Corrine Haverinen

Acrylic on Unryu paper, 57" x 25"

Acrylic on Chiri Paper, 40.75” x 9.5”

Private Collection

I saw this tree on the side of a busy road on the east side of town. The surroundings were very prosaic, but this tree stood out. I instantly knew that I would paint it. The painting took many sessions to finish, and I took a slower, more methodical approach to painting it than usual. I was surprised that the results were very satisfying, signaling to me that I don't always have to be very immediate and quick with my painting.

Ink and acrylic on Chiri paper mounted on canvas, 36.5" x 21"

Private Collection

One of my favorite spots on earth is the rainforest on Washington State's Olympic peninsula. Though I grew up in the Seattle area, I don't remember visiting the rainforest at Lake Quinault National Park until I was in my 20's and was living in San Francisco. Alongside the outrageously incredible trees with hanging moss were a lot of Hemlock fir trees. I took a dim picture of these trees on a dark, rainy day. I had to use my memory and imagination to fill in the details.

This rice paper has a very thick texture. I have held off coloring this painting, as I like the contrast that accentuates the rhythm of the lines.

Ink on rice paper, 48" x 39"

I can still remember the day I painted this on the nation's holiday. Using two pieces of paper, it was so large I had to paint it on the floor in the garage, which seriously tested my aging knees. The neighbors were having a garage party across the street, adding to the feeling of celebration. The synthesis of line and dot made the pain worth while. The Chiri paper bled with the ink just right. These trees were inspired from at trip to Yellowstone.

Ink on Chiri paper, 50" x 37"

Private Collection

While hiking the Elkhorn Slough National Estuarine Research Reserve, just north of Monterey, California, I came around the corner and saw these arresting trees. This was one of those times where a tree or stand of trees is instantly recognized as a great subject.

Ink on rice paper, 37" x 25"
Private collection

One of my favorite trails to walk near my home is the Riverfront County park that has a nice stand of redwoods at the front of the park. Every time I go there I take pictures of the same grouping of trees that never ceases to inspire me. I plan to do more paintings of these redwoods.

The paper I used is a Mango paper that has bits of dried mango leaves in it. I love the way this paper takes the paint. I have created many favorite pieces on this paper.

Ink on Mango rice paper mounted on canvas, 25" x 32.5"
This painting has an orange canvas border.

Private Collection

This view of a burnt grove of trees has inspired more than one painting.

Ink on Mango Rice Paper, 25" x 37"

Private Collection

This painting was inspired by reflections I saw in a pond in Yosemite. Something about the fluidity of the reflection of the trees inspired me more than the trees themselves.

Ink on Mango Rice Paper, 25" x 37"

Santa Rosa Junior College Doyle Library permanent collection.

Ink and acrylic on Chiri paper, 31” x 8.5”

Private Collection

Ink and Acrylic on Chiri paper, 24” x 8”

Ink and Acrylic on Chiri paper, 24” x 8”

Ink and Acrylic on Chiri paper, 24” x 8”

Ink and Acrylic on Chiri paper, 24” x 8”

This painting formed out of tests I did for "2 Trees Blue." Sometimes test paintings can be looser and more free. I formed this lineup of dancing trees inspired by a small test of the top of the first tree, synthesizing the lines down while focusing on the rhythm.

Ink on rice paper mounted on canvas, 23" x 33"
yellow canvas border

I love how this paper, which is a deep tan color reacts to the colors, creating a dusky feeling. I painted this one when I was deep into a poplars obsession.

Ink on rice paper mounted on canvas, 37" x 25"
This painting has a lemon yellow canvas border

Burnt trees give me a shiver. Lassen National park has a few groves of them that has fueled a number of paintings. The first time I visited Lassen, I camped next to a burnt area that greatly moved me. The bare branches have compelling lines.

Lassen Burnt Grove IV, Ink on Mango Rice Paper, 25" x 37"

Hetch Hetchy is a reservoir right outside of the west entrance to Yosemite. I spent a rainy week there one spring. The rain did not deter us from going out and exploring. The trees come alive in the wet. On our drive in to this area, we passed a burnt stand of trees that lead to this painting.

Ink on rice paper, 25" x 37"

More fascination with hemlock trees from my stay at the Olympic peninsula of Washington State.

Ink on purple rice paper, 50" x 20"

Small study for the full length Olympic Lone Hemlock painting. I found this light green Chiri paper somewhere, I don't recall where. (I hoard rice papers from wherever I find them). I loved the orange/rust color on the light green paper. I was eager to do more work on the paper, but never found it again, despite doggedly looking.

Ink on light green Chiri paper, 25" x 10"

Private Collection

This painting is a study for the larger Quinault Rainforest Firs

Ink on green rice paper mounted on canvas, 37" x 25"
with lemon yellow canvas border

A night of blues and purples surrounding a line of trees, inspired by the trees separating the Navarro Winery from the Greenwood Ridges Winery in Philo, California. When heading north, I usually try to stop at the Greenwood Ridge Winery to visit this stand of trees and their beautiful grounds. They make great wine, too. Love their desert wines.

Ink on rice paper, 25" x 37"

I took a picture years ago of two trees intertwined. The lines were very calm and elegant. I have returned to this photo time and again to paint these trees, each time with a whole different spin. The painting "Back in the Day" was based on tests for this painting.

Ink on rice paper

Private Collection

After a trip to the Olympic Rainforest in Washington State, I was plenty inspired by the gorgeous Douglas Firs with hanging moss. I thought I would like to do a bunch of paintings expressing their majesty. What I found was that it was hard to apply the language of my lines to capture these trees. I became obsessed, trying a number of times without feeling wholly satisfied. Finally, I had success with this painting, when I reduced my focus to just these two trees. I would like to come back to this subject later when I have more mastery and my language of lines evolves to better serve this awesome subject.

Ink on Chiri paper, mounted on board, 20" x 15.5"

A small piece that in its modest way got me started up again after a long layoff from painting. After a few painful failures, I broke through with a loose, free, and immediate result I was looking for. In a painting session, I aim to tap into something outside of myself and was happy to see that I could do that again. 

Ink on Chiri paper, 19" x 12.5"

Private Collection