Winter's Light

Lichen Rosette and Oak Leaves, Lost Cove 

The world is rich, wonderful and complex. I was able to experience this over the weekend.  First, by visiting the woods surrounding Sewanee, TN. David and I had just finished reading a wonderful book The Forest Unseen by David Haskell, which focuses on one square meter of old growth forest on The Mountain; so our pleasure was heightened. (Please see my November 12th posting, The Efficient Complexity of Nature.) Our hike was on a newly acquired (by The University of the South) parcel of land. Most of the leaves were down with the exception of the beech tree leaves which clung on in a rustic, rustle-y fashion.  We walked over the well leafed forest floor through the gray woods and took in the blue distance of Lost Cove.  Later on, walking along a fire lane, young green pine trees added another layer. Approaching the winter solstice, the light was clear and exacting, throwing well-defined shadows even on the bed of leaves.

All Saints Chapel adorned in greenery

         Later on that afternoon, we attended the Lessons and Carols service at All Saints Chapel. Walking across the quadrant to the chapel, a low sun glittered through the trees generously gracing the landscape to the west. It was a tonalist's vision!  This year, the music also seemed to celebrate the rich layers of life as the selection ran a gamut of ancient chant to newly composed work featuring a sliding scale of pitch intervals. The chapel was festooned with traditional winter greens and red carnations. There were layers of light as well, with candlelight reminding us of the enveloping dark of winter.

        The next morning we departed before daylight to drive back to Lexington.  I was able to look back and see the rosy light begin to develop; The Mountain a soft and eternal presence.  What joy to witness a new coming of the light! As the day progressed, the subtle beauty of winter shown.  I remembered how much I like these colors and their invitation to reflect.


         Sunday evening, at St. Peter's Episcopal, Paris, we held an Advent Evensong and reception for our Advent Art Exhibit.  This year's theme, conceived by our Rector, Rev. Chris Brannock-Wanter was summed up in the word "Relate."  Dr. Ann Kingsolver was our homilist and Sue Massek enriched our thoughts with her voice and banjo. As Ann Kingsolver spoke, I felt lightning bolts of new understanding. Her ideas of how humans relate reminded me very much of David Haskell's detailing of the complex interconnections of nature; there is more than meets the casual eye! This at once makes things more complicated and more simple for us humans.  We don't have to invent artificial systems to help our fellow beings.  Instead, we open our senses ("Listen for the light!") and see the possibilities of our role in the wonderfully rich complexity of life!

The light returns again

In Praise of Frumpiness

      This is not about art or the woods, but I feel compelled to defend the right of women of a certain age to be frumpy.  Because of General Petraeus's dalliance with an extremely toned woman twenty years his junior, a focus has formed (okay, it is not a focus, it is background imagery) on the General's wife. People are blabbing on about how she looks like she does not care. Does Not Care!! How could anyone think that? To me she looks like a woman who has risen to her duties. She works hard for the Wounded Warrier program. She has raised two children, who appear to have turned out quite well. This she has done while her husband has been called to distant wars; it is not like he was home by 7 pm every evening to help out. She is even shown smiling in the presence of Jill Kelley (that must take effort.)  Mrs. Petraeus's hair is always neat and her clothes reasonable and coordinated. What more do people want?

      These days, apparently, more: it is a woman's moral duty to look sexually available to any man of a superior status. But what benefit would this be to Mrs. Petraeus? Would she go after the Commander in Chief? (Not a good idea, with Mrs. Obama's toned arms!) So okay, the real thought is that Mrs. Petraeus should work harder to be alluring to her husband. I disagree, I think the General owes his wife big-time, because she has made him look even better with her efforts on his behalf.  Meanwhile, what has Mrs. Broadwell gained by giving in to social pressure? What is the big benefit of her snagging General Petraeus? What has this act done for anyone? It is not as if we have a dearth of humanity and men need to get out there and populate. It might be a good idea for men to evolve a bit. I sure hope her book is worthwhile and not just an awesome or awesomer? tome. And what benefit is her much ballyhooed 13% body fat to the world, or even to the super lean Mrs. Broadwell herself? I doubt much.

     What the world does need is more frumpy women, working for the good of all. And after a frustrating day, dealing with idiots, a good work out can do a body good!
   
     

The Efficient Complexity of Nature

American Moss at Floracliff

On a very warm Saturday in November, I partook in the Long Hike at Floracliff. We climbed and strolled over 4 to 5 miles within the nature sanctuary. While striding over the terrain, I felt like a giant because of all the ecosystems beneath my feet, a feeling I have become sensitive to because of a richly informative book: The Forest Unseen, by David George Haskell.  Haskell is a professor of biology at the University of the South. He spent a year closely studying a square meter of earth in the forest surrounding Sewanee. The scene, though minute is mind-bogglingly complex. It is an insect-eat-everything world! The birds are eating the insects. Who eats whom might determine how far you can travel as a species. Moss has peculiar qualities that allow it to survive deluge and drought. Throughout, there is an enthralling description of light. Fortunately, Professor Haskell breaks it all down into manageable bites, with timely consideration throughout his year of observation. I am only up to September 23rd--Vulture, the book begins January 1st. This is a remarkable story of how everything is interconnected and in a fairly efficient, often surprising way. The author's perceptive abilities are simply amazing. I highly recommend this book.

