Karstad Biodiversity Paintings: adventures in the colour of Canada

"Duchess of Oldenburg in Winter" (oil on birch panel 11x14 in.) On 8 February 2026 at home in Bishops Mills, the Apple tree in our side yard wore a muffler of fluffy snow along the broad Y of its main limbs. The drifted snow perched like a window in the angle of the crotch, and through it  sunlight glowed a little brighter and warmer than the surrounding snow - a heart for the Duchess of Oldenburg. I have wanted to do one more winter painting before the snow is gone, and this was it. I paused my commissioned Mudpuppy painting to paint this one before spring arrives to strip away the snow. The Duchess is an old and hollow Apple tree. As Fred wrote in his article for the North Grenville Times, published on 1 September, 2021: "It’s 59 cm in diameter, forked at 2 m height, maybe 10 m tall, with 9 m diameter of crown. In most years it’s the first Apple tree to bloom, and it bears big round very early fruit, pale yellow with a red streaking when ripe: soft, deliciously sweet a...

I've been persuaded to publish a 2026 art calendar, even though it's already January. It's been fun revisiting forest and river paintings from several years, and choosing favourites for particular months.   The message of this year is simple - woods and water are home to me. I love to paint immersed in forests and wetlands, beside rivers and waterfalls,  sharing the breath  of trees, inspired by constantly shifting sunlight and  shadow, and enchanted by birdsong  and the flitting movements of insects and small mammals  whose spirits are in the paint even if you can't see them. Each of the paintings presented here is accompanied  by journal, usually  written on the spot, so you get the story of why I was there, sometimes how I got there, what I experienced there, how I saw the place as precious, and something about the process of painting as I committed to canvas or birch panel the rhythms of nature and how light describes things. See my Woods ...

"Evening Fencerow" (oil on birch panel 8 x 10 in.) 26 December 2025 finds me stopped on the road alongside a tangled fencerow, a few kilometres northeast of our home in Bishops Mills. Evening light on a snowy field glows warmly through an energetic screen of Buckthorn bushes where horizontal stems of Virginia Creeper follow the pagewire. This is where an old fencepost marks the end of the old rail fence, here mostly fallen down and snow-covered. The snow in the ditch beside me is rumpled up and poked through with spiky winter stems and tufts of dead grass.  I was late getting out to do my traditional "birthday painting" this year, as we'd had an afternoon visitor. Prowling the country roads near home, desperate to find a suitable scene, I found it difficult  to decide between this one and a simpler vies of snowy fields angled across by more distant hedgerows.  I decided to risk the more exciting challenge of the near fencerow.  I took a few reference photos and...

  "Young Cedar in Snow" oil on birch panel 6x6 in. 26 December 2024  found me at our place in Bishops Mills on my 74th birthday, and my goal for the day was to accomplish another in the series of annual "birthday paintings." Last year this time, it was raining on the snow, and I was sheltering in a friend's car to paint a wetland scene with heavy sunset clouds. This year I was happy to be free to trudge out in the snow along the path "out back" at -7C with no precipitation, pulling a sled loaded with my painting gear and blankets, and reminiscing of the years when I boasted to Fred that any temperature above -20C was not cold enough for winter outdoor painting.   I have learned over many years of painting "en plein air," that I lose much less body heat when wrapped in a blanket to sit on the snow, than I would, standing at an easel - no matter how many clothes I have on. This is the first time I've used our sturdy high-sided "Pelican...

...featuring illustrations and text from our as yet unpublished book " Fragile Inheritance, a painter's ecology of glaciated North America."   We are really pleased with the quality, printed by CoBa Studios in our neighbouring town of Merrickville. The calendar is standard size, spiral-bound, and printed on high quality smooth paper which splendidly presents the glowing colour and crisp detail of my watercolours. The spacious calendar squares are marked with Canadian holidays and notes from our seasonal observations across several decades, to which you can compare your own sightings of the first dandelion or the last frog call - as well as quirky anniversaries of interest to nature lovers, like Rock-flipping Day, and Darwin's Birthday. The 13th month, January 2026, tells the story of the making of the book - our cross-Canada travels, how I painted in the field, and why the book, started in 1984, is even more important now, in the face of increasing climate change. He...

Outfall at Nuclear Beach (oil on birch panel 11x14 in.) 24 January 2024 finds me starting a plein air painting on the icy shore of Lake Ontario, near Pulaski, New York, looking east across Mexico Bay toward the cooling stack of the Nine Mile Point nuclear power station.  I have set myself up to paint on a low ice shelf close to the water, near a bank of amazing ice cobbles tumbled smooth in the waves of a recent storm. At my feet a creek is running free from beneath its silent sheets of ice, along a high barrier of storm-piled frozen wave-spray mixed with ice cobbles. The gentle swells moving in from Lake Ontario splash against ice covered boulders where it finally meets the lake. After I took my initial reference photos, cousin Delos who had guided me here to his favourite spot for photographing sunsets, departed to prepare supper.  By the time I had decided on a painting spot and arranged my plein air studio, the dark clouds on the horizon had lightened, spreading across Me...