This week the Aurora Gallery finished framing my adopted Mom’s quilt that I told you about in a prior post. Doesn’t the frame look great? We went right home and hung it in a special place!
As you see in the photo above – included in the frame is a piece of handmade paper on which I hand wrote Mom’s name and a bit about the quilt.
I also remembered a story related to the quilt theme of “knowing what it is when you pick it up” (details in this post). The story I remembered goes like this: A man holding a lit candle went looking for fire with which to cook his rice. It was a long search. If he had known what fire was or asked some questions when he began searching he could have cooked his rice a lot sooner.
This week we went for a browse at Vintage Books an independent bookstore a few miles from where we live. As I browsed I came across the local author shelves and was delighted to see a book I illustrated, “Dr. Bob’s Emotional Repair Program First Aid Kit”, right there on the shelf where I was browsing! What a fun surprise! It’s available via the bookstore website too!
Below is the book haul we came home with!
Below is a sketchbook drawing I did of two books I’m currently enjoying reading! I’ve added both of these titles to my public books to cheer up by book list here.
I enjoyed seeing this photo of a happy person with their dog with my artwork in the background at Canal District Wines this week and thought you’d enjoy it too. I’m thinking I want to do more art like this … I like the boldness and simplicity.
This project in progress below is a 3d cube 8 inches square that I’m doing for a holiday exhibit at Caplan Art Designs! I’m aiming for the used wooden toy block look – but with a dog theme.
My drawing marathon for NIL-TECH will start on Monday and run for a number of weeks! If you’ve followed my blog you’ve seen me working towards this… and now here it is! Drum roll please! Actually please follow NIL-TECH on their Instagram or Facebook pages so you can see the end results of all the practice you watched me do here on my blog! And thank you for cheering me on! Here’s the link to the 54 piece watercolor pencil set I’ll be using in my marathon. Wish me luck!
I hope your week is pleasant. See you next Monday.
In our neighborhood we joke that western Washington is built on a giant anthill. Each spring we all battle ants outside our houses before they can invade indoors. The first hint is a mound of dirt where there wasn’t one before. Like this one on the edge of our patio.
I lifted the bricks and put the ant bait directly on the fascinating ant farm-tunnel construction then covered the bait with the bricks again and swept away the dirt on the brick edges. Of course I had a good look at the way the ants collected and organized the dirt before I did my acts of destruction.
When ants are found indoors I use a solution of vinegar and Dawn dishwashing soap to clean the area where ants were seen. The non-poison solution is in a spray bottle and it quite effectively kills and deters ants. Between the outdoor/indoor methods the ant activity is usually successfully managed.
After doing some ant battle outdoors I came inside, looked at my bookshelves and realized how many anthologies I have: collections of poetry, short stories, essays… In one set of bookshelves alone I counted over 25 anthologies. There are still more on other shelves. I have an anthology infestation and I’m keeping it!!
For the first time I saw that there’s an “ant” in the word anthology – so I grabbed a dictionary, a scrap of paper and made a list… and with that list I have begun a new children’s book for Storyberries. I’m using a collage of letterpress letters from Columbia Gorge Book Arts and drawing ants in ink. Both my handwritten list and the beginning of the new book are in the photo below.
In case you have trouble reading my handwriting here’s the list…
Anthology: [a gathering] collections, often varied authors, of a similar literary form or topic or time period (in my last post I listed a few anthologies about the Beat Generation)
Ant farms: [a gathering and a structure] a colony of ants constructing a dwelling
Holo: a word element meaning whole or entire
Alphabet: [a structure] a set of letters to be arranged in a customary order. A structure of language
Hology: [a relationship] – a general relationship between reality and it’s content
Besides musing about words my wife and I went for a walk in the Steigerwald Wildlife Refuge with our binoculars. I saw the purple blue grey colors of a great blue heron up close! I didn’t realize the extent of the purplish tints to the heron feathers. We saw lots of other wildlife too – including smiling friendly humans!
During our walk I kept thinking of a work of fiction I had read long ago that had a musician character who sang “Oh I’ll cry when the wetlands are dry”. The wetlands were a character in the story too as I recalled.
I also vaguely recalled some phrases about birds and wetlands from Mary Oliver and Wendell Berry. But these were fleeting snatches of phrases half-remembered like wild birds glimpsed in the pond reeds.
When we were home I rummaged in my books for where the “Oh, I’ll cry when the wetlands are dry” phrase originated. Turns out it came from “With A Tangled Skein” by Piers Anthony. I had an enjoyable hunt for wetlands in this title too…
The half-remembered phrases from Wendell Berry and Mary Oliver: “I am hardly an ornithologist nevertheless I live among the birds…” (from Leavings by Berry) and “The labor of writing poems, of working with thought and emotion (or is it the wings?) of language, is strange to nature, for we are first of all creatures of motion.” (from Upstream by Mary Oliver)
But since I live in Washington state I went looking for some wetlands related poetry from local writers. Here’s what I found from Salish Magazine a publication located in Washington state https://salishmagazine.org/issue-9-art-poetry/
In the mornings I was still thinking about the herons and the ants so they’re in my sketchbook pages. And it’s been fun sharing my sketchbook pages via email on my new Substack https://sueclancy.substack.com/
Speaking of slurping… I made a yummy fettuccine recipe using spinach and green herbs from our garden: garlic chives, green onion and basil. Here’s the recipe:
This is the challenge for me – remembering to promote the project I finished and is currently in public like Odditerrarium. Often I finish something and I’m on to the next project right away … like my “Ant Hology” book now in progress! So, more on that book next week.
