Heidi F.

Making work distinctively your own.

I am not a natural writer, and I had to mull this week over a bit. I have been unwell all week due to some medication and struggled to get started.

However, I enjoy the free association list making. I wrote down a list of about 20 things that I care about, among the top were the sea. I wrote another list of free association listing the visual elements. Immediately images started popping up in my head. I took my camera and went through photes from last year's holiday by the coast. 

Delving into my supplies, it was fun to find the different coloured fibres, threads, beads and various bits collected from the beach (my husband thinks I am mad, as I am forever looking for something ie bits of fishing rope, shells, glass, driftwood etc) to give a different dimension. I have started to lay out the base for a felt wall hanging. 

I enjoyed following this process, as sometimes I would just go with the flow and with whatever was in my head at the time. Still need to practice writing and drawing. Did short sketches of the seascapes, just to give me some ideas. I have allowed myself time to read books and doing a bit of research online for different techniques, so that I have more to work with and get better at what I want to do.

Paula K.

Week seven – Making work distinctively your own

I think a lot. I think a lot and I don’t do anything and I don’t do anything because I dismiss ideas out of hand – they’re too simple, they won’t work - rather than try them, or rather than spend time on them, fleshing them out. Leaving the committee aside (I guess that’s who drives the dismissal) and engaging the rebel this week I put some of those thoughts on paper.

Mining for content I made lists of things I care about/am interested in; I wrote sentences and paragraphs about how I feel about some of those, sometimes very simple, things. In my head ideas seem crisp. Trying to get them on paper they seem to become limp – articulating them is like catching fog watching it change into wispy mist and disappear. But I’ve discovered if I can write in the early morning when the house is quiet it is easier. My mind is clearer, less baggage, fewer distractions – easier to focus – though these paragraphs are still wispy! TV is always on in the evenings and, as hard as I try, it drives words out of my head. A realization. Perhaps too writing in the morning captures some of the things that come to us in that semi-dream state during the night.

I would like to think that some of what I make resonates with others – that they may see echoed in it the things that inspire the work, that it may evoke memories of the place it stems from. In a piece called Storm Surge I wanted to evoke the feeling of winter storms, wild seas, littered shore. I made the first piece a few months ago. I used natural fibre only, no colour, with textural elements. So, thinking on this I decided to make a few pieces exploiting the natural fibres and texture. I didn’t think this had a series in it (all too similar) but I started - and then lost focus and cut up one of the pieces I’d made and reassembled it. Out of the blue it seems the revamped piece has led to another, totally unexpected, subject – the power of nine (realized I’d made a few pieces recently which have featured 9)! This resonates with me - I’ve no idea why - so will pursue it.

I found week six hard. Still to address skills, heart’s desire but I decided to try sitting with some work and studying it dispassionately, as Jane suggested. I did this though with three of the Storm Surge pieces that aren’t finished. I find it difficult assessing whether a piece of work is worth finishing or whether it should just be thrown in the bin (I have a long list of wannabe skills). I didn’t dismiss these pieces out of hand though; I thought about what I like about them and decided to continue to work with them. Sitting, focusing on them, helped me to shape where they might go. I realise that I will only find out whether they’re worth finishing if I take them to the next stage – some stitch and possibly dry-needling to bring the foreground forward.

Kerstin E.

Distinctive work

I would like that the things I create have a positive effect on people. Make them feel relaxed or happy. 

So I made a mind map about what makes me happy. One of these subjects are flowers, plants and other things in my garden and it's surroundings. So I will try to do a series of pictures with this in mind. Then I could go over to another subject books, art material etc. Colourful patterns could be another option. 

I will begin to do drawings. Maybe I later can transform the series into another material (embroidery, weaving). 

The sort of structured thinking in this course has helped me a lot. I have not worked in this way before and I think it will develop my creativity to work in series and about the same subjects. 

Maureen M.

I am feeling very scattered this week, many family obligations, not enough time for writing and thinking.

Things that speak to me and engage my attention are - trees, lines, the ocean, mountains, colors and stitches.

I like the part of the essay that says, "You have the right to create distinctive, satisfying work". But how can I make MY work distinctive? 

What I care about are color, lines, shapes, creating, working with fabric and thread, eco dyeing, hand stitching. 

Cultivate and embrace: I have been eco dyeing with plants from my garden, some beautiful things have happened, also some not so beautiful but I get excited waiting to see the results.  I have also started a small hand stitch sample book.

