The Artful Life

Unveiled: My official 137th Kentucky Derby Art (Copyright 2010 Lesley Humphrey)

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VICTORY 24 x 18 oil on panel. Official Art, Kentucky Derby 137. (Collection Mr. Bob Evans, CEO, Churchill Downs)

Vincent Van Gogh once remarked that any ‘good’ painting is an act of generosity. Whilst I cannot be so bold as to label any artful attempt as good or bad, it’s safe to say that I do hope for my work to be considered ‘good’. With this in mind, I approached VICTORY with you in mind. When you look at the painting, I want YOU to feel like the winner. You are part of the winner’s circle and this is your horse, coming to you, looking at you. Every gesture, shape, line and layer was created with this intention in mind.

LILY, JIM, ROSE & JULEP 24 x 18 oil on panel. Official Art, Oaks 137. (Available for purchase, 100% of my proceeds to benefit Horses & Hope charity)

Fashion, fun and fancy hats were my inspiration for the Oaks poster. On Oaks day, the ladies parade like rows of beautiful flowers. Derby traditions were integral to creating my race goers. Allow me to introduce them to you: First there’s Lily… She’s a bit of a stargazer. Next to her is Jim…. He’s always got a beam in his eye. Rose, as usual, is laying all over everyone, and Julep, brings everything fresh and fun to the group.

Here I am signing prints on November 19th at my unveiling champagne reception at Churchill Downs.

Thank you everyone for making me feel so welcome, and thank you to all my Lexington friends for taking the time to drive up for the occasion. It meant so much to see your lovely faces in the group. Your presence reassured me more than you can imagine.

The Derby Beat: A Poem (copyright 2010 Lesley Humphrey)

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DERBY SPIRIT 2010, by Lesley Humphrey

When it finally settled in that I was going to be the official 137th Kentucky Derby artist (2011), I thought about what I would love the painting to be about.... I asked myself "If there was one last work of art I could do in the world, what would I want my children to know?"

The Derby, life, and any kind of achievement in the world is as a result of not giving up.  I thought about my friends who were sick.  I thought about the great Kentucky people I know as they strive each year for that Derby super horse that will keep the industry going.  I thought about my great grandfather who went to the Yukon in search of gold... twice, and about my sister who died in 2005 after a long battle with M.S.... And I decided that it had to be about NOT GIVING UP, and then a poem came to me.....

Now, this painting was not the one selected for the Derby images, and so you see it here unfinished, but it is the accompanying poem that is flowing from person to person like a balm.  I cannot tell you what it means to me, that it has touched people who have lost jobs, are fighting dreadful personal battles, and even young college students.  It has legs of its own.... It's written for you, whoever you are....

THE DERBY BEAT by Lesley Humphrey (2010 All rights reserved)

When sometimes you feel out of place,

You’ve further to run just to stay in the race,

And the journey ahead seems too hard to face

.......Don’t give up

 

When legs become weak, and muscles burn,

And the earth beneath you begins to churn,

To safer ground, your thoughts may turn, yet

......Don’t give up

 

When your heart can offer you nothing more,

When defeat descends like a leaden door,

With your confidence leaking from every pore...

.....Don’t give up

 

When all you can do is stay in the race,

Rejecting all compromise; not saving face,

When you dig deep just to keep your pace

.....Don’t give up

 

You’ll reach a point when, as you make the last turn,

From deep within, a force starts to burn,

Internal fires fueled, when you yearn... just...

.....Don’t give up

 

The finish line, that glint of gold

Is reached by those who do not fold,

For guiding hands come to the bold, who

.....Don’t give up

 

That vein of gold you rush to meet,

The pulse of life pounds with your feet,

You’ll find resolve in every beat, when you

.....Don’t give up!

.....Don’t give up!

.....Don’t give up!

.....Don’t give up!

.... Don’t give up!

The Day I Met the Queen

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When I was 11 years old, my school did a field trip to London and I remember pressing my face against the bars of Buckingham Palace, wishing that one day I could see inside.  Fast forward to eight years ago; I was in a seminar and asked to write down what I would consider the greatest symbol that "I had made it".  I wrote:  "To meet the Queen."  In May 2006, as I walked through the great gates of Buckingham Palace, and set foot upon the gravel, these memories came rushing back and I finally understood what people meant when they wrote that art transcends all social boundaries.  My art had brought me here.  I felt such gratitude.

