nancy hillis

"You Told Me To Wait For You": new mixed media work

2010-06-20T18:51:00.000-07:00

"You Told Me To Wait For You" is a 48"x 36" mixed media (acrylic, ink, collage, oil varnish wash) work on canvas that is part of a larger series exploring horses, figures, relationships, and aloneness. This horse seemed to me to be waiting for someone or something. Somehow, I'm reminded of the play: "Waiting For Godot" when I think of waiting. Literary references come up for me often when I'm painting.

In this work, I began with an oil varnish wash of hansa yellow orange and from there used inks, acrylics, and painted collage pieces to create the composition.

California Landscape: En Plein Air

2010-01-31T19:06:00.000-08:00

This is a 9"x 12" plein air California landscape in oil on a mahogany luan panel that I finished yesterday. The location is McClellan Park Ranch in Cupertino, California. I used a varnish wash as the first layer and the following palette: ultramarine blue, cobalt blue, pthalo green, carbozole violet, transparent red oxide, cadmium orange, hansa yellow orange, cadmium yellow orange, cadmium green light, and titanium white. There are passages of transparency alternating with opacity.

"Primitive Horse": Horse Collage/Mixed Media

2010-01-26T20:17:00.000-08:00

"Primitive Horse" is part of "The Horse: A Guide to the Unknown" series of horse collage/mixed media pieces I've been creating. This work is 36"x 40" and I used acrylic ink, tech ink, acrylic, watercolor and collage on canvas.

"Ethereal"

2010-01-09T14:27:00.000-08:00

I just completed this mixed media piece, titled "Ethereal" (24" x 24" on board). This is part of a new series I am working on called "The Horse: A Guide To The Unknown". I am interested in the ways in which horses connect us to ourselves, to spirit, to the unspoken, and to the unknown. I am exploring the concept of inner and outer worlds, as well, through this work.

I used inks, acrylics, and collage on this piece.

New Mixed Media Work: Horse

2009-12-20T22:27:00.000-08:00

This is a 48" x 36" mixed media work on canvas. I used acrylic and tech inks, acrylic, watercolor, and collage. I started with a calligraphic drawing of the horse and then applied inks and acrylics and texture over the entire canvas. In the last stage, collage pieces were adhered to the support.

"We Know Each Other": Refinement to New Abstract Figurative Collage

2009-12-12T19:57:00.001-08:00

I've made some refinements to the previously posted "We Know Each Other", which was a work in progress. I've further defined the face of the horse, added warmth to the background beige color and added a few pieces of collage to this work. Finis!

"Seeing Red": New Horse Mixed Media/Collage

2009-12-11T17:04:00.000-08:00

I've been moving into color in my horse/figurative collage work. Here, I used inks, liquid acrylics, gesso, watercolor, and collage to create a very colorful horse mixed media piece. I am also creating quite a bit of texture in these new works.

New Mixed Media Work: "Ponder"

2009-12-10T12:37:00.000-08:00

"Ponder" is a 40" x 30" mixed media piece on canvas. I used inks, watercolors, acrylics, and various textural materials to create this work. This is part of a new series of work wherein I am bringing in color and texture to the horse/figurative collage and mixed media work.

"We Know Each Other": New Abstract Figurative Collage

2009-10-17T21:05:00.000-07:00

This is one of the four new collage works I've been working on within the last week. This piece is 24" x 24" on cradled board using papers (newsprint, corrugated cardboard, painted watercolor papers), ink, gesso, watercolor, and acrylic paint. This work is informed by my inquiry into human/equine relationships, as well as an exploration of color within this body of work.

"The Willows" California plein air landscape

2009-10-17T20:53:00.000-07:00

This 9" x 12" plein air landscape was painted two days ago at McClellan Ranch in Cupertino. The golden and russet fields, so typical of California landscapes, was so beautifully lit by the mid morning sun and such a pleasure to paint! Colors in the palette were: transparent red oxide, cadmium orange, hansa yellow orange, cadmium yellow orange, Naples' yellow, cadmium green, pthalo green, cobalt blue, carbazole violet, quinacridone violet, and titanium white. A varnish wash was employed in the first layer.

"Dimensions Of A Horse" Collage

2009-10-17T14:19:00.001-07:00

"Dimensions Of A Horse" is one of my newest collages. It is 24" x 24" and incorporates paint (acrylic, ink, watercolor), gesso, collage papers, and mesh. I am exploring bringing in paint and color into this body of work.

Open Studios 2009: New Collage Work

2009-10-14T17:41:00.001-07:00

New work can be seen in a slide show format at: http://www.artslant.com/sf/events/show/75809-open-studios-2009.

This is called "Dimensions Of A Horse". It is mixed media (inks, acrylic, watercolor, paper, gesso) on 24" x 24" cradled board.

In the new collage work, I am bring in color: colored papers and even paint!

"Wind And Sea At Shell Beach"

2009-09-20T16:29:00.000-07:00

On my painting trip to Gualala/Sea Ranch two weeks ago, I started this painting but ran out of time to finish it while there. This is called a 'start'. I finally got to it in the last two days and finished it!

I used the same palette as in the painting: "Wind And Sea (Gualala)". This palette is: pthalo green, cobalt blue, ultramarine blue, carbazole violet, transparent red oxide, fire red, cadmium orange, hansa yellow orange, cadmium yellow orange, cadmium yellow, cadmium green, yellow ochre, and titanium white. A transparent varnish wash was used in the first layer, using local color.

