Morning Sky, May 24- Painting by Kevin Macneil Brown,
watercolor and gouache on paper, 2019.
The sky and light of late spring in Vermont can offer change and surprise. Here is a moment caught just after 7 AM, with wind and rain moving through and sudden breaks in the clouds bringing splashes of light to the new green on the hills.
A journal by composer and writer Kevin Macneil Brown, detailing the creative process.
Friday, June 07, 2019
Wednesday, February 27, 2019
range and divide (with endless sky) - New Music

Continuing my inner resonance with the mystery of high peaks and big sky, this soundscape composition works with material made with steel guitar back in October of 2018, later shaped and altered digitally to create texture and harmonic haze.
The shape and sound of this piece had been hovering in my mind for months, and in January of 2019 I awoke from a dream wherein I had heard--and seen-- it complete.
That morning I sketched the score/map shown here, and used it as a guide as I made the piece, which was finished and recorded in February.
- KMB
Saturday, January 26, 2019
Mountains, again....
This winter I have been focusing much of my painting time on mountains. The shapes and textures, the mystery and science of the way they change from day to day in different light and shadow continue to hold me in thrall.
Along with a few recent watercolors of mountains in both Vermont and Colorado, I'd also like to share an excerpt from my latest novel-in-progress. The words below are in the form of a journal entry by the book's narrator and protagonist, an artist named Euclid Lane who has, in the 1930s, come to paint in the high country of Northwest Colorado.
Along with a few recent watercolors of mountains in both Vermont and Colorado, I'd also like to share an excerpt from my latest novel-in-progress. The words below are in the form of a journal entry by the book's narrator and protagonist, an artist named Euclid Lane who has, in the 1930s, come to paint in the high country of Northwest Colorado.
Paintings by Kevin Macnieil Brown, watercolor and graphite on paper, January 2019.
It’s a struggle, sometimes, to keep
certain aspects of the painting in balance. The urge is to paint what you see.
But then there’s that other urge, sometimes just as strong, to paint what you
know.
The thing is, what you see and what you
know do not always agree.
You can always fall back safely on what
you see, but as you learn to see better—- to see more and to see more deeply—-you
might find out that seeing is, after all, not enough.
One day, then, you find yourself using
everything you see and everything you
know, to start painting what you don’t know, won’t ever know.
If you manage to get that all going
together, well, you just might have a chance of painting the mountain--or
anything, really—- and getting it almost right.
- Kevin Macneil Brown, excerpt from a novel in progress, 2019.
Saturday, December 15, 2018
Mountains in Winter
Alpenglow on Worcester Range
Painting by Kevin Macneil Brown, watercolor on paper, 2018.
Painting by Kevin Macneil Brown, watercolor on paper, 2018.
Sunburst Over Continental Divide
Painting by Kevin Macneil Brown, watercolor and gouache on paper, 2018.
Snow came in November here in Vermont, and I prepared my winter palette earlier than usual. Having just finished the first draft of a new novel set in mountainous country, I found that mountains were very much in my heart and mind, and mountains are mostly what I have been painting in these last months of the year.
Saturday, October 27, 2018
two quiet autumn places in sound
During the month of October I made two pieces of sound art inspired by a desire to create an audio analogue to the inner and outer energies of two quiet places in the autumn landscape.
The tools I used were simple: a steel guitar tuned to proportions that came from meditation and listening, a decades-old reverb unit with delay and echo settings I had made a long time ago, and a laptop for capture and mix.
The music was played and recorded in one pass, which resulted in the first piece below. The same material was shaped in mixing to create the second piece.As I worked I immersed myself in memories and feelings from the places that were the inspirations.
The tools I used were simple: a steel guitar tuned to proportions that came from meditation and listening, a decades-old reverb unit with delay and echo settings I had made a long time ago, and a laptop for capture and mix.
The music was played and recorded in one pass, which resulted in the first piece below. The same material was shaped in mixing to create the second piece.As I worked I immersed myself in memories and feelings from the places that were the inspirations.
Saturday, October 20, 2018
October Colors and Textures (New Paintings)
Mountain Pond, October Morning
(watercolor and graphite)
October River ( watercolor and gouache)
Paintings by Kevin Macneil Brown, October 2018.
Sunday, October 07, 2018
Rust Mountain Poems
My dreams find
home
in distant mountains.
What can we bring
that would be a blessing
to this clean new edge of sky?