Prioritize- early days but I am working on a series  of small 8x8 hand stitched trees. Made notes of the types of trees I like, looked through my books for ideas, thought about backgrounds and colors. Thinking about how I can incorporate my eco fabric.

This coming week is also busy with family, I really hope I can make enough time for writing, I find I am missing it a lot.

Cheryl C.

Distinctive, Authentic, Voice

These 3 words haunt me. My desire is to have one or all three, which are almost synonymous to me. In fact, it has become the driving force in my art work and really my life. I want to be original and authentic as a person and to make art that is original, authentic, and has a voice that is recognizable as mine. I would like to produce a body of work that is cohesive, but that is not enough. It must also be genuine and real for me.

Why is this so important to me at age 71? You would think that I would be content to just enjoy the fruits of years of labor and chill and relax. Of course, I know that has never been who I am, and I certainly have not changed. Perhaps this is what each person, in his/her own way, desires.

I seem almost frantic to pack these years with productive work, specifically art making. Many around me are unable to do what they used to do, and I realize that time is shorter than I would have ever suspected. My sister and best friend, who was younger than me, passed away 18 months ago. She was my best friend and the person who knew me best and shared my passion for creating with fabric. What a loss!

I am also in an art group where my style of work (abstract) is not appreciated or validated. Yet I have an investment in their presence in my life and do not want to let go of them as people. I am usually able to dismantle them as a committee, but somedays it is difficult.

The rebel in me is willing to make time for creating, and I have space and stuff to do what I desire. My biggest issue is WHAT. NC once gave a formula for one’s voice. She said, “Technique + Content + Format + Color= Your Voice”. That has resonated for me, but the “Content” part of that formula is often missing. My main passion, other than family (and sometimes I say that because I think I should) is making or studying art.

Can a passion be as simple as art itself and drive the content of my work? Perhaps. I am fascinated with fiber and fabric. Line and shape especially intrigue me, but color, texture, proportion and how things work or don’t work together can keep me occupied for hours.

Perhaps substituting the word “Distinctive” for “Voice” will help me to get off center. Distinctive seems to be less of a permanent commitment. It could be 4-5 pieces around a distinctive interpretation of something from nature or a particular shape or motif. Then it could be let go, and I could move to another distinctive statement. Of course, sooner or later I may settle in on some content that would last longer. I also realize that I must make art, and lots of it, to find my voice and to get better at making art. However, I am capable of making lots of art that is so varied that cohesiveness, let alone a voice, is just not there.

I realize that this is rather long this week. It is also more revealing than what I would usually share in a group like this but perhaps my ramblings will help someone else feel OK about their own feelings and thoughts.

This is indeed a journey! 

Julie S.

I’ve struggled to focus about the topic this week. Me being me dismissed the obvious signs of my uniqueness and my series and thought I needed to go to a different place all together. My uniqueness is my humour and how I present this using my drawings and characters. The Temptress, the chickens, the things I see everyday that other people may miss or dismiss but are a rich source of amusement for me. This weeks topic has been, dogs hanging out of cars and vans barking madly at anything and everything. I haven’t documented this yet, but it’s in my head, waiting to come out. And there it is, the series. I have sketchbooks filled with such observations. But I also have sketchbooks filled with drawings I’ve done while on the beach and outside, colour studies of places and weather. There seems to be such a difference between the two styles. I got a quilt into an exhibition based on the latter. Yet the former gives me so much ore pleasure and I feel is so much more unique. A few years ago I had 3 pieces of papier mache in an exhibition. I was looking at themin the cabinet and got chatting to a man who turned out to be oneof the judges. He said that as soon as they unwrapped them they all started smiling and just had to put them in. During the discussion I said my usual depreciating remarks about my work and his reply went along the lines of “oh you’re one of those people who are talented and find things like this easy so have to over complicate them aren’t you?” Had to admit, yep, that’s me. So my plan is to grab the rebel, because this week I’ve managed to book myself out of the studio all week. Once to see a friend I’ve not seen for 18 months, and once to garden for my sister in law. This takes up my 2 full days allocated a week for myself. I need to get upstairs and get playing with these ideas I have in my head.

How does that song go….rebel rebel put on your dress….

Summer L.

In another case of apparent serendipity, I wrote a blog post this past week about what I termed "weave-worthy" designs. My point was that since tapestry is such a slow medium, and most will complete a relatively small number of them in a lifetime, that it might be good to identify what factors make a design especially viable. I ended up having numerous comments from weavers in three separate (and unique) conversations: on the blog itself, on Instagram and on Facebook. Responses ranged from "anything is worth weaving because I learn something from it" to having a deep sense of purpose as an artist and making sure your work was in alignment with that purpose. The primary response was that it must have meaning to you, as the artist, to make it weave-worthy. If anyone is curious about that conversation, it can be found at weavingelements.com.  I mention it because it seems so similar to some of the questions that Jane posed for us this past week.

