Meg Black Handmade Paper Paintings

First Anniversary: Paper

2012-01-12T06:56:00.000-08:00

My handmade paper painting "Storm Coming" has been accepted into the juried exhibit First Anniversary: Paper at Fountain Street Fine Art gallery in Framingham, MA. The link to the exhibit is: http://fountainstreetfineart.com/

Handmade Paper Jewelry

2011-11-09T02:58:00.000-08:00

Flower Garden Pin and Earrings set, 35.00

Lily Pond pin, 20.00

Forest Walk pin and earring set, 35.00

I've added handmade paper jewelry offerings to my web site and Etsy store. Stop by for a visit!

handmade paper Seascape Painting Process continued

2011-09-08T04:38:00.000-07:00

Rolled Seascape (2009).

9 x 9 x 1.5 framed. Handmade paper, 75.00

Rolled Seascape II (2009).

9 x 9 x 1.5 framed. Handmade paper, 75.00

Ordering Information

handmade paper Seascape Painting Process continued

2011-08-30T10:23:00.000-07:00

Have been photographing small works that I had custom framed a year ago. My framer friend Ron, whom I've been working with since 1997 saved miles of scrap moldings for me and made small frames that would fit these paintings, which I nicknamed "tiles" because they are square (how original!). Anyway, this is one of my favorites. It's a small painting, but I love the sense of the whole sea it captures in such a small space. ordering information

Seascape Tile (2005). Handmade paper. Tile: 6 x 6; framed: 12.5 x 12.5. , 150.00

Handmade paper Seascape Painting Process continued

2011-08-17T07:32:00.000-07:00

Handmade paper seascape sculpture (2010). 22 x 11 x 3 (framed in custom made shadow box stained oak frame under glass). 250.00.

This photograph shows the painting immediately after over-beaten pulp has been added. The pulp is still wet, thus the shinny reflection on the surface. I add several colors at once, unblended, for the sandy path. The unblended colors allow for a more natural appearance (sandy versus too smooth and over-worked). The trick to working from nature is to let the subject breath through the work. Never try to direct the painting too much. Allow the work to have a voice of its own as it moves toward the completed state. This can be tricky for novice artists who want to test the boundaries of their talent. But, leaving a work slightly unfinished and raw encourages the viewer to participate more in the painting and gives them an idea of how the creative process works.

Handmade paper Seascape Painting Process continued

2011-08-09T04:17:00.000-07:00

Crashing Waves (2010). Handmade paper diptych, each panel 24 x 18. 2400.00.

I've always loved Renaissance art and the Diptych (two panel painting) is one of my favorite compositions. In this painting, I have attempted asymmetry by having the waves plays off of one another-the waves on the left do not copy the waves on the right, but rather respond rhythmically to one another.

Now we’re making progress! The addition of the greens which mimic the fauna of this environment push the composition forward. I can see already that this composition will need colors added to it, i.e., artistic license, such as purples, reds and oranges, to boost the impact. These colors will compliment the greens and browns replete in the painting.

http://www.megblack.com http://www.megblackprints.com

Netherlandish Influence

2011-08-05T03:20:00.000-07:00

I am working on two new paintings that are smaller versions of this one. Jacob van Ruysdael is one of my favorite artists. His division of the canvas into 1/3-with the sky taking up 2/3 of the space is masterful. Very difficult to make "sky" such an intricate part of the composition.

Handmade paper Seascape Painting Process continued

2011-08-02T04:49:00.000-07:00

In this handmade paper painting, created in 2010 from cotton and abaca pulp, each 12 x 24 inch panel contains enough energy to carry the image, and yet at the same time compliments the surrounding panel. Available: 4000.00.

Handmade paper Seascape Painting Process continued...

2011-07-31T09:51:00.000-07:00

After the layers applied in the first two illustrations shown above have dried, I re-grid the surface of the painting and add more detailed information that follows the composition of the original photograph. Notice the brown shapely lines that move through the evolving composition. These new lines act as guides for applying the next layers of pulp such as the green mounts of fauna shown in this image.

The painting shown here, completed in 2009, is entitled North Shore Scape III, 20 x 20 inches and is mounted on 2 inch gator board, no further framing required.