"McClellan Ranch Reverie"

2009-09-18T21:06:00.000-07:00

It was another incredible day painting with the Northern California Academy of Painters! We met in Cupertino at McClellan Ranch Park and painted for hours! I was there from 9:30am to 2:30pm! This is the first of two paintings that are variations on the same theme. The drama of the foreground tree with the background trees lent itself to a vertical format.

I sketched quick thumbnails to explore the division of space as well as to study the values. I used Payne's gray/carbazole violet mixture to locate the trees, path, foreground, background and sky. I massed in the shapes with varnish washes, using local color. Lastly, I applied thicker paint to finish up the painting. The color palette used was: Payne's gray, cobalt blue, ultramarine blue, carbazole violet, transparent red oxide, fire red, hansa yellow orange, cadmium yellow orange, cadmium medium, cadmium green, and titanium white.

"Facing The Unknown": Abstract Figurative Collage

2009-09-14T22:52:00.000-07:00

This collage has taken months to complete! Looking out a window and facing the unknown were thoughts that emerged while creating this collage and seeing the figure over many days and months.

I felt a desire to add splashes of warm red/orange/gold colors to my palette of neutrals. Something exciting and new is bubbling up here.

"Golden Path" California Plein Air Landscape

2009-09-10T21:43:00.000-07:00

Today I painted with the California Academy of Painters at McClellan Park in Cupertino. This scene with the golden path and golden field captured my eye. A varnish wash was used in the first layer, then thicker layers of opaque paint were applied. The color palette was: phthalo green, carbazole violet, transparent red oxide, hansa yellow orange, cadmium yellow orange, cadmium yellow medium, Naples yellow, and titanium white. It was a beautiful, clear sunny day and very hot!

"Wind And Sea (Gualala)"

2009-09-09T20:53:00.000-07:00

This was the first of five seascapes I painted on the trip to Gualala/Sea Ranch. This painting was just sold to a collector from Santa Cruz County by Many Hands Gallery in Capitola. This is a 9"x12" oil painting on mahogany luan panel. I used a varnish wash as the undercoat. Thicker layers were applied with the following palette of colors: phthalo green, cobalt blue, ultramarine blue, carbazole violet, transparent red oxide, fire red, cadmium orange, cadmium yellow orange, yellow ochre, cadmium green, and titanium white. This painting was done at Shell Beach in Sea Ranch overlooking the bluffs and sea.

Shell Beach/Sea Ranch Seascape

2009-09-08T22:06:00.000-07:00

This 9"x12" seascape was painted last weekend at Shell Beach in Sea Ranch. Colors employed were: pthalo green, cobalt blue, ultramarine blue, carbazole violet, fire red, cadmium orange, cadmium yellow orange, transparent red oxide, yellow ochre, cadmium green, and titanium white. A varnish wash was used, then thicker layers were applied atop the wash.

Gualala/Sea Ranch Paintings

2009-09-06T20:53:00.000-07:00

This is one of four plein air oil paintings from my Gualala/Sea Ranch painting workshop with Brigitte Curt and Jim Smyth. This is 9"x12" on mahogany luan panel. The palette was: pthalo green, cobalt blue, ultramarine blue, carbazole violet, transparent red oxide, fire red, yellow ochre, cadmium orange, cadmium green, cadmium yellow orange, and transparent white.
In these works, I was painting as fast and vigorously as possible! It was a beautiful, windy day at Shell Beach at Sea Ranch.

"Connection" painting in Arkansas State Capitol

2009-08-07T09:20:00.000-07:00

An Arkansas collector has displayed my mixed media painting "Connection" at the Arkansas State Capitol for a few months. This piece is 18"x24 on canvas and was painted with ink, gesso, fluid acrylics, and Mexican bark paper.

Eleven of Forty: California Landscapes

2009-08-07T09:13:00.000-07:00

This is the eleventh of the forty California landscape paintings I have set as a goal for the summer. The setting is the high Sierras. I was at Fallen Leaf Lake in South Lake Tahoe in June and I believe this trip inspired today's painting. An underlying varnish wash of mostly ultramarine blue and carbazole violet were employed. Thicker applications of paint were used in the second layer. The color palette was: ultramarine blue, cobalt blue, carbazole violet, transparent red oxide, cadmium orange, hansa yellow orange, cadmium yellow orange, cadmium yellow medium, cadmium green, and transparent white.

California Plein Air Landscape: Ten of Forty

2009-07-24T21:33:00.000-07:00

I painted another landscape today; this was a variation on the theme of yesterday's painting: "Warm Reflections". This is a 9"x12" oil painting on mahogany luan panel. I used a varnish underpainting, then the following palette: carbazole violet, ultramarine blue, cerulean blue, cobalt blue, transparent red oxide, cadmium orange, hansa yellow orange, cadmium yellow orange, cadmium yellow medium, and titanium white.

California Plein Air Landscape: Nine of Forty

2009-07-23T19:19:00.000-07:00

I painted this 9"x12" oil painting over the course of three hours this morning. I started with a varnish wash underpainting, then continued with thicker layers, alternating with the transparent underpainting. I was particularly interested in warm versus cool colors, transparency versus opacity, and lost and found edges. I was drawn to the tree and it's reflection in the water.

California Landscape: Impressionism, Continued

2009-07-22T14:31:00.000-07:00

I painted again this morning! This is a variation on the theme of the "Country Road" painting I did yesterday. This, too, is a 6"x8" oil painting on mahogany luan panel. I used a varnish wash as the underpainting. Colors used were: ultramarine blue, carbazone violet, transparent red oxide, cadmium orange, hansa yellow orange, cadmium yellow orange, and titanium white.

