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Seville - I don't know what it is that makes this city in southern Spain so magical.  It may be the shining sun, lively city streets, flamenco, maginificent architecture, friendly people, a legacy of historical events in the past.  Perhaps all of the above plus more.  I must also add very high temperature in the summertime as I know it first-hand and remember it as almost unreal.

 

While I was walking on a narrow alley in a quaint old Jewish quarter of white-washed houses, a trio of musicians appeared from nowhere.  Playing the guitar and singing, they walked past me quickly and turned around the corner.   I was intrigued by the sight and sound, and kind of walked behind them to follow.  I turned around the same corner but they were nowhere to be seen and no sound to be heard as if they had disappeared.  Too much sun led me to hallucinate?  Or have they gone back to the medieval time?  Another magical moment in Seville.

 

 

Street Musicians, Seville, Spain I

 

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Media: Original watercolor on paper

Image Size: 11.5 x 15.5 inches (29 x 39 cm)

Frame/Mat: No

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"En Andalucía me siento como en casa"- so I was quoted in the recent interview by a journalist from InSevilla, a digital newspaper of cultural events in Seville, Spain (April 29, 2013).  The article of my interview was just published in time for my watercolor workshop there.  Clearly the interviewer was someone knowledgeable of watercolor painting and there were very good questions.

 

The interview was made possible by my dear friend María José Barrera Garrido, an artist and a teacher who is well respected widely in Seville and its surrounding region.  She is having a watercolor painting exhibition in May at Plaza de Armas in the city of Seville.

 

Since the original article is in Spanish, here are their questions and my answers in English that appeared in Keiko Tanabe, acuarelas universales:

 

InSevilla: In this course (referring to my workshop) you deal with three principal objectives: atmosphere, light and shadow.  Are these keys to a good watercolor?

 

Keiko: When I'm inspired to paint something, what attracts me most is the quality of light and atmosphere in the subject.  I believe that fluidity of the medium of watercolor is perfect to capture that.  In my course, I teach some methods and techniques useful for this effect.  To me, a good watercolor painting is, first, one that shows the artist's full grasp of the medium, and second, one that resonates with the emotions the artist wanted to communicate.  A good painting doesn't have to be impressionistic.

InSevilla: Generally watercolor painting represents realistic landscapes.  Do you think it could be used as well to paint expressionist art, like dreams, nightmares, less figurative art?
 

Keiko: Of course.  In fact, I always think that a painting, in any medium, should speak something about the artist's emotional truth.  Whether it's a realistic landscape or a spiritual abstract painting, an artist should be aware of his inner voice and create a work that transcends a mere depiction of the subject.

InSevilla: Many people say light in Seville and Andalusia is different.  Do you agree with that?  What different features do you see?
 

Keiko: It's so strong and intense that the play of light and shadows often creates a scene that is full of passion and drama.  I only know Andalusia in the summertime so the light may be different in other seasons.  In San Diego, California where I live, I see some similarities in the weather, architecture and other cultural aspects, so I feel at home in Andalusia.

InSevilla: Do you think watercolor painting is valued as it deserves?  It seems it is like a second-level art compared to oil on canvas. 

 

Keiko: In general, that's how it's been perceived in many parts of the world, as I understand.  However, that traditional view may soon be regarded as outdated.  Today, largely thanks to the internet, the world is discovering more than ever many watercolor paintings of high quality.  I am hopeful that will change the general perception of the medium and raise the level of watercolor paintings as a whole.

InSevilla: Basically, what are the pro and cons of watercolor painting versus other techniques?

Keiko: Watercolor is relatively low maintenance because it is portable, odorless and dries fast.  For this reason, it may be best suited to do quick sketches with on location.  Technique-wise, its characteristic of being rather unforgiving may restrict the creativity of an artist.  It may result in having to do careful planning prior to painting.  I feel, however, watercolorists should try to enjoy the process without worrying too much about the result or even take advantage of its elusiveness.

InSevilla: Who are the best watercolor painters now and which artists do you like?  Any Spanish painters?

Keiko: There are many watercolor artists from the past and the present whose methods and styles have inspired and influenced me along the way.  I especially admire artists whose work evokes emotions as if they were soulful music or exciting drama: John Singer Sargent, Robert Wade, Mary Whyte and Alvaro Castagnet, to name a few.  As for Spanish artists, not really a watercolorist but Joaquín Sorolla's works attracted me very much for his figures draped in light.  In watercolor, Laurentino Martí and Manolo Jiménez are among my favorites.  I also want to add that I liked many works exhibited by Spanish artists in the Muestra internacional de acuarela Ciudad de Dos Hermanas (2012).

InSevilla: What is a big mistake that beginner watercolorists should avoid?

Keiko: It is often said that watercolor is the most difficult medium to handle, and that may be true to some degree.  First of all, I would like to tell beginners not to be discouraged by it because it is also very rewarding.  But before learning how to control the fluidity of the medium, I see some beginners needing to spend more time learning how to see things and how to draw.  In my course, I always stress the importance of developing a solid drawing skill and the ability to see perspective, contrast and spatial relationships.

