Scraps...

Christmas dinner was a five hour progressive feast which left us all gorged... the entre was at my house so there's mucho left-overs to deal with. But I'm not talking about those left-overs today, but the basis for the (as yet unnamed) painting above.

I enjoy the process of stretching and framing my own canvases, it's a break in routine and I can do it reliably after years of trial and error. There's a big stack of trimmed off scraps in the studio closet and one day I got the bright idea to weave them into a 36" square canvas... just to see what would result. I didn't think much would come of it so I used a set of stretcher bars that aren't my usual choice... I like a more substantial stretcher. But lo! it actually has worked out rather well, and offered a ready made grid that fits right into the theme these days.

As to the painting itself, although I'm pleased with the surface, I'm recognizing my tendency to tighten up and make boring paintings. That's what happens (in my mind) when you cease to explore and set yourself on automatic in the studio. So I added a big, dark swash of Enso, the Circle of Enlightenment, then after a few minutes, thought better of it and wiped it out. But it had already begun to dry so only parts of it came off. And I liked that partial, unfinished look. It might get hung as it is, or I may get a dose of enlightenment and take it further... remains to be seen.

A Minor Distraction...

Guess what we have? A ten week old white German Shepard pup who sorely misses her mom and siblings and in total confusion about what's going on in her little life. I know the feeling and have been know to whine in about the same tone. But not all night long. She's only ours until youngest son picks her up tonight and makes a quick dash back to NOLA with the prize Xmas treat. Four kiddies there will be delighted and the pup (as yet unnamed) will soon have nothing to whine about that isn't immediately tended to. She'll go to training school with the older two girls and learn to be their protector when they have to come home from school to an empty house next year. Situations that can't be avoided in so many families, a big dog properly trained will help. The pic shown here was taken when she was only six weeks old... she'd doubled in size since we first saw her!

Now for the lake house slide show... see before, during and in progress pics here. I found this little program on the web, designed for the younger crowd at 'My Space' and I had to try it out using the least glitzy options it offered... the pics will give an idea of how our Xmas money is being spent this year. Hope you all enjoy your personal celebrations this season... and hope with all our hearts the next one will bring more peace to our world.

Game Theme

....

'Your Turn' and 'Tic-Tac-Toe' - 24x24 each

Yesterday we took to the road with paintings for the Memphis gallery as I needed to get my entries delivered for the January 'Games' theme show. I'm sure many of the artists will come up with much more game oriented paintings than I did but I used it as an excuse to continue with my own grid/bokusho theme. The "Tic-Tac-Toe" painting is too obvious for my taste, but I rather like the trial and error result of "Your Turn"... and believe me, it was one wipe-out after another from beginning to end. Often this type of frustration, if I really stick with it, will give wonderful surfaces and innuendos I could have not manufactured intentionally.

Irregularities

Bokusho - Orb - 48x48

Not much to say, just wanted to show that I'm still giving it all I've got in the studio, interspersed with hard work at the lake house. I'll give a photo update soon.

This painting was pretty much finished a month or so ago but hung in the contemplation spot over the fireplace for a long while... I feared going too far with it and finally simply put a border around it and called it done. If you note irregularities or imperfections in lining up the grids... in all my work, for that matter, it's intentional. I think my biggest problems happen (the recent Domino painting, for instance) when I fail to exaggerate the irregularities. This is particularly troublesome on large paintings... must remember that!

Unfinished

Bokusho Domino - 42 x 60 - unfinished

I won't call it a love/hate situation, maybe just uncertainty. It's a fairly large painting, has a nice, rather comfortable feel to it, but lacks drama or real depth. A surface painting with no real story to tell. Not a work that I might be inclined to gaze at repeatedly. Several walls in my living room serve as 'contemplation' spots for paintings that are near finished... this one's occupied several of them but I still don't have a direction for it. Paintings that survive this scrutiny are clearly those I can't keep my eyes off of... this one isn't calling to me, or even talking to me, suggesting new ways to work it. That's what's supposed to happen. Maybe if I expose it to the blogosphere it will shed new directional light.

Katrina Nandina

1988 - Nandina 2 - 16x18 - Watercolor

Received an email about a painting from the past yesterday. A watercolor purchased at an art festival in '91, not long after we'd moved to the NOLA area. I was told that during the clearing out of her Katrina flooded home, she pulled the painting out of a pile and attempted to remove it from the frame but most of the image stuck to the glass. Now that they have their new home in order, she was hoping I would have another in that series, understanding that I'd moved on to other types of images. I looked up the painting and am certain that I can come up with something similar. I told her it might take a bit of time, but I would try. My nandinas are in bloom and it's a wonderful subject to paint... I'll find the time.

On The Other Hand...

Maybe not so dumb after all. Had I been in route to Miami, I would have missed an emergency gallery call today. Seems they managed to sell the same painting twice, and YIKES, is there a way to get another similar painting before Xmas. No way if I'm in Miami... no way if I'm carrying out a traditional, highly decorated kind of holiday (which I'm also trying to ignore.)

But... sure, I can do that! I just happened to have a 24x72 canvas in the works (they only need 24x60 but will take the extra foot.) Actually, I'd already begun a bokusho painting on it but it wasn't going anywhere so it's now wiped out and ready to start afresh.

As a bonus, my remarks about being bummed out for not going to Miami were picked up by Culture Grrl as a link back... maybe I'll be famous! I won't link this time, don't want to appear to be gushing! See previous post for the link. So... maybe my hermit habits aren't so debilitating after all. That said... I know they're all sipping wine near the pool now, palm trees swaying in the breeze. I grew up in Ft. Lauderdale, I can even smell the salt air... ummm... drat!

Dumb! Dumb! Dumb!

Today's the day a bunch of my art buddies are gathering in Miami for the big Art Basel bash and here I sit! I signed on early when the idea was first presented but copped out about a month ago when I decided there was no way... sure there was a way, I just had to make it happen. Rats!

I've traveled with several of the group before, including NYC to see the Christo Gates, France for a month long residency and Atlanta for a gallery run. I'm thinking hard about what I'm missing! Blogs by three of the travelers are Robin, Martha and Cheryl who will be rubbing it... umm, er... showing and telling by the first of next week.

I was coolly ignoring the whole affair when I read Culture Grrl's tongue in cheek take on the occasion and I laughed. If I can't join in the fun, I can commiserate with other's who pretend to be glad we aren't in the thick of it. Or try...

My Palette?

