impressed and pleased with her at the large crowd that gathered, hundreds it seemed, overflowing into multiple rooms. Her son Maki and a small group provided the music.

Her art looked great, all themed with what she calls “Ground Breaking Girls,” women who have made a difference, all overcoming something. That’s what she’s doing, as she told the attendees in a moment of public speaking, creating and overcoming her recent widowhood. All this to much applause.

We’re proud of her of course . . . as we are of all our five children, each following their own calling.

Doing that, and happily, is the best any of us can do.

Thanks for reading.

Happy Easter.

13 Comments

Hi friends, I wanted to let you know that the buzz has continued since finishing the series of The Beatitudes painting last month. I was grateful for all your comments. Facebook, too, fairly overflowed with acclaim. Apparently the subject has never been treated in just this way before, or maybe ever in paint. That would be a big claim, but who knows? In any case, I’ve produced a number of media to make it available including a book, a poster and giclee prints.

The book

This is another of my 8″ by 8″ square editions, 50 pages with brief commentary, revealing the paintings themselves, as well as the process of their making. Already I’m getting orders, as is Amazon, where it’s also available. Click here for sample pages and purchasing info.

.

Here’s the book’s intro by friend and author Ann Voskamp.

Hyatt Moore’s art embodies grace and the passion of Christ and is the only art that hangs in our home. His painting, View from Above, an abstract depiction of our Savior on the cross, is one of my most meaningful life markers and hangs over our kitchen table. Every meal in our home is shared under that profoundly moving masterpiece.

Hyatt’s rendering of Jesus’ scarred hand taking the hand of doubting Thomas and pressing it into his wounds hangs in our bedroom and is the first thing I see every morning. The wounds of the day, of our souls, are healed only by His wounds.

And when I first laid eyes on Hyatt’s visual interpretations of the Beatitudes my heart split and leaked. Stilled and undone. Holy ground. How does looking into pigment on canvas feel like looking into the astonishing heart of Creator God?

That’s the unparalleled power of Hyatt’s paintings. They are fresh revelations of the unchanging Holy God on High that speak to the deepest caverns of the soul.

The poster

A new poster reveals the whole set of nine paintings, placed adjacent to each other, just as they were painted, as well as the use of the complete color spectrum. The surrounding white space lends a touch of elegance. And, of course, the truths are enigmatic and powerful. It’s 30″ by 11″ and suitable for framing, or hanging as is. Check it out here.

.

Giclee prints

There has already been some requests for giclee prints on canvas, as well as paper. The above array shown spread out on the floor are on canvas at the 20″ by 15″ size. That’s half the size of the original paintings (prints are available at full size too). For the offer and pricing information go to my Online Store/Beatitudes.

.

11 Comments

At first I had no ideas when my pastor friend from Anchorage asked if I could paint a rendition of The Beatitudes. The famous and succinct introduction to Jesus’ Sermon on the Mount is all conceptual. How do you paint it? Then ideas started to flow. What follows is some of how it was made, the result, and a brief panoramic video at the end.

Here’s a shot, just to get us started: the painter with the master. As with all, click to enlarge, maybe twice.

It started with sketches in the sketchbook, getting ideas, changing them, correcting spelling (eventually).

Then it was a matter of working out the lettering (left), painting the abstract background (middle), finally placing the face with just the right emotion (right). Sensing guidance, that first abstract was one I already had, just turned it up side down. (Click to enlarge and you’ll see my signature at the top.)

I was already started when the idea came to use the complete color spectrum for the background colors. It was an artistic solution and a strong metaphor as well . . . a complete visual range and a complete body of truth.

Here’s a progression in the studio. Four canvases were all that would fit, sitting on nails in the studio wall. As I went I’d move a new one on and a finished one off. The paint is acrylic, fast drying and good for lots of overlaying.

Finally I moved to the garage where I could see them all together. There I adjusted color, went over (or reworked) the lettering, and fine-tuned any pesky parts. All the time I was listening to music or, more edifyingly, Internet teaching on each of the beatitudes. Was great!

