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“Everywhere I go, I see a potential painting right in front of me that I’d love to create right there and then with my brushes and oils. Sometimes, I’m able to stop and record what I see en plein air. Other times, however, I only have time to snap a quick photo and take some notes to remind myself what I just witnessed. Later, these snapshots often become my special ‘Studies and Small Works’ that I sometimes use as references for larger works. Everyday beauty can be found in an old man sitting on a park bench, or while looking up at a street lamp at dusk, or witnessing a unique color scheme in the sky after a storm, sitting in your car in heavy traffic, or seeing the impact of light reflecting through the Spanish Moss in one of Savannah’s many Squares and parks. If you’re like me, those unique small spaces in your home are used for intimate, lovely & small paintings—each to remind you that there is a great big fabulous world just outside your front door.”

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“There is nothing in art like leaving your studio behind, packing up the most minimal materials required—(by the way, my favorite easel holds a 7”x5” panel, comes in a tiny box that fits about five small tubes of paint and three distinctive paint brushes, and can be held comfortably, being a lefty,in my right hand)—then entering the actual world to experience painting and drawing in the natural light of day or the genuine dark of night. Painting en plein air in oil is my favorite method and medium; it is the most freeing way for this artist to paint, and offers me endless and intense sensations which I’m allowed to express quickly by spreading planes of color briskly onto a panel. Most of my larger works, developed in my studio on canvas, were originally a small work completed in about 90-minutes. If you’re like me, the more peculiar spaces in your home call for small, intimate & lovelyen plein air paintings.”

In 1994, John Berendt’s book, Midnight in the Garden of Good and Evil: A Savannah Story, made its initial appearance and became an instant and longstanding New York Times bestseller. Suddenly, a 1936 bronze sculpture by Sylvia Shaw Judson (1897-1978) entitled “Bird Girl” was thrust into the national spotlight. The statue played no textual role in Berendt’s book, but was front and center on the book’s cover after it caught the eye of Jack Leigh, the photographer commissioned to provide its cover photograph. When originally photographed, the statue was the central memorial element of a family burial plot in Savannah’s infamous Bonaventure Cemetery. Almost immediately after the book was released, the Bird Girl was removed for safekeeping — it had rested unmolested in Bonaventure since being purchased in 1940 by Lucy Boyd Trosdal (1881-1971) to stand over her family burial plot. A few years later, the family brought the statue to the Telfair Museum of Art in Savannah, where she is still on public exhibit. Luba’s rendition of the popular “Bird Girl” in oil, offers a semi-opaque and translucent frontal view in which the image appears to be floating.

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