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I gave this artist talk in February 2020, but didn't publish it anywhere at that time. I still think, three yers later, that it should be shared and so I am including it here. I want you to think about a moment when you felt stuck, like maybe you were struggling to button your jeans or a window wasn’t opening, or a pickle jar… You might have said aloud “Oh come on.” Yes? In that moment you were in conversation with a material. Theorist Walter Benjamin writes about being in conversation with material as central to the work of making art, and while he means something slightly different than talking with the pickle jar, it is also similar: this idea of being in conversation with the things around you, being aware that there is a relationship playing out.
These paintings are a conversation with material and were created as earnest prayers to the creator G-D. They started as small paintings, eight inches by ten inches: ipad size. They were very precious. My studio mate, Eric Tai, has an important phrase painted on his easel,“Not a thing is precious.” This reminder constantly calls us back to the paradoxical reality that, yes, objects are not precious in the sense that they cannot be interacted with or must be placed on shelves away from realities of life, but precious in the sense that care can be taken and love can be extended to all people and things. And I painted 50 small precious paintings, and learned a lot the paint in the process, and moved from an affinity for the color to a love for its essence. The color is called Payne’s Grey, and is very diverse depending on how much water you add to it. It rarely looks grey, but frequently is blue. It doesn’t split apart when the salt is added to it, but rather pushes and pulls around it. The paint interacts with the way the definitive way the salt box is shaken. I shake the box so that the salt forms all-over patterns or clusters, in conversation with the paint pigment. As I was practicing, with the salt and pigment, I wanted more room to play, so I sized-up slightly to 14 by 20 and then 18 by 24. And talked with the material the whole time. Learning that there is a point where there actually is too much water and pigment so all nuance is lost. By the time I got to 18 by 24 inch paintings, Maria Fee, who invited the work to be shown here when it was still 8x10 and was my encouraging studio mate throughout this entire process said, “You have to go bigger.” She said this for two weeks and then one morning she literally put a large roll of paper in my hands and said “Paint on this.” She was in dialogue with the work as a viewer, and could see the expansiveness of the form long before I could. This is why it is important to have community around you in all of your work: paper writing, speaking, theologizing, painting; you need people that see the things you can’t, things in your proverbial blind spots. And while this may be implied I think it is important to state explicitly: Have people around you who see things differently than you, so that you do not get lost in an echo chamber of stagnation. As evidenced here, I did paint that roll of paper that Maria placed in my hands, that paper that she had the ability to envision covered with this dialogue between pigment, water, and salt. I had the thought that if I could wallpaper this room with paintings, if I could change our perspective even just a fraction, it might help our community to gain a sense of hope in a time of disruption. A time when our school is figuring out its vision, on a metaphoric and practical level, the United States is facing another contested presidential election, our world is facing a potential viral pandemic. So what is the work of an artist right now and right here? How can I speak into our current situation with images? How can I create paintings that point towards a hope? A future? As I painted I was particularly focused on light in the eucalyptus trees of our campus, the fires in the Amazon, the perpetual motion of clouds in the sky. Places that point me towards the direction of a new earth. A place free from disease and destruction where suffering is not the dominant motif, but rather thriving and flourishing are de rigor. This work is called “a subtle hope” because as I painted last summer and thought about what this community might need in the middle of winter, at the beginning of this reflective season of Lent, the idea of an almost pernicious invasive hope came forth. Something that stands in the face of cascades of doubt and uncertainty. These paintings are done as puddles and pools of paint. I mean, gallons of water get poured onto them and how fast they dry depending on humidity and what air currents pass over and by them all contribute to the final effect. That being said, while those gallons are being poured onto them, there reaches a kind of equilibrium where the pigment estuaries form aesthetically pleasing landmarks, and at that moment I chuck the salt over the entire image in an attempt to stop the entropy that can lead to muddy paintings. The paintings themselves are an act of hope, that the actions I take will lead to future beauty. Osheta Moore says that “Beauty is at the heart of shalom,” Shalom being the Hebrew word for pervasive peace and wholeness, a sense of