Awake and wash
at pond’s edge; ice
has not yet formed.
See and feel the
feathery clouds in
morning’s wind-washed sky;
listen as October leaf
falls and finds the damp, soft
earth.
Whoever built this gate
has gone away;
hear the latch snick shut as
rust meets wood meets emptiness.
Deer running sleek
in sacred places:
open meadow meets birch thicket;
not far now to go, to find
cool shade of hemlocks and sleep.
Not quite
reaching
crescent moon
white pine is
dark and tall
and swaying
strong
but
also
holding hard to
earth.
Easy to see the wind
stir quiet water, make
ripples outward—
but it might take this lifetime
to know and become
ripples deep and inward.
- Kevin Macneil Brown
Monday, July 16, 2018
Hinman Lake, July Morning
Hinman Lake, July Morning-
Painting by Kevin Macneil Brown, gouache on paper, 2018.
This summer I've been focusing on painting in gouache. As my favored medium is watercolor, it has been challenging and satisfying to explore different ways of thinking about color, light, and texture; layering opaque, rather than transparent, colors..
Working from sketchbooks and memory, I decided to make a gouache painting of a place that continues to resonate inside me: Hinman Lake in the Routt National Forest in Clark, Colorado.
Sunday, April 29, 2018
Mount Zirkel Wilderness, Routt County, Colorado (Watercolor Paintings)
Spring has been late in coming to Vermont this year. The week before last was cold, windy, snowy, sleety, and icy. I made the best use I could of time trapped indoors by finishing a series of watercolors based on sketches and memories made in Colorado last summer.The Mount Zirkel Wilderness Area and the Medicine Bow-Routt National Forest landscape in NW Colorado captured my heart with its spaciousness, varied mountain ranges, its big skies, lakes and rivers. The six pieces below are intended to be a series. Taken together they express part of the story
this place has set in motion inside me.
this place has set in motion inside me.
Paintings by Kevin Macneil Brown, watercolor and graphite on paper, 2017-18)
Sunday, April 01, 2018
Hinman Lake, July ( watercolor painting)
Hinman Lake, July ( Clark, Colorado)
Painting by Kevin Macneil Brown, watercolor on paper, 2018
A steep climb, and then a trail through a paradise of aspens; trail meeting this shore in late-morning shadow, sun, sky, reflection. I swore I heard the ratcheting, resonant call of a sandhill crane, but saw no birds when I scanned the sky. Months later, looking at a photo I had taken that day, I noticed a speck in the sky that I thought might be the result of some dust caught on the lens. But a zoom-in revealed the shape: long neck and wings of a crane in flight.-KMB
Sunday, March 25, 2018
Three thoughts in early spring (painting)
Three thoughts in early spring- Painting by Kevin Macneil Brown,
graphite, watercolor, and ballpoint pen on paper, 3/24/2018
Saturday, March 17, 2018
Places of power and repose (new music)
There are places I can go to—woods, rivers,
shorelines, high mountains—where the deep presence of something true arrives
inside me. It often comes from the impossible approach of sounds that are
almost a silence, a mystery. For days,
weeks, months afterward I carry these sounds inside. When the need is strong, I
go to my studio and find ways to bring these sounds back, to share what I can
of the gifts received in these places of power and repose.
Tuesday, March 06, 2018
Wheeler's Point (watercolor painting)
Wheeler's Point- painting by Kevin Macneil Brown,
watercolor and gouache on paper, 2018.
watercolor and gouache on paper, 2018.
Painting the other day, and a memory surfaced as it took
shape on the paper. It was fifteen or so years ago, a day spent with my mother,
Patricia Macneil, in Gloucester , Massachusetts ,
her home town. We spent a drizzly spring day exploring, revisiting places and
stories strong in her memory. For some reason I really wanted to find the place
called Wheeler’s Point, and we ended up alongside the tidal, liminal wash of
the Annisquam River .
All this returned
about halfway through the process of
making this watercolor, and I had the sensation, as I moved the paint,
of an old Polaroid paradoxically dissolving and developing at
the same time. Two days later now, and I am grateful for the rising of this
memory to the surface. -KMB
Monday, February 26, 2018
Trail Run
And then there are days when you are given a chance to take
a trail, one you have never been on before. You say yes to the moment, fill up
your water bottle, and head out, not sure what you will find. After a half hour of climbing, you come to an
opening, and there it is: a place you have been waiting all your life to find.
