Friday, February 26, 2016

Drawings of Weekend Fishermen, Ordinary Commuters and Whoever

Castle Island, Red Line, Green Line…


A guy who boarded the red line in Central Square

Someone looking very concerned about something…

On the redline inbound from Ashmont

People in baseball hats

Foot portrait of a redline passenger

Multiple passengers on the greenline

Napping

Castle Island - Fishing

Carol and Titus Watching Fishermen on Castle Island

Tuesday, February 23, 2016

Drawings of Commuters on the T and elsewhere around Boston

Drawings of Commuters on the T, and elsewhere around Boston…

A while ago I started making drawings of people on the Boston public transit system.  Public transit is the best place to draw people who are not the least bit interested in you and will ignore you as they maintain their private space reading, listening to music or just gazing off somewhere else daydreaming while you sketch away.  
They board the train, sit or stand somewhere and remain mostly unmoving usually for no more than a few minutes.  Soon they will get off at their stop so I have very little time to draw them.  It creates an excellent training device and has helped me to improve on my ability to quickly note down the most important features of someone's face, the way they hold their bodies, gestures, and how their clothing fits them.

Sometimes curious folks will watch over my shoulder or from the other side of the train and ask me what I'm drawing.  Often my subject happens to be their friend sitting down chatting with them while they stand nearby.  Sometimes I accidentally make someone feel uncomfortable when they notice I'm drawing them. When that happens I stop looking at them and look for another subject or just wait for someone else to settle down nearby.  Choosing people to draw can be a challenge. You don't want to weird anyone out so I have learned to be careful about how I look at people, to be sensitive to the possibility that my attention on them could be bothersome or felt.   I try to be as unobtrusive as possible. A method I learned to use for drawing is to gaze ever so briefly with the strongest possible focus so that I get a good look at the features that will best express the unique personality and mood of the subject.  This did take some practice to develop.  I choose one specific feature to focus on, something about the face that first catches my attention, and concentrate on that to get the image to last on the retina long enough so that I can put it down on the page.

In this drawing above the fellow on the greenline kept his head down while reading his book and I never actually got a chance to see his face, only a thick mop of hair with many dreads. 
This was a woman with a young boy at Broadway Station on the redline

Woman waiting in Broadway Station as a gust of wind blows her hair
A man seated on the redline looking pensive. A second face appears just below his own face. Most likely this was another commuter who boarded the train after the first fellow got off. 
Some Shoe Styles

An unfinished drawing

Saturday, February 13, 2016

Little Boats


Little Boats

These paintings are on birchwood panels. All are original pieces by Beth Redmond Walsh.   Please inquire if you are interested in commissioned work

Soft thumps of little boats nudging together on a ripple from another passing boat... The air is still  and the sounds of small waves lap against the piers.
















Monday, February 8, 2016

Firedance Series

Firedance is an ongoing series of work depicting the power of life and a positive spirit to overcome, to transform, and to be strengthened by meeting life's challenges.

Firedance II

Firedance III

Firedance I















Friday, January 18, 2013

Interior Landscapes

Interior Landscapes

These pieces may be hung in whatever way suits your space and preferences.  They make a bold statement in a large living space or office and can generate interesting conversation!
 'Embracing It All'  2012   Oil on canvas  dimensions approx. 62" x 62"   part of the series 'Interior Landscapes'  by Beth Redmond Walsh
 'Embracing It All'  2012   Oil on canvas  dimensions approx. 62" x 62"  
part of the series 'Interior Landscapes'  by Beth Redmond Walsh

'Temple of Memory'  2012 Oil on canvas  dimensions approx. 62" x 62"   part of the series 'Interior Landscapes'  by Beth Redmond Walsh
'Temple of Memory'  2012 Oil on canvas  dimensions approx. 62" x 62"  
part of the series 'Interior Landscapes'  by Beth Redmond Walsh

'Alone'  2012  Oil on canvas  dimensions approx. 62" x 62"   part of the series 'Interior Landscapes'  by Beth Redmond Walsh
'Alone'  2012  Oil on canvas  dimensions approx. 62" x 62"  
part of the series 'Interior Landscapes'  by Beth Redmond Walsh

Saturday, November 3, 2012

Canvas, Paint, Mixed Media Collages



Mixed media with spray paint,  recycled cloth, metallic paints, and markers on wood panel
Mixed media with spray paint, recycled cloth, metallic paints, and markers on wood panel


Wednesday, July 18, 2012

Landscapes, Seascapes and Riverscapes

Landscapes, Seascapes, and Riverscapes

Ramler Park in Boston's Back Bay, Boston Public Garden, The Charles River, The Arnold Arboretum and the saltmarshes on the north shore are just a handful of the superb places in eastern Massachusetts to paint en plein aire.    