Alla prima plein air California landscape

2009-07-21T14:12:00.000-07:00

I just finished this little (6"x8") plein air landscape this morning. It was painted alla prima (in one sitting/all at once). Colors employed in this painting are: ultramarine blue, carbazole violet, transparent red oxide, cadmium orange, hansa yellow orange, cadmium yellow orange, cadmium green, and titanium white.

Plein Air California Landscape

2009-07-19T21:09:00.000-07:00

I painted this landscape today on a 9"x12" mahogany luan panel; it's called : "Reflecting Pool Revisited". I was particularly fascinated by the tree's reflection in the water and the edges between the tree's reflection and the water.

I started with a varnish wash, then proceeded to apply thicker paint, alternating transparency and opacity.

The colors used were: Prussian blue, carbazole violet, ultramarine blue, cobalt blue, cadmium green, hansa yellow orange, cadmium yellow orange, cadmium orange, transparent red oxide, cadmium yellow medium, cadmium yellow light, and titanium white.

California Landscape: Impressionism

2009-07-17T12:39:00.000-07:00

I enjoyed painting this plein air California landscape alla prima in my studio yesterday. I particularly like to paint landscapes that have water scenes. I enjoy the reflection of the trees in the water.
This painting is called : "Reflecting Pool" and was purchased by a collector of mine as soon as it was posted at Facebook yesterday!
The colors used are: ultramarine blue, cobalt blue, carbazole violet, prussian blue, cadmium green, cadmium yellow light, cadmium yellow medium, cadmium yellow orange, hansa yellow orange, cadmium orange, transparent red oxide, and titanium white.

"Golden Birthday" painting

2009-07-07T17:41:00.000-07:00

Today is my daughters' "golden birthday" and I painted while she was at camp this morning, to celebrate the day of her birth! This is a variation on a scene I've been painting lately. I was particularly interested in the edges along the bank of the water, as well as the foreground textures.
Colors used were: ultramarine blue, cobalt blue, Payne's gray, cadmium green, carbazole violet, transparent red oxide, Hansa yellow orange, cadmium yellow orange, cadmium yellow medium, Naple's yellow, cadmium orange, and titanium white. A varnish underpainting was employed.

California Plein Air Landscape: Four of Forty

2009-07-03T20:44:00.000-07:00

I've set a goal of painting forty plein air landscapes this summer! This is 'four of forty'. Additionally, I've got to have six new landscapes by the end of next week to be shown to a gallery owner in Carmel, CA.
In this painting, the new color I added to my palette is Naples yellow. There is a clean stroke of this color in front and to the right of the big tree on the right. I've woven this color throughout the foreground and background, as well. I began with a varnish wash, then proceeded to alternate transparency and opacity.

Figurative Collage: Further Iterations

2009-06-25T18:34:00.000-07:00

Here are a few iterative changes I made today on this work in progress. I am now beginning to work on shapes within shapes and to work on edges.

Baylands: Late June

2009-06-25T18:28:00.000-07:00

"Baylands: Late June" is a painting I painted today in my studio. This is a 9"x12" oil painting on mahogany luan panel. I referenced an earlier work from late May that was on a 9"x11.5" panel.
Colors used were: ultramarine blue, cobalt blue, carbazole violet, transparent red oxide, hansa yellow orange, cadmium orange, cadmium yellow light, cadmium yellow orange, cadmium green, and titanium white.

Further Refinements:Figurative Collage (Work in progress

2009-06-21T22:02:00.000-07:00

I'm working out the figure on this collage. I lengthened the left leg, as it was not 'working' previously. I added the chair seat and legs, as well as the structure for the window. Mostly, though, I'm working out the big shapes and the dark/light pattern. Lastly, I'll work on the edges.

Further Refinements:Figurative Collage (Work in progress

2009-06-04T10:10:00.000-07:00

I am further working out the large shapes and dark/light pattern, before going in with refinements of edges and interior shapes.

Starting A New Figurative Collage

2009-06-03T18:36:00.000-07:00

I started a new figurative collage a few days ago. The figure is sitting on a chair and looking out a window. I'm playing with the light/dark pattern, weaving the black throughout the picture. At this point, I'm working on the large shapes; later, I'll come back in and refine the edges and interior shapes.

Baylands: Three Cubed

2009-05-30T12:02:00.000-07:00

This painting was painted on May 27, 2009. I painted this 'alla prima' in two hours. I used a transparent varnish wash underpainting, which has watercolor-like properties. Thicker paint was applied on top of the underpainting. Colors used were: transparent red oxide, hansa yellow orange, carbazole violet, cobalt blue, ultramarine blue, cadmium green, cadmium yellow orange, quinacridone red, and titanium white.

Plein Air Painting At The Baylands

2009-05-28T18:27:00.000-07:00

It was another gorgeous day at the Baylands in Palo Alto. Only three other painters were there from the California Academy of Painters today. We each stayed about two hours and painted from a different vantage point than usual. I enjoyed painting the variety of colors and temperatures found in the foreground fields. The palette used today included: ultramarine blue, hansa yellow orange, transparent red oxide, cadmium orange, cadmium yellow orange, cadmium green, cobalt blue, carbazole violet, quinacridone red, and titanium white. Not exactly a limited palette!