         I was reflecting on this elaborate tapestry of flora and fauna. It made me realize why I enjoy layering media to make paintings. It is sympathetic to the layers of life that make up the forest. The natural properties of watercolor pigments interacting with the paper create a rich underpinning that is hard to create deliberately. The pastel on top has a complementary role, skimming the surface, deepening the texture. No wonder my landscape painting took off after I began to combine watercolor and pastel in my painting. Perhaps you would like to give it a go. I will be starting a new Experimenting with Watercolor and Pastel class early in 2013. Stay tuned!

The Forest Unseen: A Year's Watch in Nature, by David George Haskell, Penguin Group,  2012

Grounded, watercolor/pastel
Lichen is one of the first subjects of The Forest Unseen

For information about my upcoming watercolor and pastel classes and information about happenings at the M S Rezny Studio/Gallery:  kathyreesjohnson.com   and msrezny.com

Appreciating the Labor of Artists

Rainy urban landscape, photograph by
Michael Wayne

I have some new artwork which I have been admiring greatly and it occurs to me that Labor Day is the perfect time to sing the praises of artists and their work. What other "product" can you purchase and it requires nothing else to be effective? You find a place for it and voila! at any time you can enjoy the vision of that artist and be reminded of the enchantment of the world. This is the number one reason why I appreciate the work of artists: I am able to see the world through their eyes.

Marco Logsdon's beautiful abstract landscape on the right;
the woodgrain glowing through the resin interplays
wonderfully with the painted woodgrain on
Ron Isaacs's piece

      You don't have to start planning on buying Image.2 or uploading software for its continued effectiveness.  True, you might have to frame the work or re-paint your walls from time to time, but otherwise, you have the complete package forever and ever--no subscription required!

Work by Christina Brannock-Wanter exhibited in the
Not Big show at the MS Rezny Studio/Gallery

Artists are small business people and we can expect to pay a fair price for their work so they can earn a decent living.  In exchange, we receive a priceless contribution to our everyday lives.

Walking sticks by Larry Mitchell

       I also appreciate the work of artisans like Larry Mitchell. He makes walking sticks. They are beautiful and they work! I use his walking sticks on my treks through the woods of Kentucky. 

Portrait of Jacob by Eric Johnson

Now that our nest is empty, I am particularly enjoying the portrait of our son, Jacob, by Eric Johnson (ericjohnsonartist.com)





Okay, perhaps it is kind of self-serving to praise artists, since I am one. And I do encourage you to buy my work! Part of my work as an artist is making a home. And I consider homemakers to be artists, too. You have to use a lot of the same skills. We should not short-shift the place of beauty in the home.

Carly relaxing under an arrangement of art:
Ron Isaacs reigns at the top. My work in-between,
the work in the middle is entitled: An Honest Day's Work
On the sofa, quilt by my mother-in-law, Alice Johnson.
Home is where the art is!

Thanks to all the artists in my life. Keep on working and Happy Labor Day!

Revealing the Enchantment

Sunset at Forest Retreat

Recently, my friend Meg has been waxing enthusiastic about a substantial volume, A History of American Tonalism: 1880 - 1920 by David A Cleveland. So enlivened was she by the book that she brought it to the One Day Wonder Workshop where we turned page after page, each with wondrous images.  It made me think; what is it about tonalist paintings that grabs me so? The answer I always come back to is that the tonalist painters recognized the essential truth that our everyday world is enchanted.  You don't have to be in the middle of a magical forest to experience this. You can be drawing a curtain at dusk and notice the dogwood blazing bronzy-gold against cool evening shadows. Enchantment is there everyday for all of us. Perhaps the tonalists focus on the most fleeting times of day, especially dusk and the most fleeting season, Autumn, but these charmed sights exist for all but the most imprisoned to enjoy.

       Lately, I have also been musing over why I am so taken with teaching. My classes and workshops are organized around using watercolor and pastel to make paintings.  It is rewarding to witness people, who are often dismissive of their abilities, create something which expresses their own keen sense of beauty.  Their own particular gifts shine: deft drafting, dynamic design, luminous color or rich texture. Much of the time, it is something indescribable. Without exception, there has been some aspect of each participant's work that touched me. Everyone's vision is different, and there it is on display in their paintings. I love helping people reveal their enchanting vision of our world!

Notes:
A History of American Tonalism: 1880 - 1920, David A. Cleveland, Hudson Hills Press, 2010


I am teaching classes at the M S Rezny Studio/Gallery, 903 Manchester Street, Distillery District, Lexington, KY:

One Day Wonder Workshop, Saturday, September 15, 2012, 10:30 am - :300 pm. $75

Experimenting with Watercolor & Pastel, Thursdays, September 27 through October 18, 2012, 1:30 - 3:30 pm, $145 for 4 sessions.

All art materials are supplied and included in the class fee.  Just come with an open mind and some photos to work from. Limited to 10 people.  A check reserves your spot.  For more information and registration:  msrezny.com or kathyreesjohnson.com, or e-mail: kathyreesjohnson@gmail.com.

Come out to play!

Kentucky's True Colors

Want to play with watercolor and pastel? Or simply try your hand at making art?  Come join us for these classes:

One Day Wonder Workshop:  Saturday, September 15, 2012; 10:30 am - 3 pm, $75

Experimenting with Watercolor & Pastel:
Thursdays, September 27 through October 18, 2012; 1:30 - 3:30 pm; $145 for 4 sessions

The workshop and classes will be held at the
M S Rezny Studio/Gallery, 903 Manchester Street, in Lexington's Distillery District.  All art materials are supplied and included in the class fee.  Students of all abilities are most welcome. Just come with an open mind and reference photos (images that you want to paint.)

