The Artistry of a Gentle Soul

Myself and sister Kelly, with Mom; taken on the occasion of Kelly's birthday in March 2010

Drawing has been very difficult for me over the past several weeks, and thus, non-existent.  Actually it has been a struggle to engage in anything art-related.  So I decided earlier this evening to get back to my blog by starting at the beginning..........starting at what feels like the recalibration of my life following recent events.

As is true for any of us, I've had periods of time in my life that were tremendously difficult to navigate; times when the challenges seemed overwhelming.  But nothing could have prepared me for the loss of my Mom in early November, several days after a heart surgery that, by all accounts, was expected to be successful.  For many days afterwards I felt as if the wind had literally been knocked out of me.  

As one of my cousins so aptly put it, "Your Mom was the gentlest soul I've ever known."  She was a tremendously sweet and kind woman, and possessed an unpretentious and quiet classiness that drew others to her.  Her giggle was infectious.  My Mom loved her children and grandchildren absolutely unconditionally, and though a couple of us gave her plenty to worry about in our youth (I won't mention any names.....smile), she always knew that one day we would be the fine adults that she and my Dad had raised.......in spite of ourselves.

My mom was also my earliest art inspiration.  When I was a very young child she made paper dolls for me out of cardboard, and taught me how to trace around them to make their clothing.  The possibilities were endless!  I recall my preference for her paper dolls over store-bought ones, and can vaguely remember pestering her relentlessly to draw more paper dolls.  Many years later my Mom would accompany me on a road-trip to Bethesda, Maryland, to attend my first CPSA International Exhibition.  It was the first time I had shown work in a venue of that size, so I was appropriately petrified........and her presence and nature helped calm me.  We rode the subway, both for the first time in our lives -- and laughed at our own cluelessness pertaining to making our way around a big city. 

Both my sister and I were very close to our Mom; we talked to her daily, sometimes several times a day.  Occasionally when I would be very focused on a particular part of a drawing I would allow the phone to roll over to the recorder, and then I would hear from the direction of the kitchen..........."Lynda??  This is your Mother.  Are you screening your calls?????"    : )

So.......as I begin to get my land legs under me again, this felt like the best place to start -- the only place to start.  Thanks for reading.

".......all endings are also beginnings.  We just don't know it at the time."

        Mitch Albom,  The Five People You Meet in Heaven

(Re) Learning the Basics: Effective Composition

In the fall of 1977, fresh out of high school, I entered a college commercial art curriculum.  Admittedly, my attendance at my evening Art History and Composition classes was somewhat 'spotty'.  I was ill-prepared (that sounds nicer than "too emotionally immature", don't you think?) to take college seriously at that time -- so suffice it to say that I felt I had better things to do than spend evenings in a darkened auditorium viewing and discussing slides.

Since resuming my drawing about five years ago, I have become increasingly aware that I struggle with issues around creating a successful composition.  In other words, I have gradually come to know how much I don't know.  Despite techniques using sketching, cropping, etc., I have difficulty visualizing and objectively analyzing what an image may look like when completed.  Consequently I may be well into a drawing before realizing, "Oops -- that's a problem."  Even then I may have difficulty identifying exactly what the problem is, let alone how to fix it.

My frustration over the 'holes' in my knowledge base will sometimes motivate me to embark on a hunt-and-search mission in the area's larger bookstores.  Occasionally these excursions have resulted in a disappointment; the purchase of a book that I've brought home, only to find it is not as helpful as I'd hoped.  Several weeks ago however, I happened upon the book, "Mastering Composition: Techniques and Principles to Dramatically Improve Your Painting", written by Canadian artist Ian Roberts, and published by North Light Books.  In short, the book addresses the dynamics that make up a successful composition, and how mastering these dynamics will move a viewer's eye effectively through the structure of a painting.  Roberts discusses factors such as contrast, edge control, and color intensity, hue, value, and temperature, to name a few, and the role these play in creating a more powerful image.  The volume is comprehensive and includes numerous practical exercises, as well as an instructional DVD.  Already I have found it to be tremendously helpful, and it is the type of book I can easily return to over and over again for reference.  Though my brief description cannot do the book justice, I felt compelled to share about it for those who may struggle with some of the same issues that I do.