wellbeing that operates down to the cellular level. The artist Gerhardt Reichter says that “art is the greatest form of hope” and I think what he means is that it is a bold thing to work towards beauty in a world that is continually destroying itself. How do we find hope when confronted with the climate crisis? Uncertainty about the future? Serious sickness of loved one? For me, it is found in the things the paintings reference: interior and exterior elements, micro and macro: cells under microscopes, light through philodendron leaves, icebergs, and the paths of waves on embedded sand. They are asking you, my beloved community, to enter the ongoing conversations about embodiment and imago dei, what it means to be made in the image of G-D, what prayer can look like, and the serious need for climate care. The works function like signposts, wayfinders to wayfarers presenting a vision of a new earth. I would encourage you to spend time with the discomfort and questions that these paintings might bring up, knowing that you might think you don’t like the visual, because of the feeling it creates, but like everything else in seminary and life, I would encourage you to do some excavation and see what question is really being asked and what you want to say in response. As a response to one of the frequently asked question about these paintings “How long do they take to paint?” I will tell you the answer to that is, quite simply, they have taken my whole life. Every moment of observation, conscious or unconscious, every practice stroke with a paintbrush, every hour of study in school, every moment of conversation with materials has lead to these paintings. And so I would encourage all of you to think about what you are doing that takes your whole life, and what you are creating with that work. I have no doubt that your work will be different than mine, but perhaps together our conversations with words, materials, images and relationships can point others towards hope, and bring about glimpses the new earth. -Julia Hendrickson Pasadena, California Lent 2020
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I love the wild parrots!
This is a very controversial statement to make in LA, where the racket of these birds roosting by friends homes is a sore spot. I do not live in proximity to a rookery, and encounter the parrots at the height of golden hour when they head home. Their sound is loud, but not like passing ambulance sirens. It causes me to look up from reading and away from the computer. It is a natural noise, in the manufactured landscape. The parrots are an indicator of this other life that continues in other rhythms, a life that adheres to something other than a syllabus. The parrots cacophony is a delightful alarm clock going off and reminding me to delight in the changing of the light. The wild parrots also remind me of Mary Olivers' Wild Geese: You do not have to be good. You do not have to walk on your knees for a hundred miles through the desert repenting. You only have to let the soft animal of your body love what it loves. Tell me about despair, yours, and I will tell you mine. Meanwhile the world goes on. Meanwhile the sun and the clear pebbles of the rain are moving across the landscapes, over the prairies and the deep trees, the mountains and the rivers. Meanwhile the wild geese, high in the clean blue air, are heading home again. Whoever you are, no matter how lonely, the world offers itself to your imagination, calls to you like the wild geese, harsh and exciting - over and over announcing your place in the family of things. May you experience the delight of having your place in the family of things announced.  I have just started my second quarter at Fuller Theological Seminary in Pasadena, California. In my first quarter I encountered many thoughts and ideas. The most readily applicable to the majority of people is the Rule of Life. This phrase is frequently used to describe the guidelines used as as the construction blocks for your time, actions, interactions, and resources. Encompassed in the Rule of Life are concepts of rest, simplicity, lament, honoring the body, listening, stewardship, solitude, silence, guidance, and discernment. I have been creating a Rule of Life for myself for years without calling it that. I venture to say that with some reflection you have too, consciously or subconsciously. I crafted my first overt Rule of Life in 2012 and called it Rules for Healthy Living. It was followed by a revised list in 2014. My current list is very much streamlined as evidenced by the image about, but no less comprehensive in scope as each word is an inclusive umbrella term encompassing many regulatory elements common to the Rule of Life ideology: Read: Guidance, Discernment, Lectio Pray: Listening, Guidance, Lament, Discernment, Examen, Stillness Rest: Honoring the Body, Stewardship, Stillness I encourage you to consider what rules are governing your life. Are they taking you in directions that are helpful and constructive? Do you want to be going in another direction? Prayerfully ruminate on what your Rule of Life is. Write it out and place it somewhere as a reminder of the direction you want to be moving in. I made a little sticky note on my computer desktop since as a student I am looking at that screen for hours every day.
