The Art of Karen Martin Sampson

From cozy knitter to concerned consumer

2012-01-28T13:01:00.000-08:00

Keeping cozy and busy indoors for the most part. A trip to town last tuesday in wind, rain, and ice was enough to make me want to hibernate a while longer. If we hadn't needed to stock up on a few things, including candles, and lamp oil (we have been having power outages, including one on sunday for over 24 hours) we would not have taken the chance on the treacherous roads. I just took it very slowly and Bob had country/western music playing in the CD player and the dogs came along, so it was actually a pleasant trip.

Yes, that is the afghan as it currently looks. I need to make it longer and add wide borders to the sides, top and bottom. I knit in a few rows every evening while we watch DVD's from the library. Pushing myself to paint is a bit harder.

I made a decision, also, to NOT purchase an iPad. I had planned to give myself this "toy" with some of the money from the selling of the Daffodil paintings but I found out that the factories in China where these things are made are sweatshops of horror. I also understand that for many of the workers the conditions back home in poor villages are even worse, but that doesn't make the slavery they endure at Foxconn and other factories right. Apple is making some efforts to improve things but it is not enough yet. People have actually been dying. Do I want to play with a gadget that somebody died to make? A gadget that no one in China actually gets to have for themselves? I realize that almost everything we purchase comes from the labour of some poor person in a third world country but taking a stand somewhere is better than not taking one at all. Please carefully consider every purchase. Do you really need that new thing? Even if it is bringing some economic improvement to a poor country, is it worth the pain they suffer? Eventually this will improve...a lot of workers quit when things get too much and it is harder now, I understand, to find worker replacements. This leads to factory owner implementing changes so they can attract workers and keep them. Apple is agreeing to oversee more improvements. Consumers are more aware now and voicing their protests. Until this happens I am steering clear. Maybe someday I can actually buy myself a wonderful iPad or other miraculous gadget and not have to feel bad about where it came from. That would be nice. Gee. I really, REALLY wanted one...

What's on the Board...Or Am I Just Bored?

2012-01-18T13:20:00.000-08:00

While I wait to see if Michael, my model, can make it up here in two days I started this small, 12"x12" painting. If the weather is ok he will be coming but right now it isn't looking good - lots of snow and ice already here and freezing rain predicted for friday. It almost seems like something is conspiring to keep me from doing this model-in-a-box project. I have worked and planned to make this as easy as possible, keeping the stress level low, but now things may have to be postponed once again. Meanwhile I have this enormous box sitting in my studio taking up valuable space and there is no place to move it and even if I could I think it would start to fall apart.

This peony is a photo from our garden. I've wanted to do some closeup works of just the blossoms for some time and now that my Daffodil paintings have moved on to a new home I have blank spaces in my bedroom that need filling. I drew the image first and am now transferring it to a wood panel. A friend gave me several wood panel supports and this is my first try on one. It is supported in the back of the panel with wood strips along each edge...I put three coats of gesso on. I won't know until I start applying paint if I'm going to like this surface. I once did a painting on Clayboard and didn't like it at all but it was so expensive and I had already transferred a fairly complex image to it so I saw it through to the end. Also it was a gift for my parents' 50th Anniversary. I was able to use it successfully as a sample in my illustration portfolio back in the day when I did illustration and even had a rep. The result was actually pretty good but I have never used Clayboard again. Surface is too slick for my taste. I need more tooth.

If this peony painting works out ok then I'll do a companion piece on another wood panel, probably of a yellow Iris. I think I'm needing projects that aren't too much of a strain on my brain. Is it typical winter doldrums? Maybe. At least the afghan I'm knitting is coming along nicely:-) I'll show it to you when it's finished and maybe take orders...

An Auspicious Start to the New Year

2012-01-04T13:37:00.000-08:00

Afternoon Sentinel I & Afternoon Sentinel II, oils, each is 14"x18"

SOLD! Both of these paintings have just become the property of a couple back in Ontario who have been faithful, ongoing collectors of my work for well over a dozen years. These were once called "portraits of daffodils" by an acquaintance when he first saw them in a gallery exhibition. I liked that. I did not intend for these to be the usual "pretty" sort of floral fluff and tried to paint them showing the strength I felt from the flowers at the height of their spring beauty. The second image, unfortunately, is a bit over exposed (I really need to rephotograph it before I ship them off). The colours are strong and I called each of these, "Afternoon Sentinel", I and II as they appeared like guards at their post to me. In any case this bodes well for the first week of the new year and gives me that little kick in the butt I sometimes need - ok - that I almost always need. What is wrong with me I sometimes ask, that I don't spring out of bed every morning and dash to the studio and whip out a grand canvas? Each piece seems to require an intense part of my being and so I hover around the edges, thinking up the next works, and wondering what will happen and if they will ever actually be made. I am not and never will be a dash-it-off painter. I am a planner and a plodder. I've said it before. I did try to dash off that last still life with the apples and the bowl on some fabric. It is ok but when I look at it I do not feel its presence.

The afghan is progressing and now I've begun to work out some colour comps for a new quilt that I might make...or not. I seem to be happy to peruse all my knit, fabric, sewing and fibre art books and absorbing the colours and textures. The day will come, and maybe soon, when that will suddenly lose it's lustre for me and I'll be loading up the palate again gessoing some canvas. I'm still biding my time, even though I am fully aware that I don't have all that much left to bide. No, I'm not dying (well, I am, but we all are), however, I am at an age where too much future planning and thinking that there is all the time in the world is just not practical. And I want what is left to be joyous, fun, and to leave behind concerns about where my "career" is going. Having this couple contact me to purchase this work is full justification for just being and doing since I know the work is going to a good and appreciative home. I think about all the work I have done that has been bought and now hanging in various places and realize that it is not too shabby for a legacy. To these kind (and certainly far-sighted, ever so cultured, and highly discriminating regarding art) people I will always be famous. The art might even be passed down to future generations and perhaps they too will find joy and delight in seeing the work on their walls. It's about as good as it gets.

Paint This Fruit Before It Rots

2011-12-18T13:01:00.000-08:00

The Napthol Red finally dried so I took out a couple of semi-large brushes, mixed up just a few colours (not my usual palatte) and splashed away. This isn't great art but I had fun. Good thing as the fruit is beginning to be on its way out. It was the first real painting I've done in ages. Once this dries I'll probably go back in and work more on the folds of fabric. I really enjoyed just letting stuff happen here and not trying to be too perfect, but I am hoping to get back some focus soon, start a series, paint something that means something to me. If the weather holds I can arrange for Mike Ward, the model, to come up to pose in the box which sits here in the studio like some mysterious sarcophagus or new age shrine that I dare not move because I'm not sure I could get it all back together again.

I was thinking about a painting a series of unmade beds but I'm pretty sure that's been done already...the great thing about painting fabrics is that they hold a pose without getting hungry or saying they need a break.

A Step Back - A Step Ahead

2011-12-14T14:19:00.000-08:00

Just when I thought I was making some progress I had a sudden, unexpected setback. A week ago sunday I was sitting at the kitchen table finishing up addressing the envelopes for the 15 letters I was to send out for Amnesty International's Write for Rights campaign when I noticed I wasn't feeling well. I became restless, had to stand up, walk around, and suddenly rush for the bathroom; I'll spare you the details. Then the pain began, lower right abdomen and it felt also like I had been kicked in the kidney. Then after about a half hour I felt a bit better for a while and then it started all over again. This continued all day, pain, vomiting, etc. I just lay on the bed in a fetal position hoping I could die soon. By evening I wasn't too bad again and even managed to sleep pretty well through the night - not moving too much seemed to help keep the pain at bay.

Next morning I felt fairly ok so I got up, folded laundry, cleaned up in the kitchen, although I still didn't feel like eating (I hadn't eaten since the morning before). Then it all began again, only worse. I was doubled up and decided to call the doctor; they gave me an appointment for that evening (my doctor is an hour and a half away). By noon I realized I'd never make it until 7:20 at night so I asked Bob to call for help. He called 911 and inside of 15 minutes the ambulance arrived. I was deathly pale, freezing cold, nauseous and in terrible pain. They got me into the ambulance and into a hospital gown, and wrapped me in blankets and put very hot plastic bags in with me (they felt wonderful but I noticed they were practically burning the hands of the paramedic). She had me breathe in nitrous oxide during the hour trip to the hospital and it eased the pain considerably. My colour was better by then so I was placed on a blanket covered steel wheelchair, one of those extremely uncomfortable but sturdy types that you can't push around yourself, and wrapped me in blankets. I sat in the emergency waiting room for three hours. My blood pressure and heart rate were excellent so I wasn't considered a high risk to die or anything - it was kind of reassuring, sort of. But everyone in the waiting room was dressed except for ME and I kept hoping I wouldn't have to find a bathroom since all I had on was an open backed hospital gown, plus I wasn't walking too steadily at that point.

The emerg was crazy that day (one of the nurses used the word "crazy" so I know it wasn't me hallucinating or anything). A gunshot (hunting accident), a heart attack, and numerous fairly serious cuts came in after me and all had to take priority, to say nothing of the people who had been there before me. Finally I was wheeled into a small private room in emerg and somehow managed to give a urine sample (I really didn't think I would have it in me - I hadn't eaten or drunk anything in about 30 hours). Then blood was taken, more blood pressure and heart rate stuff for the umpteenth time. I was able to lay down at least and try to keep warm under one flannel blanket for the next four hours. I was asked a lot of questions including "are you under stress?" and "are you depressed?" plus lots of poking and prodding. The pain was gone at least but I still did not feel hungry or thirsty - just weak and tired. At length I was told that I had a bladder infection and probable gall bladder problem. I needed to have an ultrasound for which I would have to come back later in the week. I called Bob and he had to come get me at nine o'clock at night. We stopped at a pharmacy that was still open and filled two prescriptions, including an antibiotic that was to knock me for a loop all of last week. The other was to take if I got pain and cramping back, which I did not. I was also instructed to take Metamuscil every day ( I've been vegetarian for years and get a LOT of fibre so I was surprised). I eat more greens, colourful veggies, and fruit than almost anyone I know, to say nothing of Bob's home made granola, whole grain breads, cereals, and other high fibre things. I even eat seaweed for pete's sake and I HATE seaweed.

So we got home by 11pm and I spent days laying around and was not even interested in reading for a couple of those days. I know I'm ill when I don't want to read. Slowly I felt a bit more motivated to be up and doing things, although I had almost every one of the awful side effects listed on the antibiotic notes. I had the last one saturday and that was great. I also went back for an ultrasound on friday and they spent a full hour pushing that little iron over my torso. I get the results tomorrow from my own doctor, who was notified and asked me to come in.

With not having to take any more pills I woke up sunday full of energy and motivation! I suddenly wanted to do everything, had more energy than in months. I even went for the morning walk with Bob and the dogs! And I have for the past three mornings, so I guess I'll be continuing from now on. I have started to plan some new work, and even got out all my knitting books and have some projects in mind for my stash, and started to design a new quilt for our bedroom. I wrote pages in my journal. I made dinner and two apple pies on monday. What has happened? I just hope it continues. The doldrums seem to be gone and I'm not going to question that too closely.

I got a rejection notice for the above still life from a show I entered it in and I don't even care! Now that's progress.

The Red That Won't Die

2011-12-03T12:00:00.000-08:00

I have a simple still life that I set up for my student a week ago thursday and decided it would be a good exercise for me to paint it too. I fussed with the arrangement and lighting for quite some time, gessoed over an old painting that I never liked and the next day I put a red wash over the whole thing. I often like

a bright red underneath my work as it acts as an interesting brightening agent for colours painted over it. I decided to draw the shapes in Cerulean Blue since the blue lines against the bright red sometimes show through in places adding extra interest to the total composition. This has worked well for me in the past. I have a new colour I haven't used yet, Napthol Scarlet by Gamblin that I have been wanting to try so I decided to use it as the underpainting. BIG MISTAKE. It does not want to dry! Painting anything over it, even though it feels dry to the touch, causes a blurry, muddy result. It stains my fingers and brushes and rags and just seems to be the red that won't die! It has now been days! I had no intention of doing anything beyond a direct, quick study here as a way to restart my stalled painting motor but I can't do anything with this until it dries. It won't wipe off completely either. It just sits there in all its bright scarlet glory. I know, I know, I could get out another canvas and start again but I can be stubborn and I don't want to do that...I want to paint on THIS canvas. And I have to get this done by next thursday as the model is coming to pose in the box for me and this set up is draped off the top of that box and onto a table right in front of it. It has to be moved when Michael gets here.

Maybe it is something to do with this canvas. It is 12"x16" and I have had it for about 12 years. I painted a very bad plein air work on it when I was still at the Alton Mill in Ontario which I didn't bother to finish...I could see a disaster happening so I walked away and stored the canvas out of sight. Not wanting to invest too much in this "study" I am going to do I thought the canvas would be the perfect choice to gesso over and work on. Maybe it's a bad luck canvas. I am not normally superstitious but have you ever noticed that there do seem to be such things as "lucky" items and "unlucky" items in the world? Just labeling it in my mind as a sort of throw-away piece of canvas has possibly reflected in my brain and caused a lack of serious thought I normally give to more "important" pieces that I tackle. I did not test the Napthol Scarlet to see how it would act and presumed to use an untried method. At least this is not the disaster that Leonardo once had when in a moment of unconsidered competitiveness with Michelangelo he painted a hurried fresco in a method he didn't normally use and tried to dry it with bonfires built in the room - everything melted off the wall.

Now I have a good excuse to get back to my pile of books in the house. I'm half way through the last book in the The Baroque Cycle trilogy, (each book is over 1000 pages - yummy!) The whole time I'm curled up with my books, though, there is a nagging little gremlin in the back of my mind reminding me of my laziness. It's enough to make me almost believe I must have been Lutheran in a former life.

Boxed In

2011-11-22T12:29:00.000-08:00

Now that I have committed to having Michael Ward, a wonderful model, come to my studio to pose for me next week I have found a bit of a fire under me to get ready for this occasion. I am actually planning and working toward the series I have wanted to do for a very long time and not being concerned about how long it will take or where it will be exhibited...or even if it will be exhibited. I am still scarcely touching brush to canvas but having the set up I need is going to change that. I have been building lately...a big box.

It started with building a small model, scaled to hold the little plastic artist's figure that I have had hanging around for three or four years. I used to have one of those wooden artist's models but I think I gave it away. Anyway, I made the little box and put the figure inside and experimented with different ways to light it.

This is just one of the things I tried. When I felt satisfied that this might work I asked Michael, the human model, what size box he would feel most comfortable with. I originally wanted it to be 30 inches square but we decided on 40 inches in the end. I spent a couple of days trying to figure an inexpensive method for building this box; I really don't want to spend money on real wood and have it carpenter perfect - it's going to be dismantled when I'm through with it. I have some large sheets of heavy cardboard and I cut two sides to the 40" size, reinforced one side with square dowl sticks (which I use for stretching silk when I silk paint), just taped on (with lots of tape!) and taped a large piece of cardboard over the top. I put together the 8" high model stand that I had used for posing Samanda last spring, covered it in soft velveteen that I had from an old futon cover and placed the box on top. I had to support it by tying it to the stairs in the center of my studio, put a spotlight low behind the set up, and draped a cloth over the back. The next day I decided I didn't like the dark look; the colour of the cardboard, the purple of the floor cloth, or the dark background cloth. I spent yesterday taking everything apart, moving the models stand to a better position, and covering the inside of the box in white fabric.

Now it's beginning to look right and it is surprisingly sturdy and easy to move around in. I can practise lighting from different angles and may even cut a hole in the side to light it that way. I sure hope all the tape holding everything together holds up for the next week. I really don't want to have to reconstruct this thing again.

Reminds me a bit of those Primal Scream boxes that were all the fad about thirty years ago.

Studio time actually beginning to be productive

2011-11-17T14:36:00.000-08:00

Returning to painting mode. Worked on this a bit on tuesday when I went to the art group and then finished it today. At least it feels done enough that I can move on. That's what studies are good for, trying things, making yourself put brush to canvas, and finding out what's going to work and what isn't. I have no vested emotions here but I do have a possible buyer, which is always nice!

Speaking of buyers, I got a message asking about purchasing the "Lisa" painting yesterday and it sounded pretty good but I have become so skeptical and cynical that I didn't trust it. Good thing. Today the person completely ignored my specifications for payment and shipping etc. and tried to tell me how he wanted to do things 'cause he's on his way to India on a business trip and then moving to Johannesburg and needs the painting "quickly" and wants his shipper to contact me, etc., etc. Bells, whistles, red flags. It's a scam, I'm pretty certain. Ah well.