A second event this past week also strongly shaped my thinking about my work. While driving up the road to deliver my completed tapestry of the small chihuahua, Lily, it came to me that the theme I want to have for my work right now is love. This was reinforced when I gave the tapestry to my friend whose pet had died. Upon seeing the image, she immediately started crying and as we chatted for a few minutes I saw her touching the tapestry, almost as if she were petting her beloved dog. It made me aware of the value of not just the image but the tactile component of having a weaving rather than a photo.  

To me, both pet portraits I have done have been all about love. I have several more animals (3 cats, 1 dog) in the queue.  I also want to do two weavings based on photos, including this one, which for me represent love. I have not woven a person before so this will be very challenging for me. My process was different than Jane suggested, in that I already knew the images that I wanted to weave, but it was helpful to think about what was compelling for me about them and what the unifying factor might be.  When I started weaving contemporary tapestries, I was expecting to weave abstract pieces based primarily on color. It is surprising therefore to be focused on a portrait style but it seems to be what I am drawn to right now. 

I have also considered doing another series of weavings that are very different from what I just mentioned. I need to generate income and I would like to have some of it come from my art. I have thought about a series of larger wall hangings that are very simple in structure, using just lines, squares, rectangles and perhaps triangles. They would be similar to this sample that I wove recently.

The largest I could make them given my current looms is about 20x24. I would use thicker yarn and a wider sett, which would make weaving them more expedient. I think someone in the class once said something about their commercial pieces and this is how I think about this series. It is a pragmatic choice but one that still allows for artistry in design and execution, including color choices, without requiring the amount of time necessary for the love series.

I welcome any thoughts that you (Jane and class members) might have about my direction.

Pat B.

I spent the past year working on a series and while I thoroughly enjoyed working this way, it did not spawn any new ideas that I might like to pursue.  I did however think about individual pieces and these pieces are all about colour and layering of designs.

Over the past number of years I have had the opportunity to work with an installation artist who happens to live right next door to me.  He is young, bright and his ideas are amazing.  He loves the idea of melding textile with steel or wood in a manner that gives both art forms their own significant place in the piece.  Working with him has challenged me in ways I never thought possible.  While they are his ideas, he gives me artistic freedom to interpret these ideas and make them possible.

Several years ago we did a very large project called Legacy which has been touring Ontario before heading to the West Coast.  This is an educational piece as well as environmental.  It was my task to create the banners above this sculpture to show the death of the fish and the blood red river.

Ken is an environmental artist and his enthusiasm has swept me along with his brilliant ideas.  There is an art show this year called World of Threads and textile artists from all over the world enter this exhibition.  Of course when my colleague saw this he immediately went to work to create a proposal, we only have four months to complete this if we get accepted into the show.

The interesting thing about this particular piece, when he started talking about it I immediately had a vision of what it would look like.  When he presented me with the conceptual drawing, I realized that we had both been thinking of exactly the same thing.  Now the hard part, for me, getting the idea exactly how I want it to look.

I have made a list of the steps that need to be taken to get the sampling done.  Number 1 is to make sure that I use only the material that is in my studio so I pulled out all the various white silk fabrics, yarns, ribbons that are in my stash and piled them on my dye table.  Dyes, I have on hand along with silk thread to sew this.

I have pulled out all the books that can help me, marked the pages, now to begin the work.

This piece is an environmental piece that depicts the plight of the pollinators.  Because we live in a major potato producing area, sprays are used to keep the pests in check but this has affected not only the honey bees, the butterflies, but also the hummingbirds.  The numbers have drastically reduced and this is very worrisome for the fruit and vegetable growers.  We are hoping this piece will bring awareness.

So, what does this mean for my work?  well, most of my summer will be spent creating this piece and using the tools I have learned not only from the courses that I have taken but also my instinct as a textile artist, to bring awareness not only to the environment but to the art of textile and fibre.  I love what I do and with the help of this particular course, I have dismissed my committee completely because they have outlived their usefulness in regards to my art; I have used up my stash or will have by the time I am finished with this project; and I am now keeping notes on everything I do and plan.

Image 1 shows the reclaimed cedar whale skeleton with the silk banners above.