THE IMAGE CONSTRUCTION OF G-D AND THE DECONSTRUCTION OF THE WHITE NORMATIVE THEOLOGICAL GAZE: AN ART HISTORICAL SURVEY “The beautiful, almost without any effort of our own, acquaints us with the mental event of conviction, and so pleasurable a mental state is this that ever afterwards one is willing to labor, struggle, wrestle with the world to locate enduring sources of conviction — to locate what is true.” -Elaine Scarry When G-D is always depicted as a white man, it becomes difficult to imagine G-D as being anything else. For too long the church has allowed culturally normalized and limited depictions of our creator to dominate the landscape. This restricted view of G-D not only promotes incorrect racist theology, but limits our understanding of the Divine Mystery. Historically Christian art has propagated a very specific one-sided view of G-D and this has concrete ramifications of exclusion and limitation; I propose that contemporary art is specifically challenging this by presenting G-D as black and a woman. This paper will first examine the historical depictions of G-D, while discussing how images of G-D construct our understanding of self in relation to G-D, and reflect on the hope presented by the contemporary work being produced. When taking a historical survey of art we encounter a plethora of deistic representations. Most cultures and religions seek to represent their god with imagery. The notable exception to this being the Muslim prohibition of anything that might be construed as god: nothing with heartbeats, which accounts for the floral motifs common in the predominately Muslim Middle Eastern nations. This exception aside, consider the Venus of Willendorf, commonly acknowledged as one of the first pieces, if not the first piece, of art on record. She is a fertility goddess with exaggerated bulbous breasts and buttocks. With her, some of the first known art depicts humans seeking to communicate with G-D, looking for reproductive favor. This shows how humans place such a premium on communication with G-D and will do it through all available means. Not just with spoken or written word, or physical action, but also sculptural depiction. This seeking of relationship and connection with the divine Creator is innate and present from our earliest records. Regarding the discussion of pictorial depiction and race it is crucial to understand Moses of Ethiopia’s importance and how limited acknowledgment by the academy is indicative of a much larger problem. Moses of Ethiopia, also known as Moses the Black, was a Desert Father of Scetis, who was later martyred. With his depiction there is the rare occurance of a Black religious figure in the canon of art. In Moses of Ethiopia we have a correct alignment of illustration and historicity. Given the richness of the Desert Father tradition it is disappointing that so minimal attention is paid to Moses of Ethiopia, with relatively little scholarly research on him. This shows just how far into the liminal periphery black depictions of religious figures are relegated. When not acknowledged by the academic establishment, let alone the ecclesiastical one how do these stories become acknowledged and known? By pushing the liminal into the central. Saint Moses ordination to the diaconate provides a fascinating point of discussion on the concept of the colors, white and black, as relating to morality. “After many years of monastic exploits, Saint Moses was ordained deacon. The bishop clothed him in white vestments and said, ‘Now Abba Moses is entirely white!’ The saint replied, ‘Only outwardly, for God knows that I am still dark within.’” This emphasis on the color of Moses during his ordination is typical of the dominate “white is right” rhetoric prevalent in the discussion of sin; blackness being associated with sin. Worth noting in this quote is that the Bishop is constrained to a black/white rhetoric while Saint Moses refers to the darkness, the absence of light, the separateness from G-D. This references the concept proposed by John the Evangelist in his first epistle, “This is the message we have heard from him and proclaim to you, that God is light and in him there is no darkness at all.” This movement away from a black/white binary places the discussion of morality centrally, as opposed to the emphasis on color of vestment or skin. Moving forward into the Middle Ages and to consideration of iconographic representations, it is important to remember that this culture was mostly illiterate and that imagery was