Works on the Easel

Charming, 2026, oil on panel, 12.5"x12.5"

As I've bored you with in the past, I disdain thematic calls for art.  The painting pictured above is my interpretation of "Look Up" a call from Copley Society for a member's show.  In a surrealism manner these guys are in the library 'looking up' information on honeysuckle.  Maybe they want to know where it grows, where to find it.  Maybe they are required to give a report at hummingbird charm school. 

Further pieces in the works and considerations for juried shows are:

For the Copley Society Member Show titled, Tandem.  I believe the idea is patrons may buy two paintings that appear connected.  

Another juried thematic show from Copley titled Intersections.  This is a national show which will be competitive.  Pictured here is a shattered tinted globe vase in front of books on US history.  My idea is the intersection between broken transparency and Democracy can threaten our Republic.  

Serendipity

 

Serendipity, 2026 Oil on Panel 12"x16"

Despite my complaints in the previous posting, I am once again creating and submitting a work to a juried show.  The primary reason for my continuing applications to juried shows is that the local galleries are not selling quickly.  I'm baffled by whether it is my subject matters, my style, or the state of the union.  This juried call came from the Duxbury, MA Library's Helen Bumpus Gallery for works in a show titled Serendipity.  Oxford defines serendipity as "the occurrence and development of events by chance in a happy or beneficial way."  While a refined pearl would not be found in an oyster, the image of the pearl is meant to convey serendipity.  I have many oyster shells in my yard.  My dear Wayne and I would often eat oysters on a Friday afternoon with our cocktails.  As we live on a marsh, we would toss the empty shells here and there into the wetlands.  I gathered those shells and photographed them for the painting.  It was great fun working with the whiles and reflected colors.  

Juried and Rejected

 

Gathering the Cranberries, 2025, Oil on Canvas, 12"x36"

I'm not a fan of juried shows. I don't particularly like working on a theme which practically all juried shows demand.  The annual Duxbury Art Association's juried show does not require a theme.  I have been chosen twice to participate.  However, this and last year I was not chosen.  This bog is located in Duxbury so I thought.....yes.  But, the jurors were not necessarily wowed by that as they probably are only looking at the plastic elements.   Here is a look at the show.

Nasturtiums with Lemon Balm, 2026 Oil on Panel, 12"x12"

This work was made in response to a Copley Society juried call for art, The Measure of Light.  I'm such a literal interpreter when it comes to these calls.  My response was this still life with strong light cast upon the object.  Set against the dark ground, I thought one could measure the light.  Once again, I was rejected.  I was also not chosen for a show that asked Copley patrons to choose works from members.

I find myself dejected and unsure of how I want to proceed.  I am working on 2 new paintings for juried shows.  Stubborn?  Optimistic?  We will see.  

Commissions Completed

Commissions are often fulfilling when the recipient is surprised and delighted.  Two of these works were commissioned as gifts and surprises.  One was a self-commission for a wedding gift.  

Matthew and Norberto, June 2025, oil on panel, 12" x 12"

My friend Matthew and his fiancé, Norberto, married this summer in a beautiful outdoor setting.  Matthew is a landscaper with an art degree that definitely shows in his gardens.  When I offered to create a painting as a wedding gift, he was delighted and helped with the subject.  He wanted a honey bee and a snake set among greenery.  The bee is Matthew and represents his work with plants.  The snake represents Nor (I have no idea why and will not ask).  

Winnie Kate, 2025, Oil on Panel, 14" x 11"

My brother, John Ed, is close and dear friend's with his Pastor and family.  They tragically lost their daughter, Winnie Kate, when she was 6 to an unexpected asthma attack.  Because he loves that family so, he asked if I would paint a portrait of Winnie for them as a surprise..  I was happy to.  But, warned him that working from a photograph of someone I never knew creates problems with the likeness.  I looked at several on line.  Of course, each one was just a bit different in the eyes, in the smile.  I ask JE to please let them know this was meant to be an impression of Winnie's spirit.  When JE and Cindy (JE's wife) gifted the painting is was received with surprise and delight.  A few weeks later, Winnie's mom called to thank me and express her great gratitude.  That call was all I needed.  

Karen and Mark, 2025, oil on panel, 16" x 20"

My cousin, Karen Friedlander, a jeweler, asked me to paint two crows that would represent her and her husband, Mark.  Mark loves crows, admires my paintings of crows and once remarked to Karen, "crows mate for life."  From that she embraced the idea that the crows would symbolize their life of dedicated and committed love.  It was fun working with Karen as she chose the crows and their pictoral relationship. This was a surprise Christmas gift for Mark.  If you look closed below the crow's beak on the left, you will see an indication of a piece of Karen's jewelry.  