Handmade paper Seascape Painting Process continued

2011-07-27T07:36:00.000-07:00

In this image, the water has been painted and a pinkish color added to the horizon line of the sky. I use “overbeaten” abaca for these areas. When the abaca fiber is beaten in a Hollander Beater for approximately 10 hours (instead of the more typical 1-2 hours, thus the name overbeaten), the cell walls in the abaca fiber break down and release a gelatinous substance that makes the fiber syrupy. This allows the fiber to be applied more like oil or acrylic paint instead of more bulky cotton fiber. Cotton cannot break down like abaca because cotton does not have a cell wall, thus it will not release the gelatinous substance and remains bulky no matter how long it is beaten.

Handmade paper Seascape Painting Process continued

2011-07-24T08:10:00.000-07:00

Wow, does this look ugly! The under layer of a handmade paper isn’t much to write home about. Here, the basic composition is being planned out. Note the grids that separate each section of the painting. I use red china marker for the larger squares (the painting is 40 x 20 inches, the red marker divides the painting into 10 inch sections, four sections horizontally and two sections vertically). I use green marker to divide the red sections in half (in this case every five inches) and brown marker to divide the sections into quarters. I match this grid pattern on the original photograph on a sliding scale and color for color. The green line that moves across the painting horizontally is where the water line will go.

Handmade Paper Seascape Painting Process

2011-07-22T10:51:00.000-07:00

figure 1

This blog explains the process I use to create my handmade paper paintings. In this case, the painting I will create is of a seascape which will be included in an upcoming exhibit at Cove Gallery on Cape Cod. Using cotton and abaca (a fiber from the inner bark of the banana tree used in industry to make tea bags due to its remarkable wet strength), and pure pigments that are light-fast (they will not fade), I will explain step by step how I create the painting. The photo shown here (Figure 3) shows the painting in its embryonic state. A mix of cotton and abaca beaten for 11/2 hours in a Hollander Beater (figure 2) was used to create the 40 x 20 sheet. The wet pulp was poured onto nylon screening and allowed to dry. The purpose of using the screening is that it will grip the pulp as it dries thus preventing it from warping and shrinking. Uneven shrinkage is a common problem in handmade paper art. A basic outline of what will become the composition has already been applied. The original photograph (figure 1) which I took during a recent excursion to the Cape Cod National Seashore acts as the inspiration for the painting.

figure 2, Hollander Beater

figure 3

Looking forward to Cove Gallery exhibit

2011-07-12T08:22:00.000-07:00

Have been making panorama images from separate photos to be used for paintings for the Cove Gallery exhibit. This one of the National Seashore at 8:00AM when the place is largely quiet and empty of people is a winner and will most likely be made into an original painting.

Cape Cod Travels

2011-07-08T03:33:00.000-07:00

I spent last week on Cape Cod searching for inspiration. I explored new terrain and ventured into areas I had not noticed before. After 20 years of photographing Cape Cod, I was surprised at how many new places I found that brought me delight and energy. I will be using some of these images as benchmarks for new paintings. An exhibit of my work opens in August at the Cove Gallery in Wellfleet. I will be posting in progress and finished work that will be exhibited at the gallery.

Latest Work-new seascapes

2011-07-06T16:27:00.000-07:00

I just finished these two paintings. I might add more color to the large painting-40 x 20 inches. The square painting, as yet untitled, is finished. They need to be ready for my exhibit at Cove Gallery in August (www.covegallery.com).

www.megblack.com

www.megblackprints.com

Photos from Cape Cod Photo expedition

2011-07-03T11:22:00.000-07:00

Spent last week on Cape Cod photographing new areas for future paintings. I had never been to the Fort Hill area-beautiful. Also took some nice photos of the Massachusetts Audubon in Wellfleet. www.megblack.comwww.megblackprints.com

Summer Seascapes

2011-06-30T05:06:00.000-07:00

Here are two of my latest seascapes. (Left) July, Cape Cod National Seashore (2011). Handmade paper, 30 x 22. (Right) August, Cape Cod National Seashore (2011). Handmade paper, 30 x 22.

Visit me at Art in the Barn

2010-06-11T07:21:00.000-07:00

I will be demonstrating my pulp painting process at the Essex County Art in the Barn exhibit on Saturday, June 12 from 10:00-12:00. The exhibit is located at 82 Eastern Ave. Essex Mass. Phone 978 768 7241 or at www.ecga.org.

Sample of my latest work:

Sea Sculpture I, (2010) Handmade paper (abaca, cotton,pure pigment).

