I have seven – yes, seven – paintings in progress right now; not to mention the 20 4×4 canvases I have blocked out on my work table ready to become birds for Mother’s Day. Here’s a sneak peek at one of the early paintings for a Wild New World (no critters in this one… yet…)
I made it to one deadline – MFA’s Winter Member Juried Competition- literally at the last minute. The gallery director was leaving at 6 pm – and I got there to enter my painting at 5:55.
Painting all those little birds — 11 in all — really paid off, because they provided me with great practice. I was creating this painting with palette knives (the underpainting as well), adding an acrylic skin of a portion of a bird’s nest at the bottom, with decorative paper here and there, and stamps with a flourish…and then a bird simply called out to be put on the canvas. Not the smaller songbirds I had been painting, but a more dramatic rose-breasted grossbeak. He and the branch simply flowed off my brush; it was almost an other-worldly experience, like my hand was being guided. As a spiritual person, and I have to say that something more powerful than I created that bird.
And I believe that even more because the painting was selected by the juror to be in the show. This bird has a message for me…
The painting is called “I Rule.” He just looks like he is the ruler of all he surveys; elephants and nests and trees and berries galore — and mysteries yet to be discovered.
Okay then – I made it! Now there is another deadline tomorrow: Art On Paper, a national juried exhibition, also through the MFA. Wish me luck!
There’s a fine line between remaining flexible along the path to your goal and being sidetracked due to a lack of focus. I’m choosing to consider this effort as an exercise in flexibility as it contributes to my greater goal of continued growth as a painter. That’s a very general goal, so it’s hard to consider any painting activity as not contributing to it. (I’m the queen of rationalization.) The more specific and immediate goals are to create paintings for juried competitions, and also to continue with the abstract tree series in order to be ready for my solo show.
Deciding to paint Shannon was an easy distraction though – she’s beautiful, and I needed a gift for her loving walker/sitter (I call her Shannon’s nanny!). She’s a minimalist, and lives an uncluttered life (aren’t you envious?!), so I could think of nothing better as a Christmas gift than a painting of a beloved pooch!
Let’s hope the next post provides progress towards one of my immediate goals, or I will have to admit to a slight problem with focus. (Me? Lose focus? Never! I’m absolutely certain there is an excellent reason for painting cartoon lambs and giraffes when the deadline for the juried competition I want to enter is tomorrow…)
Anyone have any suggestions for staying creatively on track? I’d love to hear them!
I love the personalities of these little birds! Creating these little gems is therapeutic, but at the same time I am reminded of why I moved toward abstracts… less detail and more freeing. I think moving back and forth between the two works best for me…
October/November 2011
I currently have a piece - The Dancer – “hanging” in a virtual show; the MFA Online Member Juried Exhibition, juried by Sue Ann Lasher of West Annapolis Artworks & Fine Framing.
July 2011
I was honored to have one of my paintings selected for Maryland Federation of Art‘s National Juried competition “Strokes of Genius,” juried by Daniel Shay of the National Gallery of Art in DC. We had a lovely chat about my painting, and when I asked what he responded to, he said it was poetic and cerebral. Wonderful comments! For this series, I put my brain in the passenger seat and let my heart take the wheel. And while I was surprised at the descriptor of cerebral, I did plan this series and how each painting would develop, which was a first for me with the abstracts. The freedom from extensive planning is what drew me away from representational work and toward abstraction. Now that I’ve had my bout with wild abandon, I can happily blend planning and spontaneity.
I am encouraged to continue in the direction of this recent series. Getting feedback is important at this stage, as it is harder to know if I am truly developing and growing with my abstracts than it is with my representational work. Thank you, Mr. Shay, for your time and gracious conversation.
April 2o11
After the intensity of preparing for my last exhibit, I decided to take a few weeks to breathe, re-energize and get caught up on the mundane things of everyday living that seem ridiculous when in the throes of creation.
To wind-up my respite, I indulged in an energizing art immersion weekend, with instruction at the Art Studio New York (thank you Charlotta Westergren for your immediate guidance, inspiration and friendship!) and endless hours of working up an appetite hopping from museums to galleries to shops and on and on… Of course, there is no end to great food and fun in the big apple and I did a little of everything!
Now I’m ready jump back in – I have a renewed spirit and a new direction. The painting I worked on in NY is the next level of building up, excavating, layering – adding and subtracting, back and forth.
Following this muse, and urged on by Charlotta, I now plan to work very large as I have wanted to do for two years – I am ready!
October, 2010
I needed a get-away, and I got it – and so much more! I flew from Maryland to California for a three-day intensive workshop on “Abstraction from Nature” offered by San Francisco artist Tesia Blackburn – FABULOUS! She’s an amazing artist, instructor and a great person- and her artwork is stunning! The workshop was held in Ukiah in the heart of Mendocino County, at the Art Center Ukiah, which is a wonderful hub for incredibly talented artists.
There were eight of us in the workshop and Tesia was tuned in to each one of us. We sketched from the vineyard countryside and visited a little gem within Ukiah, which is the City of 10,000 Buddhas – a thriving community of monks, peacocks and visitors. The Temple walls are lined with golden Buddhas, and the streets are named “Mindfulness Way” and “Joyful Alley.” How can one not be inspired?! I created three paintings while I was there, and “Jewels” is by far my favorite. Check out Tesia’s workshops if you are in or plan to be in the Bay Area of Northern California – a truly wonderful experience!
Thank you Tesia – for your friendship and guidance - I hope to return for more of your great instruction!
PS: Tesia is affiliated with Golden Paints as one of their Working Artists. Working in acrylic for two years now, I am a loyal Golden Paint artist – the paints have a high pigment load; the variety and quality of mediums are unmatched! Check out their Working Artist workshops around the country.