InSevilla: Anything else you would like to say?

Keiko: I am looking forward to coming back to Sevilla soon and sharing the joy of watercolor painting with local artists.  Thank you for your time.

 

 

Sevilla, Spain IX

 

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Media: Original watercolor on paper

Image Size: 19 x 13 inches (48 x 33 cm)

Frame/Mat: No

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I am honored to announce that I've been invited to exhibit my watercolors in the Printemps d'Aquarelle 2013 to be held in Saint Cyr sur Mer (Var), France next month.  The third edition of the exhibition showcases works of 18 watercolor artists from France and other countries.  Multiple pieces of original watercolors that I'm planning to display will include new landscape and cityscape paintings of various parts of Provence.

 

I am also pleased that I will do a 3-day workshop "Capturing Light and Atmosphere of Provence," May 20-22, and a demo on May 23.  For more information and enrollment, please visit this page.

 

 

Le Vieux-Nice, France VI

 

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Media: Original watercolor on paper

Image Size: 15.5 x 11.5 inches (39 x 29 cm)

Frame/Mat: No

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If I were to make a video of my travel bloopers, I should definitely include footage of my visit to Tai-O.  Tai-O, a small fishing village in Hong Kong, will be one that I will never forget because of what happened there.

 

I was already excited to see the village even before I arrived there, so imagine how I was when I got there.  In short, I lost myself in the sights and fell in a canal.  I wanted to get a perfect viewpoint and walked down the steps to get close to the water surface.  When I noticed the last few steps covered with moss, it was already too late.  I slipped and started going down in water, which was not too deep but mucky.  There was nothing for me to hold on to, so I kept slipping while desperately trying to keep my camera above the water, and by doing so cut my wrist on the stone step.  I still don't know what stopped me from sinking further but miraculously only my pant legs were soaking wet.

 

A friend of mine who traveled there together was horrified and ran to a nearby cafe to fetch a first-aid kit for my wound.  I truly felt sorry for her because my carelessness scared her.  To a small circle of my close friends, I am known for doing pretty daring things to find a better view or get to a perfect spot for a painting.  I think now she is one of those friends (but, dear friend, if you're reading this, I am really sorry..).

 

 

Tai-O, Hong Kong II

 

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Media: Original watercolor on paper

Image Size: 15.5 x 11.5 inches (39 x 29 cm)

Frame/Mat: No

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Hong Kong's urban areas are growing bigger so fast that the entire place may be soon dominated only by high-rise buildings, it seems.  This is happening not only in the heavily-populated downtown and surrounding areas but also out in what used to be a sleepy countryside.  So before it's all gone, I wanted to see an old village or two and find a remnant of the past.

Tai-O is one such place I chose to visit.  This small fishermen's village on Lantau Island is particularly known for stilt houses standing over the rivers that run through it.   During a day, however, it's far from being a quaint, sleepy place because many visitors come to see sights, tatse seafood, watch rare pink dolphins, etc.

 

One might assume that it is easy to find a traditional fishing town in Hong Kong, but the truth is no, especially now it seems development is the name of the game there.  I didn't see a pink dolphin, but I felt pretty lucky to be able to see a traditional way of life in Tai-O .

 

 

Tai-O, Hong Kong I

 

A larger digital file available on request

Media: Original watercolor on paper

Image Size: 8.25 x 11.5 inches (21 x 29 cm)

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I met up with my friends in Hong Kong's busy Central district one morning.  They had invited me to join them for authentic dim sum breakfast at an old tea house, and I was full of anticipation to see the place and taste what they think was the best in town.

 

As we passed a small bakery near the entrance of the tea house and walked upstairs, I felt like I was instantly transported back in time for several decades.  There was a huge dining hall with traditional Cantonese flair, brimming with local people who gathered to eat breakfast, meet friends or just read newspaper.  A couple of female servers were walking among them to offer tasty steaming dishes on dim sum carts.  Large fans and bird cages hanging from the ceiling added more charm of Old Hong Kong to the scene.  And an antique wall clock told time that seemed to go a little slowly here.

 

My friends ordered several signature dishes of the house for me to try.  Some were siu mai dumplings and they were all cooked to perfection.  I can say that the old-fashioned atmosphere truly enhanced the whole experience of dining here.  Rapid urbanization has replaced a number of traditional places like this in all over Hong Kong.  I just hope this tea house will survive and continue to delight our senses for many years to come.

 

 

Dim Sum, Hong Kong II

 

A larger digital file available on request

Media: Original watercolor on paper

Image Size: 8.25 x 11.5 inches (21 x 29 cm)

Frame/Mat: No

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You don't have to spend a long time to understand why scooters are everywhere in Macau.  In addition to being the most densely-populated area in the world, Macau has many narrow streets between buildings, hills, and limited space for parking.  It seems to be just the most convenient mode of transportation for local people.

Every day scores of tourists flock this small peninsula city.  The lure of world-class casinos, shopping and dining is undeniably strong.  I have no idea how many of them actually rent a scooter to get out of a casino, but even a fraction of them could be a big number to crowd city streets even more.