The model I want to use has been back in touch and I think we are going to be getting together fairly soon. He has some stuff that could help me with my thoughts for posing him...being an artist himself and having worked with so many great professional photographers he knew exactly what I meant when I put my ideas to him. Getting started on a major project would be wonderful so I am feeling more hopeful. I don't want to go into details about any of this yet...don't want to take away its power or jinx it. I have a tendency to just tell everybody everything and often to my detriment. When it starts to happen I can get all Chatty Kathy about it. Hey, I'm thrilled to even HAVE any ideas about anything these days.

Where's a "Clapper" when you need one?

2011-11-14T12:53:00.000-08:00

It's official. I've fallen in a slump and trying very hard to get up! A hand clapping "Clapper" would be a nice thing to have right now...send for help. But, I actually contacted a model I have wanted to use for quite some time to see if he would be willing to make a trade with me; modeling in exchange for some art. I think he will be ok with it. Great model. I need some good inspiration right now. Then I came across a blog today that really helped:

http://marlathirsk.blogspot.com

Marla has an interesting take on things. I could use more of an interesting take on things these days. Thanks, Marla. I don't even know you, but thanks.

We've had rain and snow and a bit of ok almost sunshine. It's getting darker earlier. I have no ambition. I am actually COOKING a lot these days. I hate to cook. Trying out a bunch of new vegan recipes. Most are actually delicious and intriguing so that's good. It keeps me from thinking about all the painting I'm not doing.

I have a student now. She came two weeks ago and is coming again this thursday. I set up some stuff for her to work from. Telling somebody else to draw and paint might get a fire built under me.

Tomorrow I am going to pull myself together, get out of the house by 8am and get down to the art group session, which I have been missing week after week. Even if only one other person is there it will help. I need some connection. Bob is great but he doesn't draw or paint and has some trouble relating to this problem I'm having. The three dogs are great too, but they don't draw or paint either. I like being alone, quite a lot, but not THIS alone. Stimulation. Some feeling of enthusiasm that makes me want to get out to this studio to work on some painting every single minute! Where did it go? I've been here before so I figure it will pass...but in the meantime it sucks.

Think I'll go in and make a stuffed tofu/fake turkey roast.

Step in the right direction

2011-10-27T16:22:00.000-07:00

I chained myself to my art table (well, not literally) and worked this afternoon to overcome what was rapidly becoming a self defeating attitude. (Thanks Bruce for, once again, giving the needed pep talk:-). It is not the end of the world when the mind blocks but it sure is distracting. I started to feel it coming back and while this is not a top drawer piece it is beginning to have some of the sense of control that my personality type requires. I don't mind happy accidents but I do like to have a fairly close connection and concept to what the heck I'm doing. Choosing an all white setup was probably not the smartest way to jump back in. The light was changing a bit from the window and the overhead lights added some unwanted yellow cast but next session I might get out my colour corrected light stand and go over this again. Or just start something else. Right now I have to get back to all the petitions for world justice that I have lined up to sign. Apparently when enough individuals gather together to say the same thing the powers that be sometimes listen,(Occupy Wall Street case in point), although I have to admit I am glad there isn't a group out there getting ready to occupy my studio right now.

AshCan School - I Don't THINK so!

2011-10-27T12:41:00.000-07:00

I have not joined the Ash Can School of art but you wouldn't know it by the result of my first attempt to get back into painting. It put me off so much that I haven't looked at it in three days. I have changed the set up now a bit to simplify it even more and have taken myself to task to really LOOK at the colours that are in this piece of crockery. My head is floating around in clouds and down in the depths of confusion. I will be better again. I have to be up to my chops again. This is disgusting me. It didn't help to get the news that my piece, "Girl in a Garden" had to be sent back to me and won't be in the FCA 70th Anniversary show - it arrived "damaged." I don't know what that means as I haven't seen it yet, but I can surmise that the glass is broken. They have told me though, that the piece will still be seen on the website for the show so that is something. I shall have to switch to using plexiglass I suppose but I always worry about static electricity causing migration of pastel particles to the under

surface of the glass. I hate using fixatives as they can blob and discolour sometimes.

Meanwhile I have to get started my mantra while facing the setup and trying again, "I DO know how to paint, I DO know how to paint..."

Pencil to paper

2011-10-20T12:42:00.000-07:00

It's pencil to paper! I broke through the wall, so to speak:-) Now if I can just get through all the past paperwork, emails, blog and FB posts, plus catching up on 68 Lines and Colors RRS feeds...www.linesandcolors.com check it out - wonderful artwork to look at from amazing artists around the world! There are just too many out there and the competition is killing me! But it's great never-the-less. Keeps everyone on their toes - kicks out the complacency - and keeps everyone sharp.

Today I will put brush to paint to canvas...I swear!

Working up some steam

2011-10-15T12:49:00.000-07:00

It is finally beginning to happen...every day I move closer to actually putting brush to canvas! I now have a simple still life set up and feeling that rush of anticipation to actually start. Putting aside the continuing pain of my stupid ankle, leg, foot thing is much more possible when I'm focused on something else. (I do think I may have to revisit a doctor if this isn't feeling better in a week or so).

I'm going to use a limited palette and keep the design simple, on a small canvas (5x7). Working from the still life direct, not photos will also stimulate my thinking processes. This jug has been a favorite subject off and on for a couple of years. Once this is completed I should be well on my way to larger, more challenging stuff again. Just deciding today which lighting to use.

It amazes me how easily and quickly the muse can disappear and how hard it can be to coax her back.

Time to get motivated

2011-10-14T12:37:00.000-07:00

To Tell A Story - oil - 16"x40"

Yesterday I received in the mail my certificate of Best Figurative/Portrait Award from the Annual International Representational Show (AIRS) through the FCA in Vancouver, BC. It is for the painting, "To Tell A Story," which seems to be a big hit with everyone who sees it. Along with the certificate came an unexpected surprise - a cheque for $500! Wow. And that almost covers the amount of money I have spent on entry fees in the past few years. Now that gives me a kick in the seat. I have been struggling with feeling up to getting back to painting and what more motivation could one ask for? Now the problem is, what do I do for an encore? Am I only as good as the last painting? Where was my head when I came up with this canvas? Can I get there again? Can I top this? Should I even care if I can or not? But no pressure...I wish. It's ok. With all the stuff going on in the world my little problems "don't amount to a hill of beans" as Bogey said. See. I feel better already!

I think I'll stick with starting back in slowly. I have a request from one of my collectors ( I have like three collectors so it's one of those:-), for another one of my tiny jug paintings. That would be a good, not too demanding project to reacquaint myself with paints and brushes. I can't believe how daunting it feels though. My foot, ankle, and leg are continuing to be quite painful but I am gradually reclaiming mobility. I spend way too much time on this computer and this morning I deactivated subscriptions to a few newsletters. I may have to deactivate a few more before I'm done. Meanwhile I have to take up my supplies and actually begin. I did get a small canvas out the other day and I have looked at it. It's a start.

An Empty Space

2011-09-28T12:36:00.000-07:00

This shot is from last winter but is an adequate sentiment regarding the state of my art life right now. The space is empty - of me. But not in my head or heart:-) Next week this cast is supposed to come off and physio starts so that the ankle can be strengthened and I will once again be able to hop, skip, or jump my way out here in all weathers! I just hope I am not too rusty. I have not even been sketching. It's just not there for me right now. I do, however, sense things happening in my little grey cells, especially way in back, hiding underneath the blankets I have piled on to protect my fragile psyche while I heal. New paintings are fermenting...I can tell. Even I am not sure what they will be yet. It's kind of exciting, really, to be surprised when I start new work, especially when I carefully plan it and then it digresses from that plan.

Good news, though, in that my latest bone density scan shows improvement! That is the first time in a long time. The Strontium and Super D that I take daily must be working. I gave up on bisphosphonates (Fosamx, Actonal,) etc. after being on them for about seven years. They help in the beginning but only make the bones more brittle in the long run. Yes, I have osteoporosis. My mother had it and my grandmother, both quite severely. I refuse to give in to this. There is a utube video at http://www.youtube.com/watch?v=DVfG-YiM4ZM. It is reputed to be Ginger Rogers at 92, dancing with her 29 year old grandson, but is in fact a 79 year old British lady dancing with her 35 year old instructor - but who cares - it is a wonderful example of what refusing to give in to feebleness in old age can do! Of course, I do know that some things can't be overlooked, ignored, or refused - some illnesses come without warning, without any way of fighting them, and without fairness concerning how well one has taken care of oneself. Still, I hope to maintain a modicum of dignity and strength as I age, and the courage to speak up about what is important to me. I want to hang on to all of my marbles as long as possible:-)

Slow Recovery

2011-09-17T12:00:00.000-07:00

For any and all who might be interested this is the present state of my broken ankle - healing but more to follow. I am now on my second cast and they gave me this attractive boot to strap on to make getting around a bit easier. I can sometimes hobble out here to the studio where I have been catching up on paperwork, emails, blog reading, and insect murdering. (For all that I am a vegan, and I really do hate to kill anything, even bugs, but when they invade and try to take over my territory I am a regular Conan the Barbarian.) I even managed to pack up a painting to ship out to a show in Vancouver which I got to the shipper with the help of dear husband and help/mate, Bob.

I am working up to returning to actually painting and/or drawing. Somehow the motivation hasn't been there yet. I will reach a point where it is more painful NOT to be painting than it is to BE painting.

Meanwhile I have to work up the strength to hobble back to the house and hope I get there before it starts to rain. I hate to see a grown woman cry.

Life is what happens while you're busy planning other things...

2011-08-22T15:36:00.000-07:00

Trying to post this on my husband's computer as I can't get out to my computer in the studio. Gave myself an unexpected birthday gift yesterday (birthday is today)...broke my ankle. This is not how I expected to spend today. Good time to catch up on my reading I guess if I can get past the pain...hate the painkillers they gave me so I'm not taking them any more... well maybe tonight so I can try to sleep:-)

Catch up with you all later.

Trying Not to Destroy A Work of Art

2011-08-18T12:03:00.000-07:00

This morning I took courage and tackled the opening of the frame and retrieval of the pastel so that I could fix the area that had smeared a little. Like some of you commented, the blurring effect didn't bother me really but the client was very upset about it and I do want her to be happy. Below is my sequence of art restoration:-) I am not an expert, and please, Don't Try This At Home unless you are prepared for possible consequences (like ruining the whole thing).

Oh, for those who asked, the piece is titled "Possession of a LyreBird".

Facing the problem.

Slicing through the glue holding the backing on.

Didn't slice neatly (can you tell?)

All those metal clips have to be bent up or removed.

Success getting it out! Left the mat and glass in place.

Corrections were so minor it felt like a crime to open this thing.

Tested the spray on a scrap first...now for the actual art.

A bit of blobbing but very lightly sprayed a couple of thin layers - one spot went right through the paper and left a slight stain. I was afraid of that. I have been able to sort of cover it with some pastel tone - it was on the background paper colour but I'm not pleased that it happened. This why I usually DO NOT use spray fix.

Attempts to cover it are not perfect. Struggle, struggle. Erase. Try new colour.

Not bad I guess, but I do feel that the original integrity is slightly blemished. There is absolutely nothing I can do about it so have to let it go and hope the client is ok with it.

Now back into the frame. The client will have to take it back to the framer to redo the backing. I'm not touching it!

Spraying and Praying

2011-08-17T12:02:00.000-07:00

Yesterday I met a woman in our local library branch who bought this pastel from me last year and had it framed. She asked me to come by and see how it looks framed and to evaluate an area where the pastel seems to have blurred and wondered if I could fix it.

The frame looks very good with the piece and is a nice professional job, which means the backing is sealed - tight! I really am not very concerned with this slight blurring that appears on the lower edge of the hands but it really bothers the owner of the piece so I will see what I can do and give an update on how it goes. It will mean breaking that sealed backing and then I don't know what I'll find, how the framer has attached the paper to the mount, etc. I just hope it doesn't turn into a real problem. At least this lady understands that she may have to return to the framer to have it sealed up again, and she will pay me to make this correction since it wasn't my doing. I didn't spray fix the piece - I hardly ever use spray fix as I find that on occasion it can blob and blotch and even change the colour of the pigments a bit. I will see what I can do and hope nothing gets ruined. I have some Fixatif Latour by Sennelier, which I haven't tried yet, so this may be a good time to do so. It is non aerosol, designed specifically for pastels and needs to be applied in several thin coats. It is supposed to be non-yellowing synthetic resin. Better do this outdoors also. Spray fixes are toxic. Keeping my fingers crossed that this turns out well.

SCAM Warning

2011-08-16T12:47:00.000-07:00

No pics today, just a warning, which I know many of you already are aware of. I received today this email:

Good day to you.

I am so excited that I came across of your work on internet search, I am interested in purchasing these creative artworks from you......................

Hydrangeas, Fruit Bowl and Two Decorative Boxes

Let me know their various prices. and how much discounts are you going to give? I will be happy to have these selected artworks hung in our new home in South Africa. As well, I want you to take out the shipping cost. I have been in touch with a shipping firm that will be shipping other house decoratives.

We are traveling from our Seattle home to our new apartment as soon as possible. On Paying for the artworks, I will be glad to pay you with a Money Order or Cashier's check in US funds that can be easily cashed at your local bank, please let me know on how to proceed for the payment of the creative artworks.

I will await your advise on how to proceed. Have a wonderful day.

Take care,

Rhoda Anderson

Punctuation, grammar, and spelling is just as it was sent to me (except I did put a space between sentences which the sender did not do:-). This email has been going around for months (maybe years) to various artists and some have fallen for it, unfortunately. It is a scam. There is a lot of elaborate back and forth about prices, etc., and you are getting more intimate with the supposed buyer. They send a check for more than you asked, apparently, and you are asked to send the generous shipping fee amount on to their "shipper". Their check, of course, is no good and you are out the money you "return" for overpayment of shipping cost and no shipper shows up to take your artwork.

I have received this sort of email a couple of times before but never fallen for it, thank goodness. I am SO wary of stuff coming at me through the internet that even when something is legitimate I find myself researching it all before taking any action. It is such a shame we have to be so suspicious but better that than being taken. Even so, I was once taken by an extremely elaborate scheme set up by a con artist back in 1999 concerning a portrait organization & national exhibit - several fairly well known artists besides myself fell for this guy's line. I recently found out he is still out there and working his cons on other artists but due to legal constraints (which frustrate me no end!) I cannot name him. I won't name any of the other artists either as I don't wish to embarrass them. Most of us didn't lose anything but our pride but a few did lose a lot of their artwork to him, particularly an elderly lady artist (well known, now deceased) whom he charmed and took advantage of shamelessly. I guess he sold all her stuff...don't know. I wonder which circle in hell Dante would place him?

Petulance vs. Pleasantries

2011-08-12T13:04:00.000-07:00

The Originals Only show kind of did me in last weekend and it has been a very busy week since so haven't posted in a while. I spent so much time getting ready for the exhibit that I neglected some things around here that I have had to catch up on now. Got a pretty good sunburn the first day of the exhibit - forgot about SUN (haven't seen it in so long) and covering up and using sunscreen. Fortunately my friend Lesley, whose place I stayed at saturday night, gave me some no. 45 sunscreen to use on sunday and kept me from becoming totally fried. I did have a hat to wear but it allowed sun to hit my chin...spent part of this week exfoliating rather obviously.

The pastel here is, by consensus of all who saw it, finished. I had planned to do more (exactly what I'm not sure) but I'll take the wisdom of the masses to heart and call it done. I think it might have sold if it had been matted and framed...it received a lot of attention, as did my two paintings of Samanda, especially the one with the parrot. That even was published in the newspaper in full colour, which I didn't know until several booth visitors exclaimed "Oh, that's the one in the paper!" Lesley had a copy to give me which is nice for my "file of fame."

Here I am in the booth trying to look artsy. It gets harder as you get older but the interest in the work was gratifying. Sold one of my large life drawings, which was matted and framed and almost all of my art cards, did three 20 minute on-site portraits and might have a couple of painting commissions coming my way. It wasn't as good a result as I had hoped for but certainly not a washout. Still, I am asking myself if the amount of work and nervous-wreckness is worth doing outdoor shows any more. I came home utterly exhausted sunday night. I think this may be a young person's game.