A surplus door from the lake house was recently scarfed up and put into use as another table in the studio since much of what I do now requires the canvases to be horizontal. But instead of supporting new works in progress, it seems to have become my new palette with loose groupings of assorted bokusho material. I find there are many ways to create these inked papers, just a dilution of the ink, addition of a little color, change of brush or impulse give a very different look to each series. So it's necessary that they be kept as separate as paint in tubes. In this case, they don't mix very well. Interesting how different series can dictate the mood or composition of a work... each suggesting it's own attitude.

Note the string of old brushes on the left... hardware store, China bristle of good quality, worn to a pulp. Dried paint tends to gather at the top so it's sometimes necessary to take a razor or X-acto knife to the bristles just under the ferrule and take off a layer of the clogged surface hairs... it really refreshes the brush and extends the life of it. But eventually, the brush is declared dead and is usually tossed, except for these few saved back just as keepsakes. I find I'm using chip brushes more and more often... those throw-aways from the paint dept for less than a dollar. I can get them on the web, the 2" for $.33, and I need to order a bushel or so. They are surprisingly versatile and last longer than expected. So nice to just toss and not have to clean. Not that I spend a lot of time cleaning brushes... btdt! I think my style has evolved to accommodate my slack attitude re: brush cleaning.

What Do I Know...

Vista, 54x46

It sold. The landscape sold. The three requested abstracts were too big for the spot so they've gone back into the gallery's inventory. If the triptych hadn't been requested, I would not have hastened to finish a landscape for them. But they keep asking for them (this wasn't as big as they want,) and they usually sell quickly, though this has to be some kind of record. Is a message being sent? ::Knock-Knock:: Anyone home??? (no brag, I just never cease to be amazed by this business...)

Black Friday

Bukusho-Kuro (black) 36x36

Trying to tie up loose ends in the studio... I've a lot of near-finished work propped around the house, upstairs and down, needing finishing glazes, wiring, documenting... could be the show prep is much further along than I thought. But I can't slow down, with a second show a couple of months after the Feb exhibition, I don't dare. In a sour mood today, the usual holiday depression thing, so working randomly, actually being able to call several paintings finished, is a good way to hide from the world.

An accidental choice to show this painting... expresses my mood. Maybe I should title it 'Black Friday' since that's the traditional onset of my annual BahHumbug attitude. I'll try to behave myself and not spoil the holidays for everyone else... grumble, grumble...

Anyway, I like this one, merging circles with layered squares... works for me. It's not always easy to make these paintings actually show something more than orderliness. That can be pretty dull after a bit and dull isn't what I'm reaching for.

It's A Weird World...

Chapters, 2005, 30x30

I took the three requested square paintings to Atlanta today, they seemed pleased, but it was the last minute, slap-dash landscape that they exclaimed over... man! Okay... I'm just going to have to set aside some time and devote the studio to some serious landscape development and production. Since they continue to call for these (the bigger the better) I might as well give them something I'm not timid to call my own. I've piddled around with various formats and styles over the years, sometimes hitting on some pretty good efforts, but there's not a one of the recent works that I'd want to hold on to for myself. "Good riddance" is not a proud feeling.

On the other hand, they returned two paintings that surprised me... both are prime, IMHO! I'm not really surprised that the above painting was returned, probably borders on too minimal and the color is strange. I'm strongly considering tagging it as a personal collection piece. I love it! The other returnee will fit right into the Memphis May show... I may dock it in another gallery temporarily, or just enjoy it at home for a few months. Seems they had too many red paintings. Go figure... I guess red isn't as big this year. This particular painting is the fourth in a series, of which the first three sold readily at a different gallery. No matter. It's much richer than the photo link shows... both paintings are. I take lousy photos of my work, but I don't sell on line so it doesn't really matter.

J goes in for cataract removal in the first eye tomorrow... I'm upset because his ripened faster than mine, which are still a couple of years off. Man! I can hardly wait to ditch these glasses! Lucky dog!

Influences

Bukusho - Sokuro-Ru 60x42

Last week I had lunch with a long time (30 yrs) artist friend who is as different from me as night and day, yet we are totally in sync when it comes to art. We both started as realist watercolorists and moved on to big canvas abstraction. For twenty years we were separated by several states but loosely kept in touch. We now live in the same city and make a point to meet for lunch or run a few galleries monthly. We share a fondness for all things Asian and our work shows it. In fact, we try not to step on each other's toes in this regard... sometimes hard to do.

This time we went to a new Korean grill and were bowled over by the decor... every detail was a work of art and our heads swiveled. First to catch my eye was a very long horizontal painting that stretched the length of the sushi bar... simply a cluster of bokusho at one end followed by a long, wide brush stroke of ink. As it happens, I have just stretched four long skinny canvases. I won't copy, but I can't imagine not being influenced by that painting.

Our work would never be confused, our styles and techniques are totally different and the paintings show it. There's a healthy competition going on, probably can't be avoided between artists at any level. As we parted, after a good conversation about our respective paths, almost simultaneously we asked if we were borrowing from each other, and instantly agreed that we were not. But the fact that the question came up signifies a degree of discomfort.

We all strive so hard to create original thoughts on paper or canvas, and indeed our efforts are uniquely our own... yet they can often fall into common categories and merge with thousands of other paintings remarkably similar. Landscapes, still lifes, abstracts, you name it... a minute difference in brush technique or color mixing might be all that separates yours from a thousand other paintings of similar subjects. How original is that? Style and decor demand a certain look and artists abandon one palette for a newer, fresher combo as needed. Yes, I want to please... but more than that, I want to explore the limits of my own creative thoughts. And sometimes, those thoughts have to be jumpstarted by something I see, allowed to mingle with older ideas and merge into that which I can't even imagine at this point.

Perfect!

The day was a jewel! Pics tell all... no, they can only hint...


The last photo was taken from the deck by my photographer daughter... she gets some fantastic shots!

Thanksgiving Day At The Lake

It's early on Thanksgiving Day. I've tucked the turkey into the oven, nothing fancy, just the bird with apples and oranges stuffed inside, no spices, a little oil on it's surface. By the time J gets back from church it will be ready to load, along with rapid fix accompaniments that require only a microwave or quick oven toasting. It's supposed to be a lovely day in the 60's so we're off to the lake house to give thanks for all that is good in our lives, and pleas for all that needs to be fixed in this world. Hopefully, the two g-kids (locals, the others are sharing other traditions this year) will get a chance to row around a bit. They're getting better at synchronizing their oars and their path is not so circular.