 

 

Street, Macau I

 

A larger digital file available on request

Media: Original watercolor on paper

Image Size: 11.5 x 15.5 inches (29 x 39 cm)

Frame/Mat: No

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Come to this square in Macau with no prior knowledge, and you may wonder if you're in a small town somewhere in southern Europe.  Some of the buildings around here, built in the Portuguese colonial style, are painted in bright colors and facades are decorated with white railings.  There are other things such as lamp posts, scooters parked on a street and even some of the sweets sold around here, help create an atmosphere that is definitely more European than Chinese or Asian.

 

If it's too hot or humid, people-watch from a bench under a big shade tree or walk up a little on the hill of the A-Ma Temple to feel the ocean breeze or grab an ice cream from a vendor who's always there - you can't miss his colorful umbrella.  No matter how you spend it, a lovely day can be easily had here.

 

 

A-Ma Temple Square, Macau I

 

A larger digital file available on request

Media: Original watercolor on paper

Image Size: 8.25 x 11.5 inches (21 x 29 cm)

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I had already fallen in love with Turkey on my first visit there.  There were many reasons but especially because of the friendliness of Turkish people I met, I quickly became fond of this fascinating country.  When my Turkish friends from Izmir took me to a lovely village of Birgi, I was touched once again by the warm hospitality not only from my hosts but also from total strangers.

 

Birgi has many old houses and buildings with the historical significance and thus has been designated as a World Heritage Site by UNESCO, I heard.  My friends and I were walking on a street, taking pictures here and there when an old woman who lived nearby came out.  We exhanged a few words and then she invited us to her home.  For the next half an hour or so, we were treated to a pleasant conversation and sweet fruits in the sunny front yard with her and her husband.  Needless to say, I became a bigger fan of Turkey after that visit.

 

 

Birgi, Turkey I

 

A large digital file available on request.

Media: Original watercolor on paper

Image Size: 11.5 x 8.25 inches (29 x 21 cm)

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Narrow streets in the historic center of Tire were bustling.  Cars, scooters, shoppers, vendors, cats and dogs - all seemed to be out and about, and the town was so full of life.  It was a market day for which Tire is widely known in the region.  I was visiting there for the first time with my Turkish friends from Izmir who took a day off to show me and another friend one of the loveliest regions of Western Turkey.

Tire is about a one-hour drive inland from Izmir.  Once we got there, we strolled, stopping here and there, visiting local artisans' workshops and mosques, admiring old buildings, tasting some snacks... how I love a slice of life experience like this!  Thank you, Koray, Tinas, Sule, for a wonderful day that I will always remember.

 

 

Tire, Turkey I

 

A large digital file available on request.

Media: Original watercolor on paper

Image Size: 8.25 x 11.5 inches (21 x 29 cm)

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Chocolate, waffles, coffee, beer, mussels, fries... Belgium has a lot to offer to satisfy a hungry traveler's appetite.  But one also finds a lot there that is simply a feast for the eyes - the Grand Place in Brussels, for example.  This is not as big as some of the other world's famous squares but what a beautiful square it is.

 

To feel the grandeur of La Grand-Place, one has to be standing in the middle of it.  To really understand the historical importance and power of merchants who thrived in this commercial center, one has to see and marvel at exquisite guildhalls.  Although each building may be different in size, style and appearance, it is amazing that all the buildings surrounding the square create harmony together on a very sophisticated level.

 

Once our eyes get enough satisfaction, it's time to satisfy our stomach.  Here or near the square, all kind of restaurants and cafes await.

 

 

La Grand-Place, Brussels, Belgium I

 

A large digital file available on request.

Media: Original watercolor on paper

Image Size: 11.5 x 15.5 inches (29 x 39 cm)

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I am delighted and honored to announce my participation in the Les Aquarellades 2013, an international invitational watercolor exhibition.  It takes place in Mons, Belgium, about 50km SSW of Brussels, from today through February 10.

 

Four original paintings of mine, including this one, are on exhibit, together with works of other fine watercolorists selected for this show.  I will also have the pleasure of doing a 2-day workshop, Saisir l'atmosphere et la lumiere en aquarelle and a demo  during the event.

 

 

Venice Reflections XI

 

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Media: Original watercolor on paper

Image Size: 29 x 10 inches (74 x 25 cm)

Frame/Mat: Yes

Purchase: Available during exhibition.

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When the sky turns gold, it's time for farmers to wrap up their field work and go home.  In the scene I painted, two farmers are busily stacking up hay onto their wagon.  Something like this is quite a typical scene in the coutryside of Romania.

 

At the end of a long summer day in the northern part of the country, watching the sky at sunset is one glorious spectacle.  The colors slowly change from gold to orange to pink to purple.  What makes the sky so beautiful here must be clean air as the region is mostly rural with traditional villages, rolling hills and green meadows.

 

 

Day's End, Northern Romania

 

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Media: Original watercolor on paper

Image Size: 13 x 19 inches (33 x 48 cm)

Frame/Mat: No

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In the historic center of Bucharest is a colorful cafe scene covering several blocks.  There were some impressive, interesting buildings of different architectural styles, and lots of people, locals and visitors, enjoying themselves on the streets.  The overall mood here was just as what one would expect to see or feel in any major city in Western Europe - lively, modern and cosmopolitan.  It is quite a contrast to a somber mood of gray, no-nonsense, concrete, communist-era buildings that share the skyline of Romanian capital.

