Breadfruit Ma‘afala

20 04 2018

While the inspiration for my latest art was a leaf from the Ma‘afala breadfruit tree outside my window, the finished pieces look little like the actual plant.

The leafy model

My medium—hand-dyed tissue paper collage—lends itself to abstract images. It is tricky to determine the final color of a section that has been layered with the tissue, and the final result is rarely what the artist had in mind in the beginning. When stuck in the creating process, my teacher the late Susan Rogers-Aregger would say, “Glue another paper over it!” But because of all that, surprising results of color and luminescence can be had.

Several folks commented they liked a preview of the finished collages that I posted as photos on social media just before I took them to the frame shop. I was so excited to finish and show them. I admit they were a tad tacky from the final varnish. Framers don’t like that, but this time it was darn near dry!

The actual dimensions are 22″ x 28″ each, and the two were designed as a diptych to hang together, yet each panel can stand alone. I started with a palette of greens and reds and soon changed it to  a triad of complementary colors: violet, green, and orange. I haven’t even given the collages a title yet. Hmmm, maybe it will be “Breadfruit” and “Ma‘afala.”

Pattern

Dried and fallen





Ultra art in downtown Honolulu

7 03 2018

The second floor lobby at Pauahi Tower in Honolulu, at 1003 Bishop Street, is home until August 3 for a selection of original fine art by local artists.

The location is convenient for downtown office workers who might walk over during lunch hour for some quiet visual meditation.

The lobby with its high ceilings and window walls lends itself to large pieces. Consider that my “large” contribution of “Royal Archival Banyan” in oil is hanging in a beautiful koa display case.

Display case features both two- and three-dimensional works.

Glass case containing 2D and 3D art reflects high-rise downtown parking garage for a fourth dimension.

Unusual art that caught my eye were a collage by David Friedman, and three smaller pieces: a fish and a couple of decorated fishing floats.

Collage art by David Friedman

Spheres, one a former fishing float.

Fish

Windward Artists Guild and Wendy Roberts organized the exhibit entitled Ultra Exhibit I. Katherine Love was the curator.

For information about purchasing any of the art, please email Wendy Roberts at wag@windwardartistsguild.org

If you go: Alii Place parking garage has reasonable fees. Enter from the right hand lane of Alakea street between King and Hotel streets. Pauahi Tower is one block from Alakea on Bishop street.

—RL





A show that celebrates peace and calm

6 01 2018

The Hoʻomaluhia New Year Invitational 2018 art show opened today with works depicting—you guessed it—Hoʻomaluhia Botanical Garden! At the base of the Koʻolau Mountains on Oʻahu, the park’s natural beauty is a “can’t miss” subject for any artist.

Go to the visitor center main gallery between 9 a.m. and 4 p.m. any day this month through January 26 to view an inspired collection of works, including two of my oil paintings pictured below. Many are for sale. Greg Pai is the juror.

The public is invited to a reception from 4 to 6 p.m. on Sunday, January 14.

Hoʻomaluhia means “let’s make peace and tranquility.” Enter the park at the end of Luluku Road in Kāneʻohe.

Mahalo for taking an interest in art! ~ Rebekah

“Clouds Lifting Over Lanihuli” reveal fresh waterfalls. 20″x 16” oil on canvas by Rebekah Luke

“Rain Fantasy,” 24″ x 18″ oil on canvas by Rebekah Luke





Sunny rain

14 03 2015

This is the oil I’m working on now. A tiny diptych. Two times out on location en plein air. Somewhat of a limited palette. I like the looseness of a sketch. It’s not finished. Being careful to not overwork it. Not too likely since my painting hand has limited mobility from overuse. Sunny :-). Rain :-(.

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“Sunny Rain” © 2015 Rebekah Luke

 





Feel lighter, spring forward

5 03 2014

Mercury is out of retrograde, I can tell. My spirit is better. I started to Spring-clean the studio today, de-cluttering and rearranging the furniture, props, and inventory to make room for something new, although I don’t know yet exactly what. It feels good. This happens every once in a while, usually after the Winter holiday, when my surroundings are such that I can barely move. It’s a good time to get rid of what no longer serves me, so I can turn the page, so to speak. I challenge you to take similar steps forward.

