A December to Remember (Thus Far)

UUCE Exhibit

Although the month is not over, it has certainly been memorable. On December 1, I took down an exhibit of my paintings that had hung for a month in the Unitarian Universal Church Eugene.

Although the viewers of such a show is limited, it was a lovely space and rewarding for me to see so much of my work hung together. Thank you to my sister Janice, who is a member of the congregation, for arranging this event for me.

Life Cycle Imperitive #5

Janice relayed many positive comments regarding my artwork and I was pleasantly surprised to sell a painting. Someone is going to be very surprised and happy to find this under the Christmas tree!



After taking down the show, the first week of the month flew by, as we prepared for the send-off of the Carter family to Arizona. After Mike and I were the primary caretakers for Rachel and two of her three children for the months of February through May, then having Rach and all 3 children live next door to us for the following six months as Rachel recovered, we were restless and at a bit of a loss for how to get ready for their departure.

Hannah making muffins

Marin with her wreah

I used some of the time doing the rewarding and fun things with the grand-kids. Hannah and I made muffins and all three kids made their own Christmas wreaths for their new house.

Knowing that the move would interfere with many of the Carter Family's own traditions, Mike and I tried to fit as many things as we could into their last few days with us, including decorating our Christmas tree.

The Carter children decorating the Blue River tree.

Finally, the departure date arrived. In the early morning of Friday, December 5, with a car chuck-a-block; Rachel, 3 children, a cat and a dog drove out our driveway. Destination: Gilbert, Arizona.
But wait: there's more . . .

Noah, Hannah, Rachel and Marin ready to load up!

We got a call from our older daughter Meg, letting us know that she had an immediate need for abdominal surgery scheduled for December ninth. Since Mike had a minor surgery scheduled on his hand, I was the obvious choice for going to Camas, WA to support her and granddaughter Angelica through this period. (Are you laughing yet? Not at the surgeries, but at the irony of life!)

Meg before surgery

Meg heading home.

I spent December 8 through 19 in Camas. Meg had her surgery, Angelica continued to go to school, and I bounced back and forth between the hospital and Meg and Angelica's Camas home for 3 days until Meg was released from the hospital.

While Meg was in the hospital, I got the word that two of my paintings had been accepted into two different  national shows. "Herons' Winter Dreams" will be in the 6th annual Signature American Watermedia Exhibition at the Fallbrook Art Center, Juror Stephen Quiller. "Taken Under the Wing" will be in the 31st Annual Juried National Painting Show 2015 in  Redding, CA, Juror Vinita Pappas.

Herons" Winter Dreams

Taken Under the Wing

Now I am back in Blue River scurrying around preparing for Christmas. Most of my shopping is done. Meg (with a healing incision)  and I managed to shop, package and ship gifts to Arizona before Angelica was out of school for Christmas vacation. I am finishing the decorating of the house and looking forward to a lovely Christmas Eve gathering with our friends and family.

Since the first part of December reads like an entire year in review Christmas letter, I wonder . . .

what will the last 10 days of December bring?

A Morning of Making Snakes

Could you say no to this little guy?

Last spring, when Mike and I were traveling back and forth between home and Seattle, trading off grandparent duties, I did a lot of crafts with Hannah (4) and Noah (6). We saved toilet paper rolls to make animals. We cut up and colored shapes out of milk jugs. We made spring blossoms out of popcorn. Pretty much anything that could be done by both a 4 and 6-year-old was on my radar.

However, late May brought wonderful weather. Rachel (Mom) came home, big sister, Marin, and Josh (Dad) all gathered next door to us in Blue River. The days of crafting went by the wayside.



I did make a promise to Noah, way back when, that we would make a stuffed animal , and as you probably know, kids never forget anything.

After assessing my age group, 4 to 10 years, I thought snakes would be pretty easy. I needed to get some fabric and stuffing in town and quickly eliminated the idea of buying a stuffed animal pattern at the price of $17. I found a really easy idea on the internet: http://www.makeit-loveit.com/2013/08/stuffed-toy-snakes-soft-and-cuddly.html. I'm pretty sure I could have done this on my own, but it was really easy to just follow someone else's idea.

We used some wide craft pattern to make our pattern. Marin was old enough to cut out her own snake pieces.

Both Noah and Marin got a little bit of sewing machine experience. The stuffing of the snakes was perfect for all the ages. Marin continued to learn more about sewing making scarves out of the scraps.

Of course, everyone can play with a snake--at least these stuffed ones!

