Past and Present

 

 As any reader will note, I haven't been here lately.  Most of the summer was spent working on a large commissions, Silvershell Beach.  It was painted from a photo taken by the client of the Sippican Harbor from Silvershell Beach.  He took the photo early New Year's Eve.  Below are both the photo and the painting.  It was a challenge that was good for me.  And, the clients were very patient and offered good input.  

Sippican Harbor, 2026, Oil on Canvas, 4'x6'

Digital Photograph

Looking at the two of these the painting is much more dramatic with stronger contrasting values and brighter blues.  

Erin, 2026 Oil on Panel 18"x24"

The second commission which began in September was at the request of a husband and daughter.  Again, great feedback and patience from the clients.  One difficulty was I had never met Erin and worked from several different photos.  This is always a challenge with lighting, expressions and positions.  

In the midst of commissions and drying times, I worked up small pieces for gallery holiday works.  The four cardinals are all 5"x5" oil on panel and will be presented at the Marion Art Center.

The Goldfinch Triptych is a 4"x6" oil on panel presented at the Copley Society.

And finally here are the three works on the easel.  Hopefully, I will be more consistent with postings and offer more painterly insight into the process. 

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.