J and I will take a long hard look at the kitchen and it's possibilities. It's a galley style, a walk through from the kitchen door to the dining area. The first cabinet we removed (to allow for a new bar/counter area) opened up the view nicely... then I visited a friend's kitchen where they had taken the whole of the upper cabinets down to chin level and it gave us ideas. So J took down one more upper cabinet... but now we have this stair step thing happening... not good. He's very handy with his saw and knows what to do with electrical wires that get in the way, so there's a good possibility that there will be a lot more sawdust in our future. But this will mean building more cabinets elsewere... and I have a plan....

Not a great picture, but shows what we're dealing with.

Aqua - Ocher - Coral

Buried myself in the studio yesterday, the 36" sq canvases had been stretched and gessoed the day before and I started layering colors in early morn while still in slippers and robe. The day progressed and I rediscovered painting paths unused in nearly a year. I don't claim these paintings to be masterpieces, but I'm happy that they appeared when called. I don't usually finish even one painting this quickly, prefering lots of contemplation time between layers, rearranging the composition like the living room furniture... try it this way, try it that... Don't know if they'll fill the bill, jpgs have been sent, the client needed them yesterday, best I can do with a busy holiday week opening up. If they aren't approved, I'll probably rearrange the furniture again... that's just me.

Calendar Crunch...

Everything was tooling along just fine, finished paintings were beginning to come together and look like a show was in the making. I took three of them to the local gallery to sort of hint at what my Feb show would look like... and since I was going to NOLA, thought I'd better drop off a couple of larger examples to go with the smaller bokushos I'd left there a while back. And then, two will have to go to Memphis for a Jan group show with a 'game' theme (not hard to find a game theme in the b. grids.) Ummm... now things don't look as on target as they did.

Shrink wrapped and delivered some monoprints for local gallery's annual $199 show and began stretching and prepping big canvases, really getting into production... and then the Atlanta gallery calls... special project, need a triptych right away. Just get them to us and if it's too late for this one, we need new work anyway and we need it now! And while you're at it, how 'bout those landscapes you promised? Huh?

So... changed production modes and stretched sizes needed for Atlanta... I can do this, just have the company thing M-T-W next week and T-giving will be laid back.

My work schedule is beginning to sound like Robin's but she's relaxing in Santa Fe right now... which sounds like a great way to get away from it all. One thing's for sure... no more lolling around with Soduko for me!

Port Gibson Paint Day

Arrived Fri afternoon at the post Civil War (but not by much) home of a long time artist friend. Other paint buddies from NOLA joined us... great dinner and conversation. The above photo was taken by one of the painters... the exquisite home of generous and gracious hosts.

Sat morn we had time to take a drive to 'the bluffs' where there were many historical markers noting various battles... very serious stuff to be happening on such beautiful countryside.
Unique... a very different kind of soil allows for sunken roads through bluffs that are like plaster walls with tree roots half exposed...
Took many pics through the windshield while driving, not great photography but good enough to capture the essence.

The day was cold and windy so we set up in the mezzanine of a beautifully restored building which housed a quilt shop downstairs. Nothing but my memories of the drive to paint from, though the rooftops and church steeples of surrounding buildings would have made good compositions. I was still in awe of the drive so that's where I focused. I'd brought a number of small pre cut mats and backings, along with w/c materials... I haven't inventoried a w/c painting in many years! But (surprise! surprise!) was able to complete six paintings in the few hours we had to devote to the project. I think it was to my advantage that I had nothing to look at... pics or view... just fresh memories.

Here are three of the six watercolors. Five of them sold at the wine/cheese auction party that evening... terrific support from the locals.

In many ways, the people and culture of the South are vastly misunderstood in today's world. Like any other part of the country or world, there are problems which seem to characterize the whole of an area. That's a huge mistake on our part, whether it be Mississippi or (fill in the blank.) As always, I was very much in awe of what I saw and of those I met. It was a really fun adventure!

My Enso

I had this 30x30 red canvas that was going nowhere after several attempts. It hung high on the pegboard in a corner, just waiting... and waiting. So now it's complete, for better or for worse, it can be called finished. I've been using the circle in other works I'll share later, but this one is here and now. Not a true bokusho, perhaps an intro to a branch series... dunno.

But for today, I'm packing to hit the road Friday for fun and games. A Paint Day in Port Gibson, MS... a lovely historical town on the Mississippi River (Grant proclaimed it to be too beautiful to burn) with artist friends of long standing. There will be an open auction at the end of the day, lots of good food and chatter... I'm really looking forward to this!

Sunday morn I'll head south to another lovely spot on the MR just upriver from NOLA. A quick visit with g-kids, then home on Monday. Will try to arrange to drop off a couple of bokusho paintings at the gallery there, they have several small ones but these are much larger. They'll be closed so will have to do some dancing to get it done.

Back in time for a visit with an artist friend from GA... more fun and games and a chance to show off the lake house... bear with me!

The Enso

(this blog entry and image has been modified since first published)

These are a few of the varying "Circles of Life/Enlightenment" I collected from around the web. Obviously, no matter what limitations or disciplines the ancients intended, anything goes today. The red one is a corporate logo... so much for meditation. Two are shown as sculptures... so much for the pristine brush stroke. Several are by other contemporary artists flaunting that I'm not original with this thought to adapt the symbol for my own purposes. But I knew that.

There is a short story of how the enso came to be on this page. Be sure to scroll down to view some authentic Zen artwork including many ensos. Note some of the titles...

Found this in my notes from Wikipedia: (Seems the word is sometimes capitalized, sometimes not.)

Enso is a Japanese word meaning "circle". Enso is perhaps the most common subject of Japanese calligraphy. Enso symbolizes enlightenment, strength, and the universe, and is an "expression of the moment".

It is believed by many that the character of the artist is fully exposed in how he draws Enso, and that only one who is mentally and spiritually whole can draw a true Enso. Some artists will draw Enso daily, as a kind of spiritual diary.

Some artists draw Enso with an opening in the circle, while others complete the circle. For the former, the opening symbolizes that the Enso is not separate, but is part of something greater.

The Enso is also a sacred symbol in the Zen Buddhist religion, and is often used by Zen masters as a form of signature in their religious artwork. See also Hitsuzendo for information about the Way of the Brush.

The Enso has also been co-opted as an advertising symbol by various companies, notably, Lucent. Lucent's logo is often jokingly referred to as the "coffee cup ring."

Tacking in Circles

"... a sailboat can not travel directly into the wind but employs sailing technique known as "tacking," to zigzag across a headwind."

Okay, so maybe I've been thinking too much about our little sail boats, still waiting for a good breeze on a warm day to see if we can remember how to tack around our reclaimed lake. But there's some tacking going on in the studio that's giving me cause to ponder my path. I'm certainly not under the same full sail as when I started this bokusho project. Now, it appears it's time to tack a bit in order to get back on course.

