18″x24″ Acrylic on Lexan
Doubling down on the paintings in the snow on a cold November day. There is always something really positive that comes out of a flycast painting adventure.
This trip there were two things that came out of the Gallatin River. After completing the first painting that would come through on the glossy side of the Lexan the dark undertone was showing as the last layer that was applied on the side facing the fly rod. The weather had changed slightly and I suddenly was struck with the idea that I could paint this side as well, with changing weather conditions, and a viewer that owned the piece would have options of which side they preferred. This would allow for some creative hanging practices as well. After having this epiphany there was a maroon truck that pulled over after coming across the Axtell Bridge. A man stepped out of the truck and walked my direction with snow coming in at a slight angle. He was the owner of a very prominent company and offered up the opportunity to come paint on his ranch that had exclusive access to the river. He handed me his card and drove away. I was completely floored by such a kind gesture and can not wait to see where this adventure keeps going. After the painting was finished the protective cover was peeled away from the first surface and the colors had blended together as the painting was made. Everything was there where the tone of the day, the mood of the river, and the changing conditions were captured. The glossy Lexan side had layers upon layers on them that allowed for a very intricate in-depth visual texture that is consistent throughout the piece. There was so much moisture in the air the painting was taken back in the back of the truck so nothing could touch the very wet paint.
The Lexan being viewed from both sides is one thing, the other lesson learned is the patience that need to be attained in gloomy conditions. The paint doesn’t dry, and when worked too much will blend the other colors into themselves and create a very tonal piece of art. This work is a precursor to the long winter ahead and the idea of a painting having more depth when looking at the side of the surface being worked on keeps the idea that there is an illustration with two arrows, one on each side pointing into the the work.