 

I am pleased that this painting has been selected to be in the 2013 Juried Biennial at the Cannon Art Gallery, by jurors representing Southern California's most prestigious art institutions - this year by Scott Canty, director of the Los Angeles Municipal Art Gallery and Chantel Paul of the Museum of Photographic Arts in San Diego.  The exhibition will run from January 20 until March 9, at the William Cannon Gallery in Carlsbad, California.

 

 

Bucharest, Romania I

 

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Media: Original watercolor on paper

Image Size: 21.5 x 14.25 inches (54.5 x 36 cm)

Frame/Mat: Yes

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If you're a salaryman (corporate businessman) working or visiting in Japan's capital, chances are that you have spent an evening under the train tracks at Yurakucho Station.  There you find numerous izakaya's, small, traditional Japanese eating places and casual drinking places.  After work, a number of businessmen are seen here drinking and socializing with their friends or co-workers over popular dishes such as yakitori.

This painting depicts an early evening scene around Yurakucho Station.  The area is getting crowded with businessmen who have just come out of nearby office buildings.  Are they heading home or are they here for chotto ippai (a quick drink)?  There's no telling, of course, but here at Yurakucho Train Station, the lure of akachochin (red lanterns hung in front of izakaya) is very real.

 

 

Train Station (Yurakucho), Tokyo, Japan I

 

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Media: Original watercolor on paper

Image Size: 29 x 10 inches (74 x 25 cm)

Frame/Mat: No

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It's been already a cold winter in Japan, but over Christmas, even more freezing temperatures are forecast.  In Shirakawa-go, a village hidden deep in the mountains in Central Japan, the ground will soon be covered with an even thicker layer of snow and remain so until springtime.

At the end of February, it may not be quite spring yet, but I am looking forward to visiting Japan.  I am honored and privileged to hold a two-person watercolor exhibition with Mr. Kazuo Kasai, a respected Japanese watercolorist and owner of Yokohama Gajuku.

 

Our exhibition will run from February 27 until March 5, at Gallery Vita, Tokyo.  We will both have up to 15 works on view, and are currently working hard to create paintings for the show.

 

We will also be doing small workshops.  For more details (in Japanese), please visit this link.

 

 

Shirakawa-go, Gifu, Japan X

 

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Media: Original watercolor on paper

Image Size: 11.5 x 15.5 inches (29 x 39 cm)

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Exactly two years ago around this time, I went to a remote mountain village in Japan that I had always wanted to see.  Shirakawa-go in Gifu Prefecture was on my mind for a long time and I couldn't believe my dream was about to come true when I was on my way there.

The amazing and almost surreal experience from that visit prompted me to do several paintings and I also wrote a couple of blog posts about the village (go to my old post).

Recently I met someone online who lives there.  His photographs and posts on his facebook page (Shirakawa-go) show the world what an incredibly unique place Shirakawa-go is.  From what I learn from him, the village is now covered in snow already.  It appears to be a long winter of deep snow for the villagers.

 

 

Shirakawa-go, Gifu, Japan IX

 

A larger digital file available on request.

Media: Original watercolor on paper

Image Size: 11.5 x 8.25 inches (29 x 21 cm)

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As a Japanese living outside Japan, one of the things I miss most is events surrounding the New Year's celebrations - hatsumode, in particular.  It is the first visit to a shrine, one of the important things to do within the first three days of the New Year.

I would guess most people in Japan make it a habit of doing so each year regardless of their religious beliefs.  It may sound funny but it's a custom of the Japanese culture and, to many, that's a reason good enough.  What they do when they go to their favorite shrine is, pray for a good year ahead, make an offering, buy an omikuji (fortune written on a piece of paper) and generally enjoy spending time together with family members or friends.

I have fond memories from the past of going to Fushimi Inari Shrine in Kyoto with my family.  Tsurugaoka Hachimangu Shrine in Kamakura (in this painting), together with Fushimi Inari, are among the most crowded or popular ones in Japan for this sacred ritual of hatsumode.

 

 

Kamamura, Japan I

 

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Media: Original watercolor on paper

Image Size: 19 x 13 inches (48 x 33 cm)

Frame/Mat: No

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It was a gorgeous sunny afternoon and I enjoyed strolling along my favorite beach.  The natural setting around here is so beautiful and I never get tired of visiting here.  In fact every time I come here, it is hard to leave.  Off the coast, surfers were getting good waves that day and they were also having a great time.

 

With the sun almost set and the air quickly cooling down, fog rolled in from the ocean, enveloping the craggy cliffs of the Torrey Pines Reserve.  It was getting chilly, almost time for me to go home -- but the thought didn't seem to come to the minds of some die-hard surfers.  Like they might be waiting for just one more good surfing wave, I found myself looking for an excuse to linger on: I will stay maybe until I see another train.