California Landscape: En Plein Air

2009-05-21T23:09:00.000-07:00

Today I painted again from the pier at the Palo Alto Baylands. It was crisp and breezy and invigorating. There was a large expanse of grassland in the foreground and background that was filled with amazing colors: sienna, violets, yellow greens, blue greens, silvery greens, russets, yellow oranges, and salmon. I captured many of these colors in the initial varnish wash and only had to place strokes of paint, here and there, in the foreground, as the painting was practically 'done' after the initial wash! The actual colors used were: ultramarine blue, cobalt blue, carbazole violet, cadmium orange, transparent red oxide, hansa yellow orange, cadmium yellow orange, cadmium green, and titanium white.

Second Plein Air Painting Sold To Collector

2009-05-15T14:23:00.000-07:00

This is the second of the two plein air oil paintings that sold to a collector in Modesto from Phoebe's Gallery in Capitola, CA. This is also a 6"x8" on mahogany luan panel, using the varnish wash and thicker opaque passages. This painting, too, is mostly cool in temperature.

Wild and Windy Day At The Baylands

2009-05-14T17:07:00.000-07:00

It was another windy day at the Baylands. Palettes and easels were flying! A limited palette of: transparent red oxide, carbazole violet, fire red, cadmium orange, cadmium yellow medium, cadmium green, and cobalt blue were used. A tiny amount of cadmium yellow light was used to cool the yellow.
As I'm painting, the only things I'm thinking about are: what I'm seeing, mixing colors, thinking about values and atmospheric effects, and I hear Jim Smyth in my head saying: "warm the warms, cool the cools, darken the darks, and lighten the lights".

Recently Sold California Landscape Plein Air Painting

2009-05-13T17:28:00.000-07:00

This is one of two plein air California landscape paintings that have sold to a collector in Modesto, California. This painting, along with 10-12 others, was at Phoebe's Gallery in Capitola, California.
This is a 6"x8" oil painting on mahogany luan panel. I used the varnish wash and more opaque, impasto passages, as well. The colors are predominantly cool, with some contrasting warmth in the foreground and trees.

Tranquil Day Painting En Plein Air

2009-05-10T19:23:00.000-07:00

This painting was painted recently, on a tranquil day at the Baylands in Palo Alto. I was particularly intrigued with the reflections of the trees in the water. A varnish wash was used here, and more opaque paints added in the second layer. There is variation in transparency versus opacity. The water is mostly transparent varnish wash with some horizontal dry brushing. The texture of the mahogany luan panels coated with three layers of gesso works beautifully with the varnish washes and dry brushing.

Painting On A Pier At The Baylands

2009-05-07T16:48:00.000-07:00

It was another spectacular apring day at the Baylands. The group (California Academy of Painters) painted on a pier today and it felt like being on a sailboat! It was exhilirating and it showed in everyone's paintings! This particular painting is a study in foreground and the multicolored hues and variations in temperature of the spring marshland ground. Being there was a meditation on the wonders of nature!

Big Sky Cumulus Clouds in Aptos

2009-05-06T21:32:00.000-07:00

I was inspired yesterday and today by the gigantic cumulus clouds in the Santa Cruz sky. On my drive home from Palo Alto yesterday, the sky was roiling with puffy clouds. I decided to capture some of this feeling in this painting, a further exploration of my "Big Sky" paintings.

"Blustery Baylands" Chosen For 79th Annual Statewide Landscape Exhibition

2009-05-03T18:43:00.000-07:00

This painting: "Blustery Baylands" was chosen by juror and nationally known landscape painter, Kevin McPherson, to be in the 79th Annual Statewide Landscape Exhibition at the Santa Cruz Art League May 30-June 29, 2009 (Reception: June 6, 2009, 3-5 pm). The title for the exhibition is: "Irreplaceable Places: The California Landscape".

I feel that the Baylands in Palo Alto is one of those "irreplaceable places", untouched by development, where nature and the human spirit soars!

Lyrical Landscape

2009-04-30T18:31:00.000-07:00

It was another windswept day at the Palo Alto Baylands. I noticed a significant increase in wildflowers and variations in the colors of the landscape, including more yellows, yellow greens, russets, and violets. In this painting, I left more translucent passages than I have previously; in particular, the sky is all translucent and the water is mostly varnish wash!

Completion of Plein Air Painting: After The Varnish Wash

2009-04-29T16:09:00.000-07:00

This is the completion of the previous varnish wash painting. Some of the underlying wash shows through and is contrasted with thicker, opaque paint.

First Stage of Plein Air Painting: Varnish Wash

2009-04-29T15:06:00.000-07:00

Here is an example of the drippy, varnish wash I've been describing in previous posts. The wash is translucent like a watercolor painting. I will leave some of this wash in the final painting to provide a translucent contrast with more opaque passages of paint.

Windswept Day At The Palo Alto Baylands

2009-04-28T22:33:00.000-07:00

It was another cold, blustery day at the baylands.
The clouds were moving, as were the trees, grasses, and water. It still feels like winter, these last few days.
In this painting, I started with a varnish wash which is very fluid and drippy. After it dries, I add the next layer with thicker paint and allow some of the thin, translucent varnish layer to show through. In the sky, mountain, and water I used quinacridone red, cobalt blue, ultramarine blue, and carbazole violet. The lighter clouds have titanium white with a touch of cadmium orange. The trees are mixtures including: payne's gray, carbazole violet, and green mixtures. The foreground includes: carbazole violet, russet (mix of carbazole violet and cadmium orange and white), various oranges (hansa yellow orange, cadmium yellow orange), and greens mixed with yellow/oranges.