I hope your week is pleasant. See you next Monday.
Unlike ball obsessed dogs I get tired and need a break even from my most favorite activity in the world: making art. In my last post I talked of finishing most of the prep for my upcoming Odditerrarium exhibit a week or so early in order to give myself time to rest and recharge before the exhibit opens at Burnt Bridge Cellars via Caplan Art Designs.
Here’s one of my portraits for the exhibit titled “Unwearied Fancie”. It, like the others, is 10 x 8 inches created with ink, gouache and collage on board.
And here’s a closer look at what this dog is obsessed by er um I mean thinking about.
This week the massacre in Uvalde Texas happened. I’m so very tired of unnecessary deaths. I’m bone weary of gun violence. Generally I keep my comments about current events off of this blog but I’m very upset about all of the unnecessary deaths due to one word said by one political party in the U.S. One morning I grabbed a scrap of paper and wrote…
So more than just my hand and arm felt a need for rest this week…
Anyway, all of the frames have been filled with artwork now. Here’s some photos of just-framed works still on my work bench.
My dachshund has a bed near my work area. (See the photo below). As I finished framing the last painting I imagined…
“Is that number 20?” Asked my dachshund art studio supervisor.
“Yes! All 20 of the Odditerrarium series paintings are framed now!” I replied.
“Let’s order new artsupplies and then let’s go wander the yard, eat something, read books and rest.” says the dachshund.
“Great idea!” I said reaching for the phone to order new supplies.
I already have sketchbook notes (due to my almost daily sketchbook routine) and plans for other creative projects that I haven’t talked about on this blog – or anywhere on social media – because they’re in flux. But I know generally from these plans what art supplies I need to buy.
All of the Odditerrarium artwork is now packed in boxes ready to be delivered at the appropriate time. So it’s “all done except for the shouting” as I sometimes refer to the exhibit promotions. Tired ole me is very grateful to have help spreading the word about the exhibit from Burnt Bridge Cellars and the Caplan Art Designs gallery. I’m also beyond grateful to the fans of my work who share about it online. Your encouragement and support helps me a lot! Thank you!
The paperwork for the Odditerrarium exhibit has been done and already sent in to the gallery. I’ve also finished the webpage about the exhibit which includes images of all of the art and access to the printed artist book. As I get photos of the exhibit on the winery walls I’ll add them and other related things to my portfolio page. All of these things are my efforts to make sharing about my exhibit easier plus the portfolio page and the book make it possible for people to participate in my exhibit without coming in person to the winery.
My ultimate point is that you, my dear blog reader, besides seeing behind the scenes in my studio as I have worked towards this exhibit are also the first to see all of the Odditerrarium artwork together and have early access to the book!
I hope you like it! Here’s a few photos of the book…
Here’s the visit to the yard my supervisor dachshund and I talked about earlier. The Japanese Iris’s are blooming now and I really love the odd shapes of them! The other flowers in my wife’s garden are pretty too.
In my last post I told about our dishwasher troubles… this week a new one was installed! To celebrate having a dishwasher again I made one of our favorites and served the Coddle in the big mugs that are hard to handwash. Our new dishwasher did a great job!
Here are pictures of my art studio supervisors resting.
My reading stack this week: I finished Christopher Moore’s “Island of the Sequined Love Nun” and P. M. Carlson’s “Murder Misread”. Both of those transported me to a better frame of mind.
Being upset about current events also has me reaching back in history for a somewhat similar past era and the artistic responses to the issues of that time and how, these many years later, that turned out…
Now I’m reading Alan Watt’s “Zen and the Beat Way” alongside some of the Beat writers work in Ann Charters’s “The Portable Beat Reader”. (Here’s a good link about the history of the Beat generation aka hippies.) It occurs to me that many discussions of the 1960’s and 1970’s have focused on pooh-poohing the long hair, the beadwork, the lack of shoe wearing, the organic vegetable growing/eating habits instead of grappling with the ideas contained in the written works of that era. Many of that generation’s artist’s were responding artistically, critically, via literature, poetry, music, etc, to the Mccarthyism, the Vietnam war, the various conventional cultural cruelties of that time period. The conservatives, or squares as they were called in the 60’s, said “no” a lot back then too.
In reading about all of it I wonder is peace, love and understanding really so radical, so threatening that we must distract from those ideas by ridiculing the clothing and eating habits of those advocating kindness?
On the topic of 1960 era food: here’s a review of a book by Jonathan Kaufman titled “Hippie Food”. And here’s another article about the healthy food (brown rice, beans, organic whole foods etc) efforts that began back then. I’m now aware of very real kitchen table progress that has been made because of the ideas originating in the countercultural 1960’s, things we benefit from today such as more food safety, better quality, more wide spread availability of fresh vegetables and more diversity of vegetables and grains.
