This old shed is an iconic Ozark structure. Ones almost just like it are found on every old homestead out here. Ours is still used and much loved. It’s one of the most photogenic buildings on our property. I have more photos of the same scene with different sunsets, and more paintings of it are on the to-do list.
About the light pole in the painting. It’s there in real life, but I debated whether or not to include it, as so often I feel it detracts from my view from the porch. However, many of the folks who grew up in these hills see it in a different light. Electricity wasn’t available here at this old homestead until the late 1960’s, early 70’s. When we moved here in 2005, the transformer on that pole behind the old shed was the very same transformer that was installed when electricity was first installed here.
It has since been changed to a more modern one, but I decided to leave the pole in the painting because it represents a historical reality of what life was like for the families that lived and farmed in this region. The family that saw this pole go up behind this old shed probably rejoiced every time they saw it. Winters here can be harsh and I’ve personally done without electricity during ice storms, cooked and heated our house on a wood stove. Used lanterns and candles for light two weeks once. When the electricity returned after the 2009 ice storm here, I was grateful. The pioneers were a hardy breed.
And so I left it as a symbol of gratitude for the things in life we so often take for granted.
A little about the colors used in my old shed painting.
It’s the pigments that really make my art so unique. Before I start a painting, first I gather the pigments. Most of my colors come from our many shades of sandstone. The deepest blacks come from charred bone, and I will also call on two of the local plants that give me light-fast pigments. Once the stones are gathered I crush and further process the dust, add a natural gum Arabic resin which is the binder that makes it into watercolor paints. There is nothing artificial in my paint. You can see all of my art and learn more about how I make the paint at PaleoPaints.com.
All of my prints are processed in house with a professional giclée art printer using archival inks. The paper is archival watercolor paper for high quality prints.
Notecards are 4 x 5.5″, blank inside, and printed on the same professional printer as my prints. Each are packaged in a clear bag with an envelope and the insert that tells the story of how I began my watercolor journey with Ozark pigments. All of my artwork is available on notecards, and you can mix and match to order a set of 5 for a discount. Sets are not individually packaged, but are attractively presented together in a box. Click here to find out more about notecard sets. (Will link when listing is live. in the meantime, email me at firstname.lastname@example.org to order a set. I’ll invoice you.)
This artwork DOES have an NFT associated with it. There is NO physical paired with the NFT, as the original physical painting has already been sold. The NFT is a 1/1 work, so there are no prints or editions of it anywhere. Click here to go to the NFT listing.
All of my paintings begin with foraging for rocks, bones, clay, or other pigment sources. If you’d like to read a little more about my life of foraging for rocks, read this post: She Delivers in Spades. If you’d like to see how the paints are actually made, read this post: Making Smooth Paint from Rock Dust.
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