Image 2 shows the silk banners, dyed, discharged 5mm silk.

Image 3 part of the conceptual drawing for our newest project.

Cleo C.

Making Distinctive Work

Gorgeous Gourds

             A visit to a local farmers’ market reveals a panorama of colours, textures and shapes to delight the eye and inspire creativity.  I want to try to focus attention on the beauty and variety of the local foodstuffs to which we are so accustomed and consequently often do not really appreciate.  In so doing I hope to help to keep them visible and important in our local cuisine.

             My idea is to create a banner that could form part of a display at a local community fair or similar occasion.

          In this week’s submission I am attempting to highlight an example of one group of plants that comes to our table.  It is just a trial piece that could be included in the banner showing a larger variety of fruits and vegetables.

          I have used appliqué, fabric painting, some hand stitching, and cyanotype remnants to see how they work together to highlight these spectacular and sometimes silly members of the Squash family, many of which are edible, while others are only used decoratively.

Ginny G.

For the past couple of days (in spite of a flu that I have been battling for 2 weeks—at least a week or more to go they say) I have been working my way through Parts 1 – 3 of Week 7.  I believe in this process.  I have not been thrilled with my writing and work so far but deeply understand that I have only begun.  So, on I go…

Until I am writing on Part Two—determining subject and process for a series; planning to work small until I feel more confident—and what should crop up but that committee voice doubting the value and weight of what I am saying and thinking.  That voice asking me what importance any of this has.

I don’t think I have to go back to the beginning but feel stopped and stuck.  Probably the flu (which has been muddling my brain and feelings) caught when visiting my father in Florida (the original Committee Voice although he is not that anymore) has influenced my process.

I have decided to give myself time.  I will stay open and let random inspiration and thoughts float in without judgement.  And I will forgive my Committee without accepting the negative judgement.

I will be drifting here as I revel in and enjoy postings from everyone else.  Hope to be back to my self by Week 8.

Betsy M.

Living in a Time Warp: Gee's Bend Revisited

Living in a Time Warp: Gee's Bend Revisited

I think I am at the place where I am in sync with my work. It’s refreshing to discover that whittling down to focus on one thing is a plus. 

      I had been weaving for about two months when I saw the Gee’s Bend Quilt Exhibition in Asheville NC and learned about the lives to the Gee’s Bend quilters. I was awestruck by the grit and determination of the women of this poverty stricken, rural community in Alabama and their ability to support their families by making and selling the most primitive of primitive quilts. I turned to my loom to distill their message through my weavings. I named this collection “Living in a Time Warp: Gee’s Bend Revisited”. 

      I have gone on to create another collection, “Layer Upon Layer” which explores layering plain weave on top of plain weave using a two harness loom. 

      The common theme within each collection will create cohesive presentations when I submit work to be juried. 

After thinking about this some more I realize that some things that make my work distinctive are the materials and techniques I use in my weavings. 

      They include: 

          My hand dyed/ shredded, repurposed silk clothes

          Personally selected fleeces/ hand processed/ hand dyed/ and hand spun by me

          Sari silk waste from factories in India (looks like dryer lint) hand spun by me

          My selection and use of silk yarns made by women in co-ops in India from sari silk waste

Using these, I achieve a wide range of textures and variety of colors that are set off by the unusual ways in which I weave them, creating movement and energy within my work.

Carol H.

I made an inventory of my skills and, after rating them, decided that three of them are things that I don’t really enjoy doing any more:  piecing, making clothes and knitting.   I’m not sure I ever did enjoy making clothes!    It was an enormous relief and release when I wrote down that these are things that I won’t do any more.   The inventory also made me realise that what I want to concentrate on, certainly for the moment, is working with gradations of colour in my weaving.   This is something I have done in the past and have wanted to get back to for some time.   It’s something I think I’m good at and that I love to do.   It’s a lot of work dyeing the gradations and making the warps, but worth the effort.     One of the things I love to do (and I think one of my strengths) is ‘playing’ and designing once I have the warp on the loom.

The skills I need to strengthen are regarding the warping and the sett in my weaving.   I need to get better and quicker at putting on a warp instead of struggling around trying to remember the order in which things need to be done.    With sett, I need to try out different setts rather than sticking with one I’m not quite sure about.   I’d also like to learn more about colour.

I have several pieces that I wove some time ago.   They are double cloth, using two warps each with a different gradation of greys.   The photos show the two sides of one of the pieces.    With the interaction of the two warps I was trying to get a slightly three dimensional look.   I’m not sure that this comes through in the photographs but it does in reality.    Trying to study the piece dispassionately, I decided that I had almost achieved the effect I was trying to create but that it could do with a bit of technical improvement if I was to do it again.