I have ordered another book, that hasn’t come yet, about the women writers, poets and artists of the Beat era. I’m impressed, by what I’m reading in the titles by Watts and the Charters, with how much work the women of that era did to expand the life possibilities for women living, working, cooking and being creative – things we benefit from today. (See also this tangentially related article) I look forward to reading more. It may be a cliche but we do indeed stand on the shoulders of giants. And I’m finding comfort and hope from what turned out to be the many Beat generation countercultural successes despite the frustration they felt in the 1960’s and 70’s.
A new painting in my Odditerrarium series for upcoming exhibits via Caplan Art Designs is titled “Using Much Eloquence”. Like the others in this series this one is 10 x 8 inches and made with ink, gouache and collage on board.
Here’s a closer view so you can see what this dog is thinking.
Now that I’ve made sufficient progress on my Odditerrarium series – I have 15 of the paintings finished – it’s time to write the art exhibit statement that will be used both for the Odditerrarium artist book and for the exhibit. I have written before in this blog (here) about writing art exhibit statements or “blurbs” as I call them. Exhibit statements are a short, around 150 words, first person description of what an exhibit is about. I think of it as like the description on the back of a book. Here’s what I’ve come up with.
I also think of a shorter sentence that can be used like a log-line is used in book publishing. For Odditerrarium I’ve written “I wonder what our dogs and cats think about the objects, people and places in their lives so in my Odditerrarium fine art series of portraits I imagine the contents of their thoughts as a terrarium hat.”
Whenever I begin a new series I keep a logbook where I make notes of my thoughts towards the series while I work. I write what I’m excited about, the questions I’m asking, what I learn etc and those notes are what I pull from to write an exhibit statement and logline. Making “notes” includes my sketchbook pages like this one.
Whenever I have finished more than 10 paintings from what I think is a series I’ll spread the finished artwork out where I can see it all, reread my logbook and see which bits fit with the finished artworks and which of the artworks do look like a coherent series. Of course I add these thoughts to my logbook.
My statement writing process is a whole lot like the project narrative writing for grant applications directions (link here) except I don’t apply for any grants with my project narratives aka exhibit statements. I used an informal version of my Odditerrarium statement during discussions with Caplan Art Designs about my proposed exhibit. Whenever I decide the formal written Odditerrarium statement is as good as I can make it I will send it to the gallery.
Putting together the artist book version of my Odditerrarium series will help me know when my statement is done.
Here’s my dachshund supervisor helping me process photos of the finished artwork for use in the book design for Odditerrarium.
My newest artist book “Juggling Numbers” is now out on Storyberries!! In this video I’m showing the original artist book “Juggling Numbers” a handmade artist book that plays in a visual way with the flow of numbers. I made a digital ebook version of this artist book for the experimental art category of Storyberries.com – see it here – a free ebook site for children. I chose the number range from 1 to 25 because a friends grandchildren could count to 20.
Below are a few still photos of the original book – video and links are also on my portfolio page here. The logline for Juggling Numbers is something like this ” … can you count forwards and backwards with a cat?”
I got news this week that my adopted Mom is not doing well health wise (hospice) and big sister, Mom and I visited by phone several times. Mom told me repeatedly to “keep making your art”. I know she’s quite serious about that. So I’ve begun drawing and painting orchids, Mom’s favorite flower. That’s all I know to do whenever I’m sad – channel feelings and love into art. Putting symbolic things in my art is my way of doing a version of Carol Burnett’s ear tug. Printed books whenever they appear in my artwork are for my adopted Dad – in case you wondered.
Grateful for my sketchbook as a way of both holding on and letting go.
A brunch I had with my wife this weekend was particularly lovely: homemade scrambled eggs, bacon, sourdough toast with homemade jam made by our friend Carol. Our coffee cups resting on handmade coasters by our friend Jeannie – and we felt surrounded by the love and support of friendship! And yes I put tobasco sauce on my eggs and tobasco jelly on my toast … is there anything I don’t put Tobasco on? Maybe ice cream. But I haven’t tried that yet so I don’t know for sure.
I hope your week is full of love and friendships. I hope you have plenty of tobasco sauce if you like it. I’ll keep making art because my Mom says so and I hope you’ll keep on keeping on too. See you next Monday.
I thought about travel this week and the newest painting in my Odditerrarium series is titled “Desirous Naturally Of Travel”. It’s a portrait of a Portuguese Water Dog who is contemplating sailing.
Here’s a closer look.
Like the other paintings in my Odditerrarium series this new one is 10 x 8 inches and was created using ink, gouache and color pencil on board. It will join its fellows at the Caplan Art Designs Gallery for exhibits later this year.
But on the topic of travel: in a variation of the curiosity game I shared in my last post -despite the pandemic- I have done a kind of travel using books, websites, Google Earth and streetwise maps.
I pick a country, a region, a culture and look for poems, prose and food preparations that originate there. As alluded above I will try as I can to look at online images of the actual places. Sometimes I’ve even looked for a hotel’s website and selected a room in which I imagine staying.
Recently I visited again some Native American Nations. I have a book of poems from a Cherokee poet in Oklahoma. A book of legends from various Native American Nations in the Pacific Northwest. A cookbook with sections covering various Native Nations in all geographic regions throughout the USA.
Here’s one of the poems I enjoyed.
From the cookbook “Spirit of the Harvest” I enjoyed the text about the three sisters: corn, beans and squash.
