Category: Grand Bahama

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It’s too soon to wipe that painting out!

We’re our own worst critics. A little time and you might realize that painting has flashes of brilliance.

Adirondack Spring, 11×14 in a cherry frame, will be available through a fundraiser for the Gerhardt Neighborhood Outreach Center on October 17. This is a mission that provides medical care, job training, after school care and more to the residents of North Rochester, and one I’m delighted to support. If you’re interested in my work and in supporting a great city mission, contact Annie Canon.
As I set down my brush after a long painting session, I have one of two reactions. It’s either, “meh,” or “that’s pretty bad.” All I can see at that moment are the ways in which the painting has fallen short of my inner vision. I don’t see the things that are going right, like audacious composition, new ideas, or bravura brushwork.
I’ve been at this long enough to ignore that reaction. I no longer question whether the work is good or bad. I just ask myself if it’s finished.
Yesterday, Ken DeWaardspoke to the Knox County Art Society (KCAS). He said that he takes plein airwork back to his studio and leans it face-in against the wall for a few days. Only after the struggle has faded from memory does he turn it back around. Then he can dispassionately analyze what it needs.
Fog Bank, by Carol L. Douglas.
The worst self-doubt happens when you’re in a plein airevent and your work is overlooked by buyers and judges. It’s very easy to think you’re painting terribly. This happened to me this year with Fog Bank. I was unimpressed with it, since it’s largely atmosphere and no composition. Three months later, I like the painting more than anything else I did at that event. My goal was to show the movement of a North Atlantic fog, and I think it worked. That nobody else was thrilled by it is immaterial.
I had a similar reaction to another painting in 2017, They wrest their living from the sea. At the time, I thought the whole thing was too fussy and overworked. But set against my intention, the painting is a success. I wanted to contrast the tiny houses of Advocate Harbour with the vast landscape in which its people fish and farm. There are times when skies arefussy and detailed. Sometimes we have to square up to that and paint them realistically, instead of stylizing.
They wrest their living from the sea, by Carol L. Douglas
My old friend Marilyn often wiped out paintings she didn’t like. “Another board saved!” she would say. I don’t do that. Even failed paintings tell me something about my process.
Sometimes a painting is uncomfortable to look at because it’s pointing the way forward. It can seem like an awkward outlier when you do it. Five years later, you realize it was a bellwether and the best thing you painted that year. You’ll blunt your development if you wipe out everything that makes you uncomfortable.
In students, this discomfort with change can result in paralysis. They fuss and get nothing done in class. If that’s you, try falling back on strict exercises that force you to stop thinking in terms of results and start thinking in terms of process. (I’ll get into these on Friday.)
Grand Bahama Palms, by Carol L. Douglas
The last painting in this post is one I did on Grand Bahama in 2017. There is never any guarantee that a moment of beauty will be there when you return. This young palm is in one of the hardest-hit parts of the island, and I imagine it was drowned and broken. If the painting survived, I hope it reminds the owners of the former glory of their patch of land, and is a promise that beauty will return soon.
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The Decline of the Raj

Karl’s Garden, oil on canvasboard, by Carol L. Douglas

 In towns like Camden, ME or Freeport, Grand Bahamas there are year-round residents, seasonal residents, and vacationers. Because painters sit or stand like great lumps of coral for long periods of time, people forget that we’re there. That means we often overhear conversation. Anywhere Americans gather on the road, I will hear a variation on the following:

