Illustrated journal autumn to winter

Here’s a couple pages from my current illustrated journal, entitled Autumn to Winter 2019.

Both pages pretty much tell the story of life in the studio.

I am full tilt in production mode in the studio. I have three shows- yes, three- in November; one in Indiana and two in Florida. Here’s my schedule. I am happy to have shows on my calendar because it keeps me in production mode. I’m also thrilled to be heading to Florida because I am going to meet my first grandchild!! And visit family and friends and do two art shows.

My workday in the studio starts with a page of the journal. I add color, then (if my cat doesn’t walk through it) come back the next day and add to it. Eventually the journal gets filled and it’s time to start another one. The collection of journals is growing, and each one is full of ideas for future paintings and mixed media pieces. It will be exciting to see what’s next.

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Paint and Palettes

I’ve always been a lover of paint and paint palettes. I vividly remember the excitement I felt opening that rectangular tin filled with round cakes of watercolor paint in elementary school. I was hooked! From that point on, I have wanted to explore and express within the inviting purity of paint. In 1988 I had a beach side shop where I hand painted women's clothing. I was using acrylic paint in abundance. One morning I had cleaned my palette off, and had peeled a large colorful piece of variegated and textured acrylic paint from it. Some friends of mine came into the shop (actually it was my minister and his wife). During our brief conversation, I showed them the peeled up paint and said, “This is too pretty to throw away, but I don’t know what to do with it.” The husband said, “Oh, you should cut it up and make it into jewelry!” We all laughed about it. It was like "Yeah right, I should try it!” After they left I thought "Wow, that could have been

Winter Work

Now that my show season is over, it's time for what I lovingly call winter work. Winter work is studio time. It's when I light the fire in the wood stove and sit down at the drawing table and/or easel, both of which are pulled close to the wood stove. It's winter work because when the weather cools off and the leaves fall, the studio is the most inviting place in my life. The warmth of the fire and the smell of the wood and the blank slate on the easel are what inspire and motivate me to work. At one of my shows I bought this glorious coffee mug from Paige @rockbottomceramics. It sits on top of the woodstove and keeps the coffee warm for hours. It's a studio staple. There is purposely a blank canvas on the easel, or in this case, a smooth panel which will eventually be gessoed and painted with an expression of light through leaves. The blank canvas is self care. It's a sign of hope for my future. What will go on that canvas in my future? It'

The Clearing, Revisited

I've been talking a lot about the importance of having a muted palette, meaning very little color. But lately, I've wanted to add color to some of the paintings that I did over the last few years. So that's what I've been doing. I just added color to this piece. It was called The Clearing, and it was a very monotone palette. It was actually one of the favorite paintings at my shows. But you know, it just didn't sell. So I decided to take a breath, (a couple of breaths actually), and re-work this painting, add color, and actually change the path of light in the painting. So what do you think now? I kind of like it! I like the new light coming through, and I like the blues that are in here now, that didn't used to be, and the light browns and yellows. And I like this little trunk, that gives you a place to sit when you're at the clearing of the woods. A limited edition print of the original Clearing is available here. As a reminder, if you dec

Parts of Art

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