Jen M.

Having worked through the process in Lesson 7, I came up with a list of six items that I care about - four pretty predictable and two not so much! I prioritised one of the more predictable ones, but it is an area that I have had a long interest. In some ways it brings in two of the other passions, but in a broader context. It is interesting that mixed media is the medium that is currently riffing in my head, though fabric/stitch print is there as well. 

For me however, it is the challenge of taking from my head to the studio to the table - having the courage to create a relationship between my artist self and my idea - and manifesting that relationship in the making!

Anita B.

Mining Content

Such a productive exercise!

Although I already had a fair grip on the general meaning behind my work, I’ve been able to make discoveries and new connections.

And connections is the key…..by listing what I care about and what brings me joy, I saw that my love of the natural world is firmly based on the complex interactions between species and environment and the fine balance, the web of life, which results in the biodiversity which my work celebrates. What I care about most, and the message behind my work, is the man made disruption of this balance through climate change, habitat loss, pollution and far too many other things. 

Conceptually, the processes that I use rely on connections - knitting, knotting, weaving etc - which suggests ideas for experimentation around disrupting these connections for future work. 

I followed this by mind mapping past work for content and meaning, and could see how well much of it ‘connected' with the idea of this fine balance. It presented a much more cohesive narrative than I had previously seen. Now I see why it’s particularly important to me that all my work is connected. Exciting stuff!

Finally, I’ve repeated the process on my current work on Trees. I’ve been struggling with this as it has felt like a series of disparate ideas that I’m trying to force together. Planned as a ‘portmanteau’ piece, the mind map has given me a clear picture of not only how but why the elements fit together, and as a bonus has helping identify an additional element that completes the story. I can see a clear path now.

Marilyn H.

Distinctively my own

By aligning -  what I like to do, what I am good at and what I am passionate about, I should reach personal significance.

That is what this is all saying to me.

In the past I have tried to search for meaningful content first as the basis for my work, but what I should have been doing is letting meaningful content come from areas that I am passionate about. I am realizing that I have been getting it the wrong way round!

If I can allow content to come in this way and combine it with the skills that I like and am good at then I should be producing work that is indeed a true reflection of my inner self, which is what is important to me.

Realising that abstract, conceptual work can evolve from things that I am passionate about is a huge breakthrough for me.  It doesn’t have to start with very deep and meaningful world issues.

Also recognizing the fact that because I decide on a focus this week it doesn’t mean that I am tied into that forever.  It will probably run its course and may exhaust itself and lead to further ideas that I can develop. Or I can move to a totally different area.

Thinking, reading, writing; they are all building and helping me to emerge in a really positive way. Thank you everyone, I find the open, honest nature of the posts so reassuring and helpful and it helps me to realise that many of us have the same issues that we have to deal with.

Janis D. - Part Two

CONTENT AND FOCUS

My muse rocks! It’s all clear – not exactly sudden insight but it all just coalesced into a clear, consistent vision!

Maelstrom – the piece I just finished. It made it all clear as a bell for me.  Not quite the direction I thought I was going in and not quite how I thought about it but oh, so obvious. 

Speak Your Idea

My art spoke to me [giggle]. 

This daily writing is doing it! Throughout my life, one of the most important things in all my life’s work has been to trust myself.  Yet, it’s also one of the things I’ve had to keep reminding myself to do.

In my younger life, I was always surrounded by friends that I could, and frequently did, talk with. I always felt that it was through conversations, mostly with my women friends, that I would go ‘round whatever the issues at hand were, as one circles a wagon;  then, often suddenly arrive at a solution to the problem – just through the process of talking and thinking and hearing myself say things that hadn’t even occurred to me before.

In these later years, I have no friends that I see often.  One friend I do see from time to time hates abstract art and when she views it her feelings of distaste are all over her face. My ex-husband is perhaps the only one who I can even talk about it with and he’s color blind so it’s hard to decipher what he actually sees. Most of my closest friends don’t live near me now. And others are immersed with their own lives and grandchildren, and even if my more local old friends were more available, I might as well be speaking Vulcan with them. So it turns out that in my new writing practice I’ve found a new friend – myself!  This now becomes the way for me to speak my ideas, formulate my thoughts and hear them articulated – in other words, I’m listening to myself once again!

What Matters To You?

