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Sunday, February 10, 2013

Reception for "Traveling the World in Transparent Media"

Yesterday's reception of my solo exhibit at the Columbia Art Center was wonderful. I've included some pictures taken before the doors opened so you can see the art.  These are followed by pictures during the reception. My transparent media included both water media paintings and fused glass.

I gave a talk during the reception about the inspiration behind several of the pieces and the connections between the paintings and the fused glass art. These media give me different perspectives on the same subject.  I find that working in one medium inspires creations in the other.
A moment to catch up with some friends

First Sale

At left I am with Yolanda Koh who was also having a reception for her Solo exhibit at the Columbia Art Center.  I'd like to thank the Columbia Art Center for providing such a beautiful venue for my exhibit and all the hard work of their staff.

Wednesday, February 6, 2013

Guatemalan Girl, 15.5" X 15.5" watercolor on Aquabord

Guatemalan Girl by April M. Rimpo
Guatemalan Girl
15.5" X 15.5" on varnished Aquabord

Guatemalan Girl is one of the watercolor paintings that is on exhibit in my solo show, Travel the World in Transparent Media, at the Columbia Art Center, in Columbia, Maryland. The reception is Saturday, February 9th, 4 - 5pm.   Normally I paint on watercolor paper, but not so for Guatemalan Girl.  Ampersand has a product called Aquabord that has a deep cradle made from 2" birch plywood strips that are attached flush with the back edge of the pane.  They make a nice presentation, so framing is not required.  The medium on the board is designed for use with aqueous media.  I found it had some of the same properties as watercolor paper, but I did have to be careful about how long I worked on an area to keep it from getting too soft.  When the painting was complete I varnished the surface so it can hang without glass.

I wanted to fragment the image so I chose 5" square aquabord and designed the piece so each segment would be an interesting painting in its own right.  The exact placement of her body in each frame was carefully crafted to create interesting abstract in each panel.

I considered an exhibit where each segment could be purchased separately.  If sold separately the girl would be shared among the various buyers.  It would be interesting to bring the buyers together to meet and foster new relationships through my art.

The more I thought about the logistics I feared it would be very difficult to hang the segments so they remain properly aligned when hung as a whole.  It seemed like aligning the segments might be a nightmare for me and the gallery, so in the end I attached the 9 panels to a sheet of Plexiglas and drill a slotted hole in the Plexiglas where it could be hung from a nail. 

I still like the idea of displaying art so separate pieces form one image while the individual works are sold separately.  Perhaps if I do this as a single line of paintings instead of a square of nine paintings the logistics of hanging would be reduced.  Let me know what you think about this idea.

Saturday, February 2, 2013

Morning in Provence

The soft glow of morning light is the subject of Morning in Provence.  I had always heard the light in Provence was different from anywhere else and wondered if it was just hype.  Well after visiting Provence I found out it really was true. There is something very dreamy in the atmosphere.  The morning light is very soft, filled with lovely pastels.  Sunsets are clear and dramatic.  I have seen some amazing sunsets in Arizona where the colors just fill the sky like fire, but the mornings are not the same.  I suspect the air is much cleaner in Provence, but there must also be just the right touch of humidity in the air because it is just wonderful.  No wonder so many artists have gravitated to Provence.

Morning in Provence
14.5" X 22" image
20" X 28" brushed silver frame


I enjoyed Provence in 2004 when I attended a Plein Air workshop held by Tony van Hasselt.  My plein air work generally never sees the light of day once I come inside, but the photographs I take continue to inspire me.  They never look quite as I remember, so I get to apply my artist's view and bring back my memory.  That was my goal in Morning in Provence.

I did paint this location one morning while in Provence.  I went out early to catch the light before meeting up with the group for the day's demo and painting time.   At the afternoon critique I brought this painting and whatever else I had done that day.  I had gone with big bold oranges.  I remember Tony trying to be very polite about its boldness.  That painting sits in my studio and has been calling my name recently telling me to give it another try.  I liked the interesting angles in the old Roman town of Vaisson la Romaine with its stone houses, narrow cobblestone streets, and lavender colored shutters. It is a dreamy spot and one I'd always hoped to share.   Morning in Provence is the result of my second attempt at sharing this spot.  I am delighted with the result and hope Tony will be proud, too.  By the way, he is headed back to Provence this year for his eighth workshop.  

April's other paintings of Europe include:

To see prints of April's paintings check her store.If you want a print of a painting that you don't see in the store ask me; I don't have all prints on display. 

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