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Friday, January 29, 2010

Now, back to this business of painting.

I am working on a new body of work for an upcoming exhibition @ Chicago Art Source that opens in March.  I will be showing with two other women artists, Susan Davidoff and Sarah Schneckloth.  I hope to be able to find some images of their work so that I can post some images at some point in the near future.

I made these .jpgs large files, so to see the full-size image you have to click on the paintings.  Otherwise, you are viewing a cropped section of different proportions.  Anyway, here are the first two that are finished:

Spell on the Bayou: 48" x 48" oil on canvas


Wind in My Bones: 48" x 48", oil on canvas


As you can see in both of these paintings, there are lines drawn into the paint that seem to weave in and out of the paint and kind of thread through the space.  I've always loved using line to push some of the space back and pull some of it to the surface.  Some of the lines are drawn on the surface, and in some places they are carved into the paint.  To me this very tactile contrast gives these paintings a more material, earthy sense.  I find this especially true in the top piece, Spell on the Bayou, where much of the mark-making has something of a raw or primal quality.

Wednesday, January 27, 2010

Oh me. Oh Mama.

I love my mom.  She came over at nine something the other night, even after I told her on the phone that I was just FINE, but she came over anyway.  She just let herself right on in, in her pretty polka dot satin pajamas and squishy slippers, and she just climbed in my bed with me even though I was almost asleep and went to sleep with me because she knew I really wanted her to be there.  That is why I love my mom.

Tuesday, January 26, 2010

Peace. Love. Paint.

This blog is about painting.  But of course the lines are not always drawn clearly, boundaries can be elusive, and more often than not--at least for me--living is the raison d'etre for art.  Some very strange and powerful things have happened in my life in the past ten days, and I feel compelled to share them.

Here's the first one (Friday morning).  I was in the bathroom and heard a horrible noise that sounded like a car crashing into my bedroom.  I walked into my room and the first thing I saw was broken mirrored glass ALL over the floor.  My barefoot two year old, Jackson, ran across the broken glass, as did I (also barefoot).  I then turned to see my four year old son, Julian, pinned to the ground by a very heavy mirrored chest of drawers.  Apparently he had opened all of the drawers to this massive piece of furniture and tried to climb to the top of it, causing it to fall forward onto his ankles. The glass was from the mirrored panels on the furniture, but also from the two mercury glass vases that were sitting on top of it.  The chest must weigh at least three hundred pounds, and I cannot move it by myself.  That is, until the moment I saw Julian's little body pinned to the ground.  I effortlessly picked up the dresser from his ankles, and mentally prepared myself for the sight of blood and crushed bones.  But no.  There was very little blood.  Again I walked barefoot across the broken glass as I carried him to the kitchen to ice down his ankles.  There was no swelling.  There were no broken bones.  There were no fractures.  Aside from a couple of scratches on the tops of his ankles, there was nothing.  He was a little sore, but by the end of the day was running around the house as usual.  And neither I nor Jackson had a single scratch from walking across the huge mess of broken glass.

I knew this was divine intervention.  I knew it was good, and I knew it had meaning.  I knew I should come away from that experience with some kind of message or understanding, but after hours of thinking and wondering and turning it over in my head, all I could come up with was that right that minute angels were in the room with us, and we were being protected by God.

The following morning, Saturday, my husband Doug went to the urgent care clinic for a relentless cough and shortness of breath.  I thought at worst, he had pneumonia because it had been going on for a couple of weeks.  I didn't think it was too serious since he had continued to run at least a couple of miles every day, as he has for the past thirty years.  But when he saw the nurse at the urgent care clinic, he was rushed to the ER for congestive heart failure.  His heart rate was near 200 beats per minute, his lungs were filled with fluid, and we were later told that his lower left ventricle was only functioning at 10-15%.  After several days in the hospital, he continued to worsen, his blood pressure bottomed out, and a balloon pump was inserted into his heart to keep him alive.  There was another frightening close call early Wednesday morning, but he survived. He was been in the ICU for exactly seven days and was moved to a regular room this morning.  The balloon pump has been removed, and he is recovering much better than his cardiologist expected.  It is my understanding that the working theory is that a virus attacked his heart.  I believe and hope that he will be home soon from the hospital very soon.

I do not understand why this happened.  Even if at some point there is a medical explanation, I do not yet know the meaning of why this happened.  I do not yet understand the correlation of these two events, but I know that there is one.  Obviously, this has been a very difficult week for Doug, for all of his friends and family, and definitely for me.

As odd is it may seem, during all of this trauma and terrifying drama I found myself needing to paint.  I haven't had a lot of time to paint, but I have been able to find at least a short while during most of these past ten days to work. I feel at peace simply being in my studio during all of this insanity.  Which brings me (finally) to my point.

Painting is a lot of things to me.  It can be a release, it can be thought provoking and intellectual, and it can be calming, frustrating, stimulating, and enlightening.  And painting can also be nothing to me.  A time of nothing.  Silence. A necessary moment of being without thought, without emotion.  A meditation.

One more thing.  (I am a Louisiana girl telling a story, so bear with me). In graduate school I studied for a semester with an iconic second generation abstract expressionist named Louise Fishman.  I was elated to be in her presence, let alone to hear her thoughts on painting, to have her in my studio, to hear her constructive criticism, etc.  Much to my horror and frustration, all Louise wanted to do during our SIX hour class was to sit on the floor and meditate.  Um, let's just say it was almost torture for this impatient, overcaffienated, paint-obsessed workaholic.  I never was able to internalize the important thing she was trying to share with us nor was I able to appreciate the place she was trying to take us, at least not during the course of that class.  However, a few years and thousands of studio hours later, I eventually did come to understand and value this message of meditation.  And through this experience, I have come to understand the importance of continuing to thrive in whatever capacity--for me it is creating art--during these times of sorrow, fear, or devastation.

So I will leave you now with this beautiful song, the Neville Brothers singing The Rivers of Babylon, which I have listened to dozens of times in the past couple of weeks.  Peace.


Thursday, January 14, 2010

Eleutheria (alternate definition): somewhere I am not.



Sometimes you have to get low.  And sometimes you have to get high.  On a ladder, that is.  This is a picture my husband, Doug, shot of me working on a commission for a Florida residence.  It ain't easy to channel sunny beaches and warm tropical waters when it's thirty-something degrees outside, and the all the green has turned to brown.  But, it can be done.  Bob Marley helps.  As do margaritas.  But not while on the ladder.

Eluetheria: 96" x 72" (overall dimensions), oil, ink, graphite, oil pastel on canvas


Eleuthera:  ele(u)-thera\ is of Greek origin, and its meaning is "freedom". Place name: anisland in the Bahamas.



Eleuthera has 5 variant forms: Elefteria,EleftheriaElesteriaEleutheria andEleutherya.

Tuesday, January 12, 2010

Not Quite a Capricorn



View from Rogue Spaces IV: 48” x 72”, oil, ink, graphite on canvas




Well, I figured the proper way to start this blog is by introducing the first painting of the new year...er, the new decade!  So here is View from Rogue Spaces IV, the fourth piece from a new series of paintings celebrating chaos.  Hey, it’s not all bad.  It gives birth to new things.  It calls for cleaning up and cleaning out.  Besides, for better or worse, it keeps life interesting.