My guilt has been assuaged, since I eventually followed through with my promise. Believe it or not, all three snakes were done in 3 hours and the cost was under $20.

This was a great way to spend a Saturday and I love that it created wonderful memories. Marin said it was one of her favorite days ever!

We only have 2 1/2 weeks until Rachel and her clan move to Arizona!

Pele Reaches Into My Blog

As many of you know, my husband and I lived in Hawaii for two years several years back.  I painted many pieces about the volcano we were living near, Kilauea. My abstracted landscapes were an important part of my artistic development. At that time the lava was actively flowing into the ocean, making for some very dramatic scenes, which I'd photograph and later use as inspirations for my art.

I was fortunate to be represented by the Volcano Arts Center in the Kilauea National Park, where my art sold quite well. But when we moved away, I closed my connection with the gallery, as well as ended my volcano series.

Back in 2010, an elementary art teacher who has her own blog http://linesdotsanddoodles.blogspot.com/, featured my blog post as a reference for teaching art using a volcano theme: http://margaretgodfreyart.blogspot.com/2010/03/odds-and-ends-week.html. Over the years I have noticed quite a few blog hits on my blogspot through her site. but since the latest eruption is heading toward a town on the Big Island, the traffic has greatly increased.

Recently, Pele has changed the route of the lava flow, endangering Puna and the small town of Pahoa, Hawaii. Interest in teaching about volcanoes has increased, consequently, there has been a lot more activity looking at my 2010 post.

I am fascinated by what this says about our internet interconnection. I have had so many people looking at my art and my words, indeed my life, through this connection with Holly B., art teacher in Maryland.  I love knowing that my blog and Holly's blog are still active and I hope all these wonderful teachers are inspiring students to weave science and social studies with art.

I still have a number of my Volcano Series paintings. Contact me if you would like a little Pele on your wall!

More Small Works on Paper

Yesterday my good friend, Ruth Armitage posted a link to to a book "Daily Painting: Paint Small and Often to Become a More Creative, Productive, and Successful Artist." You know how something said, or an article you read, or (in this case) a book title is just what you need to spur you on?

Seeing that book title was a good reminder to me that I don't always have to go to the studio and create a masterpiece. Sometimes it is just a wonderful thing to experiment and paint for the fun of it. The idea of having fun with some small works on papers really appealed to me. As I was searching through my file drawers, I came across some pieces that had not been successful, but already had paint and collage on them.

Sometimes I find it easier to work on "stuff" rather than start with white paper. So I tried to capture some more successful parts of these 12 x 15 inch papers.

Old Work

So this was reduced to

Cropped Old Work

This

Ponds #2,5 x 7 inches

Which became this finished small work on paper.

Ponds #3, 5 x 7 inches

Here are a couple more examples of the small works on paper I did today.

Ponds #1, 8 x 8 inches

I'd love to hear your comments about these works on paper!

No More Denying--Fall Is Here

Hannah, Queen of the Hay

There are a few things that emphasize the fact that the season has changed from summer to fall. One is getting over to the Eastside of Oregon to bring home hay before the rain starts. Early this week the weather predictions stated that we could expect rain on Tuesday, continuing through the week. So on Monday morning, Mike hitched up our raft trailer to go over the mountains to get hay.

We've been going to the same farm between Sisters and Redmond for the last few years, so one call gave us the thumbs up for picking up a ton of good Eastside hay for Little Bit.

Mike was back home in the early afternoon, ready to hoist the bales into the barn loft. In years past, we would use a horse to pull the bales up (true horse power). But this year Rachel stepped up offering to do the pulling.

Here is where I have to add a note that one year ago Rach would not have had the stamina, strength or coordination to do this task. It was just a year ago that Rachel and her husband, Josh, along with Mike traveled to Chicago to try to get into a stem cell transplant study for Multiple Sclerosis patients being done there. After the rejection from Chicago, she eventually was accepted into the program being done in Seattle. 

Now, just 6 months after treatment, she is so much better, and the recovery will continue for the next 6 to 18 months. How fortunate that she was given this treatment and the outcome is simply hard to believe! Dare I use the word "miracle?"







With Mike in the loft stacking the hay bales, me on the trailer pushing the bales to Rachel, and Hannah cheering us on, we had the whole task done well before dinnertime.





The loveliest part to the day was getting the gorgeous vine maple leaves into a vase on the mantle. Mike never forgets to bring me some!