Talking in circles again, but with good reason. Circles are entering into the scheme of things as I try to pull together a composed body of work for the February show. First it was the labyrinths I'd become enamored with prior to and during the April trip to France. I didn't see any but my travel mate picked up a post card of one that was in a Mirapoix church she had toured (I'd read too much of the Cathar/Catholic miseries to be comfortable in these old churches so had busied myself elsewhere.) But the postcard was beautiful and I taped it up on my studio wall. Man... I could really get into that idea as a series. We'll see...

Then, tacking into an entirely different wind, there's the Enso, the Zen symbol for "Circle of Life" (or variations of same.) This, of course, comes from my fascination with all things Asian, and especially the brushwork. I've such respect for the centuries of artists represented, yet I have no desire to study it... only to borrow and absorb in such a way that I can create my own brush rhythms. It ain't so easy to make that happen... at least to my satisfaction.

I've collected folders of both circle types, and study the variations and meanings attached. A few attempts have been incorporated into some unfinished works... it's coming along...

Too Much In Storage...

When we bought this house five years ago the basement was unfinished with as much floorspace as the three bedroom house above it. I was able to design my studio space as well as plenty of storage for accumulated works of mine and others... paintings that I no longer had the space to hang, or preferred not to. Styles and tastes change but the quality and value is still there... and as important, the memories that wrap each piece. If it's work by another artist, chances are it was someone I knew or admired, or a piece I felt I just had to have. If it's my work, it probably marks some important (to me) mark or change in my own career and I didn't put it out to sell. What to do with this accumulation?

The storage room reserved for all this long, narrow and without much ventilation. We keep a humidifier going and little moisture absorbing containers around, but I'm afraid the work is going to suffer if left there much longer. (The room is impossible to properly photograph, the above is only part of it.) I've started pulling work out a little at a time, intending to reframe or repackage for storage as needed. The lake house will provide wall space for some of the paintings but as I said, my tastes have changed, ie: I prefer a few larger works to lots of small ones, and canvas to works under glass. Will be interesting to see how this plays out, but don't hold your breath... I've been putting this off for some time and am not terribly motivated to do a thorough job of it even now.

At the bottom of this is the problem of sorting through a large, mixed value, collection before someone else has to dispose of it in one way or another. I've had to disperse belongings in the small apartments of our two mothers within the last 8 years and difficult as it was, it was nothing like I will leave behind for my own kids to deal with. I, at least, need to cull out stuff that has no real value... but that's hard to do when I can assign precious value to any small memory.

Continued Early Thoughts...

1965 - First Portrait, oil, 24x18

I want to thank Omega for her comment which leads me into today's installment of 'how it was'.

Omega said...
"It is interesting how much well-meaning parents and the often necessary restrictions of school organisation can shape one's early path through life. I was steered away from art, and may have come through a richer path, but also benefited from a supportive spouse. (He was the only one who recognised what drove me, and gave me a set of oil paints for my 21st birthday when everyone else was coming up with the usual stuff, none of which I have any more.)"

As it happened, my "supportive spouse" also gave me a boxed set of oil paints, complete with a tablet of canvas textured paper, for Christmas one year... I must have been about 26. I don't know what motivated him as I don't recall wishing for such a gift. But I took to it like gravy on rice. But where does one start when, out of the blue, you have materials in hand that you've given little thought to using, especially in early years of mommy-hood. I remember loving a drawing my young son had made of a tall building which leaned severely but was beautifully composed with a wonderful green to brown palette. And I tried to copy it. Interesting that I chose an exaggerated, almost abstract, image rather than something from real life... probably figured if a 5 yr old can do it, I could too! A flat failure, it was, but I was hooked.

We were stationed at a SAC base near Glasgow, MT... very remote, a good 20 miles from the small town which was 250 miles from anything of any size. Jake was a navigator on a B-52 crew and was beginning what would become annual 6 month tours in SE Asia. The base provided well for the families left behind. Painting classes were offered for $.25 a lesson... and I didn't miss a one. The portrait above was done in this class, and it was the one the model chose to buy. My first sale! $20.00!

Omega went on to say:

"I was thinking about this business of being trained in art from the earliest days when I visited the Holbein exhibition. They have a couple of his father's works up at the beginning of the show, and it is obvious that Holbein had an intensive technical training at an early age. Picasso too, of course learned the mechanics at such an early age that he was able to breathe art. Perhaps the geniuses are those whose early training and aptitude fit so that they race singleminded far ahead while the others are fumbling their way to the light. On the other hand look at what Matisse achieved after having come late to art."

Art is a funny business and we all know of genius artists who will never be recognized. Today one's education seems to determine quality. I'm not denouncing the value of a good education, the lack has haunted me for decades. But I did seek and study with outstanding teachers in varying mediums and styles and at every level. Being a military family we moved frequently and the first thing I would do once the family was settled, was identify the best art teachers and actively participate in local art organizations. I observed and I learned.

I'm not very assertive and prefer that my work speak for itself, so without an impressive resume to assist, I held back and let my career take it's course without a great deal of initiative on my part, other than to be ready when an opportunity presented itself. Again, I was lucky and a few good galleries found me. One thing lead to another and I've had a good run, but not a great one. I think I could have done better with a bit more chutzpah... or self confidence at least.

In The Beginning...

1975 - Spathiphyllum, 30x24, Acrylic

Sitting here thinking back and trying to figure out just when art/painting came into my life. I knew nothing of galleries or museums until fully grown and off to see the world. As a kid I remember the usual stuff from paint-by-number (don't knock it, you learn brush control if nothing else) to creating magazine-collaged party invitations complete with poems. For a friend's pool party, the poem went:

How would you like to get wet?
You will, you know, I bet!
If you come to my splash party,
Wet is what you'll get.

I was the go-to for that sort of artistic/literary challenge. I'm so proud ;-)

Mother was determined that I would play piano but a couple of years of lessons later, the teacher told her she was wasting her money, I was only interested in playing by ear, not practicing scales, etc. He was right, but I still regret not taking advantage and would love to feel at home in front of a piano... a skill best learned while young, later attempts have failed.

In high school only one elective was allowed and since I was already a band student, I couldn't take art. Since the fifth grade I'd been taking clarinet lessons (to my orthodontist's dismay.) My social group was made up of fellow musicians(?) and you know how persuasive that can be in making life choices. Actually, at that point in time, it was probably a good thing that I was linked to a disciplined organization such as the band rather than becoming a loosey goosey artist in the rebellious and free wheeling 60's. With the band, I always had a place to go and people to be with, plus, I didn't have to have a date (at six feet, that was an issue.) My life was full and I enjoyed school in spite of not really being much of a student.

