Post Inauguration: To Work We Go

What must it be like this morning, that first day in the Oval Office? The parades have marched , the dances have been danced. That first moment behind the desk, is the firsts of many firsts today. What would you do first?

It still feels like the air is humming. That must be the sea change. It feels electric, a nation truly inspired. What would you do first?

How early did this day start, or is everyone still abed? Would you want to get up and get at it? Or savour this first day?

Are you doing anything different on this first of many days?

I'll be painting. But I am thinking, What would a painter do?

Never Ending Brilliance

"Never ending brilliance". Wouldn't that be a great thing to call your own? I love that Tiffany ads have always been page 3 upper right in the New York Times. Open the paper, there it is. My heart doesn't always go pitter pat over the jewels, but a lot of times I do admit, I sigh. But there is comfort ( no pun intended- Louis Comfort Tiffany) in consistently finding them pictured there, a little gorgeousness amid all the rest.

Consistently. I think there is a little brilliance to be said for that. Like every Monday lining up the week. Organizing it. Applying a routine. Doing the next important things: Like addressing a competition envelope while the painting is still in progress. Making a gravatar for your signature, or updating a resume to highlight your own facets. Consistently moving it forward. Toward a bracelet of dreams.

Could that get us the jewels we're after? Could "consistently" be our own little bit of brilliance?

So back to the pinks and the studio for me. How about you? Got yourself all polished and ready to go for the week?

Somerset Paper

Those white spaces you can still see are lovely Somerset paper.

It's a printmaking paper, suited to water and inks.

I am using watercolors.


I launched the Chaos series on Somerset in late fall of 2005, because at the time it was the only paper I had. I needed to paint something very personal about my experience of the storm and my altered perspective. Not only was my personal life uprooted, twisted and turned, but the wetlands I had walked, painted and advocated for, my source material, was in upheaval and devastated too. But I had to paint. It's hard for me not to do that. So I used what I had at hand: some Somerset, a brush, some pan colors, and some symbolic blossoms.

I began to explore. Fell back in love with the tooth of this paper ( It had wrapped my silks for the Ritz after all ). Found solace in the flow of the paint. I could no longer feel satisfied inside any previous lines and certainly not straight ones; images automatically appeared at the end of my brush in random places. Paint intuitively spilled onto the page. Sometimes adversity presents elegant solutions. I was hoping that would be the case here.

Hm, I thought, my reality is surreal. Well, that's what it is, so I am going with it. Me, my brush and the Somerset's softness and strength. So the Chaos Series was born.

Have you ever found the perfect thing when you thought you were just making do?

( Now go be naughty. I am right behind you there. It's Friday after all. )

Taking Time to Set the Stage

Since there is no pencil drawing on the Chaos pieces after the studies are done, it is important to get those major directional forms down right away.

And to establish some key color and contrast relationships.

Some tonal variations.

Thought leaders, if you will, for the theme of the painting. The stage is set at the very beginning. Every part of the paper on cue. Chords struck that will carry through every part of the page.

And so it begins. Warm pink on a chilly January day. The artist smiles as she drinks her tea, eager to dip into the paint.

How are you staying warm today?

Why Robert Redford Is A Hero

Imagine my delight when I came upon this in yesterday's paper: a full supplement about Sundance that underscored the value of art to everyone. Not just artists, not just art careerists, but our society. And it's about the story we tell. It says we are all wanting "a new once upon a time" these days...In fact, they even say this: "Artists can show us the way to WHAT"S next." Hm, gulp. There's no pressure there at all. Smiling here. AND importantly, they asked everyone to support the artists. Now I gotta like Redford for that, not a stretch though, already a fan.

Hm, it's all about the story they say, and here's their Sundance story link, because no matter what medium, we all have a story to tell. And as an artist, I guess I could tell you what is coming next, at least from me: pink...the painting begins. Back to the studio cave and the paint. And this is a once upon a time painting I think.

Oh yeah, it's Organizing Monday in the studio, pinks are lined up, the studies are done, and there's that burning wish to nail it.

Anyone a fan of film like I am? Has anyone been to Sundance? (The festival begins on January 15th. And on the back page the New York Times gives their movie link "where the conversation begins" they say.)

And as far as stories go, are you telling yours?

Thumbnails of Grand Isle

Thumbnails are invaluable. These are searching ones. Searching for dynamics to support the pink blossoms. The luxurious pink blossoms are going into a Chaos series piece. I am looking through photos of the the topsy turvy aftermath of the storm on Grand Isle. The Magical Botanical show is there. So I thought it only appropriate to do something very site specific.

If you look at the thumbnail I showed you on Wednesday of the whole piece, you'll see just directional lines in the background of the larger blossoms. These are part of that.

It's a piece about the spirit of an island.


Now, go be Naughty. I have some work to do, and then I am right behind you.

Exploratory Drawings

Getting to know you drawings are important. The first time I draw a new model, or start a new piece, I take some time to get to know not only shoulders, or breasts or ankles, but specifically that model's lines, the way her (or his) neck joins the torso, that curve where the hip shows its bone uniquely for the person in front of me. Some character line or atttitude that takes that model from everyman status to Cherylanne, or John. Same way on any subject. How does this form work? Where are the lights and darks? What curve or angle catches my eye? Is there a particular line that must be used, or where is the highest potential for contrast? How can I extend them for my purpose?

So here we have some exploratory drawings from the Pink Sale blooms I mentioned. The drawing on the lower left is a quick thumbnail of the bones of the larger piece. Intuitive and dead on for what I want to say with Magical Botanical. The bones, I have to know those first.

All the while that pink is teasing me. Whetting my appetite.