 

 

Torrey Pines Beach, San Diego, California XII

 

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Media: Original watercolor on paper

Image Size: 11.5 x 8.25 inches (29 x 21 cm)

Frame/Mat: No

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Julian is my favorite place to look for signs of changing seasons.  At an elevation of over 4,000 feet, this mountain village has a climate that is much cooler during autumn and winter months than the rest of San Diego.  A drive into the town on a meandering country road is in and of itself a pure delight as we can admire the beautiful rural setting of San Diego's East County.  Almost reaching the village center, I came to visit this vineyard that I had happened on a few years back.  Soft light was shining from the hills in the back and it was bouncing on the top of the vines.  A sight just too irresitible for me to pass up.

 

 

Autumn Light, Julian, San Diego, California I

 

A large digital file available on request.

Media: Original watercolor on paper

Image Size: 8.25 x 11.5 inches (21 x 29 cm)

Frame/Mat: No

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Sources say (link), Los Angeles gets 18 inches of rain per year (the US average is 37 inches); The number of days with any measurable precipitation is 26.  On average, there are 284 sunny days per year in LA.  No wonder almost always when I go and paint in Los Angeles, the sky is either sunny or hazy.

 

Once in my workshop, I painted a LA downtown scene on a rainy day for my class.  As a demo, the painting turned out the way I had planned.  But it was kind of odd to see a wet road in it as it never rained every time I had to go to downtown LA (yes, I used imagination to create that painting).

 

So, as predicted, it was another sunny day when I went to Beverly Hills to make some sketches which I used for this painting.

 

 

Beverly Hills, California IV

 

A large digital file available on request.

Media: Original watercolor on paper

Image Size: 11.5 x 8.25 inches (29 x 21 cm)

Frame/Mat: No

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The sun just set.  Nearby streets were full of people doing holiday shopping or just enjoying strolling when I walked by a luxury hotel near Rodeo Drive in Beverly Hills.  The hotel has an outdoor cafe-bar and it started filling up with their well-dressed clients, perhaps for before-dinner cocktails.

 

What caught my eye first, however, was not their cocktails, but tall palm trees reflected on shiny tables at this sidewalk cafe.  For a second I was wondering what these people were ordering, but soon I forgot about it and started drawing in my mind - with these tables first and designing everything else centered around them.

 

 

Beverly Hills, California III

 

A large digital file available on request.

Media: Original watercolor on paper

Image Size: 11.5 x 8.25 inches (29 x 21 cm)

Frame/Mat: No

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One of the popular themes taken up in the workshops I teach is how to capture light and atmosphere in watercolor.  In those classes, I keep telling my students to always think where the light source is in a painting.  Unless you are painting a scene that is pitch-black (then, why you bother to paint it?), there's always the light coming from somewhere - even on a very cloudy day.  Natural or artificial, finding the light is the first step and an important one in the process.   But sometimes the light is not in an ideal location.  Then, I'd say, feel free to move it to a better place in a painting so cast shadows will look nice, for example.  That's exactly what I did in this painting.

 

 

Beverly Hills, California II

 

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Media: Original watercolor on paper

Image Size: 8.25 x 11.5 inches (21 x 29 cm)

Frame/Mat: No

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Is it the excitement of knowing that celebrities live just around the corner or the influence of a certain image conjured up by popular movies and TV shows?  For whatever reason, Beverly Hills always looks prosperous with brand-name boutiques and restaurants as well as expensive foreign cars and international tourists toting shopping bags.

 

In fact it almost feels like visiting a movie studio when you walk on a tree-lined, posh street here.  A stretch limo stopped in front of me while I was waiting for the green light.  If there was a famous Hollywood actor behind the tinted window of the limo, and a tall blond with designer shades who just walked by was a sought-after model, maybe I was in a movie studio...

 

 

Beverly Hills, California I

 

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Media: Original watercolor on paper

Image Size: 8.25 x 11.5 inches (21 x 29 cm)

Frame/Mat: No

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Konak Square is probably the busiest part in the city of Izmir.  With the city's symbol Izmir Clock Tower in the middle, this square is always full of people, and pigeons alike, walking about in all directions.  The tower was built in the Ottoman architectural style over a hundred years ago.  On one evening, rain had just let up and the beautifully-silhouetted tower looked as if it rose from a mirror.

 

One of the important buildings near the square is the state-run Izmir Painting and Sculpture Museum where I just finished my solo exhibition (read related post).  I woud like to take this opportunity to thank those of you who visited my exhibition, attended my workshop, and came from near and far in Turkey to show your support.  The hospitality I received during my visit in Izmir was just incredible.  I will also never forget the kindness and generosity of my Turkish friends who went out of their way to help me with many aspects of the logistics for my show.

 

Last but not least, I am honored and delighted that Ms. Faden Suzan Kudsioglu, director of the museum, invited me to exhibit at her museum.  I admire and respect her immensely as a head of such an important museum in Izmir.   But at the same time, it was a real pleasure for me to get to know her personally as a fellow artist: Even though we spoke different languages, we shared laughs and even joked in Turkish and English.  As she said to me, I feel I gained another "arkadaş" (friend) in Turkey.  Çok teşekkür ederim!