Meg Black on Chronicle!

2010-06-03T05:12:00.000-07:00

My handmade paper process and samples of my latest work will be featured on an upcoming segment of Chronicle! Stay tuned for more information. www.megblack.comwww.megblackprints.com

2010 Spring Sculptures

2010-03-19T11:07:00.000-07:00

New wall relief sculptures for Spring 2010.

www.megblack.com
www.megblackprints.com

How to make handmade paper paintings-Valley Fiber Life

2010-01-05T04:46:00.000-08:00

Valley Fiber Life, an on-line magazine for fiber arts has published an article about my pulp painting process. The article may be accessed by visiting their web site and clicking on “Articles and Interviews” and then clicking on “Paper/Book Arts”.

http://www.valleyfiberlife.com/

How to make handmade paper paintings-an angled view

2009-12-31T07:18:00.000-08:00

Another view of the painting surface with newly applied overbeaten abaca on the surface.

www.megblack.com
www.megblackprints.com

How to make handmade paper paintings-applying abaca

2009-12-31T07:06:00.000-08:00

Overbeaten abaca refers to a fiber harvested from the inner bark of the banana tree, that has been beaten for approximately 20 hours. Abaca is a gorgeous fiber, ivory in color, that will not disintegrate when wet, which is why abaca is used to make tea bags. I strain some of the water from the abaca (the abaca is beaten in a hollander beater, which uses approximately 20 gallons of water per beating), and mix it with pure pigment, which will not fade. I apply the abaca to the surface of the painting, shown in the pevious blog, with spoons and an old turkey baster.
www.megblack.com
www.megblackprints.com

How to make handmade paper paintings

2009-12-17T05:18:00.000-08:00

The painting is laid flat on the vacuum table. Small cups of pigmented overbeaten abaca are set on top of the base painting ready to be applied to the surface. These colors will become the "paint" for the painting. I have gridded the surface so that I know approximately where to place the colors. Once applied, the overbeaten pulp will require 24 hours to dry, and that is with the assistance of a fan.
www.megblack.com
www.megblackprints.com

How to make handmade paper paintings

2009-12-16T04:37:00.000-08:00

This painting will be a abstract seascape when complete. I will be using overbeaten abaca, cotton rag pulp, pure pigments, plastic spoons, old credit cards, screening, and yogurt cups to make this painting. The first stage of the painting is shown here. I have poured cotton pulp onto screening and allowed it to dry. The screening hold the pulp and prevents it from warping. I then grid the surface so that I know where each color of the original photo needs to be placed. I am ready to add colors into the gridded areas at this stage. Here we go!

Tuscan Village Scape

2009-12-11T02:47:00.000-08:00

A busy week in the studio! I have just completed this new painting of a Tuscan Village scape for a private patron. Made with overbeaten and cotton pulp, it was a pleasure to work on and I am pleased with the outcome.

Latest Creations from my studio

2009-12-10T02:16:00.000-08:00

My latest work is a wall relief based on the symmetry of Ancient Greek art. The Ancient Greeks created intriguing compositions by balancing and counterbalancing shapes, colors and figures throughout their pottery. These designs told a story, and the viewer was welcome to "read" it according to their ability to interpret Greek mythology. This four panel work balancing color and shape on either end with the middle panels both playing off the end panels and acting as a resting area for the eye. In this way, the concept of Ancient Greek art is being imitated, even though the subject is considered "abstract" or "color field."

Meg Black at Artful Decor Gallery

2009-08-26T08:07:00.000-07:00

I am excited to announce that my work will be included in the opening of a new gallery next month in Minneapolis! The gallery is called Artful Décor Gallery Art Rentals, Leasing & Sales. Gallery owners are Lisa Powell and Stephanie Weber. You may find out more about the gallery by visiting Lisa’ web site www.artrentandlease.com.

www.megblack.com
www.megblackprints.com

Great Exhibit Opening at Cove Gallery Saturday night

2009-08-17T09:35:00.000-07:00

I attended the opening of my latest handmade paper paintings at Cove Gallery in Wellfleet, Cape Cod Saturday night (http://www.covegallery.com/). Nice to meet some patrons who have been collecting my work for years but I had never had the chance to meet them. Beautiful evening: warm, dry, salty air, perfect for an art reception.