the dominate, if exclusive “reading” material for most individuals. Roland Recht explains it most succinctly when he states, “Developments in medieval science and natural philosophy elevated sight about the other senses, deeming it the basis of empirical truth.” When the people encountered a depiction of G-D, or the saints, the image was authoritative. Imagining G-D as something other than the depiction would be heretical, as the priests interpretive espousal and the image had no personal information or learning to contradict this specific interpretation. This lack of literacy allows for an almost totalitarian control on which aspects of theology are discussed, let alone promoted. This rigid control allows for the propagation of a normative white depiction of G-D. The educated people of the Middle Ages are complicit in false interpretation and propagation. While there are myriad reasons for this, chief among them are the feudal based income and protection systems; livelihood being tied into the prevalent rhetoric, as the feudal system promoted systematic adherence to those in a higher economic class with their concurrent position of authority. It is worth noting that the priests exerted a lot of control regarding the course of conversation. Priests were educated and had the ear of the patrons. Inherent in this relationship, though, is a power dynamic. The patron provides wealth and resources, the priest provides salvation via indulgences and the promise of shorter time in purgatory for a monetary price. Precarious is the balance, however, because if the priest steps over the proverbial line, the coffers will close. This takes away any incentive for proclaimation against the dominate rhetoric. During the Middle Ages and continuing through the Renaissance, the wealthy commissioned artists to produce illustrative religious images. The patrons portraits are then placed on saints faces or among the devoted. This is clearly illustrated in The Ghent Altarpiece by Jan Van Eyck. The patrons, Joos Vijd and Elisabeth Borluuare (his wife), are included in full-bodied portrait form on the closed wings of the altarpiece. The Ghent Altarpiece is influential catechesistically because of the words included around G-D. “This is God, all powerful in his divine majesty; of all the best, by the gentleness of his goodness; the most liberal giver, because of his infinite generosity… On his left, security without fear.” To get to these benevolent words it is necessary to literally push the patrons out of the way to get to the gracious depiction of G-D on the inside. The patrons, depicted alongside the saints, are the guardians of the G-D imaged inside. It is imperative to remember that this is the construction of human mind and understanding. To see no one depicted in the church imagery, not in the deistic representations or even among the faithful, that is of a different skin tone and to have recognizable portraits of the oppressors portrayed is problematic theologically. Regarding the theological underpinnings, it is lovely to think of art and writing as being divinely inspired, but it is far too frequently the creation of the limited human understanding. This human constraint remains throughout history and continues to confine the scope of understanding. During the Middle Ages and the Renaissance the artists payment was directly tied to the patrons pleasure and this ensures that the dogma of the ruling class remains prevalent in the depictions present in all of the public and private worship spaces. Since most of the Christian art being produced was coming from Europe, with its preponderance of white skin, the dominant motif was pale faces. With the creation of a workable printing press in the 1440’s there is a dispersal of written text and rise of personal books, but this is limited in its scope for some time, leaving images to continue the work of education with their constrained depictions of G-D and the faithful. The tide of iconoclasm coincides with the Age of Discovery and global expansion. With the concurrent rise of the slave trade and the integration of a more diverse global population, increasing concerns must be raised about this limited depiction of G-D. When presented with imagery that not only mirrors, but re-enforces the prevailing theology of oppressive whiteness there is an exclusionary measure at work that is not in line with Biblical truth. While it is possible to think that the iconoclastic movement is helpful, in that it aids the demolition of the normative