Translucency With Oil/Varnish Washes

2009-04-16T20:56:00.000-07:00

This painting started out as a very fluid oil/varnish wash of various colors. Much of the foreground is the original varnish wash! I am painting on mahogany luan panels that I've prepared with three coats of acrylic gesso. The size of this painting is 9"x12". The wash for the sky was rather light, so I painted over this with cobalt blue, ultramarine blue, carbazole violet for the sky and transparent red oxide/titanium white mixture for the clouds. Carbazole violet was brought into the foreground as a wash in some of the dark areas, in order to harmonize with the sky and darks of the trees.

En Plein Air: Further Refinements

2009-04-12T20:22:00.000-07:00

This is the other 'blustery day' painting I refined in the studio. I intensified the sky with cobalt blue and brought this color into the distant foreground, along with carbazole violet mixtures and cool greens. I warmed the violets and greens as I came forward in the foreground and added oranges and yellows, as well. I left a great deal of transparency in the trees.

En Plein Air: Further Refinements, Part 2

2009-04-08T08:56:00.000-07:00

I'm continuing to refine three of the plein air landscape paintings I painted last week. This was another of the "blustery day" paintings. I warmed up the trees with touches of quinacridone red, as well as warming up the sky with this color. I'm working for a warm/cool vibration here in the sky, mountain, trees, and foreground. I cooled the receding foreground with blues, greens, and violets and brought the foreground forward with warm oranges, hansa yellow orange, transparent red oxide, warm green mixes, and cadmium yellow orange.

En Plein Air: Further Refinements

2009-04-07T21:28:00.000-07:00

I refined three of my recent plein air paintings.
This was one of my "blustery day at the Baylands" paintings, previously posted. I warmed the mountain with some quinacridone red, as well as bringing in more greens, violets, and oranges into the foreground. Some cobalt blue was added to the upper sky, as well as refinement of the clouds with violet and quinacridone red shadows.

Painting Like There's No Tomorrow!

2009-04-05T18:11:00.000-07:00

I painted for hours today in my solarium. There's something about getting into the rhythm of painting where there is no sense of time. I love when this happens.
I finished up a painting I started a few days ago at the Palo Alto Baylands. I was interested in the very dramatic, darker sky of that day. In particular, I'm drawn to the raspberry and blue violet colors in this sky.

Blustery Day At The Baylands In Palo Alto

2009-04-02T19:05:00.000-07:00

It was a wild, blustery day at the Baylands today. There were about twenty of us out there, painting away while the wind blew. Several easels blew over, as well as palettes and paintings!
It was exhilirating! I felt so alive! I was interested in capturing the big sky, dramatic clouds, windswept look and the beautiful greens, violets, and oranges of the foreground with impasto strokes.

Another Fabulous Day At The Palo Alto Baylands

2009-03-12T22:11:00.000-07:00

The California Academy of Painters had another fabulous day at the Palo Alto Baylands! We started our spring quarter under the guidance of two extraordinary artists and teachers: Brigitte Curt and Jim Smythe. The day was clear and sunny and with no clouds to speak of. Being artists, we took artistic license and painted in clouds to our hearts' content! Master artist and teacher, Jim Smythe, discusses the concept of the division of space ("where is it? what is it doing?"), rhythmn, color harmony, and so forth. Included are the two 6"x8" studies I painted today, and a view of the baylands.

First "Big Sky" Painting

2009-03-03T20:56:00.000-08:00

This is the first "Big Sky" painting I did on February 26, 2009 at the Palo Alto Baylands. I felt initially intimidated by the 'big sky', as I don't usually focus on painting clouds. It was a beautiful, slightly wild winter day with enormous, ever changing cumulus clouds. With great appreciation for natures' beauty, I relaxed into the process and started going 'down river', instead of 'up river'. It became a meditation and one of the most wonderful, gratifying experiences I've had painting!

Two Oil Landscapes in Three And A Half Hours

2009-03-01T17:02:00.000-08:00

I painted two oil landscapes today in my solarium while listening to raindrops dancing on glass.
One is a variation on a painting I did on 02/26/09 at the Palo Alto Baylands called "Big Sky". I'm working with cloud shapes and warm and cool variations in the sky (bottom painting). The other landscape (top of page) is also from the baylands and is one I started a month ago! I made some significant changes to the foreground trees (simplified them and changed the color) as well as generally adding more paint, all around! A very enjoyable day!

Figurative Collage: Finis!

2009-02-27T22:06:00.000-08:00

I finished the figurative collage of two women in conversation. Meanwhile, ten pieces of my art were placed in a gallery in Capitola, California called Phoebe's Gallery (collage and oil landscapes). Additionally, eight original collage pieces are on display at Harmonics, Inc in Sunnyvale, California until early April.

Figurative Collage: Ongoing Work

2009-02-14T15:11:00.000-08:00

I'm continuing to work on the figurative collage I began last night of the two women in conversation. Here are two pictures of my progression so far today. I enjoy the process of creating collage; it is like piecing together a puzzle (very different from oil painting).

I'm Working On A New Figurative Collage

2009-02-13T22:01:00.000-08:00

I'm working on a new figurative collage tonight. The image is of two women in conversation. I'm working out the dark/light pattern at this point. In creating collage, I find an interesting interplay between intuition/impulse and a more left brain, logical approach that considers composition, pattern, shape, values, and line. I also find that creating collage takes more time (for me) than painting alla prima/impasto in oil.