I've often wondered what life would have been like had I taken art rather than band in high school. Certainly I would have found my calling sooner, but would I have been as productive or just another flower child weaving beads and such. As a musician, I wouldn't have fit into the scene... clarinets and oboes just didn't have the same magic as guitars and drums. As an art major I might have known what I wanted to do with my life... but instead, I entered college with some vague intent to become a Home Economics teacher... only because I had to declare something and it offered skills I enjoyed anyway... cooking, sewing and such. Actually, my goal was to find a husband and, indeed, I did get my MRS degree when I was twenty. Luck was with me and he has been an excellent choice, not to mention a supportive patron. We're going to make it all the way!

I often joked that I have more brains in my hands than my head and that's probably not far wrong. I'd much rather improvise than follow precise directions (as my piano teacher had pointed out earlier.) Yet, I've proven to myself that I can do things the proper or intended way, but it's boring and much more interesting to try figuring it out for myself. Early paintings show my intent to learn proper painting techniques, but also reveal deliberate variations from the 'rules'... not always successful, but at least an adventure. I guess it was inevitable that I would migrate to mixed media and abstraction. Spontaneity with oils (as I practiced it) was hopeless but acrylics were made for my style and work habits.

When The Thought Wears Thin...

2006, Bokusho Chisou (layers), 48x42

I've never been one to exclaim that I was born to paint, that I MUST paint, that painting/art is MY LIFE! Sorry, there are too many other sources of creativity that have interested me during my lifetime, and each in it's turn was a source of great inspiration and passion. From gourmet cooking (albeit a short stint) to aggressive gardening and landscape design... needle work (fashion as well as crafts) to home decor... some of the dregs remain but they all had their day in the sun. Nothing stuck the way painting did... a hobby turned into a career and the passion was enhanced by the advantage of creeping commercialism.

Okay... money makes me do it. I'm not apologizing, it's not THAT much money to keep me chained in the studio, so there must be something more, like personal goals, pride in achievement... or maybe it's just expected of me. Geeze, they might say, I guess she's going to retire/quit... must be getting too old to keep the pace. Humpffff! No, I'm not! I'm doing my best work, dammit! But maybe there are a few other things I'd rather be doing, how 'bout that? Okay, so I am doing other things as well. That property by the lake is sure taking up a bit of resource, creative energy as well as physical, and so far, I still have enough to go around.

Then there's the g-kids, the two local ones are in our care this week as their mom is out of town, so I'm sleeping at their house to facilitate school bus schedules, etc. I like to spend personal time with my g-kids, I not only get to know them better, but appreciate what their parents deal with on a daily basis... reminds me of the stress young parents deal with (the memory disappears like labor pains after the fact.) Life is full, I won't bore you with recitations most are familiar with... they are part of lives of everyone.

Actually, I began this post with the idea that it was a studio thought that was wearing thin... the need to stretch my process into another realm before I start repeating myself... which never has the same magic as the original impetus. Didn't mean to stretch it to mean my career as a whole... but the parallel is there, I suppose. This whole blog intent is about defining the end... at least recognizing it so I don't wake up one day and wonder what happened... why don't I paint anymore? Well... signing on for two featured shows next year should take care of that for a while yet. Deadlines rule! And what's more, I'm not finished... anyway, what would I blog about???

The above painting is a fav... the inked sheets are layered and reversed, creating a soft mystery to the individual calligraphic images. The background color hints of apricot... sounds like I'm describing wine...

Just Too Perfect...

The Golden Paints Blog rang a bell with me this morning and I wanted to pass the thought along. Here is the last paragraph:

"I'’ve thought about this quality of being just too perfect and its analogy to visual art forms, particularly digitally generated art. I can appreciate the quality of the visuals produced by the computer. Often times depending upon the level of talent of the artist, they can truly be quite beautiful. Yet, I still can'’t get over the feeling that I am being cheated: That no one has yet blown any life into the work. They just simply put it up to their lips and pressed the button to start. I am so grateful for the artists who are continuing to push this media, to make it more than just a "“make-it-and-take-it" as called in the craft world. I realize this media is just at its infancy and has been made and remade already many times over. I am also aware of the artists who are capable of the tweaks and subtleties one expects of great art using this medium. However art is made, whether by pushing a button or a brush I am hopeful that it remains infused with humanity."
I've played around with digital art, learned just enough to wonder how I did that, but didn't stir enough interest to investigate further. There's no denying that's it's here to stay, but I can't imagine it replacing the creating of visual art as we know it... the hand crafted process that stirs the senses. I remember when synthesized music was first being discussed... the ability to create the sounds of different instruments, but how they often missed human nuances like the little shuffle of the fingers on the guitar strings which is more important to the music that one might think. I guess they've inserted that sound by now. Oh, well, maybe digital art will be refined to include the 'hand of the artist' as well.

The above images ares proof that, while not complete, our efforts to enhance the view of our lake is coming along, though a wall of green still covers the wider expanse of the lake. Unfortunately, a large part of that green is possessed by dogwood trees and it's a near sacrilege to fell a healthy dogwood in these parts (many are dying from disease and these show no signs.) At least we can now see all along the water's edge from our deck and soon we'll be able to view it all as leaves are shed. The second image looks back toward the house and shows the road we'll keep cleared, hopefully for golf cart transportation (the g-kids will love that!) and trailer hauling of a continuous supply of debris... that property promises lots of exercise, but that's not all bad.

Before Bokusho

2005, Catalyst 2, 24x24

I took new paintings to my local gallery today... I'd promised them new work but had been putting it off, knowing I'd have to finally show the new Bokusho work. Actually, I have several small ones in New Orleans but these are more developed and the door is open wide now. They represent what my Feb show will look like, I explained to my reps. Always appreciative, they wanted to know the story first hand (they'd already read my early explanation on my website.) I gave them the song and dance, but as I checked through some older inventory at the gallery, I realized that there is more to the story.

Up until about two years ago, I, like so many other artists, was fascinated with the many imported handmade papers to be found in art supply stores and websites, but preferred to use them discreetly as in the Venture Series. I began to see the same papers being used by other artists and became uncomfortable with the use of them in my own work. So I started playing around with making my own... not quite knowing what I wanted my efforts to look like, I just didn't want to learn later that I'd said something offensive in a language I didn't understand! The image above incorporated the use of a blotted Viva paper towel. Mixed media can mean most anything!

So that was how it was when I went to France in April, 06. The primary art materials I took were ink, rice paper and various brushes. Also a bit of watercolor, just in case, but the ink turned out to be the key to a new motivation.