“I love this place!” the passing tourist exclaims.
“You should have been here before the hurricane/market crash/election/everything got built up,” responds the seasonal resident.
Shortly, they move on to the crux of the discussion: “The problem with these people is…”
The American Coot is a seasonal visitor to the Bahamas. Some, of course, elect to stay year-round.
I assume this conversation has been happening for as long as people have traveled for fun, and that there are variations in Chinese, Japanese, and every other language. It makes me want a gin-and-tonic on the verandah, reminding me of the sun setting on the British Empire, of Henry James and Rudyard Kipling.
Wiped out. I didn’t like the composition.
Normally, I enjoy listening to it, but I was off my game on Friday. Of course, this had nothing to do with the conversation and everything to do with composition. There is nothing inherently interesting in the shape of inlets on low-elevation, sandy cays. Without some background architecture—jetties, buildings, boats, trees—they are simply a boring ellipse that barely changes color.
On the other hand, the water itself is gorgeous. I want the opportunity to solve this dilemma, but the beach here is too hot for us pasty northerners. We take quick photos and then retreat to the shade of the palms.
Palm and sand, oil on canvasboard, by Carol L. Douglas
We’ve been warmly welcomed by Eva and Karl Dehmel, who have invited us to paint at their beachfront house twice. Here the conversation bounces along far less predictable pathways. I wrote about Eva’s artwork last week; Karl is also a retired doctor and an avid gardener. Were I not on a mission, I’d have been among the palms with him and his machetes.
Karl has a light hand with the jungle, allowing it to sprawl about in its tropical way. The sky holes and traps are very different from those created by northern deciduous trees. I have been painting much more intuitively than normal, eschewing any kind of compositional sketch or pencil drawings. The subject seems to bring out the Fauvist in me.
Boat, oil on canvasboard, by Carol L. Douglas
“It looks kind of like a Paul Gauguin,” my husband mused, when I showed him Karl’s Garden.
“I think it looks more like a Tommy Bahama shirt,” I responded.
Alas, all good things come to an end, and we said our final goodbyes to Karl and Eva on Sunday evening. As we headed back toward Freeport, I noticed that I was coming out in hives. It was too late to get to the grocery store, which closes at six, and we’d just left the company of two doctors. Talk about bad timing.
The scope of our activities.
I’m an old hand at allergies, however. I figured I could make it through the night without an antihistamine. “You don’t want to go to a Bahamian hospital if you can help it,” Cali Veilleux had told us.
By 11 PM, I was covered with bumps and my lips were swollen. I slathered myself with aloe and debated waking up Bobbi Heath to take me to the Emergency Room. Whether it was a food, bug spray, sunscreen, the sun itself, or something environmental, I’m still swollen and itchy this morning. In a few minutes, however, we can pop over to the store and get some Benadryl. That should be the end of that.
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Princess of flying thoughts

Princess of flying thoughts II, 2008 Acrylic on palm shaft, Eva Dehmel
As I write this the last echoes of thunder are moving off to the east, ending a night of rain and clamor. “This cold front will move through fast,” a woman named Eva confidently told us in McLean’s Town. That was just after she had fried us some exquisite fresh snapper, followed with slivers of Key Lime Pie that would not have been out of place in any fine restaurant. As compensation for a no-painting day, it was sublime.
We’d optimistically packed our gear and then headed to the farthest western point we could reach by car. Although that was about 45 miles, it took us several hours, between the roads, the scenery, and our general potting around.
Where your dinner-time conch shell goes to die.
Eva and Karl Dehmel live in a mushroom house on the beach near Lucayan National Park. A retired dermatologist, Eva works in clay, acrylics, chalks, and found material. The painting above hangs in her kitchen. The figure represents a Cuban deity, a wood princess, surrounded by her birds. In Eva’s mind, those birds represent thoughts flying away, an idea I found quite charming. More of Eva’s work can be seen here.
Making a pole for a fishing boat.
We stopped at the former East End Missile Base and tromped around for a while at their abandoned quay. Tiny blue buttons drifted on the surf. Porpita porpita looks like a jellyfish but is in fact a colony of hydroids. Its intense blue-green color is a variation of the Caribbean waters.
Cold front moving in on West Grand Bahamas.
McLean’s Town is a popular place for sport bonefishing. The bonefish lives in inshore tropical waters and moves onto shallow mudflats with the incoming tide in search of its dinner. These mudflats are surrounded by mangrove swamps. “What a weird little structure this forest is,” I remarked to Bobbi Heath. Apparently, mangrove swamps are important in protecting low coastal areas from erosion and storm surges. Their massive root systems dissipate wave energy and trap sediment.
If those were 35 mph gusts, I’m glad I wasn’t here for a hurricane..
I announced that I was rested and ready to take the wheel. I haven’t driven on the British side since August, and I wondered whether I retained the muscle memory. No problem, and while Bahamian drivers are erratic and ebullient, they’re also very courteous. We were home and unpacked before the skies truly opened.