Life is looking up

Finally, I feel back on course. Happily, my physical issues have resolved and Michael Newberry, my mentor, was in town for the Holidays. Seeing and working with him was a shot in the arm.

I am working on a portrait of my grandchildren. Here it is in its half finished state. Maddie is five and Sam is seven. It is truly a labor of love.

Problems, problems, problems

It has been some time since I last posted. Shortly, after the Pastel Workshop in Central Park, a chronic health problem reappeared. When this happens, I usually pop back up in a few days. This time, unfortunately, events conspired to keep me in the recovery mode for much longer—about six weeks.

Happily, my general energy level is back to normal. My work energy, unfortunately, is not. I am having trouble getting myself into the studio and, when I’m there, being focused.

Since sharing is good for the soul, I thought laying the dilemma out publicly on this blog might be helpful.

Input gratefully accepted.

Pastels in Central Park

The pastel workshop in NYC, Sept 14-16 was a fabulous experience. We came from all over—California, Mexico, Missouri, New York State and Florida. Happily, we clicked--perhaps because we were all in pursuit of an understanding of the medium and, perhaps, because the making of art holds a deep meaning in each of our lives. I loved meeting each person there. My roommate, whom I'd never met, was lovely whch also helped make the weekend a memorable .

The workshop, taught by Michael Newberry, was set in Central Park and at his studio in Brooklyn. During our three days together, Michael conveyed his passion for the art and helped us each grasp a bit of the magic of the medium.

Two other artists who take part in Michael's mentor program attended. Meeting Robin and Mary added to the delight of the weekend. Now I have an experience of the person to put with their work when check into their blogs.

The picture I have posted was the last of the five I did during the workshop; done in about forty-five minutes at the very end of the last day and finished on my return home. I like the mystical feel of the light. I thought of the trees as female and tried to convey that in the curves of their forms.

Now, I’m off again for a week meandering in the Carolinas. Hope to bring home at least one plein air pastel as a memory of the trip.

I'm Off

I'm off tomorrow--not to see the wizard --that will happen in NYC at the pastel workshop--but to the Toronto area. I'm attending a Taoist Arts workshop at the International Taoist Tai Chi Center returning on Sept 9. Then on the 13th, it is off again. This time to see the wizard (Michael Newberry) and participate in the pastel workshop in Central Park.

The Canadian workshop is a combination of tai chi and other Taoist arts--meditation and chanting followed by an opportunity to take part in the dedication of a new Taoist Temple. I have practiced tai chi for nine years and it is right up there with my family and my art in terms of giving meaning to my life.

In the meantime, I'm posting this charcoal. Ive thought of drawing this plant many times, attracted by the curves of the pot and the trellis. Then, because of work being done on the exterior of my condo building, it ended up in my living room. I couldn't resist.

It is 12" x 22" on Rives BFK

Guidance

Last, post I shared two preliminary studies. I began painting the picture and then had a mentoring session with Michael Newberry. In our session, Michael suggested I work to create a much deeper sense of space in the painting and do a pastel abstractly representing the spatial qualities of the figure. In trying to fulfill his directives, I managed to deviate 180 degrees from my original studies. I lost the values represented in the atmospheric study (posted on Aug 8) and I lost the color qualities, the blueness, when I did the pastel.

I am not showing the pastel but I have posted both pictures. First is the original painting. It follows the values of the atmospheric study. In the second, I created deep space but lost track of the intent of the study. When Michael pointed out that I had essentially ignored my preliminary work, I was upset with myself. How could I how be so dense?

However, something good usually comes from tribulation. On reflection, I think the second rendition is more mysterious. I like the glow around the figure. It feels mystical to me. If you wonder why the figure looks rough, it is because I worked only the background while trying to figure out deep space.

I am at decision point. I could go back to the original intent or I can go with the new. I am doing some thumbnails and another pastel focused on having globes go deep, deep in space. I believe that sometimes our mistakes are our best guidance. I am thinking that may be so in this case.

A Return to Spirit

When I returned to painting, after a more than a 20 year hiatus working as an art therapist, I felt a strong inner call to express my sense of the mystery and wonder of the feminine archetype. I did a series of paintings combining the feminine form and earth images.

To me, the feminine physical form is an archetype for the creative, receptive, and nurturing aspects of all individuals, male and female. The earth symbolizes fertility, growth, harvest, rest, and renewal. Placing these images together was a way of honoring the importance of the creative energy in all of us. It seems also to speak to our interconnectedness with the earth and with all that exists in the Cosmos.

When I entered my mentorship with Michael Newberry, he led me to the study and expression of the visual language of form and space. Recently Ive worried that I was no longer expressing my sense of inner spirit. Michael sensed this and talked with me about how I can express the mystical using the visual principles he is helping me understand.

Happily, I am again inspired to combine the two images in my work. Above are two studies for a painting Ive just started incorporating the female figure and earth forms. Ill show the painting in my next posting.

A Work in Progess

This small painting (11' x 14") represents a change in subject matter. For the past couple years, Ive primarily done paintings and drawings focused on the human figure. Lately, however, I've felt drawn to objects around my home that hold a special meaning in my daily life. Years ago when I was on the island of Crete, a lovely man gave me the beads to remind me of my time on the island. I hold them sometimes when I meditate. Other times, they simply serve to recall wonderful memories. I paired them with a bowl made by a dear friend and books that I especially love.

I've decided doing a small painting is at least as much work as doing a larger one. This one is especially challenging as Michael Newberry, my mentor, posed it as an investigation into color theory.