Bob and Tyler were extremely helpful in the setup and later the taking down of the tent and hinged doors (very heavy and awkward). I took them to dinner sunday evening with some of my earnings:-) I admit to being a tad cranky saturday morning as we got there a bit late and I still wasn't quite set up once ten o'clock rolled around. I had wanted to leave really early (it is an hour and 45 min. drive to the site) but that didn't happen. All the way there I was reminding myself to be calm, to be accepting, and to realize that it is NOTHING...not the end of the world if I am not quite set up on the dot of 10 AM. That effort only sort of worked as I set about organizing, hanging, and setting up while muttering to myself about punctuality. I wish I could extricate these mincing, minor, annoying, stupid tendencies in my character to get all petulant and testy over things that do not matter in the big scheme of things.

It all turned very pleasant once people began to appear, which was even before I was ready. Happy faces and general cheerful and expansive moods helped mine immensely. While talking with some show goers I didn't notice an elderly man stroll in to look at my work until after the others left. From the back he looked very much like my father (deceased now for some four years) and it grabbed my heart...I thought for an instant that it was he. He turned around and of course it was not but I was so happy to see this man that I took his hand and told him my first reaction to seeing him. He smiled sweetly and was so nice. We talked at length about the work and he was very appreciative. He left and then about 20 minutes later returned to look some more. He saw my sign stating "Have Your Portrait Drawn - $20 for 20 Minutes". He smiled at me and said, "Why not?" and sat for his portrait. We chatted and I realized he was a bit lonely and was really enjoying this interaction. He was very pleased with his drawing and I saw him showing it to other people later on. It made me wish I lived closer so that I could become better acquainted with him and it made the entire weekend worth more than I can express.

At one point three little girls, about seven or eight years old, came by and were very carefully looking at all my work for quite some time, chatting quietly amongst themselves. As they went to leave one of the little girls stopped, came back to where I stood, and said with immense seriousness and intensity of feeling, "You are a REALLY good painter!" There is no price that can be put on moments like that:-)

I actually ran out of business cards - never had that happen before. If even just one nice commission or painting sale can come from all those who took a card I will be extremely pleased and grateful.

Fruit and Privilege

2011-07-28T12:17:00.000-07:00

It looks like I might even get this finished by Originals Only showtime next week. I have been sluggish and distracted. Yesterday's unusually lovely weather lulled me into a bit of a stupor for a while as I sat on the deck with this pastel in front of me, my tools next to me and my mind drifting.

I've been reading "All Art is Propaganda" which is critical essays by George Orwell. It is interesting and enlightening to discover that things are not so terribly different now from that time (late 30's, early and mid- 40's). Fears of a totalitarian takeover of the planet were high and artists were caught in the middle of feeling they had to take sides or be damned by all. Being able to fuss over the arguments between fascism, democracy, social democracy, and communism was for the privileged middle classes of most western countries but the great masses of the planet's population were concerned with just staying alive. It's the same now. I am not wealthy by any means but I am privileged to live in reasonable safety and have enough to eat. Meanwhile millions are on the verge of utter devastation in the Horn of Africa. I ignored the debt I have again (it gets paid down and then starts to build again no matter how careful we are) and contributed to UNICEF. It should be more. Taking heart in the peace and good fortune I experience here in my small mountain retreat and sending out hope and love to all those who living - and dying - on the edge. I can even afford to pose some fruit for a painting without worrying about how soon I can eat it.

Singing for my supper at TOSH

2011-07-23T15:13:00.000-07:00

Being in a show is always a bit of a bittersweet experience. The fact that I was invited to participate does not ease the somewhat jittery sense of self doubt that exhibiting frequently elicits. Is the work up to the quality of the rest of the show? Will my piece "fit" with the genre? Is there going to be any special notice of my contribution? There are some conflicting feelings of ego and humility involved too. Is it saying "Look at ME...look at ME!" when in a show? Yes, it must be - as artists we hope people will indeed LOOK. There is also the feeling of bearing one's soul to the eyes of strangers which can cause some discomfort, so maybe one would prefer "look at me...but not too hard." The whole exhibition process is an odd notion in some ways. In many more so-called primitive cultures art is just a part of every day life. Everyone appreciates the work but does not hold it on any special separate pedestal. Not having it around would be felt, the work is important to the collective soul of the group, but does the individual artist receive accolades? Here, on the walls of The Old School House (TOSH) gallery I sing for my supper so to speak...and do I get supper or do I go away hungry? There was definitely appreciation in the large group that came to the reception and that is a pretty decent meal.

Finding the Right Greens & the Price of Potatoes

2011-07-15T12:07:00.000-07:00

Using the Pan Pastels for background with the little painting knife style tool...liking it a lot! Nice choice of colours from the portrait set I got so I think I'll investigate some other colours of Pan Pastel now. They work well for the large areas on the jug too. The grapes are being done mostly with pastel pencils as I don't have the right colour greens in any of my sticks, except for the Nupastel yellow/green. I love the Granny Smith Apple Green in the Conte pastel pencil that I have. Can't seem to locate that shade in any of the brands of stick pastels so far but I probably haven't looked hard enough. I have dozens of other greens and none are right. Interesting. Below are the colours I'm using most (again, except for the yellow green Nupastel). I have none like these in my soft or hard stick pastels. They are all either too blue or too olive, too light or too dark. I shall have to take some time to investigate online I guess. Opus Art Supply in Victoria has Rembrandt and Nupastels but other brands I have to order. Frustrating. Oh, they have the Pan Pastels now too - must check those when I get down there!

Actually I'll be in Victoria tomorrow but a busy day is planned and I don't know if I'll get to Opus. Taking the Brentwood ferry to Sydney to see friends for lunch and then to Victoria to pick up Tyler (13 yr. old grandson) and we'll take him and his Mom to the Paint In on Moss St. put on by the Victoria Museum. About 100 artists chosen from a larger number who applied (I am told) and mostly doing demos of their chosen style and medium. And hurray! It is NOT supposed to rain as has been predicted all week (its been raining here non-stop for a week) but just cloudy, and I can live with that! We have not had much of a summer here but it beats heat and humidity...still some real sunshine that lasts more than a day - or a few hours - would be such a treat! Farmers down province are filing for government aid since it has been such a wet year crops are rotting in the fields. There goes the price of potatoes again.

Jug Serenity

2011-07-14T12:34:00.000-07:00

There is nothing quite like soft pastels in muted shades on grey Canson paper. I find a quiet peace, badly needed lately. This jug in particular has wonderful proportions and I have used it in three other works. I think I spoke in an earlier blog about how I almost didn't buy this jug. It was a bit more money than I wanted to pay but I've been really glad I overcame my reluctance.

Meanwhile I am struggling with the idea of coming up with a single focus, subject and medium, for what I do. I am so easily side tracked though. Yet I do return to subjects and styles eventually - I've noticed this is the case with many artists. It isn't easy finding a niche where one can maintain enthusiasm and creative ideas for it. Becoming known for painting, say, oversized dancing fruit in a limited palate of green, red, yellow, & black, or purple Rhinos in tutus with really big eyes, or heroic Greek myth characters in contemporary scenarios could get boring really fast. Some artists do pull off the one subject method really well, though. Sam Dolman for one, who specializes in head and shoulders portraits of farm animals, particularly cows - and they are incredible! My mind drifts off into hinterlands far too easily. Even while I am working on a painting that is fascinating for me I find myself thinking sometimes about other subjects to explore. And then I do, sometimes, return to a favorite, like this white jug. It has that timeless serenity of shape, and properties of light reflection which mean endless, subtle changing tones of colour and value, and pulls me back where I see something new in it. And the fresh faces of young women, especially with flowers, or beautiful birds which can seem to speak of longing and the unknown future they face.

The jug calls.

Who's Who

2011-07-11T12:40:00.000-07:00

Last week while getting ready for the upcoming Fisherboy Resort Art in the Park event, held annually up here in Sayward valley, I was contacted by the Cambridge Who's Who team...I had received an email asking if I would like more information on this network building group and like an idiot I replied, ok, and expected to get more info online. Instead they had my phone number and called me one morning. There was high pressure from the very friendly, polite, and flattering young woman who interviewed me. She said they had to establish that I had the right credentials for inclusion in this book, which is run by the son of Donald Trump, all of which is true as far as it goes. My credentials hit the mark apparently and I was offered a very "special" part of the program...I KNEW the hit was coming, little red flags were flying all over the place in my mind, but I continued the conversation, seemingly unable to find my grownup self and put a stop to this snowballing event. Money, of course, they wanted money. A lot of it. When I responded that I couldn't pay that the price came down, a slightly less extravagant offer of benefits with the membership. After twice more telling her I couldn't pay she came up with a much more affordable deal and I found myself accepting!! I would be in the Cambridge Who's Who, with contacts available among all those thousands of other privileged beings...WHAT?? As soon as I hung up I knew I had been taken. This Who's Who is legitimate and I might even, indeed, benefit from membership, but the manner in which I had been shoved into it was irksome to say the least...embarrassing at best. I looked all this up online and found many others who felt bamboozled into membership. It is not a scam really, but it is high pressure sales that is morally questionable in my opinion. Vanity memberships are not where I want to be any more than I want to be part of a vanity gallery or any vanity publication. Anyone with the money to plunk down can participate. Merit is the merest part of the equation.

The story ends well, fortunately. I called my credit card customer service and they recommended that I first talk to the Cambridge people and get them to remove my membership and the fee they took from my credit card, which had already been approved for payment. I had been given a phone number and extension to reconnect with the woman who "interviewed" me but I got voicemail. I hemmed and hawed and then decided to call the number again and go to their customer service extension. I got a different young woman who was taken back by my request for cancellation and my money back. She wanted to know the reason and offered me a yet cheaper form of membership. I said I wanted no membership and just to cancel me and return my credit card money. She persisted, almost demanding to know my reasons for canceling but by now I was Karen Martin Sampson ADULT-IN-CHARGE and very politely and quietly persisted with my request for cancellation and a refund without offering any explanation other than I had changed my mind and didn't want this service. She went away for a few minutes, got a supervisor and she very suddenly agreed to cancel me and refund my money to my credit card. Now I wait until my next statement, in about three weeks, to see if the refund is in place.

It left a very bad taste in my mouth and more self lecturing about yet "another fine mess" (ala Laurel & Hardy), I had gotten myself in and why do I allow others to manipulate me, and when will I finally grow up, etc., etc. My plans for the Art in the Park kind of got put to the side after this and I was all thumbs getting set up yesterday. I attempted a new method of hanging the art by having Bob help me put U shaped strips along the top of my hinged doors and having hooks and very strong lines hanging down to hold the art work. It seemed to take forever to get the lines the right length and then the work seemed to be swinging a bit, plus some of the pieces hung with the top sticking outward so they hung at a wierd angle and were hard to look at. So much for my brilliant idea. I went back to simply hammering in picture hangers for the last few I wanted to put up... meanwhile two hours had gone by! I had wanted to avoid continually putting more hanger holes in the doors but at this point I hardly care. I don't do outdoor shows often enough for it to matter. If I did I would invest in some professional outdoor tent wall hangers, the gridded ones that won't blow over in the wind and that can hold any number of paintings securely. I have one more outdoor event, in about three weeks, a weekend down in Comox at the marina for the Originals Only show. I think I need to rehearse putting all this together beforehand. At least I made $20 yesterday:-)

Cutting things up

2011-07-03T11:07:00.000-07:00

Waiting for the results of my submission to the A.I.R. show in NY and that won't be until mid August. Meanwhile I have two upcoming outdoor shows to get ready for and an exhibit in Qualicum Beach. The "Girl in a Garden" piece went down to the Qualicum Beach show at the TOSH (The Old School House Gallery) last week and will be part of the "Pastel by Invite" show starting July 18th. The first outdoor show is next Sunday; the small Art in the Park we have up here in Sayward every year. This is held on the grounds of the Fisherboy Resort, which now has new owners who are willing to keep the art show going, at least for now. It is not terribly well attended but enough tourists show up to make it worth the attempt to be seen! I usually sell a number of art cards and last time actually sold a pastel painting. It is also good practice for the rigamarole involved in setting up the tent and exhibit walls. There is live music and the Fire Dept. has a food booth; there are face painters and craft vendors. I actually enjoy doing it every year as there isn't a lot of pressure. The other outdoor show is a bigger affair; the Originals Only show at the marina in Comox next month. That is two days and requires much more planning. Fortunately part of the fee includes paying for overnight security so we can all leave our tents set up. As long as the wind doesn't whip up too much from the ocean it can be quite pleasant. Last time it rained a lot too. It's one of those times one could wish for the weather controlled domes we used to hear about for the "future" when we were kids...

Above is a pastel I did over two years ago and exhibited in the Originals Only; it got flipped over in the wind and the frame's glass broke. I had done some Poppy paintings before that sold well but this one was too contrived, too overworked and just not very exciting. It finally hit me yesterday that it is not a very good painting. I did it on Wallis, that very expensive pastel paper, which is white and quite rough. It does not suit my temperament in any way, there is a lot of it left and I should just give it to someone. It is museum quality archival, though. I love Canson's Mi-Tiente Flannel Gray and some of the other gray tones...the smooth side. It gives me the effect I'm after and my experiments with other pastel papers and boards have left me very frustrated, although the Spectrum pastel boards aren't bad. The Canson's is supposed to be acid free, so I hope it holds up well over time as I really do like it's surface.

Back to this pastel though; I am going to cut it up in small sections and sell it off that way. The cropped parts look so much better, but even so it will take a moment of courage to actually perform this surgery. Once started I won't look back and I will be rid of the sense of dissatisfaction I have always had whenever I looked at this piece.

See, that is much better. I can probably manage four or five small pieces that will mat up nicely and sell for a very reasonable price - under $50 I think.

Once these shows are finished I DO want to begin that series I have had in mind for how long now? About ten years?? What keeps me from it? I always allow myself to be distracted. It is that I fear committing to something that will take a long time, a fair amount of cash, and might turn out to be nothing very special. Ah, please, Karen. At your age why should you mind? Everything will be gone in a million years anyway...nothing is permanent...just enjoy the ride.

Stylistic differences

2011-06-19T12:38:00.000-07:00

There are four pieces ready now to submit to the A.I.R. Gallery "Privacy Please" show in Brooklyn, NY. Oops. Two go together but not very well with the other two. There is a big stylistic difference going on here. Subject matches but not style. What do I do? Try to come up with two more in the new style? I have less than a month. I could do it I guess, but I also had hoped to show the first two from last year as I do like them. Will this difference keep me from being chosen by the curator?

Why do I always do this kind of thing to myself? For one thing I can see now that I made a leap (small jump?) last year and have moved on, grown even. I was very tentative with the first two, feeling my way, and also trying to express a Colville sort of mood, rather than just my own. The growth is a good thing but it's timing could be better - can't go back now. Wouldn't if I could. Need to sleep on this.

Facial Lift Off

2011-06-17T15:23:00.000-07:00

It looks done to me. I may tweak some things later but that won't involve much change. I have allowed myself to let go of the need to perfect edges, blend perfectly smoothly, and fuss with anatomy. I am letting it be more of a painting than a photo reproduction because I have guessed and fudged with most of this, only using a fuzzy photo reference that I didn't pay complete attention to. Felt good.

2nd Painting - "Creamed"

2011-06-15T17:16:00.000-07:00

A message from A.I.R. Gallery arrived today reminding me of how little time is left to enter the Privacy Please show - one month. Fortunately I am well along on both of the new pieces now and should be able to complete them in the next week or so. A friend told me they are looking kind of spooky right at the moment. This is ok with me as long as the curator doesn't get spooked:-)

Progress on my face lift

2011-06-12T16:09:00.000-07:00

Procrastination set in for a couple of days and I only dribbled and drabbled a bit on the two new canvases for the Privacy Please show. Today I got down to business and worried for a few minutes about where to start. Painting shadows across the skin is tricky and requires even more concentration and observation than the usual portrait does. I had laid in some plain, fast drying white yesterday to establish the non shadow areas and today tackled everything from the center out, starting with the eyes. I used alizarin crimson, cad red, indian red, payne's grey, naples yellow, white, and a very small touch of burnt umber for skin tones, both in light and shadow, just different intensities and values. I should use a limited palatte more often - it is fun to watch all the colours you can come up with. For the eyes I used payne's grey, viridian, yellow ochre and naples yellow.

I'm thinking of softening and blurring as I work out toward the edges of the canvas concentrating more focus on the face.

Meanwhile I am reading all this stuff about the bad shape the world is in and get back to wondering for the umpteenth time why I get so concerned about how the painting is going when so much is falling apart. Is is fear mongering going on out there, or is it really something we should all be paying attention to? I get tired of never knowing what to believe. Maybe that's why I, and many of you, stick with the art problems - at least we can have some control over that and it is something one CAN believe in.