"Phantom of the Opera" and American Girl

2009-01-31T19:16:00.000-08:00

My daughter, Kimberly, and I had an incredible mini vacation last weekend in Pasadena. My sister, Kim Hillis, drove us straight to American Girl in Los Angeles, as this is one of Kimberly's favorite places. We looked at dolls and got the Kit Kittredge and Chrissa DVDs and had lunch at the restaurant there.
Our last night in Pasadena, we attended "Phantom of the Opera" at the Pantages Theatre. It was a wonderful production and Kimberly has been singing the songs ever since!
I got a great creative surge from this trip. Upon returning to Aptos, I painted two multi-figure oil paintings in one night which I will post soon (they're still wet in the studio).

"Going Green" Art Exhibit at Harmonics, Inc

2009-01-08T21:15:00.000-08:00

Eight of my collage pieces were juried into the "Going Green" exhibit at Harmonics, Inc in Sunnyvale, California by art consultant, Carol Dabb of Los Altos. The show runs for three months and features art that has either a green ecology theme or is made with green materials. My collages are made with found materials, corrugated cardboard, paper, threads, tree bark, papyrus, and burlap.

"Painting With Passion" Workshop with Ursula O'Farrell

2008-12-28T17:42:00.000-08:00

In late November, I attended a two day workshop on abstract figurative oil painting given by Ursula O'Farrell. Ursula taught us (a group of twelve artists) about working with a premixed palette, which greatly facilitated one's ability to paint quickly from 5 and 15 minute poses! The workshop was so intense, I was literally dripping in sweat by the end of the day (like the guy in "Broadcast News"!). We were definitely in a state of flow, looking up and wondering where the hours went at the end of the day. There was such good energy and creative leaps that several of us want to continue painting together!

Pasadena Pops with Family and Friends

2008-12-21T21:16:00.000-08:00

I just got the pictures from the Pasadena Pops in July with my sister, Kim Hillis, my daughter, Kimberly, and my dear friend, Christopher Coffin. Christopher is owner of Christopher Coffin Design (http: //www.christophercoffindesign.com) . He is also an art consultant and was the first person to recognize my painting: "Thinking Woman", which is now in a collection in Pasadena. I believe this recognition by Christopher was the catalyst for my decision to exhibit my work. We had a lovely night at "In the Heat of the Night" by the POPS. I especially enjoyed the powerful voice of Nmon Ford (opera trained), piano performance by Daniel Lessner, and the poet raconteurs/balladeers Steve Connell and Sekou Andrews (the Misfit). At the end of the evening, Kimberly and I gave Christopher and Kim each a mermaid/merman art doll I designed and signed.

"Stars" Benefit at the Museum of Art and History

2008-12-06T23:46:00.000-08:00

These are pictures from"Stars" at the MAH. I rode up from Aptos with the amazing painter and my dear friend, Ursula O'Farrell and her husband, Mike. We talked to Peter Orr (President of the Board, MAH) and Paul Figueroa (Director of MAH), who both produced a lovely event.

I ran into a collector of my work , Anne Hayden, and met her husband, Frank. I heard the great story of how they met while skiing, and that they share the same last name from birth!

There were hundreds of people there. Lots of food, wine, music, and great art. Ursula's painting was in the live auction and generated much excitement. It was a lovely night.

A sweet moment: unbidden, a lovely woman walked up and said: "I saw you from behind, and I love your gown" (the gown is compliments of Jen Berry). Thanks, Jen!

Peaceful Day Painting at the Baylands, Palo Alto

2008-12-04T20:59:00.000-08:00

I almost didn't go. I knew I had only an hour and a half to paint. It's an hour drive. I told myself: just go , even if only to say "hi" to Brigitte and Marian and Kathyrn. Just go; commune with nature. I went. I was alone for most of the hour and a half. It was heaven. It was total peacefulness. All my friends showed up around 11am, as I was readying to leave.

What did I learn? I'd rather show up and risk disappointment or even "failure" than regret not going for it. In death/dying circles, the message is clear: we tend to regret more the things left unsaid, undone, and that never happened much more than the things done that were "mistakes".

The great improvisational jazz musician Miles Davis said: "there are no mistakes".

Interview on Stanford Radio Program

2008-12-03T09:19:00.000-08:00

I just had an interview in my office with Angela Castellano, a Stanford student, for her project on art and medicine. She said it's like NPR's "Story Core". Angela is interested in the intersection of medicine and the arts. She heard my story in Larry Zaroff's "Women in Medicine" class at Stanford in October. Larry asks me, as well as Amy Kendrick, MD (AIDS specialist) and Wei Zhou, MD (Assoc. Professor, Vascular Surgery at Stanford) to be on a yearly panel to discuss our lives/experiences in medical school, residency, and in life as doctors.

I'll post the recording or transcript when she gets it to me. She has the raw material now and is working on polishing/editing for the final program.

Rereading "The Art Spirit"

2008-10-27T16:41:00.000-07:00

I'm rereading Robert Henri's "The Art Spirit" for the fifth time. I love this book. It reminds me to breathe, to feel, and to express the joy I feel. Henri says the brush leaves a trace of the state of mind of the artist at the moment of contact with the canvas. Aren't we constantly leaving traces of our thoughts and consciousness? Interestingly, the Reggio Emilia educators in Italy (who have shown the world the amazing artwork young children can create) talk about documenting the traces of children's thoughts and ideas to bring visibility to them and to honor their importance. The traces are available, then, to be seen and revisited and built upon. Isn't this creativity?