For more information and registration: msrezny.com or kathyreesjohnson.com

e-mail:  kathyreesjohnson@gmail.com         Hope to see you in class!

Taking on Goliath

Sheep and spring lambs

I am always a little puzzled when people qualify their desire to take an art class by saying: "I must warn you, I have no experience!" (Or they don't know how to draw, paint, use watercolors or pastels, etc. etc. etc...)  I thought that was the point of taking a class: to learn something or try something new! The other thing that I notice is that there is a notion that one may not express themselves artistically without a full arsenal of techniques, color theories and compositional strategies.

    So, I perked up earlier this summer when the story of David and Goliath was read at church (St. Peter's Episcopal Church in Paris, KY.)  The young shepherd, David, is reluctantly selected to take on the champion Philistine, Goliath.  The Israelites are dubious about David's abilities. Saul insists on cloaking David in heavy armor that is much to big for him. The armor is so heavy that David is not able to walk! David removes the bronze helmet, coat of mail and sword and instead places five smooth stones in his shepherd's bag and has his sling in hand. And there you have it, the recipe for success for David and, I believe, the way for success for would be artists.

      Often, folks who have finally gathered the nerve to try creating become paralyzed trying to remember all the rules and theories. They can't move, just like David in the armor.  Perhaps it is more important to go into battle with the tools you are already comfortable using. We all use our hands and our eyes and we can start there.  Even David makes a case for his abilities by talking about his experience as a shepherd, keeping lambs safe from lions and bears. I suspect that most people actually have fairly well developed color theories from their own experience of creating homes. They also know a great deal about composition and their own preferences.

    This is not to say that there is no place for the diligent study of the elements of fine art. There is; particularly for young people.  But for people who are coming to art a little later, why not use the tools you know; for which you have a second nature affinity. Simply think about training your eyes and your hands to create from your own perspective.

   

Art of the Landscape

Kentucky colors at Floracliff

We were driving back from a wedding in Illinois with me at the wheel and my co-travellers enjoying a sweet snooze; so I was alone with the landscape and the radio.  The scene was not my usual one. As far as I could see, wind turbines were arranged at all angles to catch the wind, which was blowing strongly over the broadly and subtly undulating land. How perfect it was that, right then, Aaron Copland's The Tender Land was offered up on the radio. I had a sound track for my traveling visuals because the music and the landscape went hand-in-hand. Driving home to Kentucky, I was struck once again by how art and landscape are profoundly intertwined.

    For a long time,  Kentucky has been celebrated for producing gifted writers. Now and then, there is a renewed noting of this phenomenon. The landscape is often credited for inspiring writing and just as often it is asked why this is so. The connection is so fundamental that it is acknowledged without explanation.

Meg Shaw and the newly acquired work by Dobree Adams

    Writers are not the only artists inspired by the Kentucky landscape. Visual artists also claim the landscape as primary inspiration (I am one of them.) If you would like to experience the Kentucky landscape in art, you can do so by visiting the Lucille Little Fine Arts Library & Learning Center on the University of Kentucky campus. Head of the Little Library, Meg Shaw, has developed a wonderful collection of art created mostly by Kentucky artists. Most recently,
the library has acquired work by well-known fiber artist, Dobree Adams.  Her weaving reminds me of the classic Kentucky colors of redbud violet and cedar green. (Please see my blog: Kentucky's True Colors 3-27-12.)  Adams has a fascination with the landscape.  She states on her website (www.dobreeadams.com):  "I never tire of watching and recording how the light falls on the hills behind our river bottom, of how the light creates layers of trees and mist and fog." You can see this is her weaving.

Russell Weedman over the copiers 

 Speaking of rivers, Russell Weedman, an art professor at the University of the Cumberlands was influenced by the Cumberland and other rivers for a series "Rivers and Encroaching Shadows" (Heike Pickett Gallery, 2002.)  Weedman used the triptych format to express concerns for the environment and nature.  The connection between the artist and his place is evident.

A wall devoted to Anna and Harland Hubbard

 

  A significant project of Meg's has been to inventory the work of Harland Hubbard, celebrated back-to-the land artist. He is known as Kentucky's Thoreau (although he outlasted Thoreau's Walden experiment by about four decades.) Hubbard's life at Payne Hollow was better known than his art work. Meg has worked hard  to find and document paintings by Hubbard. The Little Library has five watercolor paintings by the artist, featuring the river landscape.  You can experience a bit of Harlan Hubbard's life just by visiting the library.

     There is a lot more art to see at the Little Library (and some books, too!)  Even the artwork that does not overtly depict the landscape has a palpable sense of Kentucky, especially in the story-telling component.  Right now, there is a fine display of Artist Books. Have a look and experience Kentucky from an artist's point of view. 

Foggy Mountain Breakdown

Fog along Abbo's Alley, Sewanee

I am working toward an exhibit featuring trees and in the process, new materials are coming into play.  Actually, both of these things are inspired by Mary Rezny.  She presented a workshop recently where we worked with two types of photograms and Mary told us how she uses the photograms to create her evocative multi-media pieces. On top of the photograms (which are developed using dark room chemicals) Mary ads texture and then color with oil paint. The work is finished with Dorland's Wax Medium.  I gave oil paint and the wax medium a try and found both to be quite intriguing. The wax can be used with oil paint, which actually cuts drying time. As a sort of varnish, the wax levels out the surface and protects all the materials underneath.