Small Works

It is that time of year again when an oil painter must begin Holiday Works in September.  Here are what are ready for the galleries.  Please enjoy and if interested before they hit the galleries find them on my website at christygunnels.com.  

Cranberry Bog Redux

Cranberry Bog #10B

Perhaps you remember this painting from an earlier post. Well this is her little sister. The initial painting, #10, was 20"x60". This baby is 12"x36". I had planned to submit #10 to a juried show at Copley. However, the prospectus asked artists to be considerate of others and not submit something very large. Since it was already a problem getting #10 in my car, I decided to paint this smaller version. As it turned out it was an interesting exercise in duplication.  AND, I plan to use #10 in a summer 2026 invitational show at The Marion Art Center. 

I am also working on 2 commissions which I cannot post because they are gifts.  

 

Mama's Spools

 

Mama's Spools, 2025, Oil on Cradled Panel, 5"x5"

Whenever I finish a piece and photograph it, I see things I would correct.  In this piece the top of the red spool is too big.  And the top of the center yellow spool is lopsided.  So...I will fix that but not post here again.  This subject is among those I mentioned in the last blog as an idea for the Marion Art Center show in May.  I like the idea of vintage objects arousing feelings of nostalgia and memories.  This reminds me of my Mama and how she would sew and mend my clothes.  The are in fact her spools.  

Ibis

 

Ibis, 2025, oil on cradled panel, 20"x30"

This is off to a new home as soon as it drys enough to oil out.  It was a good exercise in working with whites and a somewhat unclear photograph.  The manner in which the photo captured the tail looks odd to me.  But, I don't know the Ibis.  

I've been invited to be a part of a 2 person show at The Marion Art Center around May 2026.  It's undetermined yet the guidelines for the show.  If it is thematic I may either do small works of vintage toys. Or, large pieces of cranberry bogs.  Whatever, I need to get busy.  

Commissions

 I have been approached to complete three commissions. All of them are of birds.  The first is of an Ibis requested from a former client who has a home in Florida.  For some time she has wanted a painting of a Florida bird.  A friend took a photo that she loved and asked if I would paint it.  

Ibis, 16"x20" Oil on Panel

As evident, I changed the background.  I plan to emphasize the clouds more.  My difficulty working with white is its transparency.  It takes may applications to create the bright white.  By then I have built up brush strokes that then interfere with the brightness.  Almost done with this.  Just a bit of refining.  

The other 2 commissions are one of a pair of crows and one of a nuthatch.  Crows are next.

Weeks of Work

 

Cranberry Bog Harvest #10, 2025 Oil on Canvas, 20"x 60"

I completed this about 6 weeks ago.  It entailed great creative energy using my entire arm.  Reds are particularly challenging. One really needs to by the particular chroma.  Mixing only results in pinks, dull oranges or purples.  Of course, I'm only speaking of myself.  I tend to have bright red bogs when in fact they are more cranberry.  😂. As I wrote earlier this bog is in Duxbury, MA.  Fellow Duxbury folk were in the studio and recognized the bog and its location.  

Once finished with the above, I moved immediately back to small works.  I'm preparing for a show at Copley Society, Tandem.   The show is using a new approach to hanging works in which the works will be grouped in hopes that the similar subject matter will create interest.  

The works are 2 inches deep for shelves and 5"x5"

The works below are for the same show and are7/8" deep and also 5"x5". 

Big Things Are Happening

 

Pink Granite Coast, 2025 Oil on Canvas, 30"x40"

For the past 3 months I've been working larger than I usually do. In my early days, I always painted large. Once, in my little attic studio, I created one so large I couldn't get it out the door.  I had to take the canvas off the stretcher.  The other difference is due to the size, I'm painting on canvas.  It's a very different feel with the brush and application results.   The above painting came from a photo source by Copper Giloth.  She was on the Cote de Granite Rose in Northern Brittany.  I was intrigued by the geometric forms, the deep distance and the color.  

Cranberry Harvest #9, 2025, Oil on Canvas 30"x40"

Cranberry Harvest #9 remains unfinished.  I'm not satisfied with the texture or size of the large red swath.  I may pull some more water across it.  Maybe take one of the two blue shapes in the upper left and run in diagonally across.  Stay tuned.

Cranberry Harvest #10, Oil on Canvas , 20"x60"

This is a bog in Duxbury, MA that Wayne photographed years ago.  I'm going to see if I can locate it.  This is session #9 so about20 hours.  I'm working from the far ground to the near ground.  