Inspired by the Iroqois for one of our meals I put together corn, pinto beans, zucchini, bell pepper, onion with some fresh cilantro and a bit of bacon with a tiny drizzle of maple syrup into oven safe bowls. Then I baked it all in the oven in the boat-bowls you see below. Yum!
Back in the pre-pandemic days I had a small shoulder bag I would carry when we went to locations. Since the pandemic began I used a version of my “travel kit” on a corner of our breakfast table where I write and draw in my sketchbook while we have our morning coffee.
My sketchbook is 5.5 inches by 3.5 inches. The water brush is 6 inches long. The other two pens are 5.5 inches long. The new palette is 3 inches by 2.5 inches. As you can see below it will all fit easily into a small bag or jacket pockets.
The palette came with 6 empty half pans which I filled with my chosen gouache colors. In the photo below you can see the three separate parts to the small palette.
The three parts of the palette interlock together easily and securely.
The gouache colors I chose are: (top row) Primary White, Payne’s Grey, Moss Green (bottom row) English Red Ochre, Naples Yellow, Prussian Blue.
The colors are selected from my “butterfly palette” which was inspired by a scientific book called “Nature’s Palette: a color reference system from the natural world”.
I’ve been using my butterfly palette for my Odditerrarium series as well as my sketchbook. I like the soft gentleness of the colors so much that it’s fine by me if the colors I paint don’t exactly match the real life objects. I’m describing thoughts and feelings using my personal color vocabulary rather than strictly mimicking what I see in the world. What I see in the world is a starting point, a prompt you might say, for contemplation and storytelling.
In the photo below you see my new travel (ha!) palette and sketchbook at breakfast the morning after my wife gave me the portable palette.
Here’s another photo angle. See? Plenty of room for both breakfast and playing in my sketchbook without crowding the dog on my lap!
Below is another day’s sketchbook session. I had already cleaned the palette mixing areas (and the breakfast dishes) before I remembered to take a photo.
I’ve done a new book for Storyberries titled “Juggling Numbers” and like my last experimental art book “A Scoop Of Letter Soup” the new book flows up and down. The book is being released next week so I’ll talk more about it in my next post. But did you notice the unicycle in my sketchbook photo (above) and in this new book too?
I hope your week is smooth sailing or unicycling or however you travel it. See you next Monday.
Work happily proceeds on my new Odditerrarium series. I’ve a work schedule and I’m sticking to it. As I worked on this pug painting titled “Troublesome Wit” I thought of John Lewis and his phrase ‘good trouble’. I thought of how humans work together in order to have the wit and fortitude to deal with life. I imagined a pug dog watching a human take measures and make efforts.
“Troublesome Wit” was created with ink and gouache on a 10 x 8 inch board. Here’s a closer look.
One of the online groups I lurk on and sometimes participate in is on the topics of handmade books and artist books. The question “what got you started making books” was asked of the group. This is how I responded: I began at age 8 when I got hearing aids for the first time. I looked in the school library for a book about how books were made. Following pictures in that library book I folded paper in half and stapled it roughly in the middle. Then as the weeks progressed I drew my hearing aids and drew all the things I encountered that made noise. Two grownups in my life were always yelling “be quiet!” at me so I kept the book so I could figure out what made noise, how much noise it made and what was quiet. My pencil and crayon llustrations showed the “volume” of any noisemakers as well as what they were. I titled my book “The Be Quietness Book”. So I’ve been making books by hand or at least writing/drawing in blank books since age 8 until present time and I don’t imagine ever stopping! I’m still trying to figure things out with my books!
Here’s a corner of my studio as it is today that has many of my filled-to-overflowing books and some new blank books awaiting their turn. Some of the blank books I made from scratch, some I bought.
One of my poems was published this week for poetry month by Birdhouse Bookstore. My poem was put on bookmarks! As you know I enjoy non-traditional unorthodox publishing and publishing my poem on a bookmarker is perfect!! 😁 In the second photo you’re looking at the poetry books on the shelf in my breakfast nook. Several of these titles came from this localbookstore https://birdhousebooks.store/
I’ve still been practicing, whenever I have time, at doing Reels on Instagram. I did one in which I read aloud one of my poems in Patch La Belle. I’m having fun with this way of sharing my stuff.
Did I manage (finally) to embed a video in this blog post? Or do we need to see that Reel via this YouTube link here https://youtu.be/f0W-7642inU ?
Anyway, technology aside here’s a sketchbook page with toast and coffee.
I’ve been thinking this week of how it matters who keeps the stories, the poems and who tells them. I’ve been an armchair folklorist since my college days and I’ve maintained my interest in old stories throughout the years. Here’s my current evening reading stack.
I find it fascinating to see how stories and the cultural and personal attributes we bring to them can affect knowledge formation for good or ill, up to and including what gets designated as “important”. Then that knowledge, however imperfect, is what gets passed through to others who acquire and form their knowledge based on what we share. Whatever is new to us today will become “the way things are” for the next generation. All we can do is try to share generously whatever might help someone else build new constructive knowledge.
We learn from other people how to live. Sometimes in the effort of trying to share what we know we teach ourselves something new.