Crimson and Clover

To the right is the piece that I created from my photogram made at Mary's workshop. I used a spackling compound to create the texture, a continuation of the photo's image into the surrounding border, as instructed.  Mary Rezny used actual plant material in some of her work, so I was inspired to add my Earth Day four-leaf clover to my work.  The photogram was of a sprig of humongous clover and some poinsettia leaves. I call it Crimson and Clover. With that in mind, I used crimson and green oil paints, modified with ochre. I don't have a lot of experience with oil paints and I was astounded with their malleable quality. I knew I wanted to use them some more. The wax medium provided further encouragement because it adds further flexibility to the medium (and makes for easier clean-up.) 

   Then I saw an article in The Artist's Magazine which combined acrylic with oil pastel and that inspired me to try the painting above. The foggy image cried out for a glaze of oil and wax medium. I started with an acrylic underpainting and then added the oil glazes and details with oil pastel.  After the oil is completely dry, I'll add a varnish with the wax, which should give just the right luminosity for the foggy scene that  Sewanee is so famous for!

    This painting and others will be part of an exhibit at Mary Rezny's studio/gallery in the month of August. Mary came up with the title: Out of the Woods. I'll have more on this as the details are firmed up. 

Vacation Eyes Encore

May's Lick, KY home of the Asparagus Festival

Brad with his fossil art

       Over the weekend, I was able to enjoy a return visit to the Asparagus Festival in May's Lick, KY. Last year, I was accompanied by Mary and it was fun to witness her charmed reaction to a place so close to home (please see Seeing the Home Turf with Vacation Eyes, 5/25/11).  This year, I was solo and in sort of a hurry (which is blinding for vacation eyes) but I made sure that I got some photos so I can share the unique and lovely quality of May's Lick and the Asparagus Festival.

Musicians accompany the art competition 

     I have been enjoying asparagus this spring. It came on early, so there has been a month of fine eating even before the festival.  My fossil art friend, Brad, has been participating in the art competition at the Asparagus Festival and he had a terrific idea for this year's entry.

Larry found a selection of quirky sticks. Brad envisioned them as Guiness Record holders for asparagus (forked, number of heads, twisty and cherry.)  He created AsparaGuiness.  I was not able to discreetly photograph his work in place. But I do have a pre-assembly photo (that includes Brad!) Larry also provided the beautiful cedar slice base.  Brilliant! Even with the wonderfulness of it all, Brad did not repeat the victorious outcome of last year, when his entry Whale Food came home with the blue ribbon.

Devilishly clever AsparaGuiness

Larry and his special walking sticks (simply the best!)

It was a fine day for the festival, which goes from 10 am to 10 pm. There was music everywhere. There was an oompah band just outside the Presbyterian church, where the competition was exhibited, along with archival asparagus art work and all things asparagus in general. Inside the church, a folk duet was singing and strumming along.  When I left the church, a featured band was amplified at the main music venue. It was truly and appropriately a festival atmosphere.

The oompah band

    I bought two pounds of beautiful asparagus and stopped by to check on Brad and his fossil art and Larry with his walking sticks. I bought another walking stick so that I will always have one handy for a walk in the woods. Larry's are the best!  All in all, this a festival to enjoy, even if it is so close to home.

My Clover Year

I

Four Leaf Studio with clover and Klee-inspired paintings

Last year was my juste milieu year and this year must be my clover year. I've already talked about this (Seeing Four Leaf Clover, 7-23-11) but the unfolding year has only intensified this idea. I have found four leaf clovers in every month of the year. Usually, the clover has dried up by August. This past year the clover has grown as if on steroids. So if you live around here, it has been your clover year as well!

     Last summer I worked on an unusual project. I made a painting of a molecular structure (MetNI)that my brother Doug had studied. The painting was in the style of Paul Klee. (Please see my September 5, 2011 blog and Now for Something Completely Different!) Learning about Klee was an affirming exercise because he believed in his own guidance and his circumstances (often far from ideal) never hindered his ability to create. What is the clover connection? Klee is the German word for clover.

Some of the clover spotted this year

     I also moved my main working studio from Clover Slope to Jacob's former room (the floors are pre-distressed.) This is working out well. In honor of the abundance of clover this year, I named the new space Four Leaf Studio.  


     Mary went to France in September and in preparation started a blog:   trefle a cinq feuilles (the five leaf clover). She has had a wonderful year full of affection (in the sense that Wendell Berry expresses) learning Breton and teaching little French children English, along with simply being in France.


      It has been a sweet year, apparently, too sweet as my fasting blood glucose level is too high. So,  I have a new project for my new year. Perhaps I shall reach perfection! No need to worry about that!  But, I will enjoy tweaking my perspective. Maybe I will look up...

Life is Short, Art Lasts Forever

Larry admires the hound painting

It is easy to get discouraged these days, with art education budgets being slashed left and right. That is why every April I am inspired by the work of one man, Larry Mitchell. Larry makes the Student Art Show at Blue Licks State Resort Park happen.  I was praising Larry for creating the art show (as Sue, John and I helped set up the art) and he said, "It wasn't my idea. The former superintendent of the park thought there should be a student art show at Blue Licks."  Okay, so it wasn't Larry's idea, but here is what Larry has done. He took that suggestion and went out to the elementary, middle and high schools in all the surrounding counties and recruited work for the show. He was successful! Larry sent follow-up letters that he would be coming to the schools to pick up the art work, which he did adding hundreds of miles to his work horse of a truck.