To learn more about Ian Roberts and his work, visit his website at http://www.ianroberts.us/ .

And incidentally..........I predict that in the not-too-distant future I will be found enrolled in a couple of art history and composition classes -- continuing to fill the voids left by the skewed priorities of my youth!      : )   

Kellogg Bird Sanctuary, revisited

Recently I made my second excursion to the Kellogg Bird Sanctuary in Augusta, Michigan.  The 180-acre sanctuary is home to several previously injured raptor species who have been rehabilitated, as well as a stopping point for numerous migratory waterfowl.  During the several hours I spent there I was one of the few visitors, making for a much-needed day of quiet.........just the birds, my camera, and myself.

This peacock was clearly part of the welcoming committee, and followed me around the parking lot for some time.  He seemed quite enamored with my camera lens, and for several minutes I thought sure he was going to start pecking at it.  Eventually though, he tired of me -- possibly realizing there was no food to be had from this particular human!

Of the waterfowl species there, my favorite to photograph are the juvenile trumpeter swans.  I find their rose-colored bills and the subtle grays of their feathers to be quite lovely, and they seem more oblivious to the presence of humans than the adults.  When I have taken the time to simply quietly observe, I have found that swans in general strike some amazing -- and sometimes tremendously twisted -- poses.          

                                                         

The end.

Work-in-Progress: Galloping Horses drawing

Albiet slow -- after all, this rendering is competing with my mental and emotional navigation (smile) of my now "empty nest" -- the current work-in-progress is beginning to take shape.  This photo of it shows the placement of all the horses as well as some of the landforms.  The image still appears very flat, as this only depicts some of the base coat: soon I will begin to lay in the upper layers and building more depth and dimension into the piece.

As I have continued to work on this piece, I've begun to feel somewhat more comfortable with the lack of close detail as well as the image's ambiguity that I..........okay..........whined about during my previous post.  In retrospect, I was attempting to intellectualize the process rather than just following my gut instincts.  So I am pushing through my mental obstacles with this piece, and in so doing am learning a tremendous amount about myself.  For example, in working through this drawing I frequently find that I'm struggling to trust my ability to make the artistic decisions needed to execute it.  While I've been very aware of a periodic lack of confidence while addressing challenges during previous drawings, this nagging sensation has been nearly relentless since beginning this piece.  Seeing no other way around it except to go through it, I will, of course, press on -- realizing that I have much to learn from the struggle itself.
 

Work-in-Progress: New Horse Drawing

Though in its very early stages and minus a few horses, the above image provides an idea of the general composition of my current drawing.  The image will be a 20" x 30" colored pencil piece, and the reference photographs I am using were taken in Wyoming a number of years ago.  The horses will be backlit by the setting sun, causing the onlooker's viewpoint to be primarily cast in shadow.

More landscape-like in nature, this drawing is a very different approach for me.  Consequently, it has already wreaked havoc with my tendency to overthink everything.  I usually tend to choose subjects which are close-up in perspective, and that provide at least a fair amount of detail and texture.  This zoomed-in view allows me to attempt to tell a story by conveying emotion through the subject.  In contrast, the current piece will contain very little detail, many soft edges, and a lot of sunlit dust and ambiguity!  In response to my bemoaning the challenge of said ambiguity, a friend aptly pointed out, "Its just shapes, Lynda: its just shapes".  True enough.  (And really........ why on earth less detail would cause a minor panic is beyond me anyway.  That just makes no logical sense!)

So as I keep drawing and keep learning, summer is starting to wind down in the rolling fields of this part of southern Michigan.  The cicadas have been buzzing in the trees, the migratory birds are gathering in larger groups, and thankfully........the nights are cooler.  Sometime soon the barn will become suddenly and eerily quiet, absent the constant chatter of barn swallows.  This time of year often brings a sense of melancholy with it for me, as the tick-tock of another summer season passes.........and as some of you know my son leaves for his first year of college in little more than a week.  We have much to accomplish prior to his leaving, so time to draw will be at a premium in the near future............but thats okay.