However there’s no shortage of people, in any era, who will hold up a thumb and forefinger an inch apart and try to convince you that the space indicated is literally the whole world, that their definitions of that world, their narrative, is the only “true” one, that only their description of what is important matters. They want you to believe only them and will likely somehow benefit if they do convince you accept their story framework and take it literally without questions.
Knowing a wide range of stories and metaphors can help us not fall prey to such literalism and narrowness of mind. Which is why multiple versions the same stories are essential. We need reminders that there are many points of view. We need a diversity of stories. A monoculture isn’t healthy for plants or any other living beings.
Anyway, my way of responding to censorship and the attempts to control the available information and to manipulate perceptions is to deliberately buy and read banned books, to read widely and talk about, learn and share history, culture, poems and stories. To carry knowledge forward, to wrestle and play with it within my own life and work. To do my thinking on paper in art and stories, to always be trying to learn more and to share generously.
Book formats are only one of the ways we as individuals and as cultures keep our stories – it is the act of collecting stories together, whatever the technology used – that helps us figure things out. To lose that collected, collective, personal or cultural memory can be both a current and ongoing tragedy because the loss of knowledge affects future knowledge formation.
Recently I read of a massive archival effort to keep and preserve archives of Ukrainian stories and poems which are in danger of getting lost forever due to the war. See the article here.
You’ll not be surprised to hear that now I want to find ways to support that project and buy at least one printed copy of a book of, or at least a book containing some, Ukrainian folk tales.
And speaking of important, relevant and keep-able stories here’s a link about the Wendigo monster . I’ve been thinking of this Algonquin tale a lot lately because I’m so tired of greedy extremist monsters. I see this story as a reminder to appreciate ordinary life and to play well with others. It seems so relevant to current times and possibly a guide for figuring out ways of going on and doing better.
As I type this it is snowing in my backyard! In April! Our Camilla bush has blooms!
I hope your week is full of wit, art, stories and poems that help you figure things out. And hot beverages if it’s snowing where you are too. See you next Monday.
More work this week towards an upcoming art exhibit I’m calling “Odditerrarium”. I’ll tell more about my creative process on this exhibit here and in subsequent posts. Odditerrarium will be an exhibit via Caplan Art Designs later this year.
This week I finished a dog portrait I’ve titled “Secret Knowledge”. It’s 10 x 8 inches and made with ink and gouache on board.
Here’s a closer look at this dog’s thoughts – according to the dog’s human this dog likes walks and is passionately interested in moles, chipmunks, mice and frogs.
Elsewhere in this blog (here) I’ve written about the similarities I see between the creative process of writing and the creative process of fine art. Like a writer might begin creating a novel by noting a story idea nugget in a notebook I began this Odditerrarium series with the nugget “what if we could see what our dogs and cats thoughts?” – just this nugget of a thesis and little else. But I began there and with exploration of that notion came the notions of thought bubbles and terrariums… and I began drafting in my sketchbook. Here’s some examples.
After a number of sketchbook drafts I began a few full size paintings – generally I do at least 5 paintings before I declare that I’m working on a series or give the series a working title. This is like a writer deciding to write a few chapters to see if their idea has merit – by creating an overview or even a rough draft of the whole work.
I think of my one person art exhibits as books you can walk around inside. And each painting is a “chapter” within the book. Each chapter/painting begins with it’s own notion, an outline or rough indication of what could be. Things at this point are usually vague. For “Secret Knowledge” thanks to my friend (the excellent author Liz Gauffreau) I had a photo of the dog I wanted to portray and the dogs thoughts also thanks to our conversation. Then I spent time thinking and making sketchbook notes. Then I drew on a board. As you can see I work on several paintings at the same time – this too is like a writer writing though the gaps in one chapter by writing on a different segment within the work.
When I have a rough drawing on board I begin what I call “chunking” trying to get a bit of color on every area in the artwork. The colors don’t have to be perfect – it’s a rough indicator subject to adjustment based on other colors. I don’t worry about details at this stage just rough shapes of color and contrast. Like how a writer writes a whole story imperfectly, all in a rush with “detail to come” notes sprinkled throughout the tale.
In the photo below I’m in the chunking process. I know I want a blue background for the portrait of the white dog but at this point I’m not sure of the precise shade of blue. The other colors within that portrait will help me determine that. Like when a writer decides a character’s course of action based on another character’s choices.
When the chunking is more or less done I begin bit by bit to fill in and flesh out areas. Here’s an example- I’m sure you can see the transition happening from chunky to smoother.
The photo at the beginning of this post is of the finished portrait which I titled “Secret Knowledge”… the blue I ultimately chose is of early morning or late evening sky: a time for walks and a time when small mammals might be more active… something of which this dog certainly has knowledge! 😉
For my art exhibit Odditerrarium I’m thinking about mental lives and encounters with the minds of other humans and other beings in this world. Here’s a few of my favorite sketchbook pages on this topic. To help me keep on task, so to speak, for my Odditerrarium series I will continue to read, write and sketch on this topic of self awareness and encounters with other minds.
In psychology this called a developing a theory of mind …and this link explains it well and I quote “Forging a strong theory of mind plays an important role in our social worlds as we work to understand how people think, to predict their behavior, to engage in social relationships, and to solve interpersonal conflicts… Forming a theory of mind is critical in our ability to understand ourselves and others. This ability to understand mental states allows people to introspect and consider their own thoughts and mental states. Such self-awareness is important in the formation of a strong sense of self. Our social functioning also hinges on having a theory of mind. By being able to think about what other people are thinking, we can better understand others and predict what they might do next.”