Creamed and Lifted

2011-06-09T11:36:00.000-07:00

Switching to Verdana face for a while to see how I like it after reading somewhere recently that Arial is the rip off, the pretender so to speak, of Helvetica, a much superior typeface, supposedly. These font purists really can make a fuss.

Anyway, I'm back to working on the Privacy Please group and struggling to get myself enthused about it. Every day I do a bit more and then find some excuse to run off and do something else. Once I start actually putting paint to canvas I think I'll be ok.

Here I am showing the sequence so far (after setting up as I showed in a previous post and taking some self portraits).

Nothing special yet but wait 'til I get those brushes out.

Change of Title

2011-06-06T10:38:00.000-07:00

"Girl in a Garden"

The title of this piece has been changed to "Girl in a Garden". It is straightforward and not provocative as the other title was which was pointed out to me by a good friend. I am not trying to make a statement about the vulnerability of young women here - I just wanted to present a pleasing image which gives one pause to consider many things...which is possibly the intent of most images in art.

Moving on to the next work now.

Meeting a Deadline

2011-06-03T17:13:00.000-07:00

"Fresh Blooms" pastel 25"x18 1/2"

Managing to meet a deadline is often a stress inducer but for me it can be the fire I need built under me to keep going. I promised this for today and I just emailed off the jpeg to the woman coordinating the show next month. I was a commercial illustrator for many years and deadlines were a fact of life. It was not unusual to make the deadline only to be told a day later (or less) that changes were needed, usually not my fault or anything to do with what I had turned in. I always wondered why there was time for these changes when the initial deal was that it HAD to be in by a certain date and time OR ELSE! Then there would be a mad rush to make the changes requiring me to forego sleep, food, and the society of others. I worked on holidays, while on vacation (work would be sent to me or I would be asked to take it along), and even up to a few hours before giving birth to my son. This is great discipline for training oneself to work even when sick, bored, frustrated, or just not interested in the subject. An illustrator is normally expected to research the topic/subject and find one's own models and props and it all has to be done yesterday.

I decided to just call this "Fresh Blooms" as I am not a fan of esoteric, mystical, or romantic type titles. I'm not totally satisfied with this title but it isn't the worst I've ever used. Anyone with a better idea can let me know.

Now back to the Privacy Please show entries I started last week...only have a couple of weeks to get those done and submitted. You know, I could just work on things to please myself and not worry about submission deadlines, etc. My husband says it's because I'm a Leo and need an audience that I keep showing my stuff. I hate to admit that he may be right.

Courage can be green!

2011-06-02T12:51:00.000-07:00

It took some courage but I plunged in and put colour all around her, keeping the emphasis on her face and the flowers behind her. I didn't work on this for two days because I had to take my dog, Brandy, to the vet for emergency surgery, (an altercation with a dog who tried to get at her through our fenceline...long story). Then we had to go back down to Courtenay to get her yesterday. I hadn't looked at this since Monday and when I did today I was relieved that what I had done looked ok.

I spent the morning catching up on a lot of things which seem to pile up in such a short time! Bob and I are involved with several groups dealing with human, animal, and world welfare and the correspondence is taking more and more time. I am just glad that it is much easier these days to make your stance on issues known and to have some effect on what happens due to the numbers of people who also feel the same way. It is hard sometimes not to feel really dispirited by all the injustices, though, and how impossibly complex some of these things are. Hardly anything is b & w. Do one thing and it has an unexpected consequence, do another and it changes everything...but often enough the results are positive so it is worth it to keep trying!

Now I really, REALLY need to get back to this painting. I am supposed to send a jpeg of it to the people publicizing the show it will be in next month so I told them they would have it by the end of this week. Yikes. One day!

But first things first, nourishment so I can stay at the drawing table for endless hours without faltering! Some kind of vegan treat from one of the dozen or more new vegan cookbooks Bob has bought for our kitchen. Hmmm, do I have time for that mouth watering avocado/potato salad recipe? No maybe I should just go for a veggie sandwich and get back out to the studio pronto!

PS Thanks to everyone who has commented on this piece - I blush from your compliments! It's nice having fans:-)

"Seeing is Savoring"

2011-05-29T17:39:00.000-07:00

I have been reading a book about art and a particular artist that I think may be the best book on the subject I've ever come across. "seeing is forgetting the name of the thing one sees" by Lawrence Weschler - over thirty years of conversations with Robert Irwin. Robert Irwin is perhaps best known for his conceptual work but he started out as a painter in the 40's. Reading about his career and his thinking has given me a new look at what abstract and conceptual artists are trying to do. Mr. Irwin wants people to have an experience when they encounter his work, to come away with a savouring of what they have experienced. He says,

"It's strange. With food, for instance, people seem able to understand what's involved: you savor the taste rather than just feed the body. But people have a hard time understanding that it should be the same way with visual experience."

As a result of this book I am full of the same excitement I remember feeling when I was starting out and the openness to different kind of visual experiences is incredibly fascinating. It isn't about representation, realism, abstraction, or conception...it's about seeing.

And now I am at the point in this piece where I have to "see" where it's going and what I want it to do. Do I allow the foliage and flowers to gradually blend away into soft focus or make a complete image with fully realized background? What is painting a lot of green stuff around the face going to do to the impact it has right now? Too tired to decide now. Tomorrow. I'll think about it tomorrow:-)

Revisiting a Subject

2011-05-28T18:29:00.000-07:00

My friend Lyndia noticed immediately that I have used this model before and with peonies too. Sometimes you just don't feel finished with a subject. Some artists paint the same thing over and over and over. Usually I get bored with a subject and want to move on but here is a case where I had more to say. I've been attracted to profiles in the last year or so also and since these days I am trying very hard to paint what I want to paint rather than what I feel is marketable I am enjoying myself much more. Trying to come up with pieces that might "sell" is getting harder and harder and the frustration level gets pretty high. I now have a small monthly pension so can feel less pressure. Have to be careful and I can't buy that new camera I've been wanting but somehow it isn't keeping me up nights:-) In fact, knowing I can now pay my regular monthly bills is helping with the sleeping-like-a-baby thing immeasurably! Life is feeling pretty good these days and I am working hard at keeping all the bad news out there from getting me down. All we can do is our little part to leave the world a better place and encourage others to do the same.

Slow Progress

2011-05-27T19:32:00.000-07:00

Not much accomplished on this today. I get distracted by life (don't we all?) I just discovered that I don't have the shape of the chin correct (at least going by my reference). I like how this looks, though, so I may leave it. This isn't meant to be an exact portrait. Still, it will probably keep bothering me so I may end up redoing it. It will also mean redrawing the hand position. I know it doesn't look like much but those tones took a good half hour or more in that chin. Sometimes subtlety is harder to pull off than obvious contrast. Actually it's always harder...

We saw a bear this morning on our walk. Bears don't think about being subtle and may be the happier for it.

Another Subject Revisited, or Am I Out of Ideas??

2011-05-24T16:05:00.000-07:00

So even though I have started two new oil paintings (small) to add to the series I started on "self-portrait- in- bathroom- mirror- with- venetian- blind- stripes" I have also become a bit side tracked by my pastels again. I haven't worked with them in a while but doing the small waterfall piece worked up my enthusiasm. I want to do something new in pastel anyway as I'm scheduled to show in July with a group of pastel artists (some deceased, but famous, the rest, like me, alive but not so famous:-). I had originally thought about giving them Nude on Blue Pillow but that sold last month and I can't see me refusing a good sale when times are this tough just so I can put the piece in a show. Time for something new in any case.

This is going to another of Heather with Peonies. I took a few really nice reference shots that day and decided the subject is worth another go. Heather has beautiful pale skin tones that seem to match the delicacy of the pale pink Peony colours and the contrast with the dark leaves is striking. Just as Samanda's deep golden skin tones complement the rich tropical colours I used in the last painting of her I like to utilize and echo colours and values in a whole piece that seem to be all of one presence. To me a portrait is not just of the person but the surrounding atmosphere as well.

This will be a horizontal format with Heather off center and balanced by flowers behind her and only one or two in front of her. I even like the striped T-shirt she wore that day, which I had changed for the first painting I did to a solid turquoise colour...I had a nice one that I asked her to wear for a second photo shoot. This time the stripes will add some needed extra interest, I think, since I am cropping most of her body out of the image.

Did I Mention Plein Air is Not My Forte?

2011-05-23T13:03:00.000-07:00

Ok, two hours spent perched on a tiny travel chair (with built in pouch for carrying art supplies) on a rocky precipice overlooking a madly dashing stream of water was kind of fun and I enjoyed the solitude and soft semi-cool air, but all of that didn't improve my plein air skills one bit. I know I should go out and do it more and then I'd get better. Nature offers so many beautiful and intriguing views and subjects that I find myself getting side tracked and confused about where to concentrate my focus. It does force me to loosen up and try not to be picky with details, but there is a part of my make up that rebels against that. I want more tidiness and nature is anything but tidy. One of the reasons I often crop in close on subjects is so that I can

pay attention to the nuances completely and not feel I am just dashing off a few shapes and values, which feels to me like not paying them enough tribute or something...Excuses do you think?

This came out sort of ok and might have improved more if I spent another couple of hours out there. I was kind of beginning to get a feel for the rocks after messing with them for quite some time. The water lacked much colour variation due to its presence surrounded by a lot of dark foliage, but the change in values was something I could have gotten into I guess. In the end it all felt like too much, though. So many rocks, so many tiny waterfalls within the major waterfalls, and all those leaves and plants...which to choose, which to stress, which to ignore?

I really admire good landscape painting and while I would love to be able to slap on some paint and have the scene fall into place, that really isn't me. Good thing we all have our different interests and skills or else it could all be pretty boring after a while. I'll continue to admire the landscapes of others and spend time occasionally giving it a shot myself, but I think I'll stick to what really calls to me, faces, figures, patterns, and close ups.

Blinded Again

2011-05-22T10:33:00.000-07:00

I thought the two pieces I did over a year ago of me looking in the bathroom mirror with light from venetian blinds striping across my face and body would be all I had to say about that. Then I received word about a show at the A.I.R. gallery in Brooklyn, NY which is about the place of women's morning bath and beauty rituals in their art and how and if ideas about such things have changed in the past 30 or so years and how it might relate to aging. I wanted to enter but the requirements are for four works so I have come up with some additional ideas on this and they can be part of the series of two that I already did. I am surprised and delighted by the enthusiasm I am feeling about continuing this series as I have given almost no thought to the paintings since finishing them and having them exhibited last year. I was all set to start something else, trying to gear up for a new series, and suddenly I have an excuse to digress again. What does this tell me? Perhaps I don't really want to pursue the other ideas? I am afraid I won't do it justice if I do proceed? I am afraid of being stuck with a studio full of fairly substantial canvases that nobody wants?

It was interesting from a logistical standpoint to start this. I grabbed some blinds that were lying on the guest room floor from when I was painting the kitchen (I haven't rehung the blinds yet) and balanced them on two camera tripods in front of the window and set up a mirror next to them. I waited until 6pm when the sun was coming from the west quite strongly and cast shadows over my image in the mirror, hand held the camera, and took a bunch of shots. I also tried setting up my computer next to the blinds and using the built in PhotoBooth. Both systems worked just fine for my purposes and saved a whole lot in model fees:-)

Today I need to let the two canvases dry that I toned yesterday and since the weather is cooperating I want to walk over to our nearest mountain stream and do a pastel painting, something I haven't done for quite some time. Plein Air isn't my forte but it sure can be fun, sitting in on the rocks surrounded by forest and the music of the madly dashing water, which is running full steam right now from snow melt and weeks of rain. If I sit quietly and long enough perhaps I will be visited by a bear or an elk.

Return and a Spring in My Step

2011-05-13T12:39:00.000-07:00

There is nothing quite like being away from all the tech stuff I have come to accept as a normal part of my every day life. Having the hard drive die was beneficial in that it gave me a new perspective on how I am living. I hope I can now have the fortitude to only open this computer when actually needed and there is something meaningful to express. I also want to catch up occasionally on all the people I signed up to follow.

I used the past couple of weeks to work on painting the kitchen walls and finally deciding on what to do about the cracked, stained, gouged 35 year old linoleum flooring and chipped, gouged, stained 35 year old plastic laminate countertop. I am ashamed to admit we are going for vinyl. Everything else is out of our price range. On the plus side, the new vinyls are much better than they used to be and can even be recycled when their useful life is over. We chose the best with a 20 year warranty and should not be damaged by doggie toenails...I hope. And it LOOKS so much like REAL tile that I was amazed! Normally I despise stuff that is made to look like what it isn't but the most attractive patterns are the ones that look exactly like ceramic tile. Unbelievable. I am having to rethink all my prejudices, which is not a bad thing. Still, I so want to be environmentally responsible and feel major guilt that I am contributing to the oil dependency we all suffer from. At least it is now effortless to find zero VOC paints (I had to send away for them when we first moved to this house to paint the bedrooms). They are slightly more expensive but not outrageously so. Money. It only takes money to be able to buy the products that have the smallest footprint it seems. We are keeping the cupboards we already have. They are also 30 years old, partial plywood and plastic with real wood doors. No way we can afford to replace those. We will sand the doors and take off the plastic corners and replace with wood and maybe put on some handles and knobs (they have none at the moment). Can't paint them, except for the doors, as paint would just peel right off. It WILL all look much nicer from a cosmetic point of view when we are done. Right now we have to wait until some money Bob inherited from his Dad can be moved up here. That is turning into a crusade in itself. Due to homeland security issues you can't just move money from a US account to another country, even your own money and accounts without major hassle. We're talking around $5000 here, not Ft. Knox, but rules are rules we keep being told. Oh well, I have patience. We've been waiting nearly seven years to fix up this kitchen, another month or so isn't the end of the world.

The yellow I picked (with trepidation...would it be TOO much??) is indeed bright, but very very cheerful, and has a "country" look that works well up here and is good for the many rainy, grey days we have, being that this is rain forest country. I love the changes in the colour when the sun is shining too - everything from lime to orange glows, bounces, and moves across the room as the sun moves across the sky. I have all these odds and ends of blue, yellow, and white china pieces, and a few paintings that seem ideal in this environment, which makes me smile and there can never be enough genuine, heartfelt smiling going on in my opinion.

Computer Death!

2011-04-28T09:14:00.000-07:00

It seems I am to be unblogged for a time. My three year old iMac has given up the ghost. I am writing this on my husband's PC. I wrote a post previous to this but his computer had an "error" while saving so now I have to do this all over again. This is NOT my week for connecting I guess.

Basically I am annoyed because my previous Mac just kept going and going so having this one die so young is very upsetting. I did have a three year extended warranty but it expired three months ago. Naturally. Of course. Grrrrrrr.

Until I can either a) have my Mac brought back to life or b) get a new computer (which I cannot afford) I am incommunicado for a while. I will check my email on my dinosaur iBook laptop (11 years old and not up to anything other than email at this point) and when I can get my husband away from his desk I can follow your doings. If you absolutely feel the need to be in touch with me you can email karen@karenmartinarts.ca or ksampson@saywardvalley.net.

Easter ruminations

2011-04-24T15:41:00.000-07:00

It has been a beautiful week and now it's Easter, which has turned out not to be so beautiful, but the rain is gentle and just in time for the newly planted veggies. I spent a fair bit of time outdoors enjoying soft breezes and sunshine, although it was still cool enough to warrant wearing a sweater. I even helped some with the veggie planting! And we strung some fencing (our Border Collie, Brandy, had chewed her way through what was there in her zeal to get out and chase the neighbor dogs which come to our fence to taunt our dogs). I even enjoyed that job. Somehow it was a good change from the mental struggle I always have when painting. I didn't paint at all until today. Now I am tackling the backdrop, which is a series of gauzy fabrics in different colours so the play of light is challenging to say the least. I am actually tempted to put this painting aside and start something else but I guess I'll whittle away at it for a while yet to see what happens. I don't have time to waste on CPR for paintings beyond a certain point and that point will be soon.

A closer look at the backdrop still doesn't show all the colour variations too well on the computer screen. Why did I decide this would be a good idea I ask myself. There is more than enough to challenge my sanity here. As if it isn't working hard enough to maintain some balance already with things as they are in the world. I feel like every decision about what to eat, wear, buy, and live with is a major affront. Are my art supplies eco-friendly? If not how can I fix that? Is it enough that I refuse to shop at Wal-Mart and only buy organic and fair trade food whenever possible (even though it is getting harder to afford to)? Do I attend an artist friend's show reception even though it's two hours away and will take energy resources to get me there and back? What if I only drive the car (a hybrid) once every two weeks instead of once a week to go shopping for groceries in town? Is supporting our troops being a war monger? How long before I stop missing cheese and will my being vegan really make any difference to factory farming or anything else? I weep for the silk worms killed by boiling water when it's time to take their cocoon from them yet I LOVE silk and painting on it. The list is endless - won't bore you with more of it - but then I remember that it is important to "be the change you want to see." Every small drop falling from the sky eventually fills the ocean.

