24″x 36″Acrylic/Resin on Lexan
When the Yellowstone is in shape how can any painting go wrong? Driving over the pass to Livingston.
there was no weather to be seen as evidence of the wind sock on the south side of the freeway, it was just as calm as could be with no levitation or movement to speak of. Arriving in Livingston the wind was whipping right through town taking no quarry. The coffee stand was serving coffee outside of the wooden shack and there were paper cups strewn all over the parking lot in the wind’s haste to get to Canada. A stop at the Sweetwater fly shop had me meet the owner Dan who had owned the business for 6 years and making a living doing it. He was gracious with his time and knowledge of the area. The painting was going to take place at Carter’s Bridge which is a good location with the access to a wide open river bank, a riffle across the way, and it is central to the comings and goings of boat traffic. There were so many people to talk to today that it is a wonder there was any time at all to get the painting finished. In the morning hours there was the deepest green and blue to be seen on the river complemented with the orange and gold from the sun and autumn trees.
This painting is the evolution of where flycast river paintings are headed. On top of the Lexan, that is the front of the painting, there is a thick layer of resin applied to the surface that will add another water element to the work. It is night time as I type this recap of the day and highlights about the work, but I can not wait to put the finished dry piece in front of the sun to see the shadow and refraction come through the resin and dance on top of the river’s colors. There are a lot of bubbles within the resin which add a suspension of water to the work. Dealing with heavy amounts of paint on the end of the line and the resin weighed an absolute ton, it allowed for the working of the medium to be slid across the surface of the painting when the massive amount would slap on the surface of the painting and not slide down the front but would be glued to the Lexan and then pulled with the fly rod from different directions. The corners of the painting were attacked with a vengeance at a close range to allow for a more accurate presentation.