Sunday, 15 October 2017



8” x 8” Deep Canvas
Impasto Acrylic

Our local ski mountain is called Big White. It is just that, big, and in the winter, white. There is snow up there from about now, well into June. Google tells me it is 2,319 meters (7,606 feet) high. 

When I first moved to the area there was a small family run ski village on Big White and everyone knew each other by first name. Now it’s an internationally run conglomerate with hundreds of chalets, condos and world class runs. Most of the out of town visitors to the mountain travel through our airport and so my mountain paintings are popular at our Skyway kiosk. This one is for this winter.


Thursday, 12 October 2017

COLORS OF 2018 - On Trend!

Misty Lake - One Finger Drawing by Sea Dean

The yearly color craziness started with two similar and one totally different color of the year. Behr with a soft green, Sherwyn-Williams with a more highly pigmented but calming blue and Benjamin Moore with an intense Red. In reseaching this I also came across deep dusty pink (gasp) from Akzo Nobel and another pretty green in the same vein from Dunn Edwards. So it seems the compliments of green and red are in command this year.

Behr selected a lovely soft soothing green called “In the Moment”. When I first saw this group with its main star It made me happy. Each choice has a modern edge and there are quite a few that may find their way into my decor. A few months ago I actually purchased some fabric in the main color to make cushion covers (still on the list). And my newer “One Finger Drawings“ demonstrate many of these more natural choices. I like them because they are soft but clean, less greyed down than recent trends.

Peaceful Lake - One Finger Drawing by Sea Dean

Sherwyn-Williams is in the same mindset with “Oceanside”. This heavily pigmented blue/green has mesmerizing character and reminds me of my “One Finger” drawings “Deep Lake I and II“.

Then Benjamin Moore, always radical, released “Caliente” and although it’s a lovely color, I cant see it catching on in great numbers can you? It makes a good accent color in cushions, vases, paintings etc, but it’s a highly pigmented, high power color which would be hard to take in large areas.

My painting “Crimson Circle” would work in this color scheme - pop without overwhelm.

Monday, 9 October 2017

The Fickle Nature of Pigment - Art Investment

This Post was inspired by my friend Sheila Delgado, who supplied the link about the original colors of Van Goghs paintings and how they have faded. The Met Van Gogh ... scroll down to the video. Also, if you are interested in the subject of fugitive color, the reading list is fantastic!
I am very concerned about the archival quality of my paintings, because I came to acrylics via photography and it breaks my heart to see how much my early images have changed over time; many family photos taken in the 70’s with a poloroid instant camera are now almost invisible and of course no negatives to reproduce them. This was emphasized by a visit to The Louvre in 2013 where I saw with my own eyes the deterioration and non-climatized environment of valuable paintings in one of the most famous museums in the world.

Van Gogh was aware that his choice of Red Lake meant his paintings would change color, so he compensated, but even 30 years after his death the pinks and purples had badly faded which is obvious in early color plates and even more obvious today, but luckily, through modern science and educated guesses, his original color can be reconstructed.

Sadly, many modern artists seem totally unconcerned about the longevity of their work, working with ‘found’ surfaces and unconventional media with no archival prep. Art Works worth millions have proved difficult to maintain. Most serious collectors are concerned about preserving their investment, but others are horrifyingly complacent; I heard of a valuable art work the other day that was not only created on a badly deteriorating surface, but was owned by a corporation and had been pinned and stapled to a wall, leading to deterioration around the edges. shocking!

If you are an artist and concerned about fading, you need to make sure all surfaces are Archivally sound. Buy from reputable art supply locations and always ask for archival. If you are using student quality rather than professional, or surfaces containing lignin, make sure you use a shield like GAC 100 between your paint and the non-archival surface. Check that your media are archival. I’m constantly hearing that x,y,z product from the hardware store Works just as well ... sure but it’s not archival and there is no point in paying high prices for professional quality paint if you are intermingling student quality or hardware store products; your archival level for the entire artwork is only as good as the poorest quality product you have used anywhere on the piece.

If you’re a collector buying as an investment, you need to understand and check the archival level of the work you are purchasing. You also need to know what kind of climate control is required and what maintenance is involved. If the artist is uncertain, by all means purchase the piece to enjoy in your home or office, but don’t rely on it as an investment, Van Gogh being the exception:)