Clouds Over Lake Huron

Have you been to Lake Huron?  A stunningly beautiful, dramatic, (and sometimes dangerous) body of water, where any hint of land on the horizon is a mirage.

It is the third largest fresh water lake on our planet and the second largest of the Great Lakes.  According to a The Beach DJ, empty Lake Huron and all of North America would be in 1.5 meters, or about 5 feet, of water.

One look at the expanse of Huron's turquoise waters, not to mention its white sandy beaches (the wilder ones) , transports me someplace otherworldy, and oceanside.

Lake Huron is a marvel.

This past February, water levels hit a record low, for a number of reasons. The natural cycle of the lake level is a cause, but so also is the dredging done to deepen the shipping channel in the St. Clair River. The dredging has caused the flow of water from Lake Huron and Lake Michigan to accelerate into Lake Erie and Ontario, and to the Atlantic Ocean beyond.

The impact? Very simplified: fish population dwindles affecting fish populations, wildlife food chain, sport fishing and fisheries. Water warms up, algae grows. Water lowers affecting water supply to residents, particularly of Georgian Bay.

Finally, in April, a long-awaited solution was announced. Like anything in life, we take a long time wrecking something, it will take a long time to fix. It is all better explained here. http://www.thestar.com/news/gta/2013/04/29/great_lakes_to_get_relief_from_low_water_levels_porter.html

Wishing us all, blue skies and more turquoise water ahead.

My Salmon Runs to the AGM

Today I delivered my finished salmon "The Invasive Species" to the Art Gallery of Mississauga (AGM). Although,  it was officially unveiled 3 days ago on "daytime"  a Roger's television show, these are the first photographs I've publish of the finished sculpture. The rain finally let up enough for me to photograph the work outdoors. Here is the summary of my proposal:

Through my Salmon Run Project, I wish to provoke thought on how urban development has been "built on the backs" of the Credit River salmon.  The increase of impermeable surfaces such as roofs, patios, and roads means rain carries debris, oil, gas (from roadways) and silt through the hundreds of Mississauga storm sewers directly into the river.  This black and brown water stresses the salmon, kills the insects they feed on and buries their spawning grounds.  I will attach miniature houses  with acrylic gels (representing tar & oil) in clusters similar to those of an invasive species such as the zebra mussel.  These clusters will represent development that has the potential to impede, choke, and threaten the salmon with death, if not controlled. 

Cast Fishing, Cast Shadows. Plein Air Painting by the Credit River in Mississauga, Ontario, Canada

2010 Update: This original plein air oil painting, painted on location by the Credit River, -under the bridge at Burnamthorpe Bridge between Riverwood Park and Erindale park -  has been given as a charitable donation to the Art Gallery of Mississauga (AGM) for its 2010 7th Annual Art Auction Fundraiser, April 29th, 2010.

Above is a 6" x 12" oil painting of a man fishing by the Credit River. We are both under the enormous Burnamthorpe Road bridge -  between Erindale Park and Riverwood Park. The day was sunny but the shadow and the wind was cold! After 3 hours my convulsive shaking told me the painting was now finished.

Today I had the fun of plein air painting  with the newly formed group,  Ontario Plein Air Society (OPAS). I had not painted on location in years and never before with oils  ( the exception  Tapatoo Tree (sold) in water soluble oils ) .  Painting on location is quite exilarating - at least that is what I felt after I was done, and could seek relief from the cold and wind in a more sunny spot.

Just before I headed out to meet up with OPAS at Riverwood Park, I quickly thumbed through some International Artist & other art magazines for some helpful hints. Painting on location requires effort put into the logistics.

Following the example of British artist James Hart Dyke (American Artist magazine November 2003) I used the limited palette French Ultramarine, cadmium yellow, cadmium red light, raw umber and titanium white.  What freedom!

Once on location, I struggled a bit with what to paint. I sat across from an enormous old tree, partiatially in decay - but what I wanted to say about this tree could not be said on my 6" x 12" canvas. Suddenly I found my self doing a quick - almost Japanese brush like gesture of the fisherman before me ( I could have drawn him all afternoon) and that was that - I had my subject. I guess I just cannot escape the call to put a figure in my landscapes.