Okay, here they are, the first reveal, each at a time. It’s Jesus’s take on transcendent living, always counterintuitive, aways right.

Every painting, stylistically different, like each of us. And on each, a blessing.

Be meek, just accept things; know that in God all works out.

If I have a favorite, this one is close, both in message and visage. Excuse my artist license on the word order . . . it just looked better.

There’s a cause and effect in all things, and a just recompense ultimately.

This could be the greatest promise of all, potentially on a daily basis.

Messengers of the Prince of Peace, does the world not need more?

There’s a lot more of this going on than we know. Here’s the great consolation.

In the series this is first, though painted last. It’s always a little intimidating painting Jesus. I went over it three times. It’s wild, I know, but then, he’s been treated worse. Here, as in life, he’s of the same manner and substance as the others, just a little more beaten up.

Each piece is 40″x30″ making the whole 22 1/2 feet long. To date I have no photo of the whole series straight on. The original idea was to hang them separately, maybe a couple of feet between. They could go either way, together or apart.

It’s all headed for Muldoon Community Assembly in Anchorage. They have a number of my works, including the largest I’ve ever done (12 ft. x 60 ft., here.)

I posted a video on my Facebook page and received so many heartening comments. I’ll post it here too. (Enlarge to see it better.)

As for me, I’m grateful for it all, and not a little humbled working with these fathomless words.

FLASH: We now have a poster for the series of nine paintings together, 30″ wide, as well as print availability for each piece, on canvas or paper. And a book!  Check our the Online Store on this website.

42 Comments

Before I opened it I recognized the letter and knew its content. Why? Because it’s the same form letter I’ve seen so many times before.

Dear Hyatt, I want to thank you for your time and consideration taken in submitting your artwork to the Festival of Arts of Laguna Beach.  We received numerous applications but unfortunately your artwork was not chosen to exhibit in the 2018 Festival. I wish you continued success in your artistic endeavors, blah, blah, blah . . .

My three oil entries, next to some fine mosaic works.

“Numerous applications” is an understatement. As I was to learn, there were 198 applicants vying for just 28 slots. That means I was one of 170 to receive that letter! Bad news for so many.

I must say there was a lot of good art on display. Every applicant had three pieces, or more if entering multiple categories. So there had to be at least 600 works of art on the grounds: paintings, photography, printmaking, sculpture, jewelry and more. One could almost pity the judges!

My assistant, Anne, about to remove my mixed media pieces. (Next summer I’ll be her assistant again, and happy to be.)

I wanted to get a picture of the grounds to show the array, but it was spread out in various locations and by the time we returned most had already been removed.

This blog, then, is a reporting back after the last one, when I was heading in, full of hopes and optimism. That hope is gone, but the optimism remains. My work is the same, my guidance is clear: For this summer, “not there.”

“The race,” as I note in my It’s About Life book, “is not to the swift . . . time and chance happens to us all.”

Life goes on.

Next Events

I’ll be the featured artist next month at the Sandstone Gallery in Laguna Beach; opening reception February 1, 6:00 p.m.

Anne and I will be the featured as visual artists with the Dana Point Symphony. The concert is February 2, 7:30 at Saint Edwards church. Tickets available online. The art reception follows.

Next month at the Hilton Conquistador Resort outside of Tucson I’ll be doing another multi-day “public painting.”

Currently working on an ambitious commission, The Beatitudes, on eight canvases, for a friend’s church in Anchorage. I’ll doubtless feature that here one day. “Blessed are the meek . . . ”

New Venue

As of today I’m in a new venue in San Juan Capistrano. Wildfire is a beautiful western wear and accessories store. Just one of my works is there, but “western” is one of my genres, so we’ll see what happens.
The painting: “Cool in the Sun,” oil, 31″x45.”

29 Comments

I thought I’d let you in on the process of the weekend, regarding my art. This Saturday is the big day when hundreds of artists from all over Orange County will converge in Laguna Beach to compete for about 30 open slots for this summer’s Festival of Arts. Anne, as you know, has been in it many times, and will be again next summer. That’s already decided. I’ve never been accepted.

Daughter of Mongolia, oil over acrylic, 27×24 framed.