 

 

Konak, Izmir, Turkey II (workshop demo)

 

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Media: Original watercolor on paper

Image Size: 13 x 19 inches (33 x 48 cm)

Frame/Mat: No

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It's been wonderful three weeks since the October 30 opening of my solo exhibition in Izmir, Turkey.  I am extremely grateful that I was invited to show over 60 original paintings of mine of Turkish and Japanese landscapes and cityscapes at the Izmir Painting and Sculpture Museum (İzmir Resim Heykel Müzesi Ve Galerisi).  Many people, including my friends and their families, joined me at the opening reception, and many more have visited the exhibition in the days after that.  I also spent three days painting in my workshop with talented painters who came from all over Turkey and overseas.

 

Originally, my show was scheduled to end on November 8 but the museum director generously gave it a two-week extention (the new closing date is November 21).  From the very beginning a year ago when planning for the show started, I have been blessed with generous help and kind support from my friends in Turkey.  Without them, I simply couldn't have accomplished all of this.

 

One of the memorable encounters that I had in Izmir was with members of the Japonya İzmir Kültürler Arası Dostluk Derneği (Jikad).  The group was founded in Izmir to promote mutual understanding between Turkey and Japan through a variety of cultural programs.  Some of the members, both Turkish and Japanese people who live in Izmir, came to my exhibition more than once.  I learned that about 20 Japanese people call Izmir home and the warm welcome they extended to me added a special meaning to my having a show in their adopted home.

 

My exhibition book "Turkey and Japan in Watercolor: glimpses of these two fascinating countries" is available online.

 

 

Shopkeeper, Kyoto, Japan I

 

Click here for an enlarged view.

Media: Original watercolor on paper

Image Size: 11.5 x 8.25 inches (29 x 21 cm)

Frame/Mat: Yes

Purchase: Through Gallery

 

 

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I am pleased to announce my participation in the First International Biennial of Watercolors that is currently being held in Narbonne, France.  It is an honor for me to be among exhibiting artists who are known for their unique styles and therefore playing the leading roles in today's watercolor world.

 

For this exhibition, I have chosen paintings from my last trips to Shanghai/Zhejiang province of China, including "Tea House, Shanghai IV."  I am particularly fond of the historic tea house I depicted in this painting (click to read related post: Tea House, Shanghai I).

 

The exhibition runs through October 28 in several different venues inside Narbonne, a beautiful city by the Mediterranean where the ancient and modern times co-exist side-by-side.  I am scheduled to do a demo in the afternoon of October 27.

 

 

Tea House, Shanghai, China IV

 

A larger digital image available on request.

Media: Original watercolor on paper

Image Size: 21.5 x 14.25 inches (54.5x 36 cm)

Frame/Mat: Yes

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After a long voyage at sea all the way from Japan, an expansive view of Marseille was the first thing my father saw as his ship pulled into the harbor.  Back in the early 1960s when travels to a foreign country were so rare and expensive for most Japanese, my father, still a young scholar, was invited by the French Government to spend a year in Paris as a guest researcher.  I can imagine what the experience really meant for him as his lasting impressions never faded and he devoted his academic career to the teaching and research in French literature and philosophy for decades after that.

 

There's no doubt I love visiting France because of my father's influence.  In Marseille I always enjoy walking around the Old Port (Vieux-Port) watching beautiful boats sailing on the Mediterranean.  So what I depicted in this painting is definitely one of my favorite subjects.  But for me personally, because the Marseille Vieux-Port was my father's first sight of his beloved country, it has a significant meaning.  And I wanted to create a mood and a sense of timelessness that would transport me back to a time long ago.

 

This painting is currently in the San Diego Watercolor Society 32nd International Exhibition.  The show opened yesterday and runs through October 31 (the opening reception on October 5).

 

 

Marseille Vieux-Port, France V

 

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Media: Original watercolor on paper

Image Size: 21 x 29 inches (53 x 74 cm)

Frame/Mat: Yes

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Judging from how crowded Piazza San Marco always is, an astronomical number of people must visit Venice's main square each day.  Ironically, however, they go to the square but not see the square.  The Basilica, the Campanile and other elegant buildings that surround Piazza San Marco - they are always in plain sight.  And most visitors stand or sit inside the square to marvel at the magnificent architecture around them while their small children, if any, chase the pigeons.

 

But what kind of pavement is laid there on the floor?  What about the design work?  Not many people actually remember simply because they couldn't see it.  Here's a tip.  There's a small window of opportunity to admire the square itself if you get up early in the morning before tourists start arriving around 8am.  Yes, chi dorme non piglia pesci (the early bird catches the worm) but I also know, tra il dire e il fare c'è di mezzo il mare (it's easier said than done).

 

 

Morning, Piazza San Marco, Venice, Italy II

 

A larger digital file available on request.

Media: Original watercolor on paper

Image Size: 13 x 19 inches (33 x 48 cm)

Frame/Mat: No

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If I was asked what would be the single most important quality in a painting for me, I would say a good design.  Without it, the chance of producing a good painting would be very slim.  But again, a good painting to one person may not be so to another.  Beauty does lie in the eye of the beholder.