Anyway, when paintings on the easel need to dry a bit I’ve been playing with my poetry sketchbook.
Inside my poetry book is a notion of a new experimental art book for Storyberries. In the photo you see my notions in my book and on the right side I’m beginning to work on my notions in a tiny concertina format book.
A cat reaching is my main notion that’s getting played with in two different ways in this photo for two different books.
I’ll keep you posted on whatever happens with these newbies.
The Aurora Gallery contacted me wanting more of my cards and books so I took those to them this week!
It did my artist heart good to see my things displayed by the Gallery so well and to know that my work is appreciated! The Aurora Gallery ships my art, cards and books anywhere and my signed green dragon book plates are available on request.
This week in kitchen creativity I made spinach enchiladas inspired by “Mrs Rasmussen’s Book Of One Armed Cookery” by Mary Lasswell. I used both arms to cook with and didn’t have a beer. I’d probably get demerits for that from Mrs Rasmussen as I can imagine her saying “What?! No beer?!” but the chili onion gravy was divinely scrumptious over spinach enchiladas and beans and rice!
I say I was “inspired by” Mrs Rasmussen’s recipe because I ruthlessly adapted this recipe as I was only cooking for two people and as you can see below Mrs R was cooking for the entire tricounty area. Plus I don’t use lard…
To make my chili onion gravy I used my good gravy recipe but instead of sausage I used a small can of roasted chilies and some chopped white onion.
In one serving size oven safe boats I made one spinach enchilada for each of us and surrounded the enchilada with beans, rice then ladled the gravy over it all and topped it with cheese. Turned out so good!! I did have gravy leftover which I used for another meal.
My evening reading loosely related to the topic of encounters with and awareness of other minds is the last book in the trilogy “His Dark Materials” by Philip Pullman and Pullman’s nonfiction book “Daemon Voices” about stories and storytelling.
Hope your week is a good one! See you next Monday?
I painted an unauthorized portrait of a playful cat that I’ve met courtesy of a dear friend. This portrait is titled “Wholly Bent” and is 10 x 8 inches. This is me just playing and working towards future art exhibits.
Here’s a closer view of “Wholly Bent” it is 10 x 8 inches, ink, gouache and collage on board.
As you may remember I’ve been reading “The Annotated Arabian Nights” by Horta and Seale most evenings. I’ve been struck by how much the book talks about being true to yourself – accepting that you’re “bent” in your own ways- while also being an ethical contributing member of a community. So I’ve been pondering ethics in my sketchbook.
The above photo shows my spouse’s homemade blueberry lemon scones. Seriously yummy… but I digress.
These thoughts reminded me of an eon ago when I asked my adopted mom how to know when someone is “for real” i.e. ethical, honest, kind. Her response was “watch what someone says and does over time.” In my art journal I recorded a conversation we had on that same topic years after I’d asked the question originally.
In my last post I showed a hint of an art print project I’m working towards that I can’t talk much about yet… but a sneak peek is here (the grid of 6). Now I’ll wait to see what happens.
My last post also talked of book banning, a topic I’m following… well, on the attempts to ban books (and a thrilling subtext) there’s this article which reminded me of the skills I learned to use when dealing with people in Oklahoma who were in my face wanting to ban my artwork (see a prior post for details). This page below from Dr Bob’s Emotional Repair Program First Aid Kit gives details about the skills.
Speaking of coping skills: some students in Missouri are suing the school board because of the book bans. (Article here.) Sometimes standing up for your right to read anything you want is neccessary. As said in the article “The lawsuit alleges that the district’s decision to remove books was based on the “dislike of the ideas or opinions contained in the books by policymakers, school officials, community members, or a combination of those.” Additionally, the lawsuit alleges that the district’s removal of books violated the students’ First and Fourteenth Amendment rights “by restricting their access to ideas and information for an improper purpose.”
I’m proud of and inspired by the students and their efforts to maintain a wide intellectual world. Restricting access to ideas and information can have serious negative consequences for both individuals and society. The larger our intellectual world the better we’re able to cope with whatever comes in life and then, having coped personally we’re then able to help our community cope – and the people in our community are better able to help us…
Also the more expansive our mental life is the more fun rabbit holes there are to explore that can also help one personally as well as one’s society.
Anyway, here’s a post from Austin Kleon that reflects my feelings about the importance of taking time to read widely and pursue the rabbit holes of your own making.
On a related topic I also read this article about how our attention span is not a product to be bought or sold. Our attention isn’t solely a vein of data to be extracted by a corporation. Our attention isn’t something to be controlled or abused at the will of someone else’s religious or political ideology. Our attention is a precious gift that deserves to be treated respectfully. And it’s up to us to protect, preserve and defend our attention as well as to carefully curate and cultivate it.
Having wide access to ideas and thoughts – lots of books – is how we learn over time what is worthy of our attention. Our attention span is ours to exercise and explore throughout life. What we get for our payment when we “pay” attention is the power to choose.
