• Lindy Cook Severns


How, you ask, do I paint cactus thorns? One blessed thorn at a time. (Ouch! oops...That one got me.)

How do strokes of color on canvas become a painting? One dab of color at a time.

How do I know exactly what color to use? I don't.

I make bold, intuitive color choices that speak for themselves. If I don't like what a color has to say to my painting, I wipe it off or cover it with a different color. It is, after all, only dabs of paint stroked onto canvas. But when used effectively, those dabs of paint connect into an emotional message. "Where the Mountains Touch the Sky" resonates of freedom, unencumbered happiness, soulful introspection. Serenity. Connectedness. They don't make tubes of paint labeled with any of those feelings. That's on me, and on you, the viewer. I brought the color. I do hope you embrace the view!

Here's a behind the easel glimpse of how it happened for this painting, "Where Mountains Touch the Sky" in it's underwear. (Shhh.... It's kind of shy right now.)

My underpainting and sketch for Mts Touch

I draw in the general shapes with pastel pencil, then thinly paint in the sky background and deepest shadows. Kind of a mind map.

Then I start adding the base colors. And patterns of light and dark.

Big wild strokes of energy give a painting more life than teensy careful ones. It's only paint on canvas, not life and death in the jungle. I don't have to watch my step too closely.

Stroke by stroke, I add shapes and color that build into fine detail.

Now, it's much like doing a puzzle where you mentally fit the pieces before clicking them together. Sometimes the piece doesn't fit and you must paint over it. An oil painting is fine with that. Oils are so touch-feely. They love all the attention.

Where Mts Touch Sky with main shapes blocked in with color

Still unfinished, my painting is dressed and ready to add the finery. Shoes, jewelry... Cracks in the volcanic rock. Flower heads above the tall grass. Cactus thorns. Lots of cactus thorns... Cholla have clusters of fine spines swirling across their branches diagonally all the way around. This makes them appear all shimmery and backlit, but don't touch!

It's also time to tweak color and detail to draw you into the painting's landscape so you can travel there.

When designing a landscape painting, it's generally considered more interesting to look up at something than to look down from it. Think of the Eiffel Tower: Say "Eiffel" and You promptly imagine the tower rising into the sky, but how many images of the City of Lights sprawling below come immediately to mind first?

So the rule is, paint the landmark rising into the sky. But here's the exception: I once was a pilot. I loved soaring over snow-capped peaks, looking down on patchworked fields and Lego-block cities. Now I love standing on a windswept mountain, the land spreading below me in a series of peaks and folds that fade into myriad micro-worlds. Worlds within worlds within worlds. I love reaching out and touching a cloud. I love the view from on high, and this is my home mountain. So, I broke the rule.

Detail of Mountains in Where Mts Touch the Sky oil painting Lindy Cook Severns

"Where Mountains Touch the Sky" is an expansive view across the Davis Mountains. My vantage point was a flat, craggy overlook about 6800 feet above sea level. We hadn't reached the peak yet, but from that height, mountains and clouds indiscriminately flow back and forth into one another. Wind whips the golden seed heads of tall, green-clumped grasses. (Where does the green stop and the brown begin on an autumn stem of grass? When do you stop being young and start being old? If you're living each moment, should that even matter?) All that breaks this rhythm of peaks and clouds is a cholla cactus, a thorny signpost in this kingdom-on-high, a realm where traffic lights and hurried humans are unimaginable.

Everything flows into everything else in smooth transitions, woven strands of color, light and shadow. Dots of summer roll gently into strokes of autumn. Wispy cirrus wrap tendrils of vapor into solid banks of cumulus. Blue melts into violet, violet into rust, rust into gold. Each thing maintains its identity yet doesn't force change as it touches something quite different from itself.

It's as the world should be, don't you think?

On this mountain, on this fine September day, it was. And IS, whenever you enter this painting. Enjoy the view.

Travel my website to find more cactus, more clouds and a world of mountains waiting for you!



Big Bend Artist

Old Spanish Trail Studio

Big Bend Artist Lindy Cook Severns, a seventh generation Texan,  paints real places in the wild American west, high desert ranch lands of Far West Texas and Big Bend country.  Lindy's paintings hang in most every state in the USA, and in England, Australia, Germany and Canada. The pastel landscape painter | oil painter is among 35 artists selected for inclusion in the definitive book TEXAS TRADITIONS, CONTEMPORARY ARTISTS OF THE LONE STAR STATE, Michael Duty and Susan Hallsten McGarry, 2010.  Featured in the national 2016 PBS documentary WESTERN PERSPECTIVE, the southwest landscape painter lives on a working ranch in the Davis Mountains near Ft Davis and Marfa with husband Jim, a stubbornly affectionate rescued terrier and a cranky African Grey parrot who passionately loves art.  Her studio sits across the road from Old Spanish Trail Gallery and Museum, where Lindy is the Artist-In-Residence. Lindy is the recipient of the 2020 Distinguished Alumni Award for the College of Arts & Sciences of Texas Tech University.

Lindy Cook Severns  Art   |     Old Spanish Trail Studio     |    PO Box  2167    |    401 Crow's Nest Road    |    Fort Davis, TX    |     79734 
  • Pinterest Social Icon
  • Facebook Social Icon
  • Instagram Social Icon

All images © 2020 by Lindy Cook Severns.        Lindy's artwork has been formatted for online viewing, and sharing these low resolution images on social media  is permitted,  Written permission is required for commercial use of any images..