Some of my friends question my dedication to animal rights. This week I heard the perfect response in this comment from "A Bit of Fry and Laurie" - "I think animal testing is a terrible idea; they get all nervous and give the wrong answers."

It's the next one that humbles you.

2011-04-18T16:16:00.000-07:00

Few things are as frustrating as the attempt to create on canvas (or paper, or whatever) the image you have in your mind. It is more so when the set up, carefully manipulated, is in front of you and it still refuses to appear as you wish on the canvas. Painting from life is damned difficult. Now that I have this start I will be forced to work from photos to complete the painting, or just put it away as a failed exercise. I tried to do too much in the two days of having the model here in front of me. I may ask her to come back for an afternoon. Just me and the model, no distractions. Right now this is SO wrong, so off that I am thoroughly disgusted.

As for a humbling experience, well, I have heard that movie actors are only considered to be as good as their last picture and authors, their last book. I found out a couple of days ago that "To Tell A Story" has won the People's Choice award in the Campbell River Art Gallery show (now over). If the "people" could only see this, what I am working on now... probably better that they can't.

2011-04-15T12:37:00.000-07:00

Two days of painting from the model - what a treat! There were five of us; one had to cancel due to illness unfortunately. We painted and ate and commiserated. Wish I could do this more often. Samanda was the ideal model, holding perfectly still and never complaining of fatigue. I wish I had been in better painting mode! I bit off a lot to try for a two day session and was originally planning a full figure piece. Even chopping it down to three quarter figure was a bit too much. My toned canvas also was not quite dry so I had to contend with that. After so much planning I didn't get around to toning the canvas far enough in advance - hand slap to forehead. Still, I managed to start pulling it together by the second day and have enough photos taken to keep working on it.

What really counts is that there was connection and learning and fun for these two days. You cannot put a price on that. The music was wonderful and don't even get me started on the food. Everyone brought something and my husband, Bob, cooked up a storm, serving us like our own personal butler! How many husbands would do that? There was probably more food than we should have had in good conscience. No popcorn for the evening film...nobody had room. And we watched "Seraphine" the true story of a middle aged woman who painted in the early part of the 20th century in France. She was discovered accidently by a german collector who was renting some rooms in a house where Seraphine was the cleaning lady! He attempted to help her get established but World War One broke out and he had to escape France in a hurry. He found her later in 1927 and began to help her again but she was not mentally stable and she ended up in an asylum. Very sad. Her work was amazing though and she did have an exhibit a few years after she died. If you get a chance be sure to rent this video - hope you don't mind reading subtitles (it's in French). If nothing else it makes one realize how much better off most of us are in our attempts to make art than so many have been. Any time I feel like whining I will try to remember scenes from this movie.

Thank you to my friends for making the trek up here to spend such quality time with me. Definitely have to do this again!

I'm Being Set Up...

2011-04-03T12:07:00.000-07:00

There is nothing like spending days and days getting set up. I'm attempting to be very particular in this since I want the painting party days to go well. Choosing the outfit for the model first off presented a couple of problems. It is a dark fabric with lots of small designs printed all over it in gold. What does that go with? How should a background look for something like this? Finding the red scarf for the headgear (matching the red in the skirt) only added to the dilemma. Fortunately I have a nice stash of fabrics which I've collected over the years. I pulled out everything.

I spent two days just hanging the stuff around the studio to see how it all looked in different lights. Do I want strong directional light? Soft diffused light? Natural light? What??? I began to layer stuff just to see what happened and suddenly it began to come together. I then spent two days layering and relayering. I ironed out wrinkles in some and allowed wrinkles to remain in others. I was blessing myself for buying that photo backdrop stand once again, though. It makes life so much easier. I began, finally to put darker layers at the bottom and gradually layer lighter toward the top. Ok. Another two hours redraping but now I think I might have the right effect. I'll know in another week, just before the model arrives.

And what do I place her on? A chair? A couch? On the floor? Facing which way? Looking up, down, sad, happy, pensive? What is this painting going to say?

Heck with it. It is just supposed to be a couple of days painting for the fun of it. I can over analyze ad nauseum and that in itself gets nauseating.

Oh wait, a prop...a plant stand with a silver candle holder on it? An actual plant? A bowl of Chili?...

Entering Shows

2011-03-30T15:47:00.000-07:00

Today I decided to enter, for the first time, the Artist Magazine competition. I sent in a jpeg of "To Tell a Story" and am not holding my breath about the results. I would like to quietly forget that I entered and then be pleasantly surprised come August when the finalists are notified...or not in the case of NOT being a finalist.

The painting above is finished, I think. I can't do any more on it right now and my feeling is anything more would be unimportant. I don't even have a title for this yet.

I did get down to Victoria (BC) on monday as we had to take our grandson home from Spring break. Morris Gallery is representing a few artists that I know so I stopped by to take a look and left my card. Everything I'm reading in the many newsletters I get are talking about how careful one has to be in approaching a gallery these days and it makes me question the whole premise of even needing a gallery. So many are closing and those that are staying open just aren't doing that well. They aren't excited about taking on new artists when they have difficulty selling those they do represent. I also receive numerous requests to be part of artist "books" and go with questionable dealers. You pay for these privileges. No thanks. I do understand about fees to enter shows and as long as they aren't exorbitant I can manage to enter a few every year. The new outdoor show season is about to begin. Maybe it will be a more prosperous year than the past few have been but not sure I am up to the effort. I could use a roadie.

Better

2011-03-26T17:28:00.000-07:00

Close to finishing this up. I am already kind of distracted by planning for the "painting party" I am hosting next month. I need to focus on what is in front of me, I know, I know. Now, though, I am second guessing myself about what Sam will wear. Geez didn't I have this all settled? I even found the perfect head wrap to match the outfit - a red, like the red trim on the skirt, and
embroidered with gold threads and sequins! (Makes me almost wish I was back in the dance troupe). And what kind of background? Simple...probably...maybe? Just lit by the window, natural light or an indoor spot? And wishing I had a proper model's stand. This wasn't supposed to be complicated. I have never, ever had a plan for a painting just fall into place. I look at what others are doing and I want to give up sometimes. Have you seen Marina Dieul's latest? It won an award at the Portrait Society of America 2011 International competition. Spectacular! Click here, Murina Dieul, to see this beautiful painting!

Meanwhile I need to spend some time pulling together possible items to use for next month. Try some things out. Think of what the theme will be. Sketch up some compositions. I often think of how I would have done a painting better AFTER I have finished it. I don't have a whole lifetime ahead of me to come up with an Opus...better, better and better...all the way to
BEST! There is still so much for me to learn. It gets tiring.

Taking Over

2011-03-20T16:09:00.000-07:00

I love it when a painting begins to take over and almost paints itself. That hasn't happened for a while but it seems to be with this one. I am scarcely looking at my reference now...just going by the impression I get from glancing at it. I've made a few changes in areas and now see that this is going to be a very different portrait from the one I envisioned. I am as curious as anyone to see how it will come out.
And now the snow is gone and the sun it out and yard work begins but it seems a relief after feeling so closed in for so many months. Ask me how I feel about it in another week or so and the clipping, trimming, planting, and general cleaning are in full swing. At least the painting is a place for me to take a break.

It Came Back

2011-03-18T17:03:00.000-07:00

Normally I don't post twice in one day but today I finally took brush in hand and got back to the canvas. I was in an unable-to-paint mode all week long and was getting a bit depressed by it. It happens once in a while especially after completing a work that took a lot of effort and even more so when it's well received. It's funny how that works. I did good so now I can't paint? What's that about?? Too much pressure, I think, to repeat doing "good." I finally stopped caring about it today and was able to work again. It was fun too! I didn't allow myself to struggle...just let my intuition take over. Now this painting, which I haven't been too excited about, is beginning to look like something! Thanks to all who have left such nice comments about my last piece going into the BoldBrush competition FAV15%.

The images of the disaster in Japan have been with me all week too. I was in the 1971 earthquake in LA and I know how terrifying it is to have the earth move under your feet, your
home roll and shake over your head and feel powerless to anything at all about it. The aftershocks are almost worse because they go on for days, weeks, and months and you don't know when they will come except you know they WILL so you are in a state of tension all the time. I remember opening our apartment front door (once the initial quake stopped) and most of the water from the building's swimming pool came rushing in! The authorities came down the streets and had us all evacuate since we were right below the dam in the valley and it was ready to burst... fortunately it didn't. Stayed with friends in the Hollywood hills, wakeful all night waiting for the beams above our heads to start crashing down on us. Fortunately that didn't happen either. But many people were killed in that quake and there was a lot of damage. The people in Japan have my heartfelt sympathy. And the people in Haiti are still dealing with their disaster from last year. Worrying about being able to paint or not is pretty trivial in the grand scope of things. I am very grateful for my good fortune.

Selected for FAV 15%

2011-03-18T12:40:00.000-07:00

"To Tell a Story" was picked for the FAV 15% for February's BoldBrush Painting Competition. That makes twice now I have made the cut. I have to say the quality of entries has really picked up this year so I feel privileged to have been selected. Being found out of a crowd is always chancy and even though this is not one of the top awards it is still being noticed. And why is being noticed so important? It isn't really but it feels good. We're all only human and like to feel we are appreciated. I have been doing a lot of thinking lately about this whole issue though. I read an article about trying to "make it" in NYC and how even getting a one person show there doesn't guarantee fame and fortune. There are so many ways to make art and receive some satisfaction from having others like what you're doing. All the struggle to get somewhere, to be noticed, to have the awards, etc., etc., somehow take the joy out of the process for me. I am coming to realize more and more that if I am in the studio working that is the success I have always sought...time and freedom to make this stuff! What else is there? The night of acclaim at a gallery or in the newspaper is fleeting. The result of the work remains and the thought of the new work to look forward to is all I truly want. Slap myself in the side of my head - wake up - you're on a great journey with lots of ups and downs and the trip is much more fun than the arrival.
I haven't felt able to paint for over a week now. I think that ends today.

Planning a Painting Party

2011-03-12T12:46:00.000-08:00

As I continue to work on this newest portrait of Sam (I call her that in my head...hope you don't object, Samanda!) I have been thinking more about painting from life rather than my photo references. She has offered now to pose during her break from classes at U Vic in April and is willing to sit for a couple of days. A great opportunity I can't selfishly keep to myself so I have invited a few of my artist friends to come up and paint also. So far two have accepted the invitation and are excited about it. When we get together for our drawing group the sessions are only a couple of hours and the model changes pose frequently. This is a chance to concentrate on one pose for many hours over two days. But being a model is no easy job - I posed for portrait classes to earn money as a student a couple of times and felt it was almost torture! The trick is to find an interesting pose that won't tire out the model too much and make sure there are breaks every half hour or so. I think the breaks are good for the painter too because it brings one out of concentrated revery which may or may not be pulling the work in a direction that isn't what one wants. I like to reconsider what I've done so far and decide if that is the way to continue or if something new is required. I don't make preliminary sketches usually when working from life. I take a moment to visualize the subject on the canvas and then begin to draw, blocking in dark and light values as I go, seeking the relationship of shapes rather than the details. I may use a thinned acrylic earth tone like Raw Umber to do this so I don't have to wait to start painting over it...a good idea when time is limited.

The dress I have chosen for Samanda to wear for the portrait session is a skirt and top that I bought when I was a young bride in 1974, made in India. The material is a hand dyed cotton gauze (lined skirt), has a gold (real!) stamped pattern all over it and red binding between the seams in the skirt. I was a size two (yes really!) in those days (size 8 now, so not too terrible for a post menopausal lady). I think Samanda will fit into it as she is petite and slender. Now is when I wish I had one of those "fainting" style couches to pose her on, but I'll figure something out. See I'm getting excited about this already! I am picturing something great to wrap around her hair - keep the background very simple or lots of pattern? I can see so many possibilities.

Probably a simple backdrop this time to emphasize the pattern of her dress, (plus we will only have two days to work). Bare feet I think. The beauty of the plain, nature-made human body draped in a man-made beautiful dress...neither outshining the other, except for the face of the model which, to me, is always the height of interest. I frequently paint my models with bare feet - I think feet are beautiful.

This painting party is going to great...good friends, good food, good music, great model, and time to think of nothing but the painting. Two days will be wonderful but a week would be better. Better not push my luck.

A Link From a Friend

2011-03-08T12:27:00.000-08:00

   Today a friend sent me a link to a utube video that was so inspirational I decided I needed to share it here: http://www.youtube.com/watch?v=UF8uR6Z6KLc&feature=youtube_gdata_player

   It is so easy to be caught up in day to day living that we cease to see that perhaps we aren't really living as our heart would dictate. I was very happy to be reminded of this and to recall the events in my own life that were cross roads needing my attention and decision. Some worked out better than others but on the whole I am happy to say that my direction has turned out, so far, to be correct for me. Money and fame are not too important to me, fortunately, so I have concentrated on finding a lifestyle that would ease my inborn tendency to worry and fret, to calm the storms I sometimes am caught up in, and bring some joy to my heart, and I hope some joy to others as well. Being of good cheer in ourselves is a balm for those around us.
I am by no means a PollyAnna - that could get old really fast - and I tend to get on soapboxes at times, probably to the annoyance of some, but I mean well:-) Here's to your good cheer, your health, and your successful trip to your heart's desires.

   I am finding myself wondering what this painting is about and if I really want to be doing it but since I dislike unfinished projects I am persevering. Thinking about letting Samanda's parents have this as a thank you for the time she has given so freely in posing. I have a bigger project in mind but don't know if I have the stamina to see it through. Oh yeah, that is what this painting is about - a bit of procrastination and avoidance. I'm good at that.

Values and Seeing

2011-03-06T13:00:00.000-08:00

Above, blocking in hues and values over underpainting
Below, blending those hues, cleaning up edges

Returning to the current painting I'm working on I realized yet again that unless I work intuitively the results are less than pleasing. Blending that balance of things I've learned, technically, over the years with just allowing my hand to flow almost independently of my thinking is always the biggest challenge. Looking at the photo reference and recalling the
actual presence of the model in front of me helps in seeing those values and hues as more than just tones on photo paper. An artist whose work I much admire and whose ethic I appreciate also, Sharon Knettell, http://sharonknettell.blogspot.com, writes extensively about working from life rather than photo references and how it is so much more meaningful. I know exactly what she means. I will always prefer to work from life. I will also always end up with some photo reference to work from also...I imagine. Some issues are contentious. We all have our own ideas about what's best. I do draw the line at using someone else's photo reference. I take my own unless there is absolutely no way around it. Like a commission to paint the portrait of someone deceased. Or including some exotic animal or plant I have no way of ever seeing in the flesh. When I was a commercial illustrator, and before the advent of the internet, I had compiled, starting at age 14, a huge reference file (known as a "morgue") which I added to constantly, cutting up magazines and garnering photocopies from library files. I had to do this since the deadlines were inhuman often and I had no time to dither with the ethics of finding the "source" to work from in life. I learned also how to use my camera as sketching tool and it served me well. Everyone and everything was potential model material! (Ask my son).
Now that I paint mostly for myself and do not take illustration work and very few portrait jobs I can be pickier about reference. It is true that too many artists have come to rely almost exclusively on photos to work from and have little or no experience working from life. Is this art or is it craft? Is there a difference? My advise is to draw and paint from life whenever possible. There is no other way to truly hone your skills and be authentic in your work. I need to take my own advise more seriously. I am also now vegan and I thought that leap would be hard...but it hasn't been at all! I want the joy back that I ONLY truly feel when working from life. Copying the marks on a photo just doesn't have the same zing to it. Thanks to Sharon for helping me to get my priorities straight. Read her blog. You might be annoyed, even angered a bit, but you won't be sorry.

Must be my week!