Translating

2006 - Bokusho Go-Ruden - 36x36

I swear I'm going to start wearing a small notepad with pen around my neck! I have such great thoughts for the 'Next Big Thing' in the studio, but can't remember boo when I'm there... so I then think of something I need to Google so head back upstairs for the computer room... but have lost the thought once settled in. I know it's a trite commentary on agedness, but Man! it's driving me crazy! Getting a good stair workout however.

Had a super fantastic studio day on Saturday... really made some headway on several paintings and even began to post a few on my website. They require a great deal of time to properly age, often in the 'contemplation spot' over the fireplace or TV, before I know they are ready to be documented. The image above will be referred to as Go-Ruden, or Golden.

I've found a wonderful little Japanese translator on the web that is opening doors to many title possibilities. Seems proper that they be named in such a fashion. Bokusho, however, is not in their data bank, but articles on the language describe Japanese as a fast growing language with many new words. I was delighted to receive a comment a few weeks ago from a reader who checked with her Japanese friend and verified the use of the word ;-) I'd found it used on a website describing the art form, but you know how that goes... you aren't always sure who or what to believe anymore and it does seem to be an underused term. Hey! Maybe I'm on the cutting edge of something! Hee!

BTW, I title with the translated word in parenthesis on both the painting and the inventory data sheet... my frazzled memory, donchaknow?

Geoform Dot Net

2004, Venture 1, 36x36

A year or two ago I was approached by the creator of Geoform, a non commercial site that curates and features (ta-daaa) geometric abstract paintings and a few interviews as well. Recently, the site was being updated and I was asked for images of newer work so I suggested the new B series I'm focusing on at present. The conversation moved to links and search engines (I don't find the site when I search my name or the simple keywords 'geometric abstracts') but I didn't mention another aspect of the site that bothers me... if my name was Abbot, it wouldn't because my work would always be right on top, but considering the number of artists they have gathered, most are buried deep within the site. Only if you are looking for a particular artist by name (who may or may not be included) would you succeed. In any case, I'm delighted to be included as there are some top flight artists on board and association with same is a good thing. But alphabetical listings are not really a fair way to distribute front row positions on such a nice presentation.

1998, Shadow Play, 48x48

It's easy to get out of the blogging habit when routine is disturbed. A four day, three city tour around five southern states qualifies. And each day had a new focus which really tested the endurance of one who is accustomed to a much slower pace. Will try to recall...

The Memphis party for artists was held in the beautifully restored Craftsman home of one of the gallery owners. An opportunity to meet other artists over good food and ambiance, but a disadvantage to a newbie like me as most knew each other and had been coming to these gatherings for the previous seven years. This was my first such affair... at any gallery, for that matter. Other than the regularly scheduled openings of those within reach, I've not experienced any other gallery making such an effort. A promised discussion of 'what can we do better' didn't get off the ground, but there were still good conversations. The big drawback (for me) is not being able to put names with work... or remember names to begin with!

Once home again, we returned to chores at the lake house, deposited the sailboat on the lower deck to be worked on over the winter, and finished up work with the good ole boys getting the lot somewhat cleared and cleaned. Still much to be done but with the big stuff out of the way, the rest will be less demanding and strenuous... it's been awhile since I worked that hard, and my joints were more flexible back then! Man, if I worked like that four days a week year-round, I'd either be in super good shape or dead! All priming of paneling is done and most of the grasscloth is primed. One big wall is over a stairwell to the lower level and will require some fancy maneuvering to reach it. I love a challenge but this is ridiculous!

The reality of scheduling two shows for early next year is beginning to gnaw at me... what the hey! am I trying to prove? Oh, I'll get it done, but long gone are the days when I could work all day, all week in the studio... too many other commitments and I flat don't enjoy that kind of work load. Routine... a good part of every day (that I'm here at home) must be spent in the studio, doing something... anything. To further complicate matters, all other galleries are wanting new work as well....sighhhhhh....

Got A Tiger By The Tail...

Everything happening at once here... looks like we'll be at the lake for the next three days (off and on) while the business of selectively cleaning up the lot proceeds. Didn't want to do it just yet, and had plans to piecemeal it out but... what the hey, let's just get it done! So... we'll be paying close attention to what gets done, then on Sat we leave for Memphis and a dinner given by the gallery for the artists! How cool is that?

Sunday we'll drive over to visit number one son and family and then Monday we'll swing down to see an artist friend who has generously donated her unused Sunfish sailboat and trailer to our lake effort. It's been in drydock for a number of years so a bit of refurbishing may be in order. But no matter, our fleet is growing and we can hardly wait to teach the g-kids to sail next summer. Still would like a canoe or two, maybe a paddle boat... nothing wrong with wishing.

Anyway, if you don't hear from me for a while... you'll know...

Name Of The Game

The working title is 'tokens' but I'm accepting bids on a better one, something with board game connotations so it will fit in a January gallery theme show. I'm tickled with how this one turned out because it hung on the top (unpaintable) pegs for a couple of months in various stages of confusion. I'd put the circles in with tar gel and there was no getting away from them... they had to be dealt with or scrap the canvas... and I don't scrap canvas. The black surface is very deep and layered looking like a chalkboard in a very old and abused condition... it makes the painting, IMHO. I can't pass it without running my hands over the surface... a sure sign of favoritism.

Long Skinny Boxes

Don't believe I've mentioned my long skinny boxes as yet. Most were prepared for a 2005 solo show which pulled out all the stops filling a very big exhibition room. My next show at this gallery, Feb, 2007, will be in the usual rotating exhibition space, which is smaller but still plenty big. Anyway, back to the skinny boxes (I've yet to define them, any clues appreciated) I'm back at it. Jake builds them for me and I'm in the mood to see how I might incorporate the bokusho technique with this support. Others in this series can be seen here.

Conventional works on the wall show white gel which hasn't dried yet... I like to use gel over the rice paper, but it doesn't signal the end of painting. It just helps me begin to visualize the finished work and determine what it still needs to be called finished.

Earth Sculpture Prep

Knuckle Boom Crane With Grapple Bucket! Oh, man! Just saying that makes me feel sweaty and in need of a Budweiser! Was talking with Jake (sounds more macho than just J) about the first appraisal received on the lake lot job and we realize we need to know more about what equipment they will be using so we can better compare the various look-see's that vie for the job. As we were out cruising, we stopped at a big (extra long) dump truck doing clean up work, and asked the name of the thingy on his truck. I've seen this guy on professional wrestling shows... (well, maybe news clips of same)... you know the type, blond handle bar moustache with goatee, white tee shirt with the sleeves ripped out ((no, not Merlot... I said Budweiser!)) Big ole grin that said "Glad you asked, M'am." He gave us his card and we quickly wrote down the name of the gizmo on his truck... just so I don't embarrass myself when trying to sound knowledgeable. Anyway, the more we learn, the better we will be able to take on the job of "giant earth sculpture!"