Artwork on Paper--Making it Small

Artwork on Paper--Small vs Large

I recently attended the Watercolor Society of Oregon's Fall Convention which is a wonderful way to connect with other artists, get inspired by other's artwork, and have a weekend of fun. Although I did not have a piece in the show, it is a great showcase for Oregon artists and the larger artwork usually stands out. Because I like to enter my art into competitions and I find it very comfortable to paint on a full sheet (30 x 22 inches), I most often paint large.

However, when I got home from the conference I learned that one of my small paintings had sold at Excelsior Inn Ristorante. I currently have a group of framed 7 x7 inch pieces, so I wanted to replace it with the same sized work. It seemed like a great opportunity to continue my salmon life cycle series and see what I could do with a small square.

Salmon's Journey
7 x 7 inches
Artwork on Paper

There are several neat things about doing a small piece.

• I can use it as a study for a larger piece
• I can hone my skills with acrylic
• It is easy to use fixative (varnish) and mount without mat or glass

This painting will be framed, placed on the wall Friday and sell at Excelsior for under $100--affordable artwork on paper!

Limiting Elements and Subject Matter

One of the most important things I learned at the Ventura workshop I attended in August is that the more I limit the elements and subject matter of a painting, the more creative I become. A smaller focus really forces me to think of new ways to "talk" about a topic.

A couple of years ago, when I started my River Series, I limited my work to abstraction of nature and Oregon wildlife. This focus lead me to a higher quality of paintings and greater rewards in the competitive field of watercolor.

Life Cycle Imperative #3
30 x 22 inches

The series, Life Cycle Imperitive, that began in Ventura has limited my work even more. The elements of the last few paintings are rocks, salmon and salmon eggs/smolt/fry. The question I face with each new painting in this series is, "how can I express something new and different with these three elements and symbols?"

The last works I did in Ventura were very minimalist. The colors were subdued and they had an ethereal quality.






The new painting I am posting today has veered away from the delicate. I wanted to continue using the kimono composition, but make it more organic. I used rocks to form a redd (a spawning nest) with the salmon swimming above in an almost robotic fashion. The painting started with another water-like wash above and below the fish. When I was close to the finish, the painting had a very pastel look. It lacked drama and interest. Also, I was a bit surprised by how much realism I had put on the paper. I am much happier with a more stylized and abstract look to my work.

After some contemplation, I decided that getting rid of the pale background would make the rest of the painting "pop." It takes a bit of courage, but I took a pure black gouache (opaque watercolor) and painted the background a mat black. To me it created a much more dramatic and less realistic painting. It went from pale and pastel to eye-catching. Sometimes it pays to take risks and do something different.

Life Cycle Imperative #5
30 x 22 inches

Ventura Adventure--Part II

Life Cycle Imperative #1

After my introduction of salmon eggs into the first painting of the workshop, Katherine gave me an "A+" for a unique idea she'd not seen before. She is very much about setting an artist's work apart from others. She wants her workshop participants to find ways to set their work apart from other artists and be recognizable as their art.

So after my first painting and some angst about where I would go next, Katherine met with me again. We looked at Life Cycle Imperative #1 and again I was given a challenge. How could I take 3 symbols and make a painting out of that? Katherine suggested I use the salmon eggs, rocks and an unusual shape as a format for my work. The term "surrealism" had come up in my first day's talk where Katherine said my work was slightly surrealistic.

Life Cycle Imperative #2
Watercolor 30 x 22 inches

My second painting started with the idea of a kimono. I wanted to paint again my open-winged heron that had been subject of an earlier less successful painting. How could I make that surrealistic? My roommate/art friend Kathy Tiger and I discussed it at some length, throwing ideas around. Finally it came to me that the real heron could walk from it's realistic landscape into the fabric of the kimono, joining it's partner who was already at home in the kimono shape. I included the falling salmon eggs again, and put five subdued stencil images to indicate the brocade fabric a kimono might be made of.






The more I worked with the salmon eggs and used my iPad to look at images and read more about their breeding habits, the more I realized that the life cycle of the salmon is very representative of all living creatures' journey, including humans. The eggs struggle to hatch, the smolt and fry dodge nature's predators to mature, swim out to survive in the ocean for a few years, take the swim of a lifetime to return to the river and very spot where they hatched, lay their eggs/fertilize their eggs and then provide their offspring the nutrients to thrive and grow by dying. So in a very symbolic way the salmon egg epitomizes life and death itself.

With much greater thought, I began to strip my paintings to a very minimalized image: rocks, eggs/smolt/fish, water/air. I made a smolt stencil to decorate my stylized rocks. Katherine called this one a poem and used the word ethereal.

