Spent two hours organizing and patching the studio. The plastic on the ceiling needed taping in some spots to prevent the insulation smell from seeping down when it gets hot. Does insulation normally smell? Probably all moldy! After that I messed around with a couple smaller paintings, reworking them into something else. Good to push the paint around.
Art-making time, about one hour.
I pulled out a 30 x 21" painting of Green Mountain (Boulder) from last summer and hung it in the house. Definitely something about these paintings. Not there yet but it's the right track. If I pick a scene to work on in the studio, it loses something. That moment out there is that moment. Working on it from photos alone still feels fake to me. That said, as Weston said, you can't always capture the moment in the moment. The work can take more working later. For him in the darkroom this meant burning and dodging. For me it's realizing on site that X and Y could make this work really better, taking note, then following through later in the studio.
As cliché as it is, the key ingredient to these forest paintings is light. Light is the true subject. The surfaces and "essences" of the objects matter and must be handled right, but without the light it's not fully realized.