A Year of Loss, Addition, and Change

Wayne LaGue, husband extraordinaire

I've been in a state of flux since April 2024. It was my house critic's 78th birthday 3 days ago on March 17. Only he wasn't here to celebrate. You see, a glioblastoma took him suddenly and with little warning November 1, 2024. It's a horrible way to die for anyone. But, particularly horrifying for Wayne (yes, that's him) who had the brain of a genius and the heart of a virtuous person. I miss his insightful observations of my painting, also his laughter, endless smiling, unwavering love, generosity. If you are so inclined, you may read more about him.

Augustus Buckminster & Lion DeLovely LaGue

Gus & Leo never got to meet Wayne.  They have not and never will supplant his place in my life. However, they do make me smile again. They arrived in my home December 2024 as 4 month old brothers.  Shy at first they now follow me around demanding a lot of hugs and staring at me like I'm their goddess. Leo particularly enjoys the studio while I paint. Perhaps he will become a house critic someday.

While I wasn't in the studio for 8 months, I did return after Christmas for a couple of hours a day. I completed this one from a photograph by my dear friend and collector Brian. 

Winter Harbor #1, 2025 Oil on panel 12" x 12"

Currently I'm working on this very large (for me) piece of the Pink Granite Coast in Brittany. My friend Copper lives in France part time and generously shared a photo I'm working from. This is from working session #30. 

Pink Granit Coast, oil on canvas, 30" x 40"

Large is currently good for me now because.......bad news I fell on black ice and broke my shoulder February 13.  Good news?, it is my left shoulder and no surgery required, just physical therapy. I can paint!  I am in a sling until possibly May 8. More good news!  I have been invited to and included in a newly formed collective of artists.  Our home is located in the new Kettle Black Gallery, New Bedford, MA.  

L-R Robin Nunes, Butch McCarthy, Christy Gunnels, 
Joan DeCollibus, Kim Barry, David Walega

I invite you to share along on Instagram
KBG

Osprey Exuberance #2, 2024

 

Osprey Exuberance, 2024, Oil on Cradled Panel, 16"x20"

The wings!  Those are the voice of this painting.  The keen eyes and sharp talons of the Osprey take a backseat here to the 6' spread of his wings.  He is here about 2 weeks before his mate returns in order to prepare the nest. They both have had a winter's retreat in Venezuela.  But, Mr. comes first to claim the territory and to prepare the nest.  Those wings must carry them some 4,000 miles on their return.  He always arrives on or near my House Critic's birthday of March 17.  Today as the winds were extremely high and the rain very strong, I watched as the two of them stood and sat strong on the nest.  

Several Irons in the Fire

 I've found myself at somewhat of a loss and all over the place with ideas and failed attempts. I met with a woman who is on the board of Mass Art and who convinced me to submit a work for consideration in Mass Art's annual auction/fund raiser.  She is a collector with a large and impressive collection.  As with most collectors, she has an eye for a particular genre, photo realism.  Within that genre, she prefers works that lean toward pop art but away from landscape and the figure.  After meeting with her, I realized I was influenced by her appreciations as I went about my studio work.  It was quite the rabbit hole.  It took me a while to realize what was happening.  I abandoned all but one of those attempts and adapted it.  Below is a peak into my studio of works in progress.  

This began as just a stack of books with significant titles about painting.  I found the perspective with an entire stack uninteresting.  I took out some books and placed a crow atop.  The book titles will include Ted Hughes, Crow.  Any suggestions on a title?  

Again, this began as a stack of books in a dark area.  Then, I rearranged the books, placed them in front of a window and inserted my sketch book and some color pencils in a can.  The idea is to comment upon art and art making.  John Berger's Ways of Seeing is the top book.  

At this point I was so tired of trying to paint straight lines that I just went with a simple still life with oranges because painting with orange makes me happy.  

And finally, The Copley Society called for works to their international juried show with the theme "Exuberance".  What is more exuberant that a male osprey who returns from South America and begins rebuilding his nest waiting for the mate to join him.  I will possibly paint 2 ospreys on nests for the submission.  

That's it for the time being.  I must now return to the studio and tackle some of the irons in the fire.  

Memories of Mama

 

Memories of Mama, 2024, Oil on Cradled Panel, 5"x5"

As I post this and having thought it was finished, I see things to do. The needle should be brighter; the yellow spool is a bit lopsided; the large blue spool's top is uneven.  

Threads

Spools, Oil on Cradled Panel, 6"x6"

Spools, Oil on Cradled Panel, 6"x6" with tape

Taking a new approach and trying to up my realism by using tape for straight lines.  And, really taking my time with drying.  Because of that, I have 2 other works in progress.

Interpretations, Oil on Cradled Panel, 10"x10"

 

 The idea is to create a narrative that goes beyond     the immediate image.  The art books, the color pencils, the sketch book create multiple interpretations.

An idea in the making.