Rebekah's Studio 2014

I created a new desk area against this window for the first time! Studio props for my still life classes are out in the open for easy access. The desk is a six-foot folding plastic table dressed up with a soft, textured blanket. From here I enjoy cooling trade winds and a small view of the ocean.

A new print rack displays my repros professionally below "My Corniglia," an image I made of the Ligurian coastline. Studio props for my still life classes are out in the open for easy access.

“My Corniglia,” an image I made of the Ligurian coastline, hangs above a new print rack that displays my art reproductions professionally. DH built the tasteful picture frame that happens to be a design repeat of the hardwood chairs.

Copyright 2014 Rebekah Luke




Big, beautiful, colorful holiday gift ideas from me to you

28 11 2012

Perhaps this is the year you want to give something big and long-lasting to your special someone. I have an idea! How about a piece of fine art?

An oil painting that you like, for example, can be more affordable than you think and retains its value over time. It can brighten a home or office interior and bring cheer to the environment.

Most local artists and even art galleries are willing to negotiate retail prices and work with customers to allow them to purchase on layaway — in installments. Don’t be afraid to talk to the artist, ask questions, and perhaps move that item from your wish list to the reality of your collection!

Considering it’s holiday time, and everyone is marketing their wares, here’s some shameless “hard sell” on my part. I invite you to view my virtual gallery of paintings once again at https://rebekahstudio.wordpress.com/paintings/ and hope you’ll consider making a purchase or tell a friend. There are also a few in my retrospective collection that I could be persuaded to part with.

“Clouds Lifting Over Lanihuli”

Hawaiian places — places you have been or places where you’d rather be — are my favorite subject. Each painting is a one-of-a-kind original (sorry, I haven’t made any reproductions) and comes with a frame ready to hang.

Welcome Spring – 2010

Thank you so very much for your consideration! Happy holidays!

“Kuilima Cove”

Looking Down Upon the Path – 2008





A fresh look at the art of painting green

20 10 2010

Some painters claim they don’t know how to paint green. It must be why paintings of this hue are generally absent in the art galleries. In this post I’ll show how to paint green. With oil paint, the trick is to change your base color.

I love green. “Banyan in the Park” and “White Ginger,” two of my most recent paintings, are predominantly green. Looking at them gives me a feeling of calm, coolness, and serenity. More so, I can recall the satisfying experience of choosing the images and transferring them to canvas. I can smell the sweet scent of the ginger patch.

Banyan in the Park

White Ginger

Painting green is no secret, it’s a technique. As mentioned, it’s all about changing your base, your base being a yellow or a blue because yellow plus blue equals green. In the field, I still use a color chart I made when I took my first painting classes. Someday I’ll paint a new one!

My green color chart on canvas paper, a bit ragged but still useful!

You can make a chart like this too. Use a palette knife. Put a swatch of each of your yellows in the top row. Down the left column, dab a swatch of each of your blues, including black if you use black. The greens in the body of the chart are the result of mixing a blue with a yellow. For each combination of the two colors, I have added white two times to get a “light,” “middle tone,” and “dark” of the same hue. See how many different greens there are!

When I am on location, I literally walk up to the object—e.g., a leaf—and find the swatch on my color chart that most closely matches it, eliminating any guess-work. If the object is in the distance, I hold up my palette knife—with paint on it—in the air in front the object and squint to see if the hue and value (lightness or darkness) match. When you paint a green scene, step back for a moment now and then. If it’s starting to look all the same, maybe it’s time to change your base to “find” another green.

Going a step further beyond the colors on the chart:

To lighten, “warm it in the light,” that is, add the next lighter yellow from your palette plus a little white. To darken, “cool it in the shade,” that is, add the next darker blue from your palette.

This technique of warming it in the light and cooling it in the shade is known as “analogous,” meaning to use the next color on the color wheel. In the way I paint, I prefer analogous to “complementary.” Adding the complement—the color opposite on the color wheel—to a color will also darken, but it will also appear comparatively chalky. Put another way, if I want to darken green, I add blue, not red.

If you are still with me ;-), here are a couple of exceptions.  When painting a landscape, colors become muted and lighter in value in the distance. In this case the painter would choose complements. Realize, also, that whenever you see gray, use the complement.

I learned these tips from my teachers Gloria Foss, Vicky Kula, and Peter Hayward who taught us how to turn the form and about the logic of light.

Thank you!

Copyright 2010 Rebekah Luke







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