white theological bias, this does not allow for the fact that the iconoclastic movement while strong, was not successful in the destruction of all religious imagery. The effect of the iconoclastic removal of images from churches is something from which the ecclesiastical body has yet to recover. The church used to be the leading patron of the arts and with this relinquishment the church has lost a key portion of influence. However, the iconoclastic movement and the loosening of the churches grip on culture is what allows for the creation of new imagery today. Moving into contemporary art there are glimpses of hope. Harmonia Rosales is reinterpreting Renaissance masterworks with Black heroines. By taking the Creation of Adam by Michelangelo and making the main characters Black and female, and calling it the Creation of God, the dialogue is allowed to expand. Rosales explicit title, Creation of God, firmly cements this piece within the racial construction of G-D dialogue, inspite of its almost heritical title. The Creation of Adam is famous not only because of its location on the ceiling of the Sistine Chapel, the center of Roman Catholic worship, but also because of the languid posture with which Adam reposes. He is not fully animate without a touch from the Creator G-D. This is particularly relvant, in that a white man is being brought to life by a touch from G-D. If others are not privy to the same touch and relationship what are they left with? Do they remain inanimate? This is why Rosales portrayal is so crucial and helpful. It points to a theologically expansive racial inclusion, not only to the idea of G-D, but to who may be counted among the faithful. This gorgeous depiction of a black female G-D allows for a re-imaging and re-imagining of the white paradigm of god. In another painting by Rosales, the Roman deity, Venus, is depicted being born as a Black gold-leafed vitiligo woman. In this image there are not only normative ideas of beauty, but difference as well. The Black woman’s body is classically proportioned, but not veiled in the classical porcelain veneer. Not only is the racial bias cast off, but the gender constraint along with it, allowing for more of humanity to see themselves as created in the image of G-D. This depiction is throughly counter to the white normative ideal. It is fortifying in its inclusive expansion because in G-D, “There is no longer Jew or Greek, there is no longer slave or free, there is no longer male and female; for all of you are one in Christ Jesus.” Kara Walker also presents a female deity with complex coloration. Her Marvelous Sugar Baby is a black female sphinx constructed out of white sugar. The image is meant to confront and successfully does on many levels: the sugar industry’s past association with slave trade and current culpability in numerous diseases, the oppression of workers rights, and the crumbling edifice of the sugar plant in which the Marvelous Sugar Baby is constructed all point to the derelliction of sinful systems. All of this rhetoric is crucial to the understanding of this massive sculpture as G-D. This is the depiction of a G-D who corrects and points out sin, who graciously and quietly provides guidance to deeper understanding of the sins of omission and the sins of commission. In the work of Walker there is a contemporary imaging of G-D that is very hopeful theologically. It successfully challenges the white normative approach to religious depiction and correctly places culpability and responsibility on the viewer. While these newer interpretations of G-D by Rosales and Walker are not considered orthodox, because of deistic representations outside of the Judeo-Christian pantheon, in The Birth of Oshun and Marvelous Sugar Baby, there are deistic embodiments of race too often relegated to the periphery. This spectrum of depiction allows for a G-D of infinite creation and possibility. A G-D that spoke the world into being in Genesis and with that speech introduced the idea of a creator. From the very beginning humankind has understood itself as a creation. How then does humankinds own creation of imagery affect this understanding of who G-D is? It is important to discuss why the white normative construction of G-D is wrong and must be expanded to a comprehensive inclusion. Humankind is created in the image of G-D. G-D is NOT created in the image of humankind. This reversal, prevalent throughout history, causes the theological limiting and exclusion that is problematic in the visual