Other News

2009-08-14T06:49:00.000-07:00

I am excited to attend my upcoming gallery opening at Cove Gallery (ww.covegallery.com). The opening is Saturday, August 15 from 6:00-8:00 pm. I will be showing new works including seascapes and floral paintings such as the Hydrangeas painting shown above. Hope to see new and returning clients at the opening! Meg

Handmade Paper Paintings: Process and Applications. The finished painting.

2009-08-06T07:28:00.000-07:00

After the painting is completely dry, it can be tacked to a wall for closer viewing and inspection. The painting can be worked on even in this stage. I mark the areas with a colored grease pencil in which I want to make changes and then replace the painting back onto the flat work surface seen in previous blogs. I add additional PVC glue to the pulp that I will now apply in order for it to adhere to the already dried pulp.

Handmade Paper Paintings: Process and Applications. A work in progress.

2009-07-31T05:39:00.001-07:00

Let’s pause and view the in-progress painting for a moment. The purple toned background is created largely with over-beaten abaca and treated with a mixture of water and paper sizing to prevent the surface from absorbing stained water that might leak from the addition of any new colored pulp that is applied. In the case of this painting, that would refer to the green toned pulps in the foreground, which are a combination of cotton and abaca, beaten for 20 to 30 minutes in a hollander beater. The sky area is created with the same cotton/abaca mix, and pigmented in blue tones. At this stage, the painting will be allowed to dry under weights for several days, at which point another review of its completeness will be determined.

Handmade Paper Paintings: Process and Applications. Squirting the oops away.

2009-07-29T14:15:00.000-07:00

Another way to remove colored water before it stains the surface of the painting is to squirt it back into the desired location with water from a squirt bottle. Notice that the pulp I am using is green for the foreground of the painting (the green will eventually represent trees). To accentuate the rough outline that trees would naturally make, I leave the edges of the green pulp jagged, in order to mimic the trees in nature.

Handmade Paper Paintings: Process and Applications. Controlling the oops factor.

2009-07-24T07:15:00.000-07:00

Despite my best efforts, the pulp doesn’t always land where I want it to; it spills out from the designated area. as illustrated in the above photo. If left untreated, the surface of the painting will absorb the colored water, thus creating a permanent stain. To avoid the stain (I’ll never be able to avoid the recalcitrant pulp spills!), I treat the surface of the in-progress painting with a mixture of water and liquid paper sizing. I fill a squirt bottle about 3/4 full of water, and then add a 1/4 cup of liquid sizing. I spray the surface of the painting with this mixture and allow it to dry thoroughly. This procedure protects the surface from absorbing the colored water as the sizing creates a tension between the water and the surface. I simply take a rag and apply it to the colored water, and soak it up into the rag.

Handmade Paper Paintings: Process and Applications. Using the turkey baster part two.

2009-07-22T09:51:00.000-07:00

A closer look at the painting after the turkey baster has been used to apply pulp to designated areas. See Monday July 20 blog for photo of application of pulp.

Handmade Paper Paintings: Process and Applications. Using the turkey baster.

2009-07-20T05:42:00.000-07:00

The turkey baster is used to apply larger quantities of pulp to the painting surface. I place approximately one cup of pigmented pulp into a plastic container (such as a yogurt container) and fill the rest of the container with water. I then suck the pulp up into the baster and squirt onto the surface of the painting. Old plastic cards (credit cards, hotel room cards) can be used at this stage to gather the pulp into the designated area (shown in the photo above by the red marking).

Handmade Paper Paintings: Process and Applications. Using a squeeze bottle

2009-07-14T13:58:00.000-07:00

The squeeze bottle holds over-beaten pulp that can be used for detailed areas of the painting. In the photo above, I am squeezing over-beaten pulp, which has been diluted in a cup of formation aid, onto the surface of the painting “Changing Seasons” shown here in completion.

Handmade Paper Paintings: Process and Applications: Working with tools

2009-07-13T12:42:00.000-07:00

The term “Tools” can be used to describe a lot of the made up concoctions I use to create a handmade paper painting. In the photo above, I am using one of my favorite made up tools: an embroidery needle wedged into the eraser end of a number 2 pencil. I use this tool to guide the pulp, usually over-beaten, into desired shapes and patterns. For example, in the photo above, I am scratching into the surface of the painting newly applied over-beaten pulp that resembles waving reeds, the title of this particular painting, also shown complete

in the photo on the right.