Larry created the table and floor easels

    But wait, there is more! Every easel you see here was designed and built by Larry. I lost count of how many of the table easels there were. I can tell you that the floor easels are terrific. Once, when St. Peter's was is need of some easels, we borrowed some of Larry's and I obtained some store-bought versions. Let me tell you, Larry's were superior. This year, Larry crafted two new super-easels to help display the plentiful collection of work: there are 313 art works! Even with the new easels (which rest up against the wall, seen in the background) we had to place art work on every surface we could find, only saving the tables for refreshments (the reception is Friday evening, 7 pm) and for welcoming viewers.

      The art is very impressive. There are students out there with a keen sense of design. There are students who definitely use the right side of their brain, because there are exquisite drawings. There are a number of comedians as well. Viewing this work gives you hope. Some of the schools no longer have art teachers, but Larry's efforts give them the impetus to create work anyway. The repercussions of Larry's efforts are expansive and wondrous. Come out to Blue Licks State Resort Park along US 68 in Robertson/Nicholas County, KY and see this for yourself. The show is on display all weekend, April 20 - 22.

    In addition to recruiting and collecting all the art work and making all the easels, Larry also made the signage to identify each school's art. And there is another sign, which I recognized from the horoscopes earlier in the week. It advises Larry-the-Leo, and all of us: Life is short. Art lasts forever.

First Hand Knowledge

I have long thought that everyone should learn how to draw so that they could practice observing the world in a first hand manner. This week, that idea was reinforced when I attended the University of Kentucky Libraries annual dinner and when I revisited the book, Drawing on the Right Side of the Brain.

     I first read Betty Edwards's book in the 1980s. The third edition of her book came out in 1999. I had the occasion recently to dip into it. Since I have been teaching lately, the ideas inside shown brightly, so I bought at copy (at the local Morris Book Shop!)  In the introduction, Edwards puts forth her most radical idea: that the basic skills of drawing are not drawing skills but perceptual skills.  In other words, no one can teach you how to draw, you must teach yourself how to see. Fortunately, the book has exercises which put you on the path of enhanced perception.  

      The book is full of observations I have had while teaching, including the idea that every painting should be approached with a novice eye (you have never seen a tree before, etc.)  Here is a lovely quote from the book margins: "Every creative act involves...a new innocence of perception, liberated from the cataract of accepted belief." --Arthur Koestler, The Sleepwalkers, 1959 (p. 38).  Doesn't that sound like a refreshing approach to seeing the world? 

     This past Friday, I was reminded of this type of thinking when Dr. John Anthony received the Medallion for Intellectual Achievement at the UK Libraries annual dinner. Dr. Anthony is a chemist at UK. He was nominated for the award by Dr. Theodore Schatzki, Senior Associate Dean of Faculty at UK. Dr. Schatzki made a masterful case for Dr. Anthony and his breakthrough in organic semiconductors.  I quote from Dr. Schatzki's nomination:

       

        "...Anthony realized that the chemical properties of OSCs (organic semiconductors) were such that these molecules, when applied to surfaces, would best conduct electricity if they "stood" on the surfaces like coins standing on their edges. In Anthony's mind, therefore, the future of organic electronics hinged on redesigning OSCs so that they would be soluble substances that would stand on their edges when applied to surfaces. 

         It is possible to design soluble molecules. Designing molecules, however, that will assume a specific, highly unlikely (standing on edge) alignment when applied to devices is beyond state-of-the-art; few people would even contemplate the attempt. Yet, one day, while playing with some plastic models of molecules in his office, Anthony noticed that one particular alteration to the OSC molecules led them to stand on edge when dropped on the floor.  This observation led to a versatile method for designing soluble OSCs that assume the correct orientation in the solid state." 

    Dr. Anthony's work shows us how unfiltered observation and perception can hand us solutions. And it pays to be playful! 

   It is easy to be overwhelmed in our world by all the information and sheer verbiage coming our way.  It is helpful to be able to see and think for one's self. Start drawing!

  Note:  The drawings on the right-hand side are sketches made while attending chamber music concerts. Musicians are very beautiful to look at with elegant hands and focused visages.  (But, I don't have x-ray vision. Got carried away with the skeleton!)

Darkness and Light

Mark 14:32-36

John 20:1-18

      It is early Easter morning and I am pondering mysteries, so I decided to go ahead and get up and write about it. One of the things that I treasure about belonging to a faith tradition is that my understanding changes as I live out my life. I guess you could call it a living faith and I love the surprises that come along. 

  

     This week provided some gentle surprises.  Maundy Thursday, for example. Now I have been surprised by Maundy Thursday before, so you would think I would know better...but there it is. Do I really want to go to a foot washing service? That seems kind of personal. But, I am in the choir, duty calls (or sings.) Maybe we will be singing through the foot washing, I have worn lace-up shoes as a defense. No, the choir retreats to the pews for the sermon and there we are, right in place for the foot washing! And I am reminded of the beauty of feet, their elegant architecture; a most wonderful form follows function. After the service and the stripping of the altar, we descend to the chapel where a garden has been created and the heavy, lovely scent of flowers fills the air. Outside, the sun is setting. This is the not-so-secret Garden where the juxtaposition is compelling: simple beauty and our complicated humanity.

     Good Friday was surprising. I am thinking of the stark reality of dark emptiness. But it is love and the just as real idea that death is necessary for life. We have a "reserved communion" (which I am just now realizing might have more than one meaning.)

     The Easter Vigil was a visual feast of light and dark. The lighting of the Paschal fire sent seductive (dangerous?) flames about the feet of worshipers. Into the sanctuary we all processed with our candles lit by the same fire. It was supposed to be dark, but the sun shone through the stained glass windows and with all the candles, there was an enlightened atmosphere as we heard the story from the very beginning. By the time we met at the baptismal font, it was truly dark outside. After remembering that story, if our candles had not been doused by the flung baptismal water, we blew them out and the house lights were blazing again.  (Now I have taken too much time writing and I must get ready to walk Carly and go to St. Peter's.)