depictions of G-D. While it is encouraging to see the work of Rosales and Walker, do not be too hasty to say that this is adequate for our understanding of the Divine Mystery. It is still a limited perspective, but does make strides into a more wholistic comprehension. This point is clearly articulated by Saint Paul in his first letter to the Corinthian church, “For now we see in a mirror, dimly, but then we will see face to face. Now I know only in part; then I will know fully, even as I have been fully known.” Bibliography: Bauman, Guy. "Early Flemish Portraits 1425-1525." The Metropolitan Museum of Art Bulletin 43, no. 4 (1986): 1-64. doi:10.2307/3269088. Gardner's Art through the Ages 10th Reiss Edition by Tansev, Richard, Kleiner, Fred S., de La Croix, Horst (1995) Hardcover. 10th ed. San Deigo: Harcourt College Pub, 1707. Recht, Roland. Believing and Seeing: the Art of Gothic Cathedrals. Chicago: The University Of Chicago Press, 2010. Scarry, Elaine. On Beauty and Being Just. Reprint ed. New Jersey: Princeton University Press, 2001. Sherman, Gary D., and Gerald L. Clore. "The Color of Sin: White and Black Are Perceptual Symbols of Moral Purity and Pollution." Psychological Science (0956-7976) 20, no. 8 (August 2009): 1019-1025. Academic Search Premier, EBSCOhost (accessed December 1, 2017). Sayings of the Desert Fathers: the Alphabetical Collection (Cistercian Studies) by Metropolita Anthony of Sourozh (Preface), Benedicta Ward (Translator) (1-feb-1975) Paperback. Kalmazoo, MI: Cistercian Publications; Revised edition edition (1 Feb.1975), 1600. Image Information: Venus of Willendorf (Austria), c. 28,000-23,000 B.C. Limestone, approx. 4 1/4” high. Naturhistorisches Museum, Vienna. Accessed December 2, 2017. http://anthropology.msu.edu/anp203h-fs13/2013/11/05/ancient-women-and-art/ Moses of Ethopia. Unknown material and origin. http://www.johnsanidopoulos.com/2015/08/the-life-of-abba-moses-ethiopian.html Hubert and Jan van Eyck. The Ghent Altarpiece (closed); completed 1432. Tempera and oil on wood, approx. 11’6” x15’1”. Cathedral of St. Bavo, Ghent, Belgium. Accessed December 2, 2017. https://www.artbible.info/art/lamb-of-god.html Hubert and Jan van Eyck. The Ghent Altarpiece (open); completed 1432. Tempera and oil on wood, approx. 11’6” x15’1”. Cathedral of St. Bavo, Ghent, Belgium. Accessed December 2, 2017. https://www.artbible.info/art/large/317.html Rosales, Harmonia. The Birth of Oshun; 2017. Oil on Linen, 55”x67”. Private Collection. Accessed December 2, 2017.https://www.simardbilodeau.com/fullscreen-page/comp-j7w7halq/f05b8214-69ee-415d-8c42-58d67e8557c7/0/%3Fi%3D0%26p%3Dkqtak%26s%3Dstyle-j7w9xqbi Rosales, Harmonia. The Creation of God; 2017. Oil on Linen, 48”x60”. Private Collection. https://www.simardbilodeau.com/fullscreen-page/comp-j7w7halq/7d70991f-40e4-4232-914d-2f36fa65d4a3/2/%3Fi%3D2%26p%3Dkqtak%26s%3Dstyle-j7w9xqbi di Lodovico Buonarroti Simoni, Michelangelo. The Creation of Adam; 1512. Fresco, 15′ 9″ x 7′ 7″. Sistine Chapel, Rome, Italy. https://www.lonelyplanet.com/news/2017/10/23/vatican-show-sistine-chapel/ Walker, Kara. A Subtlety or the Marvelous Sugar Baby; 2014. Mixed Media, 75’x35’. Williamsburg, New York. http://www.contemporaryartdaily.com/2014/07/kara-walker-at-the-domino-sugar-factory/ #40DaysofPrintmaking
Apropos sentiment for my year #12DaysofFlowermas
I stopped 5 day a week blogging last March for health reasons. When I paused I did not know that it would be such an extended hiatus. I happened to be in the middle of #40daysofprintmaking when I made the decision, but preserved with that project on Instagram. By December of 2015 I was feeling much better & inspired by the beauty of the LowCountry winter flowers I embarked on a #12daysofflowermas project on Instagram. I am now on day 63; well over 5x's the goal I set. Yay! Georgia O'Keeffe say's it best regarding flowers, & recuperative time: "When you take a flower in your hand and really look at it, it's your world for the moment. I want to give that world to someone else. Most people in the city rush around so, they have no time to look at a flower. I want them to see it whether they want to or not."
I have been documenting the winter flowers that bloom, mostly in my backyard, during the LowCountry winter. I recommend checking out the images on Instagram, as they are sure to be the cure for what ails you. Originally I thought I would just post for the 12 days of Christmas, but the blooms have been just too lovely, so the project will continue as long as I find flowers.
