• sharonkingston

Pigment Sticks and Fingertips

It would most certainly help if I had something other than my iphone camera to photograph the paintings for these blog postings (hint, hint), but I’ll go ahead even though some of the detail has been lost.  As most oil painters will attest to,  we have a love affair with our materials and specific brands of paint–I adore R&F pigment sticks.  (Dakota Art in Bellingham carries them, or you can visit the online store to order direct from R&F here)  Pigment with some linseed oil, and soft and fabulous like butter.  And, they smell fantastic.  They are like a large crayon of oil paint which allows you to draw on your surface and if you’re like me–rub with your finger.  The ultimate in finger painting. 

Because my surfaces are so precious, I only ever use the pigment sticks in the final stages of a painting–and then most often in the foreground to give that sense of mass and detail that is an important balance to the amorphousness of the rest of the painting.  This 5 inch segment at the bottom was pushed and pulled and rubbed for an entire 7 hour painting session yesterday.  It still has areas that need work, but now that I’ve laid down the pigment sticks, it’ll have to wait.  All good things have issues–and drying time is one big one with this material.  Check the pigment chart for estimated drying times.  Some of the colors will never dry…  See the previous post here for the Rilke Poem that accompanies this painting.

#abstractlandscape #paintingandpoetry #pigmentsticks #readingrilke

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    open by appointment

    please call / text

    360-739-2474 or

    email sharonkingston@me.com



    If item is damaged in transit, it will be replaced with a painting of similar style and value.


      203 PROSPECT ST

      Bellingham WA  98225

      my studio is open by masked appointment

      please send me a text with the
      day and time you'd like to come by.

      Sharon Kingston is a Northwest WA oil painter who uses the properties of her medium to create paintings that respond to both the atmosphere of her surroundings and poetry. This method of looking inward and outward and, in the moments of painting, finding her way on the canvas is her approach to creating paintings infused with poetry and the memory of landscape. The atmospheric element of her work is a testament to her desire to create spaces that are undefined, contemplative and allow room to reflect and accept uncertainty. Poetry, by nature open ended, is used both in the conceptualization of the work and as a part of the studio practice. The words of Rainer Rilke have informed Sharon’s work for many years, but she also turns to contemporary poetry when it resonates with her life. She uses layers of transparent color, reveals forms by concealing and unearthing pentimenti and suggests elements of landscape in her process.