I’ve been feeling “claustrophobic or scattered before we’ve [I’ve] even started.” But not because I fear anything; rather because my house is making me feel that way.  Just the thought that I have a plan to deal with it and that there’s a path in place now to alleviate this problem, I feel freed up again to turn my focus back to my art practice. THAT matters!  My feelings matter! And because I was denying them, I was frustrated and unable to see my way clear of them.  

At the same time, I finished my piece, Maelstrom and when I looked at it after finishing it, I was astonished that it so vividly expressed what I had been feeling: it described a liminal state; in this case, one of both emotional and physical chaos. Clear as well was the lack of conclusion or solution, although it speaks to a nexus to change.     

The Heart Chakra Embraces The Idea

So here I am, at the THRESHOLD of change once again in my life.  I’ve inhabited this space before. I know it well. I understand the state of being that I’m in from experience and I’m looking forward to continuing my work on this series that Maelstrom unwittingly began: Liminal States And The Thresholds To Change.

Christy G.

I worked on this lesson last week and then reviewed my words and worked through it again this week.  What I discovered:

  • I have no shortage of ideas.  
  • I have pages of ideas that all revolve around central issues that I care about - land use and water.
  • I have this pull of emotion inside me that is visceral when I write about these issues.
  • My struggle, as always, is the imagery. I fall back on tried and true, with a real internal desire to PUSH to explore new.  

In some ways, this was a too tied up in a bow exercise for me.  OR, I need to spend more time delving deeper in the list making.  I feel like I walked away with that same imagery, executed in the same way.  I have a few new ideas on how to push and stretch my techniques. I need to explore and play with how those may work out with the piece that I have been slowly engaging with.  I felt like all of the writing that I did was an action plan on how to start working without the mulling over and working it through in my head that I do on my runs, drives, etc. 

I feel complainy, but it is really an eye opening process.  Not stopping with the idea, but to stretch, pull, push and explore the WHY of that idea.  And I did do that with the piece that I am working with currently.  Wrote about why I was pulled to explore this place, the emotional pull and the reasons I am willing to spend time with it.  But, I feel like I am still lacking a list or stream of imagery words. And perhaps, I am being too hard on myself, and I should just keep working and exploring within the WHY of the idea.

Christine E.

I made my lists, sorted them, came up with some ideas, tried to work some of the ideas out and hit a wall. So I started again - refined lists, different sorting, more ideas. I suspect this will go through a few more iterations before I’m done. One thing I am noticing is that I relate more to the emotional or abstract ideas rather than the subject matter, although I don’t do abstract work. In my second pass at this I tried to sort out what emotions were invoked by each of my ideas for a series. Some were joyful, some sad, some both. It also struck me that an underlying theme in all of them is transience. (This may have something to do with me reading a book by the Dalai Lama right now too.) Whether the subject makes me happy or sad, it is a transient feeling. For example, I like flowers - the shy ones that hide under their leaves and bloom for such a short time. Their beauty is profound and short lived.  Sometimes it’s not even noticed and I would like to make work that makes them bold and big and noticeable. Another idea that came through in my thoughts are the invisible relationships in the natural world, the interdependency. These are ideas I feel I can work with but may encompass a great many subjects. More thinking is required. In the past when I’ve set out to create something quite specific, subject-wise, I usually get stuck or dissatisfied. I think if I focus on the feeling that I’m hoping to convey, I have more success. This has often been accidental so I hope to be more purposeful about it.

Rita H.

Once again, I took time today to trust the process and see where it leads me. Meaning writing for a long time.  And thank you again for guiding me to this point.  I did finally commit to a series. Now understanding that just because there are other projects I have been wanting to explore, this does not mean I won’t do them eventually. To commit to one series I see is going to be really helpful.  I decided to stick with the same photographic image, from the 1940’s, and interpret it several ways, all ways that I have been trying to figure out how to do, and now I will be able to focus on this and see where it takes me.  Writing is really helping me discern between visual elements and content, something I had never considered.  This is a great practice, one that I now can use over and over.  I am reading Sacred Contracts at Jane’s suggestion, and it is so amazing how it is running parallel to this class.  Another confirmation that this a different and authentic way to approach art. The explanation of how the chakras form an idea makes so much sense to me.  I can feel the emotions when this exact process happened in some of my pieces.  I have felt an idea just spring out of an experience, and it clings onto my mind like a pit bull.  And the feeling in my heart about “seeing” it before it is even started.  This has not happened often, but now I will be aware and wait for this process before talking about it, or committing to a show and “doing” work for that, instead of creating from my own mind, heart and voice.