Day One of Encore: Open Studios

2008-10-18T20:42:00.000-07:00

I had a lovely day today. So many wonderful people visited my studio, including many artists. My friend, and fabulous artist Ursula O'Farrell and her husband, Mike O'Farrell came by. What an inspiration Ursula is to me! I love her work and she is so supportive and encouraging of my work. She is a catalyst for going deeper, pushing further, and taking risks.

A lovely and enchanting artist I met the first weekend, Christianna Hunnicutt, came back and brought an entourage of students and colleagues with her. I had a delightful discussion with these women and was so honored that Christianna came back!

I am increasingly inspired and catalyzed by meeting so many wonderful people at these Open Studios! I think this will further fuel my painting and collage work.

Open Studios: Encore Weekend

2008-10-17T21:44:00.000-07:00

Well, I'm preparing for Open Studios tomorrow and Sunday. I just finished a painting of a girl on a horse, in oil,yesterday. It's quite wet. Can I place it in a frame for the exhibition? I did another painting of a girl and a dog which started out very experimental. I was investigating using the brush more like the Russian painters do, holding the very tip, loading the brush with paint, and using a very fluid, rhythmic movement to mass in the big shapes (Jim Smythe told me about this). I liked the feeling of this, though it felt awkward, at first.

I had a studio visit today from a wonderful artist, Hilary Scardino. Hilary works in watermedia, pastel, and charcoal, as well as mixed media. I visited her studio last weekend and loved and was very moved by her work. Some of it is quite abstract. I seem to love everything she does. She really puts herself into the work and is very experimental. Some of her work is sculptural (nails on board with geometric designs). Our visit was inspiring to me. It's so great to meet a kindred soul.

Open Studios: First Weekend

2008-10-08T08:46:00.000-07:00

I just finished the first weekend of Open Studios. I had a great weekend. On Saturday, there were intermittent showers and gigantic, dramatic cumulus clouds. The day started slowly, then crescendoed by late afternoon. Lots of people came by on Sunday. I met so many lovely people and saw old friends, too. A collector from Silicon Valley came over and purchased one of my favorite collages: "One Step After". Four or five people have their eyes on their favorite paintings. Many artists and psychotherapists visited, as well. Paul Figueroa (the executive director of the Museum of Art and History in Santa Cruz) came by to help me choose a work to donate to the museum's benefit auction "Stars" which is December 6, 2008. He was lovely and kind and brought with him three lovely people who are involved with the museum, as well. Right upon their heels, came a beautiful and wonderful artist, Suzanne McCourt, whom I had met in the spring and who gave me a solo exhibition at her Surf City Coffee house in May. All in all, I had a fantastic weekend.

"Horse Whisperer" Collage: Finished!

2008-09-30T20:11:00.000-07:00

It's finished! I changed the ghostlike, light papyrus to a warmer, rust paper. I altered the top of the hat, using the Mexican bark paper and I threaded black and gold throughout the composition to unify it.

Much has been written about the issue of when a work of art is "finished". Is it ever really finished? There are stories of great masters going into museums with brush and paint, because something about the painting bothered them; they wanted to change the painting after they had looked at it or thought about it over time! Some say there is no finish, only interesting stopping points.

"Horse Whisperer" Collage In Progress: Part 5

2008-09-27T20:30:00.000-07:00

I've got the background laid down and I'm weaving black through the picture. I'm not sure about the man's face, though. The papyrus is a bit light, making him look rather ghostlike. I like how the threads of the papyrus come out at the mouth (an accident...or was it? Carl Jung might call this synchronicity or a calling from the deep unconscious or "imago ignota" (unknown image: all the antecendets we are born with that are not/cannot be articulated verbally). Anyway, it happened spontaneously, and made me think of a "horse whisperer".

"Horse Whisperer" Collage in Progress: Part 4

2008-09-25T21:36:00.000-07:00

Well, I decided to remove the burlap and use the marbled Mexican bark paper instead, which I feel is more interesting in terms of visual variety, a sort of counterpoint to the darker face. I've also laid down background papers. We'll see where this goes.

"Horse Whisperer" Collage In Progress: Part 3

2008-09-24T20:15:00.000-07:00

I've added the cowboy hat and I'm looking at potential papers for the background. I'm not sure I'll stay with the burlap for the horses' neck; perhaps I'll use a lighter value, Mexican bark paper I have on hand to differentiate it more from the horses' face (for greater variety)? These are the kinds of questions I ask myself as the collage progresses.

Horse Whisperer, Part 2

2008-09-20T17:38:00.000-07:00

I'm adding darks to the collage now. I'll be threading the black through the compostion, for unity and connection. I haven't adhered any papers to the support canvas yet. I'm still playing with ideas of how I want the collage to look. This part of the process is quite subjective and intuitive, yet there is an underlying awareness of design principles upon which I am playing.

Beginnings of New "Horse Whisperer" Collage

2008-09-18T20:33:00.000-07:00

I started a new collage for my "Relationship" collage series. The concept is that of a horse whisperer connecting with a horse. I've observed a few amazingly sensitive individuals who have this gift. The horse senses she can trust this human with her life, and thus a deep bond is formed. Much like children, horses know which humans are compassionate and which ones they can rely upon.