"When you take a flower in your hand and really look at it, it's your world for the moment. I want to give that world to someone else. Most people in the city rush around so, they have no time to look at a flower. I want them to see it whether they want to or not. -Georgia O'Keeffe
I recently used the phrase "sunshine & rainbows" with someone who was up to their ears in frustration with their colleagues. I like the phrase, which did bring a smile, because it implies that the storm is over. The rain has passed & now we might have very soggy ground, not the place to build anything on, but we also have startlingly long sunlight and vibrant surprising rainbows to admire. It is important to appreciate this & when the ground is dry to build things up again.  My best rainbow photo taken in 2014 in Croatia As I have started feeling better I have begun reading books again. Those of you that know me well, or have known me for a long time know that I LOVE BOOKS! Always have & always will. When I was younger the most grievous punishment my parents could inflict was to ground me from my extracurricular reading.... #NERDALERT I hadn't even realized I was no longer pursuing long form reading, thinking that perhaps my interests had shifted & that I was no longer into books. Nope, that was pernicious bacteria taking over. I LOVE BOOKS! Some wonderful books I have read in the past few months include, Ender's Game by Orson Scott Card, The Dirty Life by Kristen Kimball, Dirt Work by Christine Byl & Midnight in Siberia by David Greene. The crux of each book Ender's Game; "When I understand my enemy well enough to kill him, in that moment I also love him." I recommend reading the entire series! The Dirty Life: Sometimes the life you think you want is not the life for you. And the life for you might be much more complicated & hard, but it will be satisfying. Dirt Work: What does it mean to labor? Is there value in physically draining work? Midnight in Siberia: Excellent perspective shifter on Russian values. John Green posted a Vlogbrothers video this week that I have included below. It is the inspiration for this post. 
  What color do you wish wasn't there?
I put together a new palette for each painting so I rarely wish a color wasn’t there. That said, I paint with liquid acrylic and there are lots of times that I accidentally squeeze too much out, resulting in WAY too much of one color. What is your favorite brush? My absolute favorite is Robert Simmons' short handle Sapphire series 1/4” Angle Shader. When these brushes are brand new, I’m able to get really precise crisp lines and smooth edges with them. They are also beautifully responsive and lovely to work with when building up thin layers of paint to create gradations of color. Finally they are relatively inexpensive brushes, which is important because I go through A LOT of them. Since I really need the bristles to be in near perfect condition for the kind of detailed painting I do, I usually can only get 3-4 solid days of painting per brush. I periodically donate 50-100 gently used brushes to my kids’ schools and after school programs so they can continue to be used by others. What is your favorite paper/surface to paint on? I begin each piece with a photographic image that I print onto one or more pieces of archival paper. After cutting away parts of the print and reassembling it, I mount the paper to a panel and then paint over every part of the printed image as well as all exposed parts of the panel, including the sides. What is your favorite color to work with? That’s a hard one for me to answer because it’s mostly the relationships between colors that really excite me - especially where cool and warm colors meet. One of my favorite pairings: Prussian Blue shadows on a surface warmed by a (very wee bit of) Pyrrole Orange. While this break was much longer than I anticipated it did provide ample time for reflection. I came to some conclusions about my blog & the direction I want to take:
1. I had become a slave to the deadline. It didn't matter if my work was not up to my standards. If It was Thursday a new painting had to be posted, even if it was a slapdash effort. Sometimes I rationalized this by claiming it as part of the process, but I knew that was just not true at least half of the time. 2. I am a private person. Most bloggers share the intricacies of their lives. I am not the kind of person that does this. Yes I will share process, materials, & scenes from nature, but I will not be telling you about anything else (relationships, what I had for dinner, a current moral quandary). And this stifles the blogging relationship. Blogs have that very personal element that I would share if we are in a face to face relationship, but I am not going to share across the internet in that way. 3. I love the #PaletteProject. Collecting & curating other painters palettes has been one of my joys in this past year. I love seeing the process & diversity of responses. I am thinking about ways to expand this project & welcome input. Many more #PaletteProject posts to come. 4. The blog will continue. There will be blog posts, however they will not hold to the previous 5 day a week schedule. In fact, there will be no set schedule. I will share when I have work of value & not when I feel I must. 5. Thank you! To those of you that have liked & commented, encouraged & critiqued. |
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