     My Easter morning surprise is that when Mother Chris began to speak about the Gospel lesson this morning (John 20: 1 - 18.) She said that it was all about darkness and light. I must have been channeling her this morning at 5:20 when I titled this piece. Mary Magdalene is in dark distress as she tries to find the body of Jesus, missing from the tomb. Her darkness persists until Jesus calls her name. In that act,  Mary Magdalene recognizes Him as well as herself. 

     Wishing you the light of understanding your true self this season!

Note: I created the panels above for Faith Lutheran Church, Lexington, KY in 2000. There are four panels representing the four Gospels. Perhaps I will have the occasion to talk about the other two panels which depict Matthew 20:1-16 and Luke 1:46-55.  Photos by M.S. Rezny

Kentucky's True Colors

Is Kentucky truly blue or cardinally red? Neither, I say! No Kentucky's true colors, from east to west, north to south are warm cedar green and redbud violet. You can tell this is true if you travel the state, particularly at this time of year. The Eastern Red Cedar is greatly undervalued. It provides a handsome structure to the landscape, every bit as effective as those pointy Tuscan cedars. When they reach a certain age, the cedar trunk has a bleached look, a lovely foil to the deep foliage. In winter, icy blue berries (actually pine cones) grace the branches. This brings up the point that this variety of cedar is actually a juniper. But my favorite time of year for the cedar is in the spring when it is accented with the striking violet of the red bud blossoms which generously populate the Kentucky landscape. I love driving along the interstates and parkways of Kentucky in spring and viewing this most lovely of combos!
   

      Now, another question is which university is the true university of Kentucky. That is easy to answer as well. The University of Kentucky is the land-grant, flagstaff university of our state. In my opinion, the work of the University of Kentucky does more to make manifest the common wealth  of Kentucky than any other institution. There are extension agents working with citizens from Maysville to Mayfield and Paducah to Pikeville.  The Gluck Equine Research Center is a major support to Kentucky's signature industry. The A.B. Chandler Hospital is a life saver for folks with serious ailments. One has only to dip very slightly into the work of the UK Libraries to understand the dizzying number of ways in which the University affects the whole state and beyond. I haven't even mentioned the number one reason for UK's dominance in Kentucky--it makes higher education possible for more Kentuckians. No matter what happens on Saturday, March 31, 2012, this will still be true.

    (Still, I hope UK wins...!)

Spring Renewal

Field trip to the Prichard home

The profusion of spring blooms is reminding me of a special time in my life. For a decade, I took workshops with Fay Moore and they were often held at the end of April into the first of May. Fay would be in the state for Keeneland and the Derby; she is an amazing sporting artist.

   I would leave early in the morning to drive to Versailles (Heike Pickett hosted the workshops) and the sun would back light the dogwood and redbud as I headed out. Tulips were out and the smell of Spring was everywhere. Several of the workshops focused on landscapes, so we would be outside. Back inside, Heike always had a beautiful setting with artwork (of course), fresh flowers and a tasty luncheon.

   You can't deny that this is a glorious time of year, but taking these workshops intensified my perception. I actually stopped and "consumed" the beauty. This has had a lasting effect on my life. Making art has allowed me to take in the beauty around me and it forms my life. So this year, as the buds burst, I am feasting once again. And you can, too!

On March 27th, I will start a four week session (Tuesdays, 1:30 - 3:30 pm) of Experimenting with Watercolor and Pastel at the Lexington Art Academy. This is probably going to be your last time to take a class with me at LAA, and certainly it will be a chance to revel in the beauty of Spring! Hope to see you!

March in Kentucky

Daffodils and 5inches of snow

I woke up at 1 am Monday morning. A soft light was coming into the bedroom and I went to investigate. Light was reflecting off the snow that had blanketed everything in the backyard. Big wads of snow were floating down through the illuminated cone of the  security light in the yard behind us. It was so beautiful, I had to just sit there and watch. These scenes don't last forever. At a more appropriate time for rising, I got up and simply reveled in the gorgeousness. When Carly and I set out for a walk, in one direction the sky was brightening and the blue was rich and fresh. Then, heading on down the street and looking the other way, the sky was a deep steel gray, like a winter storm coming upon us. The tops of the snow coated trees were brilliantly white in comparison. I was so delighted with this visual feast, and I felt terribly guilty about it.

      Just a couple of days earlier, powerful winds blew through our area and many people lost their lives. Swaths of forest were chewed up and spit out along with any houses that were in the way. After the snow fell, reporters were constantly saying that insult was added to injury, as people sifted through the destruction in the cold and wet. It was March in Kentucky.

      Nineteen years ago in March, we had a huge snow fall of almost two feet. My kids were little, six and almost four. The crocuses were out and the snow quickly swallowed them up. The snow was already pretty high when my father came by before heading home to his farm in Jessamine County. He was in town to see some patients.

      The next morning was a beautiful sunny, Sunday. I imagine my father being pretty happy that morning. He fed the birds and then took his tractor out to pick up the paper on the main road and plowed the snow off the lane as he went (two feet deep!) He was on his return trip when he must have misjudged where the road was, because the tractor went off the road and down the steep slope. My father was pinned under the tractor wheel and died. It was such a shock to lose him so suddenly. We were still reeling as the warm spring winds came and quickly melted the snow. A few days later my siblings and I were visiting with our cousins, telling stories in our shirtsleeves. But our father/uncle was gone forever.

