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I live with a painting before it's sent off, the longer the better. I turn it away from view to later return to it, flip it upside down, study, review, only to live with it a week or two more. The last review before delivery usually loops through a process of me pondering a myriad of what-ifs. I intensely study ways to unjumble thoughts and impulses. Simply saying what one wants to say is a baffling pursuit. With paint, it can be a rabbit hole.  Early last summer we noticed a particular fawn. Short-legged, a little gawky, she seemed to prefer us to her peers. If we sat on the porch to enjoy the evening, "Lil Bit", as my wife named her, came to visit. Her mother's grunts were useless as "Lil Bit" scampered up unabashedly. With no other deer in-sight, she disregarded chainsaw activity, and burning brush to graze alongside us during chores. When we took to a hotel during our February ice storm, we left a supplement of corn nearby for the wildlife. Two does and a variety of birds were lost, but Lil Bit appeared unscathed. If this little doe has anything, she has moxie. Although she is becoming more doe-like and visits less frequently, her trailblazing style is infectious.
Back in early 2019 in planning paintings for the 2020 show at InSight Gallery, I decided I wanted to paint a moonlit longhorn scene. I got inspired after seeing such a scene after a long day of reference gathering.  Studio windows are installed, but finish work postponed to not interfere with show schedule. I waited for well lit nights to do some plein air color studies. As I designed the piece I realized the size needed to be substantial. With my sketch on paper, I begin sketching on the gessoed board with paint. Diagonal lines in pencil make it easier to scale.  After the initial sketch is in place, I pay closer attention to anatomy. I continue to refine.  Now I begin to put a wash down. This will give a warm undertone.  Jumping forward I begin to refine in color. I continue this process until completion. Although the scene is serene, I wanted a shimmer and movement in the light. Western history and cattle lore often centered around the night watch. The stars are bright on this night, but the longhorns take center stage. Insight Gallery The West & The Wild Brian Grimm & David Griffin Reception May 1, 2020
"Spanish Dagger" 24" x 40" Briscoe Western Art Museum Auction 2019 I aimed to muster up the best of the Texas brush in "Spanish Dagger". Each year the lure of the whitetail increases with each passing day as fall nears. Bucks can be monsters in the brush and this guy was a brute. It is all about the buck and the yucca, both of which are aptly nicknamed "Spanish Dagger". In South Texas, seasonal colors vary from year to year depending on temperatures. I've been there when barely a sprig of green is evident and then other years, like the one in the painting, summer hugs winter allowing for extended growing season creating a thick yet airy lushness as rain allows. "Spanish Dagger will be at the Briscoe Museum of Western Art, live auction March 29. "Horns at Honey Creek" is reminiscent of scenes throughout Texas, however, this is set west of San Antonio. Love of family and land kept this second painting close to home. My grandparents arrived as children in Galveston, TX from Germany in the 1880s. They met, married and purchased 239 acres, not 10 miles from where I grew up in Central Texas. We all have stayed in Texas since. Longhorns captured my imagination early on. Self-reliant, rugged and the mascot for the University of Texas in nearby Austin, longhorns dotted the landscapes of ranches throughout Texas and were accessible subjects for me to paint. "Horns at Honey Creek" is in the Hill Country. I'm unsure if the creek got its name from the color or the taste, but I imagine it's probably a little of both. The dappled light of the shade play on the pattern of the longhorns. Summer is ending with cooler days on the way.
"Horns at Honey Creek" 24" x 32" Briscoe Western Art Museum, Night of Artists 2019
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Brian GrimmPainter of western wildlife and landscapes, constantly seeking to balance impressionism and realism sans trickery. Brian works as a full time artist in Central Texas. Exhibited at Rockwell Museum, Briscoe Museum, National Cowboy and Western Heritage Museum, and National Museum of Wildlife Art. 
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