2011-03-05T11:29:00.000-08:00

I am very pleased to have discovered that both of my entries into two shows have received awards. The "Heather with Peonies" in the Comox Valley Art Gallery show and "To Tell a
Story" in the Campbell River Art Gallery show. I had hoped to go to at least one of the openings last night but the weather turned bad and I was nervous to take the hour or more trip down there through the mountains in the dark and falling snow. The shows are just local but I am still very happy about the recognition. Both galleries are known for showing wonderful and well known artists from across N. America so the venues are quite good. Incentive to keep plugging away! My next door neighbor, Debbie Reusch http://debbiereusch.blogspot.com braved the snow, ice and dark two lane mountain road to go to the opening in Campbell River and let me know this morning about my winning and award. Thank you Debbie! My dear friend, Lyndia Terre www.lyndia-terre.com also won awards at both of these shows. She lives three hours south and came up to the Comox opening in very bad weather! She told me she shouted "YAY" when my name was announced and everyone there turned and stared at her!
It is good to have fans:-)

Over the Underpaint

2011-02-27T13:54:00.000-08:00

I am painting without concern for "accuracy" here. Most of the underpainting is now done so once it dries it is time to building up the layers and tweaking as I go. The light cast a semi
greenish tone to her skin, especially being next to apple leaves so right now she is looking like something from the undead. And good news, Samanda has agreed to sit for a from life painting this summer when she has some time. I can think about a full figure piece I think and a great outfit. Painting from life is much more energizing than from photos.
Two shows are opening next week that I am in. Receptions are both on the same evening. If the weather is ok I'll try for the Campbell River opening. I quite often stay home for these things but my little self promotion angel/demon is whispering in my ear that staying home means less interest in who did my stuff and therefore less danger of becoming successful and maybe making a bit of cash. And we all know what success could mean...you are expected to do it again! That's way too much pressure...

Another Face Behind Leaves

2011-02-23T13:09:00.000-08:00

Faces surrounded by leaves, flowers, etc. seems to be a theme I keep returning to. With some time I am sure I could come up with some philosophic and psychological reasons for why I do. The underlying motivations don't really interest me though so I push on and just try to keep my hand in. I am mulling over some other things I might paint but haven't formed those ideas enough to make that happen so I began this today as a sort of exercise. Trying to treat the photo reference as if is a subject actually in front of me, not on a two dimensional surface. No careful drawing or variations on composition, just starting right in on canvas which is what I do when I work from life. My Torrit Grey underpainting was not totally dry in a few places which I didn't realize until I started drawing with the Burnt Umber. Makes for a muddy start but I can fix that. I WILL have to let this thoroughly dry first though. I am including part of another photo I took at this session where her hand is holding the branch. I want to avoid the "floating head" syndrome. This may end up going nowhere.

Working From Life

2011-02-22T13:33:00.000-08:00

life sketch of Heather, 1/2 hour pastel 14"x18"

There is nothing I enjoy more than working from life. If all I ever wanted to do was paint or draw still life & landscapes this would not be a problem but I was born seemingly preprogramed to be mainly interested in the human face and form and they are my favorite subject to work with. This presents the problem of finding models. Who is willing to pose endlessly for hours and days, maybe weeks or months? Professional models will. For money. It adds up to a lot of money which I don't possess. I have already used up the good graces of many friends and family members by making them pose and most find excuses not to. Plus now I live in the middle of nowhere so I don't even see many people I can even ask in the first place. Samanda has been great but her time is limited up here so I took photos. Children like to pose, or think they like to until they actually have to, then they get squirmy. So I take photos.
People who commission me for portraits and have the money to pay for them do not have the time to pose, so I take photos. Working from photos, while ok and perfectly valid, is just not the same as working from life. The living, breathing person has an essence that cannot be captured in a photo. The skin tones look different, the movement of the diaphragm causes subtle changes in the pose which can be painted in over time and add a life to the image that a static photo does not possess. It is one reason why life drawing sessions are so valuable. I have considered the use of mannikins but they are stiff and can't be placed in many of the poses that a living person can manage. I have actually been thinking about making a soft sculpture mannikin to try, which I could pose and drape and light but I suspect the resulting work would only look like a soft sculpture mannikin posed and draped and lit. I'm afraid it has to be the real thing. I bet if some of you lived near me you'd do it. My husband has already said "No."

Moving on...

2011-02-18T12:09:00.000-08:00

Grapes in Purple Bowl oil 12"x12"

Moving on and finished with my mini rant from previous post. Sorry about that. I won't do it again. Meanwhile I decided to enter another show, this one is the David A. Leffel Award for Excellence in Painting competition. The category is Still Life. An artist friend of mine bought this from me but if it is accepted it won't be necessary to send it in. They will want a high resolution jpeg for use in art magazines. It is always nice, too, when a friend purchases a piece because I can always go visit it if I want. I am also trying to think about what I want to start next and I have a couple of ideas. Nothing will happen for a few days though as tomorrow I am delivering work to two different galleries for members exhibits. That means traveling an hour an a half south on the island and we have more snow. The mountain road will be slow and treacherous possibly in places but I know how to be careful. With the other errands I will need to do while down there it will be a long, tiring day. I probably won't get home until after dark and then I will look forward to a relaxing couple of days, reading, catching up on light housework, and allowing myself to not even think about art for a bit.

I am also concerned because a dear friend back in Nova Scotia, whom I have only gotten to know on FB has had a stroke and I am very worried about him. He paints also and we have had a wonderful few months communicating about our various projects. At 74 he has so much vitality and interest in life...I am hoping this doesn't set him back too far. I just received word from a mutual friend that he has feeling back in his arms and legs...good news! Get Well, Harvey!

Underwhelmed

2011-02-16T12:27:00.000-08:00

Perhaps I am being way off-base here and there might even be a teeny weeny smidgeon of sour grapes going on, but I like to think of myself as more magnanimous than that. Normally I accept rejection with good grace, take off for the nearest den to lick my wounds, and come out to cheerfully congratulate the winners - and actually mean it! Last year I entered the Blossom Art Competition which has an amazing $25000 top prize and several very nice paying smaller prizes. It is open to anyone world wide so I didn't truly expect to be a winner but I thought I had a good chance of being accepted. When my rejection notice came it was sad but it was ok. I moved on. Then today I found out the winning entries. You can see them for yourself at
http://www.blossomartcompetition.com/Winner2010.html

To say I was underwhelmed is an understatement. The winning work is quite beautiful, lovely, competent, and serenely elegant...and to my mind, ho hum. I feel I have seen this same sort of painting dozens of times. It would look good in anybody's home. It would look good in my home. I hesitated to state my opinion so publicly but I want some other opinions. If I am being snooty, off-base, and curmudgeonly let me know. I congratulate the winner...I have looked at his site and everything he does is carefully elegant and lovely.

Above are my two entries to that show. The addition of figures or other elements was allowed as long as the primary focus was flowers. Perhaps my portraits are taking too much of the attention. As I said, that is fine, I accept the judges ruling regarding my work. I just was so hoping to see really incredible, phenomenal stuff when they announced the accepted works. I expected to be inspired and wowed. I am the first to admit when I LOVE the work of another artist and there are many of you out there who humble me with your talent. Somehow I feel the judges for this show missed the boat. If you think I am wrong tell me. I can take it. I'm a big girl. I won't cry in front of you...too much.

Now I would like to go to my living room and sit with a bucket of Ben & Jerry's Wavy Gravy except they don't seem to make that anymore and anyway, I'm trying to go vegan. Somehow soy yogurt is not going to do it for me.

Time to refocus

2011-02-13T15:09:00.000-08:00

Here is the final painting. The top image is from before I softened the feathers on the edge of Chica...it is correct in the full length image. The tail feathers are not cropped off in the original either but my camera distorts a bit when trying to photograph a long, thin object like this canvas shape. I cropped out the wavy edge, but you get the idea. If I have to start editing my editing in this blog it will cease to be fun and I'll stop doing it. I have emotionally already moved on from this painting. I don't know, yet, what is next, but I have several good options. I'll be cleaning the studio and getting this and other paintings ready to take for exhibit next weekend. I have to get mat board and cut new mats for several life drawings that I'm framing for a show in March.
I have several books to get back to reading. I generally read for a while every day, mornings and later at night, but lately I haven't put in much time doing that. I have eclectic taste and hop back and forth from psychology, philosophy, ecology, mysteries, humour, historical, and biographies. I don't retain much of the specific details but the general feel of a book stays with me. I once had an excellent memory but I need to rely on clues now to remind me of things. It's irritating but has to be accepted. I do try to use visualization to remember people's names but it often doesn't work because I forget what objects I visualized. Ban Ki-moon is a case in point that did work - finally. I visualized a tube of Ban roll-on deodorant, a key, and the moon. I did the same to remember Kofi Annan by thinking, coffee and Queen Anne. I am getting good at remembering who UN Secretary Generals are but I need to move on to remembering people I actually meet. At least if I should ever run in to Ban or Kofi I'm all set to not embarrass myself by asking "...and you are?"

Cooking at last

2011-02-09T17:32:00.000-08:00

Today's session brought the painting to a "boil" so to speak. It is coming near to completion and standing back from it this afternoon I realized that it has a "wow" factor...I don't feel I get that often. The treatment of the fringe is turning out better than expected and I really like the intense red at the bottom and sides...I think I may just fade out the fabric pattern to allow a lot of that red to show. It helps to drive the eye upward also being out of focus. I need to get a new photo of Chica to work with...have to get those tail feathers right - they got cropped out of my original photos. I'm happy!

One of my followers wrote to ask me about the line of the face meeting with the line of the parrot's head, edge to edge. It was bothering him. I think I posted some early drawings when I started this describing my decision to not have a space between the two heads and not to overlap the bird in front of the girl. Mary Cassatt, a favorite of mine, sometimes lined up edges of subjects in her work and I always was fascinated by the tension that caused. It breaks the "rule" of placement but aren't they meant to be broken sometimes? This is a case where it seemed the right option, at least to me. Much as I have been willing to repaint and repaint, I am NOT going to reposition Chica. I could go on about the relationship of Samanda to the bird and the joining of souls, whatever, but I was never good at second guessing my reasons for my choices. It just is.

Putting off the vague parts

2011-02-08T13:31:00.000-08:00

After deciding to mute the background pattern a bit (still working on that...waiting for it to dry), I turned my attention to the left side of the shawl and the fringe. I have had only a vague notion of how I wanted to handle this part. I have considered allowing the lower section to be out-of-focus, drippy, misty, and fading. Now that I have begun to finally address all this fringe I am finding it more interesting than expected and will probably take it to a more finished look. The fabric pattern is intended to continue down both sides of the whole figure. Realizing how many ways this painting could go, even more so than most of my paintings, I am again struck by the tyranny of decision making that can keep me awake nights and hold my daytime thoughts while I make the bed, do the dishes, wash clothes, clean floors and interact with my other half. The fringe is off white but with the lighting and bouncing of that light it picks up many other colours and values and I will have to work at not allowing it to take too much of the focus (as I almost did with the patterned background) away from the face and the bird. I have a week and a half to finish this and I'm still not even sure which show I will place it in. A lot could still go wrong, of course...

Am I Having Fun Yet?

2011-02-06T10:55:00.000-08:00

Paint, repaint. That seems to be the theme of this piece. Starting to work on the background, which is a piece of drapery fabric I have had for eons and always wanted to use in a painting. I am loving the way I painted it so far, but I have to admit it is too distracting from the portrait area. I have to tone down the colours of all those writhing leaves. Too bad. It represents some pretty awesome painting if I do say so myself! That happens though and I learned long ago to be brave enough to paint over even that which is well painted if it doesn't work with the total...the total being worth more than the sum of its parts. Sigh. (I do a lot of that).

Before and After

2011-02-04T12:27:00.000-08:00

The second painting of Samanda's face is completed and I can get back to the rest of the painting with an easy mind. I only have a couple of weeks left to complete it if I want to submit it for one of two shows next month. I lost almost a week here with this redo but it had to be done. I might spend more time in the studio painting if it weren't so dark every day! I prefer
natural light and there hasn't been much of that lately. By 4pm I can barely see in here. The colour corrected light definitely helps but it has a negative impact on my "looking" sense. I guess I should get over it. Meanwhile, I am struggling to finish up tax forms since Bob wants
to send his in soon and he is mostly done with his except for the part about my income and expenses, etc. I consider myself a reasonably intelligent person but income tax forms make me glaze right over. It's stupid, it's psychological, and it's my little way of protesting...all to my own detriment.
I am already anxious to move on from this painting. I can see so many flaws in the composition and the concept. I should stop looking at the work of other artists whose work is better than mine...except I still want to learn. It's a bit galling that these other artists I admire are about 1/3 century younger than I am. Then I realized that there is positive regard again for the realist schools and old masters ways of painting, which wasn't the case when I went to art school in the mid 60's. Then the NY School of Abstract Expressionism was God with acolytes following the headliners and the newer schools of Pop, Op, and Conceptual. I leaned toward Pop in order not to be completely ostracized but my heart was with Magic Realism, Art Nouveau, and Pre Raphaelites. I drank up Holbein, Van Eyck, and Botticelli. I took Graphic Design and Illustration rather than Painting Techniques (had to be practical) and over the years painted my own things struggling to find that which I could only know when I saw it. Suddenly there is a whole new school of fabulous young painters out there painting the things I envisioned (but vaguely) and had no encouragement for. Now at 65 I think I am just opening up to what has been inside all this time. Better late than never I guess.

Here are some of my favorite young painters:

www.tarajuneau.com

www.terrystricklandart.com

www.maryjaneansell.co.uk

http://marinadieul.blogspot.com

It's going to be OK

2011-01-31T16:45:00.000-08:00

I worried myself through this face redo but it is coming along well now so I think it is going to be OK! Just worked on eyes, nose and skin tones on the left side (our left, not hers!). I don't know what I was thinking the first time I painted Samanda's face in this work but obviously I wasn't thinking very hard...

What colour is that again?

2011-01-30T16:04:00.000-08:00

I moved away from the face of the subject today as it still a bit tacky from yesterday. Painting fabrics is one of my favorite things to do but the concentration necessary to catch all the changes in hue and value, to say nothing of the folds and creases, can be exhausting. This
represents several days worth of work. Today I spent time on the lower section and after only two hours I had to quit. I have always had limited energy stores and it is sometimes a detriment to how quickly I move through a painting. If I force myself to continue past a certain point I begin to make mistakes and they have to be fixed in the next session so I have learned to listen to my body and stop when I'm tired. I am always amazed by this tiredness...it feels the same as spending time doing heavy physical labour.

The palette for the colours in this shawl are Titanium/Zinc White, Naples Yellow (W&N), Naples Yellow Hue (Gamblin...a very different, brighter yellow than the W&N), Yellow Ochre,
Burnt Sienna, Olive Green, Viridian Green, and Cerulean Blue. The embroidery colours are a separate palette than includes Radiant Magenta, Alizarin Crimson, Burnt Sienna, Cobalt Violet, and White. I pay special attention to the colours inside folds as they can not only be darker but more intense and often reflect light in unexpected hues. Painting fabric is not a matter of finding the colour of the material and then just adding white or black to make the shadows and highlights. All fabrics, even pale ones, are full of colours and temperatures and
spending time mixing those colours adds to the tactile sense of the material and its seeming reality to the eye. As I mentioned, finding and mixing all those colours, that are usually in small amounts and many areas right next to each other, can be an energy sapper...but if it also weren't so much fun I wouldn't do it:-)

Second time around

2011-01-29T15:34:00.000-08:00

I appreciate the comments so far regarding my displacement of Samanda's head and while to some it may seem to require "courage," for me it was a case of do it or lose sleep over it. I did put it off for days and days, hoping by some miracle the image would suddenly seem right all by itself. The magic painting fairy must have been elsewhere. The studio elves aren't much help either.

Regarding the use of the Quick Dry White I have posted a picture of it. It is oil paint (by Gamblin), and I only painted a very thin glaze over the previous image. I needed to obliterate the underpainting enough to see where to place the newly drawn features. It was dry enough to paint on today, which it would not have been if I had used a regular white like Titanium, or Zinc. It would possibly be several days drying and I didn't want to wait that long to get back on track. I honestly don't know how archival this is but my underpainting was not heavy. I don't paint thickly as a rule, although reworking a totally finished painting is not something I would want to do. The layers change chemically over time as I understand it so reworking is best done fairly soon while in the midst of painting. Having put the thin white glaze on I was also able to start applying new colour without having to paint the new layer too heavily. This is the first layer and I will need to go back in and apply yet another layer once this is dry. I will then be able to work in the subtle value and hue changes in her skin. I am also attempting to make her expression a bit less sombre...moving her lips up at the corners just a tad. Once I have completed the new face I will post it next to a picture of the former face to show the change.

