christianfrederiksen

[christianfrederiksen]

Winter sketches continued, including a magpie perch, a bushy tree, and an inverted drawing. Chalk pastel and graphite on coloured paper.

[christianfrederiksen]

Winter sketches, including dry henbane, a tree on a hill, and dead treetops. Chalk pastel and graphite on paper.

[christianfrederiksen]

Churning river and ice. Chalk pastel and graphite on coloured paper.

[christianfrederiksen]

Hospital corridor sketch. Ink on paper.

[christianfrederiksen]

Figure after Suzanne Valadon, 2024 Acrylic on canvas 8 x 10 in. $100 (plus shipping) Figure after Otto Mueller, 2024 Acrylic on canvas 10 x 8 in. $100 (plus shipping)

[christianfrederiksen]

Prayer Plant Flower, 2024 Graphite on paper 5 x 3.5 in. Dried up Dieffenbachia, 2024 Graphite on paper 6.25 x 3.75 in. A couple of small, slow sketches done on work breaks.

[christianfrederiksen]

Flowers, Cobble Flats, 2024 Chalk pastel and graphite on paper 12 x 9 in. A drawing of flowers started at Cobble Flats, then finished slowly over the summer.

[christianfrederiksen]

Warmup portraits from various moments over the last year.

[christianfrederiksen]

Twixt Space (after Degas and Freud), 2024 Acrylic on canvas 24 x 36 in. SOLD Ghosts (after Titian and Freud), 2024 Acrylic on canvas 36 x 24 in. SOLD

[christianfrederiksen]

Running!, 2024 Acrylic on canvas. 36 x 36 in SOLD Part of a series of paintings of naked people that explore design abstraction, transparent layering, and fresh brushwork, among other things.

[christianfrederiksen]

Shadowy Mass, 2024 Oil on wood panel 6 x 8 in. $175 (plus shipping)

Another bird, a crow, painted from a doodle.

[christianfrederiksen]

Merganser in Flight, 2024 Oil on wood panel 6 x 10 in SOLD While sketching by the Bow, I also made simple doodles of some animals, and did paintings from those. Rather than creating a bunch of realistic detail, I try to reproduce what is beautiful about the sketch, and capture the essence of what I saw.

[christianfrederiksen]

For the sixth and final plein air vs. studio experiment, the goal was to make a drawing and take notes on location, then complete a painting in the studio based on those studies and memory. This was a blustery, rainy day on the Bow. I haven't finished the painting, since it needs a major rework. I got lost in the details of the wavelets, and I'm unsure how I want to depict the water.

[christianfrederiksen]

Looming Over Suburbia, 2024. Oil on wood panel. 8 x 16 in. $250 (plus shipping) When you look west as you drive along Deerfoot, you get a great view of Nose Hill rising up out of the surrounding trees and rooftops like some far off realm in a fantasy book.

[christianfrederiksen]

Study for Looming Over Suburbia, 2024 Oil on wood panel. 5 x 10 in. SOLD For the fifth plein air vs. studio experiment, I painted this small colour study on location, then created a larger version in the studio, referring only to the study and my memory. This is a view of Nose Hill from the east side of Deerfoot.

[christianfrederiksen]

Glowing in Skeletal Clutches, 2024 Oil on wood panel 8 x 16 in $250 (plus shipping) For the fourth plein air vs. studio experiment, I painted this scene in Nose Hill, with the light shifting, the wind blowing, and the crows chattering, entirely on location over multiple sessions.

[christianfrederiksen]

Basking, Stretching, 2024 Oil on wood panel 10 x 15 in. $350 (plus shipping) I'm drawn to painting hills that take up most of the field of view. I took a sun-soaked section of a hillside in Nose Hill and stretched it out to fill the frame, pushing the surrounding elements to the edges. The point is to focus attention on the hill's foliage and planes of colour, and distort it towards something more tapestry-like.