This week started off wonky. I messed up my kid's carpool schedule and, as a consequence, that prevented me from being able to get into the studio on Monday. Instead of stressing about it and future-tripping, I gave myself a little grace. I figured out that I had plenty to do for this project that didn't involve actual painting, but included writing, photographing landscapes around Valley Ford and writing in my art journal.
It also included firming up the dates with my friend, artist and fellow recovery badass, Gayle Cooper, for our upcoming gallery show which we are calling The Art of Recovery. To give you a little background, Gayle and I met in the rooms. She is out about her recovery and I've always connected with her over art and our mutual love and adoration of all things France. In early January, she approached me and asked if I would be interested in participating in a show with her at a gallery where she had done solo shows before. I was immediately flattered and then nervous, but knew that I had to step up and say YES. Her offer appeared at exactly the right time, as I was about to embark on my own self-assigned project, The Geographic.
Show dates will be June 5th - July 9th at Lawson Galleries in Guerneville, California.
The opening reception will be held on June 5th from 5 - 8 pm.
The artist salon will be held on Sunday, June 17th from 2 - 4 pm.
The First Friday Art Walk in Guerneville will be held on July 6th from 5 - 8 pm (all galleries open in town that night). A great way to see lots of art + take in the town.
This will be my first gallery show.
Over the weekend, I attended a print workshop in San Francisco hosted by self-taught designer + style icon, Lotta Jansdotter. I have long admired Lotta's designs, lifestyle books and business acumen. It was a thrill to meet her in person + learn from her in real time.
We made prints using small potatoes, simple carving tools + screen printing ink. We focused on creating simple patterns and designs. Repetition, positive + negative spaces were key to creating a cohesive + attractive design.
We also did a little block printing using our carving tools, a stamp pad + textile ink.
The stationary turned out really well.
Why am I telling you about my print workshop when this is supposed to be a blog post about my painting project The Geographic, you ask? Well, I'm gonna tell you.
You see, everything I make informs everything else when it comes to the work I produce. I like it when one medium spills over into another and I love learning more about my own process - what works and what doesn't. I like to co-mingle my interests and see what gels or just becomes.
For example, I took my gratitude journal along with me to the workshop in the hopes that I could create a page for that day using one of the prints or techniques I would learn. And, that's exactly what I ended up doing (see above). Now when I look at the page, I will have the workshop + the day imprinted in my mind, too.
Circles are my spirit animal and then color, especially hot pink. It's funny because I grew up in a household where my mom loved pink and I vowed NEVER to have it in mine. Fast forward 35 years and I freaking love it. Go figure. Never say never, right?
I didn't stress too much about painting this week. I needed the extra time and space to think about what was going to be my next move with all of the paintings I currently have going. I also needed to hit the art supply store and buy new wood panels and supplies for the project. Making art is not just about making the actual art. I'm learning that finding inspiration, going to museums, and taking workshops are all part of my creative process, too.
My loose plan is to focus on finishing up the under-paintings for all of the Valley Ford works-in-progress by the end of next week. Once those under-paintings are done, I think I'll switch to oils. I I plan to apply horizontal bands of color over the existing acrylics or use washes and see how the colors underneath shift or change when the washes are applied. I hope they wow me.
This week I started a small tryptic using the leftover paint from painting No. 12 (above). This is an experiment to see if I can come up with something a little less controlled and try to harness that blurry or buzzed feeling I'm wanting to achieve through my work on a few of the canvases.
I'm trying not to be overly precious with the canvases and making marks that feel intentional + haphazard at the same time, if that makes any sense! These paintings feel like play to me + are really enjoyable to make.
At the end of my painting day on Wednesday I had completed the under-painting on my 36 x 48" canvas (No. 12) and had a good head-start on this tryptic (above).
I quickly taped and gessoed two 20 x 20" wood panels that I think I'll use for the Bodega Bay paintings, which I have yet to start. That will be a completely different process and feel than the Valley Ford landscapes I'm currently working on.
These are sample canvases that I started using fluid acrylics. I'm not ready to jump all in with these paintings yet and think I'll wait until after Spring break to start working on the Bodega Bay series in earnest.
For now, I'm simmering in the Valley Ford work and really digging how it feels and where they are headed. I'll spend more time with the smaller canvases this weekend and wrap up the under-paintings and bring them to school next week to see how they all look together.
I think seeing them all together will tell me what to do and where to go next with them. They'll talk to me and I'll be intently listening to what they have to say.