A little spark

Everyone feels this way at some time or another. Actually, many times throughout the course of a lifetime. We've worked hard, achieved a lot, but all at once, the elation fades, and we feel drained and empty.

I am feeling this way right now. Things that used to excite me are feeling like an effort to get done. The boundless energy I used to take for granted is not as plentiful as it used to be. My brain used to be percolating with ideas 24/7, and now it's a little slow to grind into gear.

Maybe it's the changing seasons, which are always a stressful time. Maybe it's the beginning of a new school year, which can feel challenging to even an experienced teacher. Maybe it's the fact that I'm a 48-year-old woman, which means I will eventually be facing some major physical changes. Maybe it's the fact that I've worked at the same places for 8 years, which can be a tough thing for a Gemini who would gladly change careers once a month.

Interestingly, I'm not at a loss in the studio. I have a million ideas for new paintings -- in fact, well beyond what my wallet can afford in art supplies.

But I'm just feeling a little sluggish, in general, a little not-quite-myself. A little resentful of obligations, a little tired of the same-old-same-old.

In an attempt to bring a little spark back into my daily life, I have decided to embark on some Artist Dates, a concept created by artist adviser Julia Cameron. The idea is that you schedule a weekly (or bi-weekly or monthly) date with yourself, when you go somewhere that stimulates your senses, touches you aesthetically, and helps you to, as Ms. Cameron puts it, "fill the well."

You go alone, so you're not running on anyone else's opinions or schedule. You don't have to spend a lot of money or even go far from home. It can be as simple as spending some time at a farmer's market, enjoying the colors and smelling the produce. You don't even have to do anything artistic while you're there -- no sketching or journaling involved, for example -- just be present and aware and take things in with your five senses.

One of my caveats for myself in this endeavor is that I don't go anywhere specifically art related -- no galleries, open studios, or even art museums. My reasoning is that, as soon as I go to a place like that, I am so career-oriented that my brain starts running overtime. "Maybe I should try painting with that color." "I'll have to email the artist and ask what kind of stretchers she uses." "Maybe I should mail a packet to that gallery." That's the very task-oriented treadmill I'm trying to get off of!

So we'll see what comes up. I notice that a local church is having its annual fair in a week, and there are a few cool historic homes in my area that I haven't been to yet. There are local plays and dance performances. I haven't visited the area Audubon sanctuaries in a while. Here goes ...

"Wintergreen" series

Here are "Wintergreen 1," "2" and "3," a series of 3 paintings I've just completed. Each one is acrylic on canvas, 40" H x 32" W.








Here is a detail of "Wintergreen 2" :

Views of "Painting NOW" show

Here are some shots of the 6-person show I am currently exhibiting in, titled "Painting NOW," at the Grimshaw-Gudewicz Gallery at Bristol Community College in Fall River, Massachusetts.

For more information on the show, which is on display until October 21, please click here.


A view of the entrance to the gallery:



A view of "Pool 1," "2," and "3," three of my works in the exhibit (each is acrylic on canvas, 40" H x 28" W, 2010):




A view of "Pool 4," "5," and "6," three more of my works in the exhibit (each is acrylic on canvas, 40" H x 28" W, 2010):




A view of the long wall in the gallery which includes my work:




And of course, the obligatory "Hi, Mom!" shot (which, by the way, was actually taken by my Mom!):




The gallery link above gives information on the five wonderful artists who are also participants in the show. (I wasn't sure if they'd mind my posting views of their work on this blog, so I decided to just show mine.)

Two of my heroes

My first painting teacher wasn't much help. I showed her some of the paintings I had done before joining her class, of which I was very proud. She looked at them, shook her head, and said, "You're adding white to your colors to get lighter, and black to get darker."

Yes, that definitely was true, but what was wrong with that? I was too deflated that she hadn't liked my work, and too intimidated by a sense of how little I knew about painting, to ask what I should be doing instead.

The solution came when I fell in love with two painters.

It hit me like a bolt of lightning. During my wanderings in the library, I discovered the paintings of Edouard Vuillard and David Park, and I was smitten. The actual ability to use color to create space took me years and years of practice, but the understanding of how to go about doing it was something I comprehended as soon as I looked at their work.

The answer: your brain doesn't decipher the color, your imagination reveals it to you.



Above: "Torso" by David Park, 1959, 36-3/8" x 27-3/4", San Francisco Museum of Modern Art.




Above: "After the Meal" by Édouard Vuillard, 1900, oil on board, 28 x 36 cm, Museé d'Orsay, Paris.

"Parade" finds new home at homeless shelter

My painting "Parade," below (acrylic and spray-paint on canvas, 28" square, 2003) has been chosen by the Harbour House Family Center to hang in their New Bedford facility. Prior to installation in its new home, the painting will be exhibited at the Artworks! gallery in New Bedford as part of a show of other art selected for Harbour House, a family homeless shelter. For more information, please click here.

This is a donation I have made through the Art Connection, a Boston-based organization that places artworks in non-profit settings.

I hope the painting helps bring cheer to its new surroundings!

Meeting a new color

I've been going on the theory that it's better to understand a color by working with it on its own first, THEN seeing how it interacts with others. I created this piece yesterday, using green, a color which I seldom use. I'm starting to get a feel for the possible values with this particular green, how dark and light it can get before it starts to suggest depth. When I feel like I'm getting the hang of it, I can expand its three-dimensionality with other colors.



Here's what I mean: I started with just an orange, as in this piece ...



Then felt comfortable enough to integrate it with variations:



Along with this step-by-step process comes an understanding of the emotional impact of the various colors, a non-verbal sensing that, once felt, is never forgotten.

Next, I'm going to try working with a different green (I have Golden's Green/Gold waiting in the wings).

Pictures from the "Painting NOW" reception

Today was the opening day and opening reception for "Painting NOW," a group show I am in at the Grimshaw-Gudewicz Gallery at Bristol Community College in Fall River, Massachusetts. The show has been curated by gallery director Kathleen Hancock.

The other painters exhibiting with me are Candice Smith Corby, Sam Duket, Cristi Rinklin, Blake Shirley and Laurel Sparks.

Here are shots of both of the two triptychs I have in the exhibit:






And here are pictures of the folks who joined us to celebrate:






The show displays a striking interplay of styles and statements. I thank the many kind friends who came to the opening tonight. Your support means a lot to me!

The exhibit is up until October 21. The gallery's hours are Monday, Wednesday and Saturday from 1 to 4 PM, and Tuesday, Thursday and Friday from 10 AM to 1 PM.

For more information, please visit the gallery's website here.