I wonder.....

A couple of things came to mind today - one followed from a seemingly callous comment of a stranger on my FB page, calling my recent work "garbage." Further conversation with this individual revealed that they felt my work was "too literal." Ok, "too literal" is far more interesting to ponder than "garbage." As I worked my way through the concept of literal, I began to visualize all the ways - other than symbolically - I could depict things like fragility, feeling inconsequential, immortality, and learning to speak up. Today I embraced one of those approaches - allowing my form to dissolve into the ground. Sort of like she's melting - yet she's still fully present for the moment. Two of the studies I approached in this way are pictured above.

I have no end result in mind for these - yet - but I am spending time alone with them, asking myself lots of questions, and listening for answers. How does intensity of color impact my message? What about contrasts - can I use them intelligently to play off the temporal message? How do I marry the gesture of the subject with the gesture of the paint? or is this even a serious concern? Is what I'm doing even of any consequence?   Looking forward to pursuing these ideas more tomorrow.

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Teaching

Above, detail of today's workshop demo, representing approximately an hours worth of work, mostly wet on wet, acrylics on panel, 11" x 14".

There's the adage that "those who can't teach," but I take issue with that. The best teachers I've had CAN and DO, and they articulate that, no matter how many times I (or my classmates) re-phrase the same question.

I'd like to think I'm working my way towards that category of Teachers Who Can. That some day, one of my students will be able to say that my techniques/approaches impacted them in a powerful way that didn't include therapy.

Meanwhile, I'm refining my teaching skills with an especially delightful group of painters on the western coast of Michigan. They are willing to try all sorts of things with their brushes during the day, and then in the evening, I retire to a Lake Michigan facing porch, sip my wine while listening to the tide, and forget about their tears.

And my own. Today's demo wasn't exactly the smoothest sailing. But it's important to be human and ultimately let my students know that the really good paintings take a little elbow grease. They don't just happen. I did a fantastic job of demonstrating thinking on my feet, being flexible to changes, and going with the flow. Those are valuable lessons, right?

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