The catalogue of the exhibition featuring "Broad Beach Reflections" by Marcia Burtt on the cover.
As I Sat By Her Side, 8" x 10", Oil on board, © Eric Merrell; sketch for 36" x 48" Oil on canvas exhibited at the Frederick R. Weisman Museum at Pepperdine, Malibu
The Gold Medal Exhibition just closed yesterday in Pasadena and attention is now shifting to a new exhibition opening out at the Weisman Museum in Malibu this Saturday evening. Since I don't yet have a good image of the painting, I've posted the sketch above (I'll try to get some photos at the opening that will show it better). It's one of the larger pieces I've painted recently, which I thought would be fun since the museum can afford the space. Here is the text I wrote that will be included in the accompanying catalogue (slightly updated as we're always revising, aren't we):
"My art allows me a process to meditate on the mysteries of life and use that language to say what I would not otherwise be able to communicate. In this piece [As I Sat By Her Side] I was interested in the contrasts, the differences, and how they were all necessary to the purpose of the painting. Because of their differences, they are stronger together; one does not exist without the other.”
The surface of the large canvas was quite fun to work into. Some layering, and lots of scraping; heavily painted areas next to thinly washed in spaces. It was good to have the painting sit in the studio for a little while so I could spend some time with it. Some pieces you paint almost as they're going out the door, but some you get to live with for awhile. This piece for me is a good example of how the sketch conveyed the kernel of the idea, but that idea needed to have some room to develop before I could let the painting out.
The exhibition opens this Saturday, May 23 from 5-7 p.m. and runs through August 9. Hope you can make it out to see the exhibit, online here, it includes a lot of strong work. Thanks to Michael Zakian, Director of the Weisman Museum for all of his work assembling it.
Stability, 20" x 24", Oil on panel, © Eric Merrell; exhibited at the Frederick R. Weisman Museum at Pepperdine, Malibu
Last Red Light, 8" x 10", Oil on board, © Eric Merrell
This last piece won't be in the exhibition, just a small sketch I did at sunset at Leo Carrillo State Beach in Malibu. The large canvas is at the same location, and Stability is from El Matador Beach.
The newest installation of Celebrating the Golden State: Recent Artwork by Contemporary Members of the California Art Club just opened at the Old Mill in San Marino, California last Thursday. These exhibitions at the CAC Gallery are fun because they're unthemed, you get to see what each artist prefers to paint if left to his or her own devices. Check out the link above for images of the artwork. The two paintings shown here are in the exhibition. Just when I was finishing up the landscape above and packing up my gear, I head a loud noise approaching. As I glanced up, a large hawk swooped around the cliff behind me and flew overhead about only 25 feet off the ground. The hawk appeared to be carrying a large hose or something in it's claws, but as it got closer I realized the hawk's luggage was actually a large rattlesnake. Instinctively I tried to move out of the way (of the hawk or the snake, I don't know which, best to avoid both!) but the hawk continued its flight over to the edge of the shadowed cliff seen in the painting, the angle just above the turn in the road. Apparently it wasn't interested in dropping a rattlesnake onto my palette, instead bringing the catch back to the nest for dinner. (At least the hawk waited until I was finished painting to break the silence; I can't say the same for the the plethora of weekend warriors who were charging up and down Mulholland all afternoon, creating a racket for my sole enjoyment. Motorcycles are just as horrible as golf courses and leaf blowers. The noisiness of nature is poetic next to our urban din.)
The colors of the cliff in shadow were the substance of this piece, the exciting warm and cool seen there. The patterns of light and shadow on the distant hills were important to the design of the piece, too - I always begin my paintings fairly two-dimensionally, considering the impact of the abstract design and how it supports the intent of the piece. This abstract content is what subconsciously attracts viewers who connect with it. When you're walking through a museum, for example, you usually walk past dozens of artwork before you stop at one that interests you. This attraction is usually quick and unstudied; the work has connected with you on a subconscious or gut level. After that initial attraction, you may become more aware of "things" in the painting, but the interest began with the abstract design and color harmonies.
January Light, 7 1/4" x 7 1/4", Oil on panel, © Eric Merrel
I will also have a few pieces in the California Art Club's booth at the upcoming Art International: A Fine Art Fair, March 13-15 at the Pasadena Center, Pasadena, California. The Special Opening Night Preview on March 12 will benefit the Centennial Celebration of the CAC, and the whole weekend will showcase lots of galleries and some great paintings. Last year I remember seeing beautiful portraits by Theodore N. Lukits (1897-1992) and Hovsep Pushman (1877-1966), as well as many great historic California landscapes.