This turned into a great day to paint in any case. The sky cleared up some and I can see BLUE up there and a little sun off to the south...still pretty low in the sky. I like winter and the warm soups and bundling up with blankets and books, etc., but by February I find I have had enough. I need to feel real grass under my feet, not the ice that continues to thwart my outdoor walking efforts. And dragging my easel out on the deck will be welcome, but that won't happen for at least three or four more months.

Redo

2011-01-28T16:45:00.000-08:00

I have been ignoring the little voice in the back of my head informing me daily that this painting needs some radical fixing, at least in the head of the subject. Today I could not stand it another minute so I went back to remeasure and reconsider the placement of the head in this portrait. Too small in the nose, too big in the eyes and then I had to decided how it was actually sitting on the neck. My reference photos show her torso one way and the head another way, but I have reversed things so now I have to make it work without having the actual model in front of me. I have moved the head over and resized my reference photo. Then I put a light coat of quick dry white over the face. Once it has dried I can redraw the features and repaint the face. I am very annoyed about it but I would be more annoyed, like for the rest of my life, if I didn't fix this. I just moved on to finishing the hands and that put me back in a good mood as they look better now. Sometimes you just don't see the forest for the trees.

My Red/Green Bias

2011-01-24T12:44:00.000-08:00

I have been noticing over the past few years that I use red and green combos quite a lot. Depending upon the hues chosen this colour use does not have to be Christmas-like. I have always professed to love bright purple (like Iris Purple) as my favorite colour but I seldom use it in my work. I seldom wear it. I do not like decorating my house with it. Still, whenever I see the blue/lavendar tone anywhere I am drawn to it. Small doses seems to be best. An accent of
exotic purple brightness fills my need. It is not an easy colour to live with. So, I am living with a red/green scheme in my house, my clothes, and my painting. Soft yellows are a favorite too...and sometimes blue, but not a raw ultramarine...more cerulean or cobalt or turquoise. Some colours I really can't deal with (for my own use) are Fushia, Rust, and Mustard Yellow. They may sneak in on occasion but could never take center stage in my life.
The psychology of colour choices is fascinating and there are many books on the subject. Reading them can be enlightening but I think I try to bend my personality to fit what the experts say my colour preferences might mean so it is an area I like to let alone for the most part and just follow my instinct. Once I start using a colour, however, I spend a great deal of time balancing it with other colours and values, attempting to find it's perfect partnership. I reject many more colours than I use. What is that rejection or acceptance about? I don't know the reasons but I know it when I see it.

2011-01-18T12:26:00.000-08:00

I love pattern and textiles. Part of doing this piece is an excuse to indulge that. Already I can see many possible directions for this to go in but I think I will try to keep with the initial image I had decided upon. Sometimes I think I should do one painting over and over in all the possible ways I envision. I think I would tire of it, but perhaps not. How will I know if I don't try it? I think it would need to be with something a bit smaller and less ambitious.

Today I received an unexpected invitation to show with a few very wonderful, well known pastel artists at the Old School House Gallery in Qualicum Beach this coming summer. This includes Russian born artist Nicolas de Grandmaison, who died in 1978; Joseph Plaskett, "considered to be one of Canada's most talented and established painters," & who set up the Joe Plaskett Foundation which allows a selected Canadian artist to travel and study in Europe; Harley Brown, who wrote "Eternal Truths for Every Artist" (available from Amazon); Veronica Milner, subject of the biography by Margaret Cadwaladr "In Veronica's Garden" (also available at Amazon); and Dorothy Oxbourough, well known BC artist specializing in Native American Children portraits. Invitations to show with such established and esteemed artists are very encouraging and so much less stressful than entering a juried show and hoping to be included. I wasn't planning to exhibit much this year but I think this is an opportunity not to be passed up! This is a real surprise. Maybe my hope to end up exhibiting in a gallery like Bau-Xi in Vancouver or Toronto is realistic (that is one of Mr. Plaskett's galleries).

Making progress

2011-01-15T14:26:00.000-08:00

So much red seems a bit overwhelming but necessary to deal with at this stage. I have begun to indicate the patterned fabric background and it is going to change the feel of this piece very much. The background colour of the fabric is an off white. I am hoping it does not end up being distracting. It can always get painted out again. The beauty of making art is that changes are allowed. Where else in life can you experiment so freely, take chances, try ideas without fear of

catastrophic outcomes? It's only paint.

I thought I'd never start...

2011-01-13T16:08:00.000-08:00

Today's efforts finally seem worth something after days and days of messing around. I don't feel such a procrastinator, (although I remain one at heart). Now I can look at what everyone else is doing without guilt, thinking I really ought to be working. I might even be back to business early tomorrow. Oh, one can only dream. James Taylor and Piano Classics really help.

Decision on Chica

2011-01-12T12:28:00.000-08:00

Thank you for the input regarding placement of Chica. It has been decided, and I agree, that it is best to keep a slight distance between bird and girl. The parrot's head and neck angle to echo the curve of Samanda's cheek and I think that works ok. The painting will be ok too. But is ok enough? I am seriously considering shutting down this computer for a while and just working! My brain feels divided. I find myself interested in what so many of you are doing also that I while away the time becoming involved with processes not my own. And now we are basically snowed in for a time. No excuses for not painting. I did my bit of shoveling to make it out here to the studio. Dinner will be simple, hearty, and warm this evening, which still comes by five o'clock. If the power stays on we can cuddle under blankets and watch DVD's. If it goes out there are enough candles and oil lamps to allow a bit of reading and then early to sleep under even more blankets. Hey, what am I complaining about??

A Kiss or No?

2011-01-09T12:17:00.000-08:00

Now I am getting into the subtle changes that make up the final composition before I begin to put paint to canvas. I am using a slightly different pose for Chica, the parrot, and trying to determine if I want it seem as if Samanda is giving Chica a kiss on the head...or not. Hands are more accurate now as are the shawl folds around her shoulders. Of course, part of this fussing is to stave off the actual moment of beginning to paint. And why do I do this? Why do so many artists I know also do this? We love painting! It is our greatest joy...but so hard to begin. What if it fails? What if no one likes it? What if, what if. It doesn't matter. BEGIN.

I would appreciate any opinions about whether or not to have Chica being kissed by Samanda but I don't guarantee going along with the majority vote...

Just chattering

2011-01-07T13:14:00.000-08:00

Getting ready to transfer drawing of Samanda and Chica

"Bananas & Oranges - or Bowl of Fruit" oil 14"x18"

"Grapes in Yellow Bowl" oil 12"x12"

"Cartoon" is the word the old master's used to describe the preliminary sketch that was scaled up to size via a grid and then transferred onto the final surface the art would be painted on. They punched teeny holes all along the lines and tapped fine charcoal powder against the drawing so the particles would go through the holes and leave an impression for them to follow when painting. I use a more modern approach - enlarge my drawing on a copier and transfer it by using a special transfer paper like Saral, which comes in various colours so you can transfer onto a light or dark surface and have the drawing visible. In this case I did not spend the extra money or take the time to travel down to Campbell River to use a professional copier that makes 36" by any length you want (from a roll of copier paper) which is frequently used by blueprint makers and available at Sure Copy there. Most decent sized towns have at least one copy place that has one of these machines. When I do large paintings it is a time saver but this is just 16"x40" so I used our home copier and taped together the separate copies of each section of the drawing. I have small and also a large lightbox but here I just taped the copies to the window and lined up the drawing that way. There is always some distortion in the enlargement to be aware of and correct in the final transfer. In this case I can't use my favorite Red transfer paper since my underpainting is red so will use either white or yellow. I like a red underpainting since it enlivens the whole image even when painted over - the red shows through subtly and adds a richness.

The next two images are for one of my blogging friends, Claire Christinel, who is having some issues with making shadow colours on lemons. Shadowing yellow can turn to mud if you're not careful. Here I used a red tone for the shadow in the yellow bowl but on the right side went to the green reflected from the green grapes and to offer a cool breathing spot. In the Bananas and Oranges painting I did the same thing, alternating between the warm red tones and cool green/blue tones. I allowed a bit of burnt umber in there but not too much - always aware of staying away from mud. I went very bright red for the shadows on the oranges which I like very much, and a deep purple for the orange in front. I outlined the bananas in Cerulean Blue before painting the yellow tones. One of my favorite painters, Wayne Theibaud, does this and I remember how impressed I was with the liveliness in his work the first time I ever saw it - a portrait of a young girl sitting in a yellow dress and go-go boots - just a white background - and all this colour around the edges. That was back in the late 60's and I have often returned to that technique for my own work. Thank you Wayne! His paintings of food are scrumptious!

Upcoming CBS Sunday Morning Challenge

2011-01-05T14:37:00.000-08:00

"Curly Headed Sun" oil 12"x12"

Side stepping today to do this little painting to send to the upcoming challenge in Dante's Pub. It is a chance to have your work selected to be shown on the CBS Sunday Morning show. Go to http://www.theartistchallenge.com/upcoming-art-challenges/ to find out the details. The challenges come up every few weeks and give artists the opportunity to have work seen by collectors and maybe SELL something! Aside from that it is just fun. Most challenges cost a mere $7 to enter and some are free! Victoria North, a talented artist in her own right, is in charge of this enterprise and very accommodating those of us who may be computer challenged when it comes to sending her the correct size jpegs! I made a semi self portrait with my sun...I have a lot of wildly curly hair. Deadline for this challenge is this coming Saturday, Jan. 8th!

"To Tell a Story"

2011-01-03T13:36:00.000-08:00

The parrot's name is Chica which Samanda tells me means "To Tell a Story" in Filipino. Who is telling this story? Chica or Samanda? Or both? Holding her close is Samanda whispering to Chica about the story? Chica can talk but she is reticent in front of strangers. This might be a very appropriate name for the painting so that is the working title for now. I am making the decisions about placement and composition and wondering about how strong to make the background colours. Little by little it comes together. The canvas is selected and underpainted with a strong Cadmium Red Dark. Tomorrow it should be dry and ready for the preliminary drawing to be transferred to it. I enlarge my drawing on a copier and transfer it with Saral red transfer paper usually. It is a lot faster than gridding and fussing. I generally have to make corrections on the drawing after it is initially transferred to the canvas. I don't do any of this if I get to work from life. I just eye ball it and start working on the canvas directly. Vicky and Brian and I are thinking of hiring a model to pose for a few days, one pose, so that we can have this opportunity to paint from life beginning to end. Maybe in the spring when weather is better and getting together isn't such a problem...I don't live too close to anyone. I could set up carefully lit still life subjects, and I might do that again soon, but always I am taken by the human face and form and want to explore that subject more thoroughly. We are mysteries to ourselves no less than everything on the planet is a mystery. Somehow coming to some sort of understanding about the stories we tell each other may help to bring about the harmonious world we all wish for, but I am not naive enough to think this painting will have anything to do with it.

I Feel Another Painting Coming On...

2010-12-30T13:06:00.000-08:00

This week I met with Samanda and visited her family home where I was introduced to Chica, their parrot. She is sweet and gentle and very social so it was a real treat. I have already planned my next painting with Samanda in it but now I think there will be another to follow that...one with Chica included. I am envisioning something but don't want to discuss it much since when I do that the project has a good chance of never happening. I need to learn how to keep my consul when planning my work...I can be such a blabbermouth though. When I did the pastel painting of Lisa with a Lyrebird I didn't talk much about it and the result was successful and sold almost right away! I had to research Lyrebirds and try to incorporate found photos with the images I had taken of Lisa when she posed for me. This time I can pose Chica with Samanda - always a better option for having light and angle work together. I think it will be later this Spring or Summer when Samanda is home from school again and it will need to be at her house. Chica is very sensitive and might not want to cooperate in an unfamiliar setting (like my studio). In the meantime a friend has given me about $300 worth of canvases that she is not going to be using so I am probably set for the whole of 2011. Happy New Year to all!

The 100 Hurdle!

2010-12-18T12:10:00.001-08:00

Sketches for Stained Glass ceiling, Las Vegas Hilton Hotel, circa 1973

Today is a milestone...One Hundred followers! Wow. I really never expected to earn the interest of so many and I am very appreciative, believe me! I shall endeavor to keep you all from getting majorly (is that a word?) bored and find good stuff to talk about and intriguing images to post.

This is a serious motivator for me to keep a fire under myself to produce the best work I can.

Thank you everyone!

I decided to celebrate my 100th follower by showing some old sketches of mine from my Illustrator days. I had just moved back to LA in 1973 and found free lance work with a company that made stained glass windows and lamps for commercial use (restaurants, etc.). They had me design windows and lampshades for The Rusty Scupper restaurant chain first and then I was hired to design a ceiling that was to be 24ft. long for the newly built Las Vegas Hilton Hotel...one of the lobbies. It had to have an underwater mermaid theme I was told. I knew a bit about how stained glass is put together having taken a short course that same year and understood about the necessity of designing to make sure the connecting areas of glass would not cause stresses that could compromise the stability of the whole. I was enthusiastic and excited. I worked for a couple of weeks on a lot of ideas and finally came up with the one you see at the bottom. I also did a colour drawing but that has long since disappeared unfortunately. Even more unfortunate was my client's reaction. Instead of the happiness and thrill I hoped for, he was very concerned over the complexity of my vision. He also did not want to pay for the 80plus hours of work I had put into this project. He paid me about half of what I expected, took my design and had his inhouse designers rework and simplify it. The result, which I didn't see until a year or so later when my husband was passing through LasVegas and stopped to take a photo of the ceiling, was a mere token of my idea. It was cartoony and limpid and a major disappointment. All I could do was chalk it up to experience. A few short years later the hotel had a big fire and the ceiling was destroyed I am told. Karmic justice I thought secretly to myself...

It's That Time of the Year

2010-12-13T12:59:00.000-08:00

"Cat Nap" oil 22"x28"

How can I think about the upcoming plans for new work right now? This happens to me every year about this time. I am not especially enmeshed in holiday rush stuff as it is basically just Bob and me and possibly Elissa and Tyler will come up after Christmas for a few days. Old thoughts press to the forefront and it is hard to find the impetus to start a new canvas. That will pass as it always does so I just go with it for a time until I am sick and tired of not producing anything:-) Meanwhile I post some old work, but most of you who follow me have not seen it so to you it can be new. This was my son, right around Christmas time, back in the early 80's. The material on the futon was from drapes my mother had made for the house in the 50's. I used that fabric for quite a few things around my own places. I still have some of it. Very trendy stuff now I understand. She also made the afghan draped over my sleeping child. That got ruined when I washed it and put it in the dryer...I don't think she ever quite got over my doing that...I thought it was dryable yarn, which all her other afghans happened to be! I had just gone back to school to work on my MFA when I did this painting. I was excited and inspired. It got me into a good gallery and sold to somebody in Philadelphia but I don't know who. I often wish I hadn't parted with it.

The cat had been with me since Toronto and moved to LA with me and back to east to Rochester after I got married and had Tristan. Poor, Puff...had to give him away finally as my allergies began to cause serious health concerns for me...he couldn't forgive that but he didn't understand the deadly alternative to finding a new home for him. No body promised him life would be easy

but I did my best, for both of these little guys. Tristan is 34 now...

Winter procrastination

2010-12-05T12:13:00.000-08:00

Cyclamen & Lace colored pencil 24"x30"

It seems to be happening a bit early this year, the sense of procrastination that overcomes me every winter. I think I can manage to get through it soon as the guilt will become too much and force me back at the easel. I will once again wonder what the problem was since I am always

very happy after I become absorbed in the work. In the meantime I am putting together all the

pictures of our wedding in an album - from eight years ago! They have been sitting in a box all

this time; talk about procrastination...

Above is a colored pencil piece I did quite some time ago when I still lived in Rochester, NY. This was a window in my tiny attic studio. I draped a lace tablecloth over the curtain rod and placed a small potted plant on the sill to brighten up a dreary, winter scene. I had used the same lace cloth as a curtain in previous abodes right from the mid seventies when there was no money to buy regular curtains. It always provided a sense of elegance to an otherwise somewhat impoverished environment, but then, I have read that artists know how to live well even when they have no money - my places never wanted for interesting decor:-) Now they call it "shabby chic."

I hear the pages of the wedding photo album calling...

Last Image of Samanda, I Promise!