What is it that makes me want to paint outdoors where there is no hope of controlling the light, weather, atmosphere?  To a large extent it is the very challenges that all these factors present. Much of the painting I do is done indoors.  Looking intently at leaves, trees, water, hills, marshes, sky, clouds  and changes in the light conditions of a day is always a magical experience.  Being immersed in that sense of wonder fills me with respect for nature which is very nourishing to the human soul.
It is a very different experience working in the elements, having to pay attention to the weather changing, the light, the wind as well as the view I'm actually trying to capture with paint. Once I'm there and decide on what I want to work on my focus begins to sharpen, a sense of my own being dissolving as I get down to the business of mixing, watching, choosing what brushes will be best and dealing with shifts of light and changes of atmosphere that will affect the local colors.


Charles River from the Weeks Bridge Oil on Birch Panel 2012



'Weeping Tree' Boston Public Garden  Oil on Canvas 2010

'Ramler Park' Oil on Birch panel 2012

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'North Harvard Street Bridge, Cambridge' Oil on Canvas 2011


'Hog Island Essex, MA' Oil on Birch Panel (detail) 2011

'Hog Island Essex, MA' Oil on Birch panel  (detail) 2011


'Salt Marsh Thunderheads' Oil on canvas 2012





Sunday, July 15, 2012

Saturn Return

These pieces may be hung in whatever way suits your space and preferences.  They will make a bold statement in a large living space or office and may generate interesting conversation or perhaps inspire introspection.

Saturn Return'The Gateless Gate'   2011 
Oil on canvas approx. 60" x 60"
 Saturn Return  'Time of Reflection'  2012 
Oil on Canvas approx. 36" x 42" 
A painting is a conversation between the artist and the work. It's a challenging part of the process of painting and difficult to explain to non-painters. Paintings are filled with energies.  There are many many decisions to make during the process of making one: sometimes marks to reconsider, whole sections might need to be scraped down, drawing revisions to be worked out. There are times one must simply step back for a few days or even a few months to get some distance and perceive clearly what one has put on the canvas and so be prepared to move ahead in the process.
Saturn Return: "Turning and Looking Behind"  2011 Oil on canvas and collaged repurposed canvas scraps  approx 36" x 42"

The Great Wall of China - Oil on Canvas 2005



A distant portion of the Great Wall glows in the sunlight as seen from a higher section of the wall. 







Beautiful light illumines the Great Wall of China 
Snaking sections of the Great Wall gather from distant hills and valleys.

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Wednesday, June 27, 2012

The 'Don't Know Mind' Paintings


Beth Redmond Walsh
'Don't Know Mind' is my most unusual series. I developed the method for making it by examining zen calligraphy and selecting several characters to discover the most compelling of them. The push and pull of the marks and the characteristic shapes created by the brushes is what most interests me. 
These investigations inspired me to invent several shapes of my own. I selected a few of these shapes to work with and to better understand how they function in designs, color palettes and different sized/shaped supports. And to discover what they can communicate. 




"Try try try...."   Oil on Canvas  18" x 24"
 
We must try, try, try to break the wall of self to discover that we are infinite in time and space.
"Fine as it Is"  Oil on Canvas  18" x 24"
We have everything we need to live and yet we pick and choose all the time.  Reduce your suffering, just don't pick and choose.
"Vows"  Oil on Canvas  (framed)  10" x 10" approx.
The four great vows: Sentient beings are numberless, I vow to save them all.  Delusions are endless I vow to cut through them all. The teachings are infinite I vow to learn them all.  The Buddha way is inconceivable I vow to attain it.
"Right Livelihood"  Oil and Wax on Canvas  9" x 12"  approx. 
From the Eightfold Path 'Right LIvelihood'
"Right Speech"  Oil and Wax on Canvas  10" x 10"  approx. 
From the Eightfold Path 'Right Speech'


"Primary Point" Oil on Canvas  10" x 10"  approx. 

Always return to your primary point no matter what happens during your day. Come back to your center and rebalance yourself.
"What is this thing I call I?" Oil on Canvas  12" x 12" approx. 
Finding our true self, our true job, our true nature.

"Original Nature"  Oil on Canvas  12" x 12" approx. 

"Nothing Special"  Oil on Canvas  12" x 12" approx. 
Zen is nothing special.
"An Interview With A Zen Master" Oil on Canvas 10" x 10" approx.

"Great Question" Oil and Wax on Canvas  36" x 42" approx.

"The Terribly Noisy Silence"  Oil on Canvas  36" x 42" approx.