Life Cycle Imperative #3
Watercolor, 30 x 22

My last piece came home a bit unfinished, but again it is quiet and mindful of one message. We all answer to life's imperative commands. In this one the salmon is leaving her eggs behind, seeking the end of her life cycle.

Life Cycle Imperative #4
Watercolor, 30 x 22

I came to Ventura with the notion that I would begin a series of paintings of and about my daughter and her last year of struggle, treatment for MS, recovery and my parental grief, support, and effort to make it all happen. At the end of the two weeks I realized that I had done just that in a deeply symbolic way.

My Ventura Adventure--Part I

After two weeks in Ventura, CA, a week and a half waiting for my art box to return to me, I finally have my paintings and art supplies home with me in Blue River. This morning I photographed my paintings and thought more about what I learned while there and how it might affect my art-making.

Katherine Chang Liu and yours truly

Katherine Chang Liu is the mentor for artists using all sorts of media--found object assemblage to traditional painting. She does not teach any techniques, nor does she show her own work even though she is a well-known and gifted artist. I was one of only three "newbies" in the class of 29. Many artists have been studying with Katherine for years.

Every day started with a program of images Katherine collects from a wide range of artists from all over the world. Each program embodies a particular genre of work such as new realism, working with shapes or assemblage. By the end of the two weeks I felt like I'd taken an advanced course in Modern Art along with the many studio hours of creating my own art.

On the first day she advised the participants to clear one's studio from all other artists' work. She feels strongly that an artist needs to eliminate other influences in order to find one's own source for creating art. So right away I started thinking about the many times I've "borrowed" ideas accidentally or on purpose. That led to digging into my brain, trying to figure out just what would be my own unadulterated creation of art. This is heavy stuff!!

In the first two days, Katherine schedules a private meeting with each artist where the artist shows 6 images of their work to discuss and set a goal for the first week. I had planned a particular avenue to travel in the two week, but Katherine veered me off that course immediately. She challenged me to take one of my River Tapestry series paintings and turn it into a vertical painting, which she told me was my natural bent for creating art.

The other observations she made about my work are that my art is based on thought, not reaction and  I use a lot of symbols and icons in my work. She noticed that I used circular shapes in many of my pieces and suggested I think about something circular to place in my river series. I especially liked her comment, "You are sitting on the bridge between realism and abstraction."

River Tapestry #4

Because I was there to listen and learn, I released myself from what I thought I would do and set about painting a vertical piece incorporating elements of the River Tapestry series and filling my circles with a river related symbols. To the left is the piece I was challenged to use as inspiration for a vertical piece.

Life Cycle Imperative #1
Mixed Media, 30 x 22 inches

And here is the first piece I painted in the Ventura Workshop. I included water, stenciling, rock, fish from my previous work and added a new element--(get this) salmon eggs. I learned to respect and relate to the salmon's life cycle over the next 10 days, which I will talk about in my Part II post. I'll also show the other paintings that came from this beginning. I was surprised and perhaps you will be too.

Heading Off to Art Camp

To be honest, the title of the blog is deceptive. I do not need to take bug repellent, hiking boots, canteen, tent or sleeping bag. I will not make a lanyard or write home. I hope I won't cry every night.

What feels like going to camp is that dangling of the unknown. Am I up to the tasks ahead of me? Will I fit into the group I'm about to join? Will I be able to get swept away into the new environment? Did I pack everything I need?

What I am about to do is fly to Ventura, California for a two-week art workshop with the famous Katherine Chang Liu. This is unlike many workshops in that I will not be taught techniques or new ways to paint, rather I will be guided to know more about myself, why I paint, and what direction I'm heading. Here is the list of daunting questions I've been asked to think about in preparation.

Regarding the eight images I'll share with Katherine:

My idea behind this body of work in general (my content):

Questions I have about the work: 

What I am satisfied about my work in general:

What I am dissatisfied with my work in general:

Changes I wish to make, or challenges I want to give myself regarding my work:

On Monday I sent a giant package of art supplies to Ventura. I'm confident I have paper, paint and burshes. What I'm more worried about is having the small things that I'm used to having in my studio: special little scratcher things or a little bottle top to make circular marks. And more importantly, will I arrive with my creative, artistic brain ready to be activated?

My huge box of supplies:

After my two weeks, I will post and let you know how it went. Mostly I look forward to so many days in a row where art will be my primary concern and where I can paint, draw, write or think without interruption.

Here is a small cutout of my latest work. Just a teaser until I'm ready to post the whole painting.