2010-11-24T12:33:00.000-08:00

"Juanita in her Hat" - graphite sketch from life

"Juanita" - vine charcoal sketch from life - 1/2 hour pose

"Chrysalis" - oil - 36"x24"

I reshot the painting of Samanda, titled it "BodyWrap" and submitted it to the online FineArtsView

competition for this month. Having been chosen for the top FAV 15% in September with the painting of "Lisa" I am hoping for another notice! We artists are consummate "egoists" - always about Me, Me, Me, I know...so let's talk about YOU for a change...tell me, what do YOU think about me? Old joke, I know. Anyway, this is the last post of this image for a while. I just wanted it to be a better shot than what I posted previously - colours are more accurate here - at least on MY monitor - what about yours? Someone wrote me that Samanda is like a butterfly emerging from a chrysalis and I love that idea and it feels very right, so I have to retitle this piece and call it "Chrysalis". Much better! I am so lousy at naming my own work or finding the right metaphors for it...it is there in my head, all of it, but putting actual names to things is not my strong point. I wonder if I can go back and rename the piece in the competition?

The sketches are from yesterday's drawing group at Vicky Scott's studio near Courtenay. I haven't been for a while so it was good to get back. This model, Juanita, we have had many times and she is really wonderful to draw. Vicky and I discussed hiring Juanita to pose just for us and one or two others who are interested in a long carefully planned pose. Most of those who come are interested in poses no longer than an hour. I would like to do an oil painting of Juanita and I loved what she was wearing yesterday. Again, it just felt right. I can never describe to models what it is I want from them accurately enough. When it is there, it is is simply obvious. Juanita has a natural grace and sense of beautiful posing and features that are timeless. I have several quite beautiful drawings of her. A portrait is in order soon, I think.

Thank you for all the wonderful comments on the painting of Samanda! It is so great to have you guys around! It is ok to let me know when you don't like something I do, also, you know! (But be gentle:-).

I'm Saying I'm Done...

2010-11-22T16:06:00.000-08:00

This painting has reached the point where I just can't work on it any more. Every new brushstroke would be fussing. A friend says the fabric is creating a mystery in that it is impossible to tell if she is wearing a sari like dress or just wrapped in fabric that is hooked to the sky somewhere out of the picture frame. Her face, she said, looks out with vulnerability but not

with fear. I don't have the answers.

What Colour is "Flesh"?

2010-11-19T14:13:00.000-08:00

Continuing with the painting of Samanda I am once again made aware of the huge variety of colours in so-called "flesh" (of the human variety). Caucasians are not just "white" or "peach" or

"rose" toned. Darker skinned peoples are not "brown" or "black". We are all made up of the same

rainbow of colours, just different intensities and values of those colours. Our surroundings and the lighting we are in also influence the colours that stand out in our skin. Samanda is Asian. Her skin has beautiful golden tones. Here in her arm I noticed intense orange and soft yellow but also sienna, umber, viridian green, shades of lavendar, and deep reds. Cerulean Blue and Naples Yellow mixed to make some of the greenish tones, while Permanent Rose, Alizarin Crimson, and Burnt Sienna, and Cobalt Blue are in some of the shadow areas. The red/violet and blue colours in the fabric she holds in front of her reflect subtly on her arms and under her neck and chin. I am unable to locate a single tube of paint that would be the right "colour" for painting her or anyone else. I notice that many artists paint beautiful portraits of people using quite limited palattes, mostly umbers and subtle mixtures of red, yellow and white. There is nothing wrong with this in the least - I just find it more exciting to really look for all the variations that are actually there in the models skin. If you really look at your own hand, move it into varying light and shadow, and you start to notice that rainbow that is part of all of us.

An aside: I entered the Blossom Art Competition recently and received word yesterday that I was not juried in. They had 2300 entries and a very limited number that could be accepted. I look forward to seeing those who were chosen and congratulate them. This is a competitive business but not being accepted does not mean one is unworthy. A different jury would pick a different group of paintings. I am aiming fairly high lately so I have to accept with good grace that I still am a winner because deciding to aim high forces me to paint as well as I can and to reach for more than I might have. I had entered "Nicole in the Rose Trellis" and "Heather with Peonies" and both paintings achieved a benchmark level for me - now on to see if I can surpass myself!

"All Art is Propaganda" George Orwell

2010-11-16T11:12:00.000-08:00

Opening up into our valley on the walk home...Salmon River

in the distance.

Coming down the mountain...

Bob with three of our four dogs - Micky is probably in the

waterfall to the right:-)

We live on the right hand lower slope of Mt. H'Kusam

I want to thank those of you who had such gracious comments regarding my post of yesterday. I only know you through this blog and your blogs but it has come to be a meaningful community to me as I think it has for you. I allowed myself to drift into a perilous mood and expressing it in my blog was possibly not wise but it is how I am sometimes. Reading a compilation of Orwell's essays called All Art is Propaganda, by George Packer, intro by Keith Gessen. This is a statement Orwell made several times in his writings. So much thought from the 1930's feels so relevant these days. There was a definite political correctness influencing artists and writers of that time; "Anyone sensitive enough to be touched by the zeitgeist was also involved in politics."

"It was a time of labels, slogans, and evasions. At the worst moments you were expected to lock yourself up in a constipating little cage of lies; at best a sort of voluntary censorship." Anything that wasn't anti Fascist was suspect (not that being Fascist is a great idea!) but the point was there was a lot of censorship going on and stifling of free thought. "It is inconceivable that good novels should be written in such an atmosphere. Good novels are not written by orthodoxy-sniffers, nor by people who are conscious-stricken about their own unorthodoxy. Good novels are written by people who are not frightened." The same holds for all the art forms. In this current political climate there are slogans and projected suppositions regarding ecology, human rights,

animal rights, and what it means to live an "authentic" life. I admit to being on the side of Democratic Socialism...I like having a government who cares about the health and well being and education of its citizens but one who does not infringe on the rights of that citizenry to think and act freely without fear. This is a tricky balance. In every time of history there are complicating and mitigating factors that influence and push events. Artists need to feel free because they are the canaries in the mine so to speak. They hold up a mirror for everyone to see into if they choose to. Even art I don't care for or ideas I don't believe in have a right to be out there. Thus, I do try to be honest but understated in my own work. I don't really want current ideologies to be plastered in my face but I don't want anyone telling me or any artist what to paint or write or dance or act...My pain is for all those in other places struggling to have that right...to just be who they are without persecution, (accepting, of course those who for whatever reason are inclined to seriously anti-social and psychopathic behavior - even full blown anarchists don't want gunslingers and barbarians at the door! Question: Can a violent psychopath be helped?). Here, in our "relatively" peaceful Western society, though, certain notions are stifled and big corporations seem to be financing a lot of worrisome things all in the name of the bottom line. I like to consume stuff too - I grew up in a consumer society, but I know when it is over the top. That is why I am finally finding that I need much less than I used to think, and it is a big relief. Look at the photos above of where I get to live. Our home is modest, our income low, but we live in a spectacular place as yet unspoiled and I am frightened that soon there will be no place like it left. If "all art is propaganda" than I hope to propagandize the idea that, when we are fed, housed, healthy, free, educated, (and I mean REAL food, not MacFood, human scaled and sensitively designed homes and work places, education that is open ended, open minded, and thought provoking, and health care that is fully available without bankrupting you) and mostly that we are kind to one another "all we have is all we need." Gee, I don't ask for much, do I...

Return to Samanda

2010-11-15T14:45:00.000-08:00

Yesterday I arranged all my wares beside me and pulled up the images I have on my computer of Samanda. I was not in the mood to paint but I began anyway. Have to get back into a painting I stopped working on over a month ago and not feeling too pleased about it. Within ten minutes I was fully back and lost track of the time. I felt all thumbs and left handed. I played with some colours I don't normally work with (Prussian Blue, Napthol Red). I heightened the contrast and colour in her hair and lightened the upper left hand corner, reworked the drape of the cloth and fussed with her lips. It occurred to me that I am once again at a point where a change is going to happen in the way I work. These are usually subtle and not too apparent to the outside observer but to me they are major. I was just getting comfortable. Drat. This always happens. I am bored unless I am working outside that comfort zone just a bit. Now what, I ask myself. Finish this thing and move on, that's what. It is NOT going to be the painting I envisioned (they never are) and I am going to accept that and do the best I can with it. I wish her pose were different, slightly turned more with emphasis of weight on one hip, maybe a different expression on her face...maybe not looking out me with such expectancy and challenge. And once again, that small itch that sits in the back of my mind, I wonder if doing this is a worthy occupation in such "interesting times" as we live in. Should I be in Darfur attempting to save refugees from the terrible civil war? Would it help if I could raise enough money to rebuild Haiti or build new lives for those who have lost everything in Pakistan or Indonesia? Would I ever know where to start such undertakings? I mention them on my FaceBook page and sign the petitions and rail against all the injustices I hear about. Yet there is that self centered me who just would like to be able to be here painting, reading my stack of books from the library, and listening to amazing musicians on my stereo, making some Apple Crisp from the harvest I shared with the bear, being in touch with friends now and then...and without guilt because I have it so good and so many have it so bad. The years spent struggling to make a living, to find my way, make some imprint on the world, raise my child, trying to defeat the severe clinical depression in my DNA, all are beginning to feel far behind me now and I just want peace. I wish the world the same. I want everyone to find their true way, their true heart and joy. It is naive to think that will happen any time soon. A dear friend tells me that birthing art into the world and seeing the happiness that brings to others is gift enough. It would be so nice to think that was true.

Art Expo Workshop Demo

2010-11-14T12:04:00.000-08:00

I received this photo today from Susan Schaefer, who, along with her life partner, Jeff Shields,

organized the whole Island Art Expo event that I took part in last weekend. It is not a closeup of Ruth, my model, but at least it does show that I was working from life. I had a table set up next to me with a Masterson sealable palate and brushes, etc. I don't like to take along everything I own for painting on site so I have a couple of carryalls that hold everything I need and this portable easel. I had a spotlight on a tripod just off the picture edge. I had no idea what to expect for

the room I was to work in so I tried to be prepared for a variety of possible situations. It has taken a lot of trial and error over the years to come up with a suitable way to pack for these trips. It is never perfect but generally I am able to manage nicely.

One Hour Demo

2010-11-09T13:51:00.000-08:00

At the Island Art Expo this past weekend not only did I get to do a portrait of Santa Claus but I gave an hour and a half workshop/demo on portraiture. This always is a tense situation for me since I feel I have to "perform" well and do an impressive job in a short time. Talking and demoing is also a bit of a trick since I want to concentrate on what I'm doing and not on my verbalizing. The model arrived in time and sat very nicely...didn't move a muscle for the entire

hour...she is a professional and that helped very much. I began and proceeded and got through

the demo without shaming myself so for that I am pleased! I was actually just starting to get the

feel for my subject and wanted to continue, to make all the corrections I could see were needed, but the time was up and I managed to discuss my process fairly coherently...everyone seemed happy. I cannot believe, though, that I did not take any photos of the model so that I could work

on this at home. Perhaps that is for the best. I can use this as a reminder of what is possible for me to accomplish in a short time if I'm expected to, and also how far I have yet to travel in my quest for improvement.

Island Art Expo weekend

2010-11-08T16:11:00.000-08:00

I am back from the weekend art expo down in Qualicum Bay at the Lighthouse Centre. Exhausting but fun time. Bob couldn't come along to help me schlep stuff because we have

four canine children who can't be left alone for three days and would not really be welcome romping around the art expo venue. Some gallant male artist friends helped me get those

folding doors set up and then yesterday, repacked into my truck.

I did several quickie portrait sketches over the weekend and yesterday morning a man came

to my table and asked if I would be averse to doing a portrait of Santa Claus. "Why would I?" I replied. Santa is as entitled as anyone to get sketched if he has the $15! (Everyone was giving

me $20 for their sketches...knowing that they were STILL getting a real bargain). So Santa came

in the afternoon and sat for his portrait sketch. He was a big hit with the other show goers.

The musicians that played on stage during the weekend enjoyed him too but were not inclined to

break into "Jingle Bells" thank goodness. It is still a BIT early! But I posed with Santa to prove to any skeptics that I really did do Santa's portrait(!) and darn it, my chipmunk cheeks are showing...

Cupcakes and All I Need

2010-10-30T13:02:00.000-07:00

So, ok, I got a bit carried away with this cupcake theme. It was a fun vacation for me, though, and I think I can get back to more serious mark making now that I have that out of my system. The painting of "Samanda" sits patiently waiting for my return over there on the other side of the studio. She is quiet and undemanding, except that the look in her eyes is a bit reproachful. I have now, in any case, my Christmas gifts ready to send off in a few weeks to my mother-in-law and sister-in-law, loving women in my life. I promised them hand painted scarves and I like to keep my promises when I can. Being a new Senior "pensioner" is giving me a sense of freedom I've never had before...I still intend to market my work but the sense of urgency is gone. I can breathe. I can relax a bit. I can sleep nights instead of wondering if this will be the month we can't make the mortgage payment. And thankfully our needs are small. I am letting go of a lot of the materialistic desires I once had. The house isn't my dream house but so what? It is a good house. A strong, warm house. I have put my stamp on every room and it enfolds Bob and me. The surroundings here are magical...I live in nature...the best decorator ever. The food is wholesome and we have enough of it. The birds visit, the dogs romp, and the other wildlife visits (sometimes when not invited but always welcome so long as they don't eat everything in sight and wreck the topiary). All I have is all I need. But a new camera would sure be nice...tell you what...I'll trade a personalized cupcake scarf for a good used Canon T1i Rebel DSLR.

FineArtViews Painting Competition Award

2010-10-18T19:18:00.000-07:00

I got a wonderful surprise today when I got home from a long day in both Courtenay and Campbell River with Bob running errands. I thought I would quickly check my email and received the message that my painting "Lisa" was selected as one of the FAV15% in the September FineArtViews Painting competition. This is means I might get featured in the informed collector section sometime in the coming months. I am trying to embed the award badge in this blog but I got a message that the gadget is broken right now. Hope they get that fixed soon. In any case, I feel very grateful to the jury and feel that I am finally making a bit of progress in getting more attention for my work. Artists ride the fence of ego vs. selflessness, trying to offer the world part of their gift and at the same time wanting some of the spotlight as a result. I am no different. I would like to be a well known, well regarded artist. I'm human! I also seriously hope that my small efforts bring a bit of light into our world...I am aware that in the long run none of this matters but while we're here it is nice to contribute in a positive way and be recognized.

Nicole Up Close and Personal

2010-10-11T12:00:00.000-07:00

I decided to post this close up detail of Nicole since I have received comments and emails about her skin tones. I struggled with this for quite some time and kept scraping off what I had done. I finally realized that there was a lot of yellow light bouncing around in the trellis area, a distinct

lemon colour, greenish and pale. When I used that it seemed to come to life at last. In a photo it is harder to see, unfortunately. In any case, this gives a better idea of what is going on in those skin tones. Lots of Permanent Rose also for the reflection from the deep red flowers, especially around the chin. Used a pale, greyed lavendar on her forehead. I felt like I was painting a clown face at the time but it worked! I am very appreciative of everyone's enjoyment of this painting. No word yet on how its doing with the Blossom show jury.

A "Bearly" Plausible Notion

2010-10-09T11:43:00.000-07:00

This guy (or girl - don't know which!) has been seeking the center of my attention for over a week now. No matter what I do, hanging out old smelly dog blankets on the fence (after repairing where he crashes through), old dirty laundry (don't really want to go there...), rewiring the electric fence, sending the dogs out to do bear baiting duty, picking all fruit and cleaning up everything I can think of,and stomping around the yard banging loudly and annoyingly (just ask the neighbors) on a pot with a big metal spoon, this bear just won't take the hint. A real cutie, though, don't you agree? When Bob gets home in a week (God, a whole WEEK??), we are going to string barbed wire. Maybe put a loud speaker out there and play heavy metal 24 hrs. a day.(Isn't that how they finally got rid of Noriega?)

Meanwhile I am seriously considering doing a painting of this yard wrecker...just wish I could get close enough to make sure I get his eyelashes correct.

Heather's Sister

2010-10-06T09:08:00.000-07:00

Nicole in the Rose Trellis oil 16"x16"

Here is the other entry to the Blossom competition. I've posted Nicole before but some of my newer followers may not have seen her. I so appreciate everyone's wonderful comments about

my work and it is very motivating! I never expected to find so many other talented people out there who would be interested in what I'm doing. I love following all of you also even though I

don't comment all the time - if we commented on everything none of us would have time to paint!

Regardless of the outcome of this show I'm trying for the support from all of you is enough! Who needs a jury full of strangers to give us the vote of approval when friends, old and new, are so warm, helpful, considerate, and just plain fun?

Meanwhile, I have to get back to my Black bear, the one who keeps breaking into our property - a real cutie who is having trouble with overstaying his welcome. See my FaceBook page for pics. Or maybe tomorrow I'll post one here. It has also been suggested to me that I should do his portrait as I have a pretty nice shot of him up our big fir tree. Hmm. Maybe I will.