Handmade Paper Paintings: Process and Applications: The merits of using a screen

2009-07-08T06:54:00.000-07:00

Re-working into a handmade paper painting is tricky. The water used in the pulp that is applied to the surface of the in-progress painting warps it, and it can take a fair amount of labor to re-stretch the painting so that it lies flat again. To off-set the negative affects of adding water to the surface and prevent the warping, I dry the base sheet (the sheet of paper that I will ultimately work on), onto a stretched screen (shown above). The hairs of the fiber cling to the surface of the screen and grip to it, thus preventing the the paper from warping. When the painting is complete, I simply remove it from the screen with my finger tips.

Handmade Paper Paintings: Process and Applications: Painting with Over-beaten pulp

2009-07-03T05:15:00.000-07:00

Painting with over beaten pulp can take a while to get comfortable with. Before going into a lot of detail of how to work with over-beaten pulp, let’s answer the important question of “What is over-beaten pulp?” Over-beaten pulp refers to pulp that has been beaten in a hollander beater for approximately 8 hours and is therefore slippery and gelatin-like. Most artists prefer to use abaca (which originates from the banana tree) or flax as over-beaten pulp. The consistency of over-beaten pulp allows it to be used like paint as it spreads easily onto the work surface and retains, without bleeding or fading, whatever pigment the artist chooses to add. The advantage of using over-beaten pulp over traditional paint is the textural surface and flexibility that the artist can achiever, giving the finished product a unique and personal look. The photo above shows pigmented over-beaten pulp in small containers and newly applied over-beaten pulp on a formed sheet of handmade paper. I’ll go into more specifics about how to use over-beaten pulp in my next blog.

Handmade Paper Paintings: Process and Applications: Tilting the screen

2009-07-01T06:18:00.000-07:00

To aid in excess water removal from the surface of the in-progress painting, I tilt the screen the painting is adhered to so that excess water will drip off the surface and onto the vacuum table. I leave the screen in this position for approximately 30 minutes, while I work in other areas of the studio.

Using a squirt bottle

2009-06-29T15:58:00.000-07:00

The squirt bottle is an invaluable tool. I use any size commercial bottle filled with tap water and spray a fine mist of water over the surface of the wet in-progress painting during the course of the creative process. In the photo above, I am squirting water in the area where I just removed the metal ruler. This process forces any stray bits of wet pulp back into the desired area and ensures a straighter line of newly applied pulp onto the work surface. Sometimes I mix a little acid free glue and/or paper sizing in with the water. This addition allows the new pulp to bond more completely with the drier pulp.

Handmade Paper Paintings: Process and Applications. Wet pulp that has been barricaded.

2009-06-25T04:35:00.000-07:00

Photograph of wet pulp that was barricaded with the metal ruler once the ruler is removed. To get rid of excess moisture, I tilt the screen the painting is resting on at an angle and allow the water to drain off the screen. Applying a dry, absorbent cloth to the edge of the wet pulp (where the wet pulp rests against the drier pulp) and allowing the water to absorb into the cloth is another option to hurry drying. The pulp cannot be re-worked until it is dry or nearly dry.

Handmade Paper Paintings: Process and Applications. Controlling the Uncontrollable: Part Two

2009-06-24T03:46:00.000-07:00

A closer view of the metal ruler being used as a barricade for controlling where the wet pulp will land. Notice the container of wet pulp with the turkey baster in it. I lift the pulp out of the container using the baster, then , I quirt the pulp onto the designated area of the in-progress painting on the metal side of the ruler.

Handmade Paper Paintings: Process and Applications. Controlling the Uncontrollable

2009-06-23T06:39:00.000-07:00

Wet pulp is difficult to control to say the least! Unlike paint that can be applied with a brush, pulp dispersed in water is slippery and shapeless. In fact, the ratio of water to pulp in the wet stage is approximately 90/10. To help control where the pulp lands on the surface of the in-progress painting, I use a metal ruler as a barricade of sorts. I hold the ruler in place with one hand, and, using a turkey baster to gather the pulp with, I squeeze the pulp filled baster onto the section of the painting in which I want to direct the pulp.