Almost breathless at this altitude, you keep running. You know you will get
home later, but for now you just want to keep going and going, Distant snowy
mountains shimmer in the July sunlight. A Coopers Hawk circles in the pure
cerulean sky. Outward now is inward, and inward is the new unknown...
-KMB
Hinman Lake, Number 5
Painting by Kevin Macneil Brown, watercolor and graphite on paper, 2018
Sunday, January 14, 2018
Secret Waters, Wilderness Shadows (New Music)
With freezing rain and sleet pinging wind-blown against the windows before dawn, it seemed the perfect January morning to stay inside. Coffee and meditation led to a second cup-- and a surge of deep cleaning and re-organization of my studio space.
Before long the resultant opening of inner and outer spaciousness led to an idea. I found the audio file of a steel guitar improv that had been the heart of a previous composition, and began to re-work it with retrograde, delay, panning; EQ, layers of chorus and echo. After a while I heard another opening, and added three layers of pulse and shimmer on staggered mandolin tracks, then panned them like voices of birds, like shadows of tree-branches.
Three mixes in, and there it was: a place in sound that I belonged to for the moment.-KMB
Sunday, December 10, 2017
Blue Song, Far Shimmer (New Book)
I am excited to announce the publication of the sixth Liam Dutra mystery novel, BLUE SONG, FAR SHIMMER. This one sends Liam on the lost trail of a Vermont woman who vanished back in 1925. As Liam traces her past through a far mountain landscape he finds himself confronting his own darkest fears and visions.
Here's the first chapter if you'd like to check it out:
Chapter One
Golden light suffused the chapel of Saint Augustine’s church.
The sound of the choir had the hushed feel of gentle snowfall, a soft
blur as they sang--together, for the most part.
Or maybe it was that pale light somehow blending with the music, making
harmonies sound better, more perfect than they actually were.
Our daughter, Rose, was a sleeping bundle,
warm in my arms. Of course she was asleep: What better way to quiet an
over-excited five-year old than a Mass delivered in murmurs on Christmas Eve by
an elderly priest who seems to be barely awake himself?
Shawn’s
mother, Faye Donahue, had warned us that Father Thomas, a guest of the parish
this night, might be lulling, to use her word for it. But she was thrilled to
have her daughter and granddaughter with her in church tonight. It was a
promise we’d made to her, and making good on it felt right.
I
myself was doing my very best to stay awake. The mellow light and stained
glass, the kind voices, the smells of soap and perfume and wool clothes tinged
with winter wood smoke were pulling me into dreamland.
But
a sudden cold draft from the cathedral’s open doors at the end of the service
stirred me awake. I stood, handed over to Shawn the slack bundle that was our
daughter, and slipped into my old gray sweater.
Outside
in the dark, people thronged in chattering groups to their parked cars along Barre Street. A century ago this street and been home to work-sheds
for the granite industry and rows of apartment houses for the laborers--many of
them Italian, Scots, Irish, Swedes---here in the hill-nestled city of
Montpelier, Vermont.
This church, tall and imposing with its gray
stone and big rose windows, had been the heart of the neighborhood back then.
In a smaller way, it perhaps still was, though the industry was almost-- though
not quite--gone, and the people who lived here now were more apt to work for
the State of Vermont, or the big insurance company up on the hill, or the
retail stores and restaurants downtown and on the outskirts.
From the shadows beyond a streetlamp, a tall,
broad-shouldered man called out Faye’s name. She moved toward him, showing that
same taut confidence of stride and bearing, that same quizzical tilt of head
that I so often saw in her daughter.
Shawn kept moving, as I would have, too, so as
not to stir up the sleeping kid. I hung back, waiting for Faye.
Faye
called me over to where she stood with the big man in the shadows.
“Somebody who’d like to meet you,” she said,
“And I think you’ll be very interested in what he has to say.”
“Ethan LaSalette,” the man offered a
handshake. I felt the hard calluses, saw now that he was about Faye’s age. Even in the hazy light of the streetlights I
could see that he had dark eyes and dark hair, a full and friendly-looking
face.
“I’ve
known your mother-in-law since we were kids,” he said. “Look, it’s cold out
here. And I don’t want to keep you from your family. But I wanted to connect
with you. I think we can help each other out.”
His breath made a luminous vapor in the
lamplight. The sounds of voices came from the front of the nearby church, along
with a variety of footfalls--winter boots, high heels, dress shoes--on the
stone steps.