 

That said, most of us intuitively agree on what constitutes a good design simply because we know it when something feels "right."  I never studied the art of design formerly.  So when I started painting, I knew nothing about principles and rules such as the golden ratio or the rule of thirds.  After many trials and errors, I gradually learned what works and what doesn't - at least for me.  In designing this painting, however, a rebel in me got the better of me: I decided to go against some rules, which resulted in quite an interesting composition.

 

 

Vienna, Austria III

 

A large digital image available on request.

Media: Original watercolor on paper

Image Size: 19 x 13 inches (48 x 33 cm)

Frame/Mat: No

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Click to see other paintings of Vienna: Vienna I, Vienna II.

 

 

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Fiakers are to Vienna as gondolas are to Venice.  Fiaker is a name used in Austria's capital city, for a carriage drawn by two horses. 

 

In the historical center of Vienna, one fiaker after another was passing by me every ten minutes or so.  The rhythmic clickety-clack of the horses hooves so soothing and relaxing, it put me in the mood for a Viennese waltz.

 

 

 

Vienna, Austria II

 

Click here for an enlarged view of this painting.

Media: Original watercolor on paper

Image Size: 11.5 x 11.5 inches (29 x 29 cm)

Frame/Mat: No

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I am pleased to announce that my work "Gion, Kyoto, Japan VII" will be included in the upcoming international exhibition of watercolors in Spain.  Muestra Internacional de Acuarela to be held in the city of Dos Hermanas (near Seville) will be the first of its kind in the region, showcasing paintings by both Spanish and foreign watercolor artists who were invited by the organizers.

 

Efforts to bring forth this exhibition have been spearheaded by one of the prominent local artists, Maria Jose Barrera Garrido.  I had the pleasure of meeting her recently, and we had a great time painting together in Seville (read related stories here and here).  The exhibition runs from September 20 to October 28.

 

Read an exhibition overview here written by Maria Montero ,Cultural Manager of the Cultural Center Almona in the city of Dos Hermanas.

 

 

Gion, Kyoto, Japan VII

 

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Media: Original watercolor on paper
Image Size: 14.25 x 21.5 inches (36 x 54.5 cm)

Frame/Mat: No

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For plein-air painters, there's always a possibility (or a risk, depending on how you look at it) of attracting onlookers when working outside.  I have painted in many places in the world and in many different weather conditions.  No matter where, I have had some kind of contact with others who were interested in what I was doing.  Most of the time, they are nice, decent people who just wanted to see what I was making.  I almost never had very unpleasant experience as they would just stay by my side, quietly watch and leave.  But sometimes they would say something along the line of "that's nice that you're doing" or start a bit more in-depth conversation.  I am not entertaining but working so I wouldn't go into a lengthy conversation but in general I wouldn't mind exchanging a few words.

 

The largest audience I had was in China where I was surrounded by dozens of children just coming home from school.  Typical onlookers are local people who live nearby or tourists (many would want to ask me for directions or take a photo of me and my painting) or artists (I can tell by what kind of words they use).  I also remember seeing or chatting with policemen, a soldier, a rock star, a gondolier, a homeless person, a psychic, etc... oh, yes, I had one of these people, who was a little too enthusiastic, when I was painting on the Praça do Comércio.

 

 

Plaça do Comércio, Lisbon, Portugal I

 

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Media: Original watercolor on paper
Image Size: 13 x 19 inches (33 x 48 cm)

Frame/Mat: No

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Inspiration… where do we artists look for it or does it just come to us?  We all suffer from a creative block from time to time and we know that's when we struggle to find it.  But other than that, if we stay open-minded, we just know when we have it.

 

When I visited Hotel Alfonso XIII in Seville, Spain with my artist friends, we were all so excited with the lovely atmosphere inside and got in a sketching frenzy immediately.  No doubt there we had it - we were fully inspired (click here to see a painting I did there).

 

I just loved the place, and for sometime after I left, I still felt the need to do more paintings of that experience.  So here's one I did, using sketches I made.

 

 

  

Sketches done on location such as these are always the most useful reference materials.

 

 

 

I always draw first, taking anywhere between 5-15 minutes.  When I'm satisfied with my drawing, it's time to paint.  For a small-sized painting like this (12x16 inches), I try to lay in as much as possible in one go - colors, values, details - during the first stage.  And I do it fairly quickly while everything is still wet or moist on paper.  This is what this painting looked like as a result of my first step of the process.  And I let it dry completely.

 

 

Finished painting

 

 

Hotel Alfonso XIII, Seville, Spain IV

 

A larger image of this painting is available on request.

Media: Original watercolor on paper

Image Size: 11.5 x 15.5 inches (29 x 39 cm)

Frame/Mat: No

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Daytime temperature reaches about 40 degrees Celsius (104 F) before noon and stays that way well into the evening.  Being outside constantly reminds us that we need to somehow cope with this relentless, intense heat.  I suppose that is a typical day in Seville during summer months.  I got together with several local artists on such (in other words, brutally hot) a day to paint around town (click here to read related story).

