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.
The paper is 300# cold-pressed Arches watercolor paper. It’s very heavy and archival quality. The painting is unframed and will ship flat.
If you get it framed, it is important to make sure the painting does not touch the glass. TruVue acrylic glazing or museum glass is recommended. If you’re doing the framing yourself, use spacers. If you bring it to a shop to have it framed, make sure they use spacers. This is very important for all watercolor works of original art.
FREE to U.S. addresses. Shipped with USPS Priority Mail. If you reside outside of the US, email me (firstname.lastname@example.org) for a quote with shipping included. Buyer is responsible for any tariff or customs fees, and seller is not responsible for damage or loss during shipping.
About the Artist
I am fascinated with nature. Nature is my muse. It’s the juxtaposition of beauty and brutality that gets me. Liminal spaces… situations… maybe they’re just moments in time? I don’t know, but they beckon me with a siren’s call, and I don’t even know how to define them. I forage my pigments from the creeks here at Wild Ozark and call the result Paleo Paints. My art is truly touching the soul of the Ozarks and I love sharing it with you. You can find out more about me and my art, and our life out here in northwest Arkansas at my blog (scroll to the earlier posts for more).
The photos in this listing show you a little of the progression from the rocks and bone I used and the process of making the painting. My art is perhaps a bit more expensive than some you might see, but you’re getting a unique work of art and a true dose of nature from the wild Ozarks of Madison county, Arkansas.