We don’t compete, which is good. And I’ve always been proud that her work has been deemed at such quality for acceptance. As for me, I’ve probably entered work for the jurying about ten times and have never been accepted. So here I go again. This time I’m entering in two categories.

Silver Necklace, oil with silver leaf, 27×24 framed.

For each category, three pieces are entered. The category you’re looking at here, with the frames, is “mixed media.” That is, they’re made with a combination of materials, in my case both acrylic and oil and sometimes gold or silver leaf.

Japanese Classic, oil with gold leaf, 27×24 framed.
With all of these, click twice to enlarge.

To give the paintings a little more specialness, I mounted them on hand-painted abstract backgrounds, “floated” within deep cut mats, then placed in an elegant frame, behind glass. Hope you like them.  Hope they like them.

If they don’t, I have more.

Sharon in Studio 2, oil on canvas, 36×36.

The other category I’m entering is “oils.” This is my main medium in any case. I think I’ve displayed these before, if not here, on Facebook and Instagram. This and the following have an aspects of realism yet with abstract elements. “Sharon” began originally from a model session in the studio.

Morning Meditations, oil on canvas, 36×36.

Here’s a match, similar style with the abstract touches. The pose came from Anne as she spends the first hour of her day in her favorite chair. I liked the pose but didn’t want her specifically, so I changed the face. What I ended up with was a likeness of Anne at an earlier time. I think it’s a keeper.

Child Monk, oil on canvas, 44×29.

For the third in this category, I’m submitting a piece done recently on spec. I thought maybe the photographer of the photo would like the painting. He did, but not to buy it. So I have it. As for the judges, they don’t have to buy it; just to like it.

If nothing happens, it’s not the end. If it does, I’ll let you know, either soon or eventually.

Wish me luck.

27 Comments

Early in December an e-mail arrived in my in-box from Chattanooga:

Hyatt,  My wife’s father is dying, and I’d like to ask to commission you to do a portrait (from photograph).  He was a poet, and I want to make a canvas from photos from several of his poems (in his handwriting) and have you “paint over them,” much like you did of another portrait I’ve seen. Is this something you have an interest in doing?

Of course I said yes. At first there was no rush. But then, Christmas was coming, and it would make a great family gift. So I got right on it.

A following email supplied the photo of Edward Gould whom they called “Poppy.” He was a devout man. And tall: 6’6.” He lived with the family to a ripe age, dying while I was at work on the portrait. His body, “to science.”

All by email, I was sent scans of Poppy’s poetry. The idea was to incorporate them, not necessarily legibly. I couldn’t help reading them and becoming endeared to the man myself. A true father. I arranged a montage and sent it off to be printed on artist’s canvas.

Here’s how it was looking a good ways into it. I took a few days out for a family trip to Seattle. Still, I was confident about the due date, then the something surprising happened, described in the following email to him.

“One challenge that added to it all schedule-wise (and there’s always a challenge): yesterday morning I found myself with only half use of my right eye. Visits to three doctors occupied much of the day (with me painting in between and through the evening). This morning I had urgent surgery for a detached retina! Now I’m working with one eye patched, and instructed to only look down for two days.  I’ve found a way to keep painting in the looking down position, so all is well.”

So I painted the rest of it with one eye. I only wore the bandage one day, but the affected eye will be healing for two months, with little use meantime. To add to it all, at the check up, my other eye was found to have a torn retina, something the surgeon attended to immediately with laser technology. Incredible! And how grateful I am for the science. Meantime, the art continued.

Double click for larger view.

In the end I found a provisional frame so it would look good on Christmas morning. It was a $300 charge to get it across the country on time the week before Christmas. Happily, it satisfied. Here is the final e-mail:

The painting was a big event. A really great legacy. Know that your God-given talent has now become a family heirloom that will be cherished for generations. Not many men can say that about their giftings. Thank you.

I’m grateful, of course, for all things. Meantime, my eyes are healing, and I’m painting away on new projects.

_______

PS  I wrote an account of discovering and addressing the first affect eye on my other blog, If Your Eye be Single.

7 Comments