“I
saw your local history column in the paper, the City Bridge,” he went on. “I read what you wrote about looking for traces of a
woman named Marie Dubois; about trying to find a granite statue she had posed
for back in the 1920s.”
I
had just begun the weekly column the month before. It was hard to believe that
the one-sentence query at the end of what had been only my second column had
already stirred up interest.
“Like I wrote,” I said, nodding, feeling my
heartbeat kick up a notch. “She’s only a name in somebody’s diary, a few
sentences. But I’d love to know who she was, what might have happened to her.”
Ethan
nodded back at me.
I could see that Faye was grinning, even
as she hugged herself against the cold.
“A woman named Marie Dubois was my mother’s
cousin,” Ethan said. “Marie disappeared when she--Marie, I mean--was a young
woman. And my mother was haunted for decades by… not knowing what ever became
of her. And I’d like to know more about her, too. I can tell you some things.
Maybe you know some things that I don’t. Let’s get together soon. But someplace
warm, that’s not the church steps on Christmas Eve.”
“Yes,” I said, thinking, if this is the same Marie
Dubois, then here it is, the first gift of this Christmas.
(excerpt from BLUE SONG, FAR SHIMMER, by Kevin Macneil Brown, Liminal Editions, 2017)
The book is available in print and kindle editions at amazon.com:
Sunday, December 03, 2017
First Snow at First Light
Second cup of coffee kicked on a snowy Sunday morning, and next thing
you know I had set up telecaster and a 20th-century digital delay,
improvised and tracked this sonic meditation in one take. Added a little
bit of ambient mandolin, then mixed down quickly, to keep the mood. I'm thinking this might be a regular thing in the coming winter. I
like the impetus to work quickly and commit to the moment.
Saturday, September 23, 2017
Watercolor Layers
I thought it might be fun to share the layers of a recent watercolor painting. The painting was made at home after my summer trip to Colorado. I had in mind the sunset that greeted me just an hour or so after getting off the plane.
Sky and mountains.
Sunset, Sand Mountan, Routt County,Colorado
Painting by Kevin Macneil Brown, watercolor and graphite on paper, 2017.
First thoughts and memories.
Sky and mountains.
Sunset, Sand Mountan, Routt County,Colorado
Painting by Kevin Macneil Brown, watercolor and graphite on paper, 2017.
Friday, August 18, 2017
Colorado Sketchbooks
In July I traveled to Routt County, in Northwest Colorado. I visited family and did some historical research for a novel in progress. On family outings and on solo trail runs I carried small sketchbooks and a minimal pocket watercolor set. I made sketches of landscapes that caught my eye and heart, with the plan of making larger paintings from them in the months ahead. Here are a few I would like to share.
Mount Zirkel and Big and Little Agnes Mountains as seen from Steamboat Lake.
Hahn's Peak from Steamboat Lake. In 1866, Joseph Hahn found gold, but succumbed to a brutal winter storm in 1867, before much could be mined. Others finished what he had started. The peak, part of the Elkhorn Range, dominates the landscape around it.
A solo trail run on the South Fork Trail in the Routt National Forest took me up though spruce and aspen and open meadows. One long meadow descent brought me to the quiet power of the South Fork on its way to the bigger Elk River. I stayed a while, waded in the cold, rocky waters, then settled in to sketch.
Two views of the Zirkels as seen from the South Fork Trail.
All watercolor sketches by Kevin Macneil Brown, July 2017.
Mount Zirkel and Big and Little Agnes Mountains as seen from Steamboat Lake.
Hahn's Peak from Steamboat Lake. In 1866, Joseph Hahn found gold, but succumbed to a brutal winter storm in 1867, before much could be mined. Others finished what he had started. The peak, part of the Elkhorn Range, dominates the landscape around it.
A solo trail run on the South Fork Trail in the Routt National Forest took me up though spruce and aspen and open meadows. One long meadow descent brought me to the quiet power of the South Fork on its way to the bigger Elk River. I stayed a while, waded in the cold, rocky waters, then settled in to sketch.
Two views of the Zirkels as seen from the South Fork Trail.
All watercolor sketches by Kevin Macneil Brown, July 2017.
Friday, July 14, 2017
Midsummer Shores (watercolor paintings)
As always, the places where water, sky, and land come together are the places I love to paint.
Rocks at Oakledge, Lake Champlain
Paintings by Kevin Macneil Brown, watercolor on paper, July 2017
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