Jefferson River 11/20/16

dsc_112918″x 24″ Acrylic on Lexan

$350.00

The first flycast trip to the Jefferson River and it turns out to be more historical than first given credit for.  The Lewis and Clark expedition had travelled these very banks that a heritage sign in the area was quick to point out.  There are banks all over the sides the river but access is fairly limited.  There is a whole other country in this neck of the woods and between the cattle, deer, and waterfowl this time of year it begs to be explored with open hills running for miles.

Breaking down the colors of the river has proven once again that there is a lot of unique characteristics that go into a stream.  The Jefferson River has a raw sienna undertone throughout its depths from the surface of the water to the underlying river bottom. It is unlike any stream witnessed yet with the warm tone subtly hidden within the ripples.

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The paintings are becoming more literal and speaking the mood of the day and capturing the temperament of the river is not an effort that is striven for but rather just accepted as the holistic process.  It was a very conscious feeling that the casting rhythm was in tune with the current of the river and any anxiety felt was washed away with that idea.  There was not a lot of traffic on the river but the one fella said he had seen the process on tv.  That was a good feeling as he was floating the river down to Three Forks and was talking about what a great day it was if he didn’t fall in.  The thought on the river is to write a book that pertains to flycast paintings, but written in story form that has so much symbolism about the craft and story that a reader would be completely confused as the writer dreaming up these ideas.  There have been a couple of parallels drawn between stories points that need to be made but it will be cleared up when the story comes out.  Looking at streams has been changed for me where color is the main idea that is looked for.  Going by some muck ponds on the side of the road is looked at like a painting, and what it would look like under the casting of the fly rod.  Why not even capture the clouds in the sky, sunsets, and changing weather patterns?

Both sides are painted on this piece as that is becoming a common practice and the glossy having its advantage of the slick sheen showing the smothered colors, and the last layers on the other side of the painting being more literal with texture and the moisture within the day setting the paint.

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