      Perhaps it is strange, but I have beautiful memories of this March nineteen years ago.  The house filled with flowers and the smell made me hunger for loveliness. At the visitation, I heard story after story about my father from his patients. A major theme was the newly installed 15-minute hour glass.  Apparently my father's willingness to listen to patients was greatly appreciated, but the delay getting into the room to be listened to was not! As an endocrinologist, he took special care with the feet, a concern for diabetics. Perhaps I would never have known this about my father if he had grown old and retired.

     My father was fond of pointing out that life is unfair, then he went on to prove it. Certainly it was not fair that people lost their life as the storms roared through Kentucky last Friday. There is no rhyme or reason to who was taken and who was spared. All I can think is that it is beautiful that we have lives on this earth. We can not control the length of our lives, but we can appreciate that our life matters.

Speaking of Trees...

Hickory Ridge Oak-one of my favorite trees

...which I often am; I wanted to let you know about a wonderful book. It was introduced to me by a participant in my Experimenting with Watercolor and Pastel class at the Lexington Art Academy, which affirms once again the notion that teachers learn as much as their students in class.  Deborah brought in a book simply titled: Oak.  The subtitle is: One Tree, Three Years, Fifty Paintings. Artist Stephen Taylor found himself lost after losing both parents and an important love. He was not sure where to turn next in his life and work when some friends invited him to paint at their farm in Essex where he discovered his oak. As the subtitle suggests, Taylor spent three years studying and painting the tree in all kinds of weather, day and night (there are some wonderful night time paintings.) He found his way again simply by observing closely a single spot on earth.

        This rings true for me. Trees physically link heaven and earth with their tall stature. This is true in paintings as well as life. They also link us with eternity as they often live to be hundreds of years old. Stephen Taylor's tree, for example, "was already home to skylarks and starlings when Jane Austen was a baby and George III the ruler of the American colonies" (from the foreword by Alain de Botton.)  The chinquapin oak at Floracliff is thought to be over 400 years old. So in a time of rapid change and loss, trees can be of great comfort. They are naturally beautiful and provide shade and shelter as well as paper and wood.  I highly recommend this book:  Oak: One Tree, Three Years, Fifty Paintings, by Stephen Taylor, Princeton Architectural Press, New York, New York, 2012. Thanks, Deborah!

   p.s. There are two Experimenting with Watercolor & Pastel classes coming up at the Lexington Art Academy.  Please go to: www.lexingtonartacademy.com for more information and registration.

The Rest of the Story

Jour de Noel, Strasbourg

Last month, I posted the underpainting of my painting of my favorite tree in Strasbourg, France. (Please see, Underpinnings, January 24, 2012.) Now I have added the layers of pastel and more watercolor and more pastel. It was a bit of work to do justice to this beautiful tree. It is a sycamore or plane tree. They are a favorite tree used to line the streets in Europe, as they are here. But in Europe they have a method of pruning the trees, called pollarding, so that they have knobby and massive limbs with willowy shoots.

    I had not been in Europe in December since my first trip to Europe (34 years ago.) I was quite taken with the beautiful quality of the afternoon sky, which seemed to be both cool and warm at the same time. Although it rained almost every day we were in France, Christmas Day the sun shone with this lovely light. This light was also a challenge; it was diffuse, but illuminating.

    Are you interesting in trying out this combination of mediums? There are two opportunities coming up. I will be teaching Experimenting with Watercolor & Pastel at the Lexington Art Academy. The next class begins March 1st, on Thursdays form 7 - 9 pm, four sessions.  There is an afternoon session, beginning Tuesday, April 3rd, 1:30 - 3:30 pm.  Please check out all the courses available on: lexingtonartacademy.com.

The Sanctuary of Limits

At the recommendation of my doctor, I am spending time downstairs on the BodyTrac Glider. A small window provides the view. Outside are the River Birch, Contorted Filbert (Harry Lauder's Walking Stick), Euonymus and ivy. Several seasons of leaves had collected in the screen and more than a few seasons of life were deposited on the window. Spring is coming and I was moved to actually clean the window and clear the screen of the bounty of oak leaves. What a satisfying bit of action! I can feel and see Spring coming on as I row away.

       Simultaneously, at my church, we are in the process of planning a refurbishment of the Parish Hall. As we move from the dream phase to the reality of making everyone sort of happy, limits are superimposed on the project. I had a couple of ideas that I illustrated and presented to parishioners. Since there was something visible to react to, people did, including myself! Other design ideas were brought forth as well. All this made me think about the project with new possibilities, because of the limits that were constructed. Now, new possibilities are coming to mind. It is the limitations and the need to consider others' ideas that are making it so exciting.  I am dreaming of a sunny corner for coffee and greeting...

     This week, I attended an art event called Sanctuary at the Little Fine Arts Library and Learning Center, University of Kentucky. It was a collaboration between a visual artist and a vocal artist (who also happened to be a clothing artist.) The visual artist's approach to a work was to begin and see where the work was telling her to go, without judgment. She used all kinds of materials as well. The one I was most taken with was the walnut ink she made herself by collecting walnuts all over town. The possibilities seemed limitless. Afterward, Meg showed me her display of Kentucky artist books. She had some artist books out for a class as well and one in particular impressed her and she took me through it (that is how it felt.) It was a dizzying new world of possibilities.