I find that having a wide range of books to read helps me stimulate and cultivate my own ability to pay attention where it nurtures my creativity the most. My sketchbook is where I practice noticing/tracking (accounting?) where I pay attention and how helpful it is or isn’t. It’s where I play with ideas and cook up my own “good wolf food”. It’s where I live and work with the questions. It’s where I “stick around and find out”. 🤣
As a creative person I want to be respectful of my readers/viewers time. So I enjoy creating “short” things: art, stories or poems that can be understood in a glance yet there’s more to be seen if a reader chooses to take the time to look. (My Monday blog is possibly the longest form I work in… 🤣)
Speaking of sketchbooks and reading: I feel a sense of urgency to create more books for children that are “artsy” and perhaps a little “different” from the usual kids books. So I’ve been reading about poetry in two books: “Writing incredibly short plays poems stories” by James H Norton and Francis Gretton and “The Intimate art of writing poetry” by Ottone M. Riccio. And I’ve been brainstorming in my poetry sketchbook (the orange book in the foreground) some visual poem ideas for my new “experimental art book” category on Storyberries.
Both books about poetry cover techniques to keep things short. I’m translating in my mind the advice in the books regarding writing words into what may also work when I’m making visual images. As you see in the above photo of my poetry sketchbook I’m thinking that the poetic concepts of rhythm, rhyme, repetition and surprise can work within images too. But we’ll see how it goes… more in upcoming posts.
Dinner recently was a favorite potato soup recipe from a favorite cookbook. Even in the solitary pandemic days I love reading about community being formed around shared soup.
When there’s a yellow sticky note on a page in one of the cookbooks in our collection … that’s a reliably good recipe! Add a star and the phrase “Judy likes” and you’ll know it’s a real good one. Then there’s the penciled in variations and now you know this recipe is a great one! It has consistently proven itself over time!
We had mugs of soup with a grilled cheddar cheese sandwich split between us. Yum!
For fun I’ve added James Thurber to my evening reading. He too talks about ethics and community while also being whimsical.
Thanks to a friend on Twitter I’ve just learned about a genre called “Hopepunk” – here’s one of the articles I read about hopepunk that defines the genre and has examples (book list!) of literary works within it. To quote from the article “…Hopepunk says that kindness and softness doesn’t equal weakness, and that in this world of brutal cynicism and nihilism, being kind is a political act. An act of rebellion… Hopepunk is a reaction to our times, an insistence that a hollow world built of hatred and financial ambition is NOT the norm. It is stories of resistance, stories that celebrate friendship and truth and the things that make us human.”
I have more to learn but I’m feeling like I’ve found another genre that possibly fits me and my work well! Discovering the “hopepunk” genre feels exciting like my discovery of the “miniature art” and “gift book” genres! With my creativity I do want to share whimsy and hope while also being thoughtful and real.
Yes, I’m finding it good to know more about the ways I’m wholly bent and to be able to find books and people bent in ways I enjoy.
Thank you for honoring me with some of your attention. I hope you have a playful week of more or less your own design, a week bent in all the ways you find fun. See you next Monday?
This week had a cow in it (more on that in this post) and a dog portrait. I selected one of my sketchbook drawings as an idea for what to paint using the new brush technique I learned from the book, Miniature Art by Joan Cornish Willies that I talked about in my last post. Here’s the sketchbook page.
This ink, gouache and watercolor painting below is 8 x 10 inches in size, well within the “miniature art” definitions. The brush method recommended in the book “Miniature Art” by Joan Cornish Willies is to lay a round pointer brush on its side in the paint and rolling it to absorb the paint while maintaining the point on the brush. Dipping, pressing or stabbing the brush point in the paint, however gently, makes the brush point spread out and thus makes doing fine detail within a painting more difficult.
Here’s a look at the whole painting I’ve finished and titled “A Tale-carrier”
The new brush technique did help me get more fine details. Particularly around the dog’s eyes, nose and on the books. Here’s a closer look…
I’m loving the way creating finer details enables me to combine the human senses of touch and sight in this new miniature work! And I enjoyed making a miniature that knows it’s a miniature! Lol! It’s amazing what a gift awareness can be! Here’s an even closer look…
I do feel a bit of “well, duh”… of course laying a brush on its side and rotating the brush in the paint would help retain the brush point even while loading it with pigment! Ah well! Just goes to show that you really can teach an artist with 25 plus years of experience a new trick or two! Lol!
This week someone asked if I would pretty please make a mug with my “green leprechaun man” on it…
Also this week another printed book on the topic of miniature art came in the mail from one of my local bookstores. The Big Book Of Tiny Art by Karen Libecap is just plain fun to look at and read. It does have a good review of pencil techniques as well as use of color. The main attraction for me is the “watch-it-develop” sequences of photos that document ways to achieve tiny details. Oh, and the gallery of examples of finished miniature artworks is a treat. This book is encouraging and pleasing in tone – which will make it nice to have on my shelves. No Earth shattering art technique BFO (Blinding Flash of the Obvious) moments in this book like there was in reading Miniature Art by Joan Cornish Willies. But the friendly can-do spirit and lack of snooty-ness in the Tiny Art book by Libecap, I think, means more people- myself included- are more likely to keep trying this art form. Plus I just love it that these tiny art techniques are so applicable to what I do in my sketchbooks.