Giving New Life to an Older Painting

Almost a year ago I painted the third painting with the "Food Web" theme. I liked parts of it, but felt that overall, it had less strength and certitude than I wanted. Like many "so-so" paintings it ended up in a drawer until this week. Out it came a couple of days ago for a fresh look. I wanted the background to have more oomph. I decided the blue separating the rock said nothing to me. I wanted the whole piece to be more vivid and fun.

I am posting the before and after, so you can take and look and decide if it now has the confidence a painting ought to have. I am also posting the two earlier "Food Web" pieces.

Before, Untitled

After, Before Columbus
22 " by 30"
Transparent Watercolor

Food Web,  18" by 22"

Food Chain, 22" by 15"
SOLD

Blue Moon Heron II Accepted into Watercolor West Exhibition

I had good news last week regarding Blue Moon Heron II. This transparent watercolor piece was accepted by juror Judy Morris into the 46th Watercolor West International Juried Exhibition. This is my first time being accepted into this exhibition, so I feel especially honored.

So why do I compete? This is a question I ask myself over and over. Today's answer is that it helps me understand my own improvement as an artist. In the past six months, I've had three paintings accepted into National and International shows, one acceptance into a state show, one painting purchased for a college permanent collection, and two paintings in a University exhibition. My interpretation of these accomplishments is that my efforts in the studio continue on an upward climb. I also am gaining more confidence in my own decision-making regarding my art. Always looking for approval from others can lead to stagnant work. For me, forging on in my own experimentation and interpretation brings me greater satisfaction, more fun, and (apparently) greater recognition.

Blue Moon Heron II
Transparent Watercolor, 22 inch by 18 inch

Lifting, Layering and Stamping--Giving New Life to a Static Painting

Last November I painted the version on the right of If Herons Dream. At the time, I was totally enamored by the two herons in the foreground. I also liked the simplicity of the barren areas in back of the birds. Creating this painting was somewhat stressful because it is transparent watercolor plus the method of application is not forgiving of errors. I entered it in a couple of competitions and it was not accepted in either show. So it has been sitting in a drawer for a few months until I pulled it out the other day and looked at it with a fresh eye.

If Herons Dream, After
30 x 22 inches, transparent watercolor

Although I still liked the composition and my subject matter, I realized it was quite static. That is really not my style. I started looking at the painting as a skeleton and my mission became filling it out, sweetening it up, making it move, and putting the MSG stamp on it. Now the upper image no longer lives in reality, only virtually. I'd love to hear what you think of the transformation.

"Niggling" a Painting to Completion

"Niggling" is a term the wonderful artist Carla O'Conner uses to describe the artist's last touches to a painting. This is where you stand back and look for the parts that niggle or pester you and you know you have to dig into the tools and adjust the painting to make it stronger.

Encounter is a painting that I've been looking at for a few weeks now. I've had it propped up in my viewing spot, giving me the opportunity to let a lot of niggling take place. With the critiques from my art friends Ruth Armitage and LaVonne Tarbox Crone I have made both significant and minor changes.

In the last two days, I finally got rid of my layer of clear water. It took me awhile to realize that I wanted it there, but it didn't belong there. The herons are the story, and the nearly white water competed with the story. The incorporation the mucky wet area into the water certainly gives more power to the birds. I also worked on bringing more of the oranges down into the lower abstracts, softening corners and making the shapes more organic.

Another art friend, Kathy Tiger, who takes a philosophical approach to critiquing art, asked me what I thought the layers or strata I often use represent in my life. I'm still pondering that one!

Let me know if you prefer the before or after. (Click on an image to enlarge.)

Encounter, After

Encounter, Before

Finishing Touches to "Encounter"--Before and After

My last post featured the latest painting in my River Series. I worked on the painting over months, and was anxious to get it out there on the internet for my followers and Facebook friends to give me their ideas about the painting. As always, I really appreciate the time people take to seriously look at the work, then critique the painting, telling me what works, and what might be changed. Sometimes I agree with another's opinion and sometimes I don't, but I always listen and let the idea gestate. As I spent time with the painting, I saw things I wanted to adjust and I went about correcting the things that bothered me.

The last couple of days I've put some energy into making the painting stronger. Here are my Before and After photos with a list of the adjustments I made.

Encounter

Before

Encounter, 30x22, Aquamedia

After

• I neutralized/darkened the sandy/rocky beach, allowing it have more color harmony with the painting.
• I tamed down the calligraphic whites, which I felt were too dominant. 
• I raised the shoreline under the large heron and added a few gestural marks to imply water.
• I darkened the upper legs of the small heron to push it back in importance.

What do you think? Is it improved?