 

First we headed to the Alcazar Gardens.  Simply a divine environment for plein-air painters like us.  Sometime after lunch, just when I felt like seeking some cool shelter, I found out that was also on the minds of these die-hard painters of Seville.  They suggested we go to Hotel Alfonso XIII, a historical 5-star establishment in the city.  The architectural details,  interior décor, spacious courtyard, gracious staff who gave us non-paying visiting artists royal treatment... all this with a very pleasant sense of camaraderie with painter friends, the experience was pure luxury.

 

 

Hotel Alfonso XIII, Seville, Spain I

 

Click here for an enlarged view of this painting.

Media: Original watercolor on paper
Image Size: 15.5 x 11.5 inches (39 x 29 cm)

Frame/Mat: No

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In the age of internet, it has become so much easier to "meet" other artists and enjoy each other's creations online.  Despite the language barrier or the long distance, it is now possible even to make "friends" with those who live on the other side of the planet.  In this sense internet is not just technology but is a useful communication tool for many of us.  But it doesn't really replace face-to-face encounter which is no doubt more powerful.

 

In Seville, Spain, I recently had a chance to meet with several watercolor artists whom I had known only via computer.  They invited me to spend a couple of days sketching around their beautiful city.  María José Barrera Garrido kindly wrote a blog post about my visit there.  After many paintings, laughs, cervezas, I felt I had gained real friends.  And I was sad to leave.  However, I am pleased that my Japanese streetscape will be exhibited in the International Exhibition of Watercolors (Exposición Internacional Ciudad de Dos Hermanas, Sevilla) that will take place near Seville next month.  Hasta la próxima, mis amigos sevillanos!

 

 

Sevilla, Spain IX (Plaza de España)

 

Click here for an enlarged view of this painting.

Media: Original watercolor on paper
Image Size: 19 x 13 inches (48 x 33 cm)

Frame/Mat: No

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I am pleased to announce that "Marseille Vieux-Port, France V" has been juried into the San Diego Watercolor Society 32nd International Exhibition (judge: Nicholas Simmons).

 

The exhibition will open at the SDWS Gallery on October 1 and run through October 31.  The opening reception will be held at the venue on October 5, with many exhibitors and visitors attending.

 

 

Marseille Vieux-Port, France V

 

Click for an enlarged view of this painting.

Media: Original watercolor on paper
Image Size: 21 x 29 inches (53 x 74 cm)

Frame/Mat: No

Purchase: Available during the exhibition through gallery

 

Please send me an email for details.

 

 

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In the heart of France, in the beautiful region of Correze, I just had the pleasure of teaching a 2-day workshop with participants who traveled there from different regions of France and Belgium.  We were blessed with sunny days with mild temperature, so everyone tried painting both outdoors and indoors.  Today's painting is one of the demos I did on the street by the meadows with a view of a house built in local architectural style.

 

This workshop was held in conjuction with the 2nd International Biennial of Watercolor that started on July 21 and runs until August 5 in the town of Sainte-Féréole.  Surrounded by rolling hills, forests and lovely medieval villages, this town is fast becoming known as a place to see some of the best watercolor paintings created by both French and international artists.  I am honored to be among the exhibitors in their second edition.

 

 

(photos: courtesy of Philippe Marty)

 

 

Sainte-Féréole, France II

 

A larger image of this painting is available on request.

Media: Original watercolor on paper
Image Size: 14 x 20 inches

Frame/Mat: No

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From the top of the cliff at Cape Kiritappu in eastern Hokkaido, I could see several fishing boats bobbing in rough water.  As its Japanese name implies, the area around here is often foggy but on the day I was there it was mostly clear - only freezing cold.

 

On a small boat three fishermen were hard at work but I couldn't tell what was caught in their nets.  No matter what, their catch must have been of excellent quality.  Hokkaido, Japan's nothernmost island, is surrounded by the three oceans and has the most fertile fishing grounds in the country.  Salmon from there, among others, is no doubt the best in Japan.  If you get a nice cut of salmon next time, eating this dish originally created by Hokkaido fishermen will make you feel like you're there (recipe courtesy of Powderlife).

 

 

Kiritappu, Hokkaido, Japan I

 

A large digital file available on request.

Media: Original watercolor on paper
Image Size: 8.25 x 11.5 inches (21 x 29 cm)

Frame/Mat: No

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I like visiting the waterfront area in San Pedro.  A seaside promenade walk while admiring beautiful boats and cruise ships is always nice, but, for me, to see a gigantic industrial zone of the Port of Los Angeles in the background adds a sense of excitement to an otherwise tranquil scene.

 

There's also a working harbor for fishing vessels that I love to paint.  Here's one of my attempts showing some of the hard-working fishing boats anchored for the night.  The sun had just set behind the hills in the back while the fog was rolling in.... it was a golden opportunity for a painting I couldn't pass up.

 

 

 

 

San Pedro, California II

 

Click here for an enlarged view of this painting.

Media: Original watercolor on paper
Image Size: 11.5 x 15.5 inches (29 x 39 cm)

Frame/Mat: No

Purchase: Please send me an email for details.

 

 

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