So now when I draw in my sketchbook I’m trying for more details – like the feathers on this bird.
As you know in the evenings I’ve been reading a print copy of The Annotated Arabian Nights. On my ebook reader, which I read while exercising, is “The Hitchhiker’s Guide to the Galaxy” by Douglas Adams. So in addition to the story-within-stories format of the Nights and the lovely idea (last post) about the genre of “mirrors for princes” that I encountered in the annotations of the Arabian Nights I’m getting a regular therapeutic dose of Adam’s gentle absurdity.
Thus I’ve been pondering just how it is that Mother Goose’s cow went over the moon. And our human habit of having sacred cows… beliefs that take us into the stratosphere away from reality. Consequently there’s a new wordless book in progress on my easel.
Here’s a closer look at the sequence of pages
As I write this blog post I have put these pages under smooth boards with weights on them so they’ll be flat. I’ll be making a physical artist book from these pages and then both a printed book and an ebook version. More about this in upcoming posts.
A dear friend and fellow artist Donna Young https://www.donnayoung.com/ and I used to fairly regularly visit each other’s studios in pre-pandemic times. Recently Donna posted a photo of her studio and asked me to post a photo of mine. Here it is below!
I’m sure you’ll recognize one of the dog paintings on my easel. The other dog you’ll probably see next Monday. And I’m sure you’ll notice my new magnifying glass (last post) in use!
If you were standing in my studio, where I took this photo, to your left would be a stack of boards and weights holding down my “How The Cow Went Over The Moon” pages. More about that next Monday too.
Thanks for reading this post. I hope your week is kind to you and I’ll look forward to sharing more with you on Monday!
This week was … there. Reading Marcus Aurelius helped. So did the oranges, the coffee, the leaves in the yard, the books and art. Talking with my spouse helped too. I kept returning to this quote from Marcus Aurelius so I did this gouache and ink painting. Then I added it to my “for encouragement” art print series on my Society 6 shop.
Here are a few of my sketchbook pages that formed part of my self-care this week.
In my last post I wrote about “discovering” miniature art by way of reading The Annotated Arabian Nights. While reading more about some of the artists and artwork illustrating the Arabian Nights I learned of the uses of magnifying glasses when creating art details within the miniatures. “Well duh! Wouldn’t that be helpful?” I thought.
So when a nice surprise from Storyberries came I used the windfall to get some anti fatigue mat flooring for when I’m standing at my easel and moving about my work area. It has the added benefit of protecting the wood floor! And….
…I got a magnifying glass that clamps on my easel!
Since feelings and dealing well with emotions has been on my mind I used that topic for the first of my Creativity Chats for 2022.
Here’s the link: https://youtu.be/KvCfOgtOaMY I talk about dealing with feelings and sustaining a creative project over time. Even during difficult times.
Books are some of the “good shit” that I inhale. And in stressful times I’ve found it can be hard to “let things get through” even beloved books. All I know to do is to keep reading and trust the process.
Anyway The Annotated Arabian Nights is “getting through to me” more than I’d have guessed. In addition to the miniature art concept I’ve also learned that there’s a genre of writing called “mirrors for princes”. I’ve no idea what, if anything, I’ll do with this awareness. I’m mostly just vividly aware that I sat up and took notice when I learned this.
In looking at online sources for information about miniature art I learned about a book by Joan Cornish Willies titled “Miniature Painting”. It was touted in multiple online sources as a go-to book resource. I contacted an independent bookstore and got a copy mailed to me which I read cover to cover the day it arrived.
According to Joan Cornish Willies I wouldn’t at all be considered a “true” miniature artist because I tend to use multiple media in just about everything I do; a bit of ink, gouache, watercolor, color pencil and collage to name a few of my art mediums. Plus, according to Willies, my typical subject matter isn’t considered within the realm of “traditional” subjects for miniatures. Oh well.
Fortunately I’ve read other sources and know that Joan Cornish Willies’s thoughts aren’t the only ones about miniature art and it’s definitions.
Despite the “no true Scotsman…” rhetoric and traditionalist tones in this book by Willies I found several of the technical painting directions of interest and possibly applicable to what I create. The rest of the book I take with a grain of salt or perhaps a large sack of salt. Anyway I’ve no intention, at this time, to participate in the formal miniature art society’s – as suggested by Willies – they sound entirely too rigid and puritanical for my tastes.
In the process of reading on this topic I’ve realized what I like about the idea of miniature art is the focus on storytelling, the intimacy and the connection with bookmaking and publishing. I love all of the intricate artistic details that can be achieved by the various methods of working “in the little”. Most of all I relish the way the details created in the smaller sizes are able to be reproduced in print (or online) so clearly! I had already noticed this with my own fine art and book publishing work (see my portfolio). Larger paintings often lose clarity and charm when they’re reproduced at smaller sizes… like in books. So I’m keen to do better at fine detail in smaller sized artwork with an eye toward more publishing.
That’s specifically what has amazed me about the artwork in The Annotated Arabian Nights so many of the illustrations are reproduced at the actual size – or very near it – to the artist’s original artwork! And the artistic details are glorious!
Consequently I’m thinking up a new artist book or two as well as a new fine art series – and deliberately planning smaller sizes now!
Onward into the fog as they say. See you next Monday?