The pics show the green wall we are facing, with tiny patches of blue water. Jake's actually hacked away at the keyhole view, making it somewhat bigger, but obviously, we're gonna need more muscle... like that knuckle-grapple thingy. I drew a circle around the boat house... it really is there.

Many thanks for the warnings about potential loss of top soil and other precious commodities. That's not escaped my concern list. Hoping the extensive covering of English ivy will hold most soil in place. Right in the middle of the target area is a large, well budded wild azalea. No way it can escape ruin, but I'm going to flag it just in case there's a soft heart in the crew. Below is the view looking back up at the house. Did I mention that I was once able to make it all the way up on four rings of the phone? With enough breath left to actually answer it! I carry a cell now, lazy me...

Lake House Update

Time out for a few words on the lake house. We're making slow but positive and steady progress, at this rate, it will be some time before we see our dream become reality, but hey, what's the rush? As you can see, the paneling is getting it's primer... another full day and I should be ready to move on to the three or four coats the grass cloth will absorb. We're not going to change the dark window trim and ceiling beams for now... will make those decisions as we go. Already it's such a terrific change from the dark paneling. We took up the carpet and had a moment's hope that the cork tile underneath might be salvageable, saving the cost of hardwoods... but not to be.

J took down a view-blocking hedge row (they were such small shrubs when I planted them!) and we interviewed Bubba and his partner for the cleaning up process of the empty lot. This is going to be our biggest expense/project, but the one that brings purpose to the whole scenario.
Over the years there have been a number of trees felled and stacked to rot in big heaps, and in order to get them moved (can't burn,) a road/trail will have to be cut down the steep hill. That's fine, I want a way to get a car down anyway as we expect to do a lot of the finish work down by the lake ourselves and will need to be able to haul a trash-trailer up and down... not to mention that someday, for whatever reason, one of us might prefer to ride rather than hike the hill. I get the feeling that some of these guys we're talking to are envisioning clear cutting the property though we repeatedly stress the opposite. Like "Why'n'cha tie a red ribbon 'round the ones you want to keep." Uh... how 'bout I tie one around the ones I want you to take down? Amazing how my voice gets lost in the breeze... like a bad joke that's best ignored. >>Shudder!<< style="text-align: center;">* * * * * *
In the studio, work has begun on stretching and prepping a set of large canvases (up to 60") in hopes of having the bulk of my Feb show finished before Xmas. I'd best be focusing!

About Those Grasses

Aha! An opportunity to re-run an old "American Artist" article that pretty much explains what was going on during the 'grass years'. Scroll down for readable text, and the demo enlarges with a click.

I was often asked how long it took to paint a full sheet (22x30) watercolor, but since I usually had a half dozen in progress at one stage or another, it was hard to tell. When I had to do a demo for this article, photographing as I went, I kept track of the hours and found that I'd worked appx 40 hours on it. But they would often take months to finish as I propped them around the house and studio, waiting for some kind of subconscious enlightenment to tell me what was weak or needed fixing.

I was working with a subject I was magnetically drawn to, in a color (green) that I had little love for. So another challenge was to create the essence of a thriving plant that actually had very little real green in it. Hence the strange purples and oranges that weave through the composition. Amazing the variations one can make with green. I once had a university art prof tell me she'd like to show her students my work just to impress on them how varied green can be. It was wine-time talk, but I appreciated it none the less. Another time, a juror for a national show, on awarding the painting, said she'd never view pampas grass the same way again. Heady compliments for this emerging artist with little formal training.

And yes... it did get boring after awhile... but with good music and deep thoughts, time would pass quickly enough. A visiting artist at the art colony I frequented (another post, another time) laughed as he drew an imaginary line around my closet shaped space where I sat in the wide open pavilion, elbows pinned to my side, hunched over my painting. That might have been the beginning of the end of that phase of my art life... I began to look at myself from outside that small space and realized I needed to grow and expand.

Other elongated leaf shapes; palms, bamboo, iris and daylily, got the same treatment to a lesser extent. I had done flowers and quickly realized that wasn't where the real magic was... at least not for me. There were many metaphors to choose from in the tangle of old and new leaves, I liked to reference the mix of generations, which my own family was dealing with. We had two mothers in our care, if not in our home, adult kids in their yo-yo years, and grand children beginning to make their appearance. An entanglement if ever there was one!

Career Perspective

1988, Pampas Series, No. 18, w/c, 18x22

From Comments on Choices:This from Lisa Call: "I've been thinking about your choices post off and on for a few days. As someone still at the emerging stage of the art career your thoughts from the other side give me pause to think. I'm not sure what I'm thinking but I appreciate you sharing your thoughts."

Thanks, Lisa... and all the others who make the effort to balance this form of communication.

Compared to "How To Be An Artist" books and articles, there are precious few resources on what happens at the other end of the stick. How do we wind this career thing down? Not that we admit to wanting to (depends on the day of the week) but the reality is that there is a lot of accumulation to be dealt with, both physical and mental, and shutting the door on it... making more of it, even, is wildly irresponsible without some sign of control. We're taught to clean up our mess when we've finished a project... doesn't that include the lifetime career project? (Ummm...define 'finished.') How are we even supposed to know when it's time? And, would that be a positive or negative attitude?

I have long lived genes from way back, good health and no reason to not continue to produce for quite some time yet... no, I ain't 'finished' but I do have a need to tidy up. Blogging an art career from my perspective (we all know how skewed perspective can be) seems to help sort it out, and might give (or invite) a few clues to/from others.

Now, if I was an artist of note (you know the kind I mean) I'd have aides and assistants (not the kind from certified health care centers!) to handle the grunge work and I'd more or less direct what I wanted them to do... they'd be revving up demand for my work, documenting, writing articles and books about me and handling the myriad details... not to mention stretching, gessoing and framing! There would even be one designated note taker to remember which technique worked best for each of the various applications... in fact, if I could only have one helper, that would be the guy!

The grass painting above reminds me that there are still a number of people around the country who think of me as 'the painter of grass.' (And that was way before 'the painter of light'.) That series, and variations with other elongated leaf subjects, carried me for a good ten years... very good years, better than the quality of this image shows... still haven't had all those slides scanned... still waiting for the assistants to show up and get some of this documenting stuff done!