I began with an image in my mind of a horse and a man eye to eye. I roughly sketched this image onto the canvas, using a graphite pencil. I used a 24" x 30" canvas support, adhering handmade and machine-made papers (Egyptian papyrus, Mexican bark papers, mulberry paper, silk tissue, etc) with artist's tape, to explore the image and the dark/light pattern using various papers. I'm experimenting with burlap for the neck, though I don't know if I'll keep it for the final collage. When I'm sure about using a particular paper in a particular shape, I will adhere the paper with acrylic matte medium. It will be interesting to see how this collage takes shape.

Final Touches on Figurative Painting: Video Demo

2008-09-16T20:25:00.000-07:00

Twelfth Video Demo of Figurative Oil Painting

2008-09-14T10:15:00.000-07:00

Eleventh Video Demonstration of Figurative Oil Painting

2008-09-13T10:50:00.000-07:00

Tenth Video Demonstration of Figurative Painting

2008-09-11T22:05:00.000-07:00

Ninth Video Demonstration of Figurative Oil Painting

2008-09-10T14:15:00.000-07:00

Eighth Video Demo of Figurative Painting

2008-09-09T22:37:00.000-07:00

Seventh Video Demo of Figurative Oil Painting

2008-09-08T21:50:00.000-07:00

Sixth Demo Video of Figurative Oil Abstraction

2008-09-07T09:44:00.000-07:00

Fifth Video Demo of Figurative Painting Process

2008-09-06T14:56:00.000-07:00

Fourth Demo Video of Figurative Oil Abstraction

2008-09-05T11:54:00.000-07:00

Third Demonstration of Painting Process

2008-09-04T19:23:00.000-07:00

Second Demo Video of Figurative Oil Abstraction

2008-09-03T14:52:00.000-07:00

First Demo Video of Figurative Oil Abstraction

2008-09-01T19:54:00.000-07:00

Figurative Abstractions: Seventh In A Series

2008-08-31T17:17:00.001-07:00

This figurative abstraction is titled: "Far Vision". It is part of my ongoing exploration of the lone figure in the landscape, as well as an ongoing investigation into consciousness and spirituality. I am interested in how our consciousness grapples with the existential issues of being human: awareness of death, the fragility of life, choices, responsibility, will, the creation of meaning, and the feeling of aliveness.

This oil figurative abstraction is 24" x 24" on canvas. You may also see this painting as well as others at http://nancyleighhillis.com

Figurative Abstractions: Sixth In A Series

2008-08-29T10:41:00.000-07:00

This painting is titled: "Remembering". This figure is deep in thought, looking off into the distance. Here again is the solo figure, alone with her thoughts, grappling with the exigencies of life.
The canvas is 24" x 24" x 1 1/2". The paint application is a combination of thin, transparent darks with impasto lights. I used # 8, 10 and 12 filbert brushes and several painting knives to apply the paint. I call this series of paintings "Figurative Abstractions".

Figurative Oil: Fifth In A Series

2008-08-24T20:50:00.000-07:00

This figure is waiting. When I think of the solo figure waiting, I think of the existential play: "Waiting For Godot". Those are the words that come to mind. What is she waiting for? What are any of us waiting for?

Abstract Figurative Oil Painting: Fourth In A Series

2008-08-20T18:51:00.000-07:00

This figure is stepping into the world with intention and clear vision. I was drawn to the movement implied by the right leg. In this abstract figurative painting, I am using lots of indian yellow, cadmium yellow medium, transparent red oxide, burnt sienna, and titanium white. There is a lot of impasto paint application.

Abstract Figurative Oil Painting: Third In A Series

2008-08-19T20:23:00.000-07:00

The solo figure is compelling to me. In this series, I'm painting the figure alone, yet connected to and a part of the landscape. I'm thinking about the existential issues we live with: creating meaning, free will/choice, responsibility, the fragility of life, and the fleetingness of time. I'm moving toward a more abstract figurative way of painting. One could call these "existential paintings".

Abstract Figurative Oil Painting: Second In A Series

2008-08-17T12:53:00.000-07:00

This is the second in the series of abstract figurative oil paintings that began with the idea of existential aloneness. I found myself painting with the warm, earthy colors: Indian yellow, yellow ochre, terra rosa, venetian red, burnt sienna, cadmium yellow medium, cadmium red medium, transparent red oxide. The dark darks are a mixture of alizarin crimson and viridian. I used a palette knife and size 8, 10, and 12 filbert hog bristle brushes. I painted with very thick, impasto brush and knife work. The darks in the figure are thinner and more transparent.

Working in Oils

2008-08-13T09:01:00.000-07:00

I've been working in oils recently. I got on a roll and painted five oils in three days. It was interesting how one painting led to another. I was thinking about the existential issue of aloneness; about how we are born alone and ultimately, die alone. There are people whom we love who are there, but we still have to go through this mystery ourselves. This is what was in my mind when I started painting.

Surprise!

2008-06-01T21:07:00.000-07:00

This collage practically created itself and showed me that it wanted to be vertical, because there was another figure in the picture! This is what happens often in creating art.

Conceptual Change

2008-06-01T21:03:00.000-07:00

There was a surprise in the process of working out the dark/light pattern in the composition. Suddenly, a smaller figure appeared above the reclining figure and I realized that the collage wanted to be vertical! In the next blog, I'll show you the picture vertically.

Next Stage of New Work

2008-05-31T09:40:00.000-07:00

Here's a picture of the collage, as it develops:
You can see I've added the black, threading it through the composition.