Handmade Paper paintings: Process and Applications. Working from an outline part II

2009-06-16T12:44:00.000-07:00

In yesterday’s post I wrote about using an outline to guide me of where to place the colored pulp. As I cannot work from an easel as the wet pulp would slide off the surface, instead, I work on a flat surface. As I mentioned yesterday, I draw onto the surface of in-progress paintings with different colored grease crayons in order to guide me as I continue to work. I then draw the image from the photo onto the in-progress painting, which I have drawn a complimentary grid on, just at a larger scale (i.e, an inch on the photo might represent a foot on the painting surface). This photo provides a clearer picture of a work in progress using the outline method. The shiny areas are wet with newly laid pulp. Once dry, I can pin the still unfinished painting to a wall surface and draw another grid!

handmade Paper Painting Process and Applications: Working from an outline

2009-06-15T06:54:00.000-07:00

I draw onto the surface of in-progress paintings with different colored grease crayons in order to guide me as I continue to work. Let me explain. My paintings originate from my own photos. I print out a photo, and, as I learned in drawing 101, I grid the photo into sections using different colored grease crayons. I then draw the image from the photo onto the in-progress painting. As I need to work on a flat surface, and am unable to step away from the painting as I would an oil painting, I rely on the crayon lay-out to tell me where to place different colored pulps.

Handmade paper paintings: Processes and Applications. Collecting Water

2009-06-04T06:26:00.000-07:00

A pail is placed at one end of the vacuum table to collect excess water that drains from a painting during the painting process. This end of the vacuum table has a drilled hole in it in order to collect the water. The table is slightly angled on the saw horses so that the water can drain and collect (there is a plank of board 48 inches x 2 inches propped up over the back saw horse in order to angle the table).

Handmade Paper Painting Process and Applications

2009-06-01T12:55:00.000-07:00

During the painting process, the pulp painting rests on a sheet of egg crating. This allows the water to drip from the painting onto the vacuum table, where it will eventually exit the table via the hole in the bottom of the table. Small containers of pigmented pulp are available for painting, much like a traditional palette. Two recent paintings, both 15 x 15 inch seascapes, are shown here.

Meg Black Handmade Paper Paintings: Process and technique

2008-10-27T05:06:00.000-07:00

www.megblack.com

I am constantly asked by viewers and other artists: why do you "paint" with handmade paper? Why not use "paint?", referring to oil paint or watercolor. The direct answer is this: the texture created by the pulp is so unique that it almost creates a three dimensional affect right on the surface of the painting. Nowhere is this more evidenced than in the seascape series I am currently working on inspired by my visits to the North Atlantic coast. I have taken photos of my latest painting in progress and have attempted to show the different textures of pulp as they are being applied to the painting. As the painting progresses towards completion, I will add more photos. Enclosed are several photographs of overbeaten abaca (abaca is the inner bark of the banana tree. Overbeaten abaca is beaten in a hollander beater for 10 hours until the consistency of a thawed can of frozen orange juice) being applied to the surface of the painting using plastic spoons. To create the thicker dabs of abaca, I take a cup of overbeaten abaca and strain it in a strainer until it is the consistency of wet clay. I then freeze it. Once frozen and then thawed, the abaca will retain a chunky quality. I place a tablespoon of the abaca into a cup, add pigment, acid free glue, and three tablespoons of retention aid to the abaca and stir. This mixture creates the affect of crashing waves, barnacles on rocks, and under water pools of rocks and pebbles. I'll post more photos as this painting progresses!

Meg Black Handmade Paper Paintings:Lilly Pond at Dawn

2008-10-23T06:35:00.000-07:00

My husband bought two kayaks this summer. Mine is so small, 9 feet, that I can shove it into the back of my station wagon and shut the back door! Early in the morning, late August, I drove to Stiles Pond in Boxford, Ma and spent an hour paddling and photographing the pond in the early morning. I created two paintings from that morning excursion. The first is titled "The Pond in Early Morning." The second painting is titled "Pond Still Life."

Meg Black Handmade Paper Paintings: Atlantic Inspirations

2008-10-16T04:55:00.000-07:00

Yesterday I posted a blog describing my journey to the Atlantic Seaside in Autumn. Anyone who has ever had the chance to wander around the coastline this time of year knows of the thrill of being alone in such a vast space. I am working on paintings in my studio of the photos I took while exploring the coast. Also, very exciting!, the Peabody Museum in Salem Ma. is displaying twelve of my sea coast prints! I've enclosed a photo of the prints installed in the museum.