     The truth is that the world is full of endless possibilities, good and bad. Fortunately, we are mortals and have natural limits. I believe this is a positive thing. As I approach Spring this year, I am going to take a fresh look at what my limited possibilities are and how I might use them. Some years ago, a woman made a statement that has stayed with me all this time. In fact, it is becoming truer and truer. She said, "I spent the first half of my life gathering things and I'm spending the second half trying to get rid of them." So gather the leaves and clean the windows! See what is there.

Underpinnings

Underpainting for Jour de Noel, Strasbourg 

I am preparing for another Experimenting with Watercolor & Pastel class as well as a Show and Tell gathering of Stoner Creek Arts. And there is a project I've had on my mind since our trip to France, where we spent Christmas. It rained almost every day we were in France, but on Christmas Day in the afternoon, the sun shone. It was the lemon-y cool winter sun of Northern Europe. Very beautiful. David and Mary and I were walking around Strasbourg, where we spent a week, and I wanted to return to my favorite tree in that city. By the time we reached Petite France, the sun was beginning its downward slide and the cool golden sky back lit the massive limbs. It was a sight! I knew I wanted to make a painting of this luminescent scene.

       That is what I am working on.  To start a painting using watercolor and pastel, I begin with an underpainting.  The underpainting provides a rich and deep base for the pastel.  I add layers to the watercolor, letting the layers dry in-between so I can see how much darker and richer I need to go. From experience, I know what I am going to want to riff off of the pastel. So the painting above is not even half-way finished.  My goal is to leave the painting open for maximum flexibility.  Yet, at every stage, I want the ultimate feeling of the scene to shine forth (here it is the illuminated sky with the back lit and utterly substantial tree.)

      Would you like to try this yourself? I will be teaching Experimenting with Watercolor & Pastel at the Lexington Art Academy. A 4-session class will be held on Thursdays, 7 - 9 pm from February 2 - February 23, 2012. For more information and registration, please go to: lexingtonartacademy.com.
I will post an update of the painting when it is complete.

Start

The Place to Start Art

In my dining room recently, a Think Tank gathered to consider the mission of the Lexington Art Academy. Cindy is the founder of the art school (please see A Certain Gift, June 9, 2011) and so she was the ultimate expert present. Mary-Louise brought her splendid gift for extracting the essence of an organization and through a wondrous alchemy produced the golden nugget. The question was: what are the goals of the Lexington Art Academy and how does the school fit in with the art scene in Central Kentucky. After some discussion, Cindy stated simply that she views the school as a place to start art. There it was: the essential calling of LAA.

        This rang true for me. Thinking back on classes I have taught so far, a common theme I hear from students is that they are surprised that they were able to successfully create a painting in a medium that they had not tried before. You have to start somewhere! For me, it is very rewarding to help someone feel confident enough to go for it; or in some cases, it is more of a matter that the painter feel free enough to head in their preferred direction. But this is not confined to artistic beginners.  I preach to my students that essentially, every artist is a beginner every time they start a new project. When I paint a tree, I don't think: "I know how to paint a tree."  I am seeing the tree for the first time--or at least that is my goal. I want to see the world afresh and paint from that perspective.  At the academy, there are classes for absolute beginners, but also classes geared for artists of more advanced skill.

       The goal of the Lexington Art Academy is to be a comfortable place to try something new; to start art.  Thanks to Mary-Louise, we got to the heart of the matter. And thanks to Cindy for coming up with the idea and creating the place. Visit lexingtonartacademy.com and jump right in!

Color/Couleur



Bright accent fruit at the Luxembourg Garden,Paris

 In a few weeks, I'll be leading a class on Identifying your Palette and so color has been on my mind.  There was a bit of serendipitous luck on our recent trip to Europe, because color and thinking about color were everywhere. We went to Nancy, where Art Nouveau has roots. Coming up later this month, that city will host a week-long, multi-disciplinary symposium on color with both scientific and artistic approaches represented. Bookstores featured books on color theory and symbolism. Color seems to be on the European mind these days.







        But the biggest break came when we visited the Kunstmuseum Basel.  On display was an exhibit of Josef Albers, whose career was focused on the interaction of color (he wrote the book!) The art museum in Basel is extraordinary, with a great collection of works by Klee, Chagall, Picasso and earlier artists such as Holbein. Reflecting on our visit to the museum, it occurred to me that color was the major lesson. Each artist had a palette--and here I'm remembering that Mondrian was on display as well. Are you thinking primary colors right now? Chagall favored jewel-toned colors (there were a few green faces.) Picasso had his blue period. Klee struggled with color early on, yet now it is perhaps his use of color that attracts us to his work. Josef Albers studied at the Weimar Bauhaus, where Klee taught. He later headed up stained-glass workshop. After the Bauhaus closed, Albers came to the United States to work at the newly founded Black Mountain College in Asheville, North Carolina. Most of the work on display is part of his Homages to the Square, a project that carried Albers from 1950 to his death in l976.  Essentially, Albers is playing with color. There is nothing particularly scientific about it.  In fact, the colors he chose seem very subjective to me and a lot of fun. It made me itchy to paint, as did the whole collection at Basel.

 My reflection on the work at the museum confirmed my original idea about guiding people to consciously explore their color preferences.  I do not believe we should simply adopt someone or anyone else's palette, mainly because we can not help but see subjectively. Even if we learn another's palette, we will by necessity apply it according to our vision.  Are you interested in thinking about this?  Come join one of the Identifying your Palette sessions at the Lexington Art Academy, January 24th or 25th. For more information and registration, please go to: http://www.lexingtonartacademy.com/.



Aligned megaliths at Carnac, Brittany