The CPSA 18th International Exhibition..........from the back side.

Having just returned from the annual International Exhibition of the Colored Pencil Society of America near San Francisco, California, I am reminded of the fact that there are those experiences in life that simply provide one with tremendous joy -- and over the few years that I have attended this event, it has become just that for me.  I am so fortunate to be able to spend time with such talented friends and colleagues, and each year that I go the experience only gets better.  Over the course of the past couple of CPSA events I have attended (and to my own amusement), it has become increasingly clear that I have developed a reputation as the woman who's laughter can be heard clearly across a crowded room -- or possibly from one end of the hotel to the other, as the case may be!  Despite some degree of good-natured 'ribbing' for this characteristic of mine, I'm okay with this -- laughter is such good medicine for the soul.  (However, I'm seriously considering fooling everybody next year by perfecting the development of a polite titter.)

As always, my heartfelt appreciation for the national CPSA board members who work tirelessly to organize wonderful events such as this.  This year's CIPPY award (Best of Show) was garnered by Shinji Harada of Japan for his lovely still life, Grapes in a Basket.  Highlights of this year's convention week included the awards banquet, artists' reception at The Art Museum of Los Gatos, workshops by artists Allan Servoss, Ester Roi, and Melissa Miller Nece, and the National Meeting / Invitational Silent Auction.  At this year's auction I was fortunate to 'snag' an Elizabeth Patterson original, something I've tried to do over the past three convention auctions.  In addition there was time for a little shopping, alot of eating, and a road trip to see the redwood trees at Muir Woods just north of San Francisco.  All-in-all for this "little girl from Michigan" (yes Jeffrey, I'm still quoting that!) who had not been to California prior to now, it was a great time.

Finally, I must express my appreciation to fellow-blogger Denny Holland, a San Francisco-area artist.  Denny, his wife, and one of his daughters attended the CPSA artists' reception, and it was such a pleasure to have the opportunity to meet them and spend time talking with them.  (Thanks Denny!)

Following are several photos taken during convention week.  Enjoy, and as always -- thanks for reading.

A bop-fest at the National Meeting, commemorating CPSA's 20th year

Clearly, Jeffrey Baisden is saying something absolutely hi-larious (again!)

Myself and Massachusett's artist Deborah Friedman, at the Awards Banquet

Bonnie Auten (MI), and Mari K Moehl (FL)

At Muir Woods:  Dianna Soisson (MI), Elizabeth Patterson (CA), myself, and Teresa Mallen (Canada)

Apparently I am feeling somewhat objectionable about something, but Jeffrey Baisden and Elizabeth Patterson appear quite content!

Teresa Mallen, Elizabeth A. Patterson of Maine, and Deborah Friedman

"Chasing the Rain: Drawings by Elizabeth Patterson"

Okay, enough of this blog-neglect!  Suffice it to say that the month of June was a daunting one, unlike any in recent memory what with its numerous circumstances and stressors.  Simply the passing of it into July was a relief, and with it, a return to work in my drawing room.

I can think of no better way to break this drought than to share with you about the current solo exhibition of fellow pencil artist and good friend, Elizabeth Patterson.  "Chasing the Rain: Drawings by Elizabeth Patterson" enjoyed a well-attended reception on June 19th, and will be on display through August 28, 2010, at Louis Stern Fine Arts in West Hollywood, California.
                                            

                   Elizabeth Patterson, Wilshire Boulevard, 5PM

The show features approximately twenty-five of Elizabeth's recent drawings, in both color pencil and graphite.  Each depicts a moment in time as viewed through the windshield of a car, many on the rain-drenched streets and roads of the Los Angeles area.  Her work is distinctive and tremendously original, and causes one to take pause and look at the commonplace.  Elizabeth's execution of light, reflection, and shadow are phenomenal, as is her ability to generate a sense of movement in her drawings -- not to mention all those tiny, detailed raindrops -- each with their own sense of depth and dimension.

To see more of Elizabeth's work, visit her website at http://www.eapatterson.com/ .  Elizabeth is represented by Louis Stern Fine Arts.