Texture

As to yesterday's dilemma (a recurring event disturbing my cosmos at least twice a year) rest assured I fully recognize that I have the best of all worlds, combining/juggling (with grace and style) all my favorite priorities. Becoming a senior artist in good health and with most faculties in tact is as good as it gets... I should be more grateful and less bitchy. You want to hear whine? I somehow managed to get a second show scheduled for next year... Memphis in May! That following the February commitment in B'ham. I've already filed for License to Whine Papers. Watch for the other recurring theme: "I Ain't Doing This No More!"

***

Steve LaRose asked about the tooth marks in yesterday's painting, "Marin." No not a wood graining tool, but a toothed trowel used to apply tile goo to floors. I first paid attention to marks such as these when our NOLA house took just enough water to require all new flooring (many years before Katrina.) They took up the foyer parquet and we waited in line for flooring service for three months (and this was just one community, not the whole city.) During that time of bare floors, I became more and more interested in the swirl patterns on the bare concrete and would have been content to leave that area bare, but too much trouble to convince J and other staid members of my tribe. But... I could and did get my own toothed trowels, in varying sizes, and began marking my wet, textured, gessoed canvases with random claw marks. They are then passed over with a smooth trowel to dry with a look of stucco plaster.

I love texture under my paintings. It's additional labor, but it jump starts my paintings, providing hills and valleys that capture and hold color through additional layers. Some artists sing the praises of varying linens and weaves for painting... but my stuff looks naked without that undercurrent of thick texture. Now, don't expect oozes and icings... too much of a good thing is too much of a good thing. To give extra body to my gesso (Utrecht's lesser grade) I add powdered spackle (I've tried all the other powered additives, but spackle rocks!) And might as well mention, not all Home Depots are created equal... they don't carry the stuff in my local HD, have to remember to stock up when I'm back in NOLA. Wonder why that is?

Speaking of labor intensive studio chores... I'm almost back to normal with the rotor cuff nearly healed. Still some fine tuning to do in Physical Therapy, but it's about 90%. I'll know I'm home when I can sleep on my right side, still feels vulnerable, like it's an egg that might break. Must also find the easy way when moving big paintings around. Did I mention that I've a nasty touch of poison ivy on the crease of my elbow? It's all over the place at the lake and I'm going to Round-Up every last leaf of it! And wear long sleeves and pants from now on! BUT --- there are NO MOSQUITOES at the lake!!! Fair trade...

(BTW Steven, you and your snaggled toothed sidekick could hang with my tribe with no problem, be sure to sign up for next summer's sailing regatta/summer camp/family reunion.)

Make Good Choices...

Marin, 24x24, 2006

That's what I tell my kids and g-kids when they venture out on their own. "The choices you make now will determine the quality of the rest of your life." I try to keep my lectures and words of advice short and to the point, sometimes numbering them as in, "Good Grief! Lecture #357! You know that!!" Choices. Ummm, strange that I never used that as a title.

I've been butting up against some issues for a number of years. Unable to make a decision, I've let it drift, assuming the choices would take care of themselves one way or another. (Geeze, she's talking in circles again!) Okay... the question is: what to do about the career at an age when many are retiring/retired from their day jobs. Oh, but artists don't retire, donchaknow? Ummm... could be the choice is already made. Could be I made it by doing relatively nothing. My bad. I think the career climaxed about five years ago, but the direction was probably determined even before then.

Background: I've been extremely fortunate with big career moves just sort of falling into my lap. Sure, I did the prep work, got the work up to snuff and when the wind blew my way, I sailed. More good things happened along the way, new and better galleries and such... my cup overfloweth. The point is, I didn't really have to market myself very much. Just always ready when the chances came. (I haven't had business cards or printed resumes in ten years.) Lately I've been wondering just when stagnation set in. Sure, I still have some good galleries, but they aren't the top drawer variety where I think much of my work might have made it. I never pitched to them. I've no idea how far I could have pushed this career if I'd really been motivated to play the game.

Too late now. Oh no it isn't, you say. Well... yes it is. That's where the 'choices' thing comes in. I can't (or won't) juggle priorities that I consider dear to me. That would be *family* first and foremost, and even moreso as time whizzes by. I'm a real sucker for my kids and g-kids... the old man is pretty special, too. With the acquisition of this new/old lake house and the work (energy) it will take to get it in shape for all to enjoy, I can't see how I could possibly reboost a career that is merely coasting. Monetary goals set early on, such as putting aside a partial college scholarship from my art money for each g-kid, have been met. The other goal... that of a stay-at-home-mom who wondered what her worth was beyond family, has also been pretty much realized. Though I still think I could have worked it more effectively.

That's not to say that I'm quitting... I'll paint to the finish providing my eyesight holds up. I've a solo show lined up for February and expect there will be a few more down the line. But the fire doesn't roar anymore. The recent series of bokushos still promises many variations, but I'm not going to churn them out just to see how many I can do. The galleries still say 'big, bigger, biggest' but man, that's like... work! I suspect if I wanted to create an oldladypainter niche that would carry me through, landscapes would be the way to go... they would certainly sell easier than abstracts. Oh, yuck! Never mind me... I'm just tossing those dang *choices* around again... happens every six months or so.

Shoe On Other Foot...

Rows, 2006, 8x10

We have, here in the South, a respected decorator mag called Southern Accents. I haven't picked up a copy in years, but with another house to paint and fix, it's nice to see how the 'powers that be' are doing it. The best part of this mag is that it features a regional artist with each issue so it's a bit more than just fabrics, paint and expensive other stuff. I'd ignored it on several occasions in book stores, grocery check outs but finally tonight I tossed one in with a bunch of paint and rollers at Home Depot. Something unspoken wanted me to see this particular issue... and, I swear, I'm being tested here! No, he's not influenced by my work, not by a long shot.

Explanation: Parallel to the fun and games with my bokusho series, I've been toying with printed photos of trees and how I might enlarge them to much larger sizes than my little printer will handle... or anybody's printer, within reason. I've been working small in order to experiment with method, process and materials, knowing that I would have to eventually have to enlarge in segments, print them and apply in a similar grid format as the bokushos.

Well, don't you know it's already being done? The artist is John Folsom, with his work in a number of enviable galleries. The wind didn't stay knocked out of me for long, I have no intention of having my grid trees confused with Folsom's work, though some of it comes real close to what I was imagining, I will proceed. But this does cross me up... having just documented my sob story about my style being cramped. Maybe whoever said 'there is nothing new under the sun' knew what he was talking about.

The image at the top of this post is a doctored photo I printed out on rice paper and played around with after collaging to a small canvas. The heavily pruned rows are Plane Trees (Sycamores) that are abundant in the south of France.