Exploring the depth of darkness is a challenge with watercolor paint. It takes layering and a good deal of color mixing (my favorite is prussian blue and sepia).

This nocturnal scene is of Tookany Creek at High School Road seen during my walk home from the train station several weeks ago just after a snow storm. It felt absolutely magical.

Thank you to all who have followed along with my artistic wanderings this year. I wish you many blessings in the New Year!!! 

A little elf magic for you on this winter solstice. 

I was inspired by the arrival of the elf (on the shelf) at our house last week. My daughter has been writing letters to our elf every day. 

This little guy is more of a cross of a Christmas Elf and Jack Frost. There is no limit to what he can create and winter is his time to shine.

'West Chester Storefront Nocturne' is my first plein air nocturne painting. I completed it in October during the Brandywine Valley Plein Air Competition, so I had the support of at least another 20 artists working on the same street at the same time. One looks less crazy if others around you are doing the same thing.

​How does one paint outside at night, you ask? Well I did a little research and I found that the best way to see what I'm working on is to wear a baseball hat with lights. Luckily, my dad had supplied my son with one (which I borrowed) in a nice camouflage print. I was styling!

I pulled up this painting because I am currently working on another nocturne painting...which I hope to finish for next week!

In order to prepare for the culminating exhibition for my painting residency, I've been pushing myself to work larger.  

It takes a certain kind of faith. I usually finish paintings the same day or at least the same week that I start them. This one took me over a month! I had almost lost hope that I could realize my vision. I am very glad to report that it came together this morning in Howard Watson's watercolor class at the Woodmere Museum.  

Howard, in his unique way, encouraged me early on to put some creatures into the scene. I believe he had said, "Nice scene. I like the cows."

I chose chickens instead of cows for a specific reason. This work began as a plein air drawing of the root cellar at the Richard Wall House in Elkins Park. In colonial times, that supreme era of self sufficiency, the top room was used as a chicken coop.  There haven't been chickens here for some time, but don't they just look right at home?