For, and in honor of my wonderful Uncle Norman Ball and his fellow soldiers, all veteran soldiers, I executed a painting of the Grenadier Guards' Brigadier General, so they could present it to him upon his forthcoming retirement.  Much to my surprise, months later, as the Grenadier's artist, I was invited to the Trooping of the Color (the Queen's "invitation only" birthday parade), and to spend a weekend with the Grenadiers, attending their memorial services in Wellington Barracks, meeting several dignitaries, including Prince Philip. This weekend was pivotal, was indeed a turning point in my life, for many reasons.

The memorial service at the Royal Military Chapel, was a beautiful, and solemn affair attended by military officials, Lords, Ladies, and the handful of old veteran guardsman still alive from World War II, including my own Uncle Norman.  I felt privileged and  touched beyond I can explain, as I begun to more fully understand the idea of duty, and of being a part of something much more important, and greater than yourself.

When I was placed in line to meet our Queen, a wizened old man, draped in medals, fully uniformed and wearing a beret upon his 80+ year old head, was wheeled up and put behind me.  I could not tolerate this, after the service and all I had learned at Wellington Barracks.  To be here and standing in front of this man, just because I could paint, seemed unimaginable to me.  I asked him if he had ever met The Queen, and he said "Oh no, love.  But I do get to come every year to get a glimpse of her."  Well .....I started to get his wheelchair and put him in my place. I was told I could not do this... and I started to cry.  The Queen's Equerry came up, in all his pomp and regalia and asked what was the matter, and I explained I would prefer to stand behind this veteran and that I just couldn't have him behind me.  He asked people to move aside and took the old man's details and decided to allow us both to stand in line.  The old man was as erect as he could be in his wheelchair, and when it was his turn, I believe The Queen spent more time with him than with anyone else in the lineup.  I was incredibly impressed that she was keen to know his battalion, and knew every sortie he has served in, and spoke to him with great dignity.  He could not speak as his old hand held mine until we were all released.  For myself.... when she looked at me and asked me about the painting I did for the Household Cavalry (this one is in Hyde Park Barracks of her drum horse Constantine) I thought she was so incredibly beautiful, even though she's just turned 80.  Her skin was like porcelain, and her eyes as violet-blue as the zenith.  Everyone kept saying "She spend a lot of time with you didn't she?"  But it was only a minute.... a beautiful minute.

Since 2006, I have never put this in the newspaper; Never used it for publicity, because I felt it was a gift too meaningful to brandish about in the media, and I wanted to savor the experience as the deep and solemn honor it was.  I was changed forever, because I finally understood duty and being a part of something bigger than yourself, personified by all the old soldiers and the Queen.  It was, and always shall be, so much more than an event to me.  I have decided to share the story with you now because, in the light of the upcoming Kentucky Derby notoriety, I am being asked about it, and thought it was time to share it, at last..... with my best wishes to you, and especially to the Royal Grenadier Guards and all the young and old people in the armed forces ... wherever you are.

Painting From Memory...

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January 2010: FRENCH QUARTER POODLE. 8 x 5 watercolor on paper.

My husband and I went to New Orleans recently, taking my daughter to college, and hoping to catch some jazz (he to listen, me to watch and sketch).  It was too cold.. brrrr.  Wind howled through the streets and the only people walking were doing so at a great rate, from car to house... Except for this guy.  I observed him while drinking tea from the lovely breakfast room of a very cool, artsy hotel (Danny Glover was two tables away.)  A massive, coffee-coloured french poodle was dragging a cossack down the street, backpack bouncing madly, scarves a-flailing, and I thought "Darn! Where is my sketchbook or camera?"  Never mind, I thought.  I'll take a mental snapshot.  Back in our room, Larry read the paper and I painted this.  (You can buy it from New Editions Gallery, Lexington, KY)

We all need a lift sometimes....

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TANDEM- 2009 Oil on canvas. 24 x 30 by Lesley Humphrey

It's fascinating to me, that the more abstract a painting, the more comments it seems to invite.  Furthermore, everyone sees something different!  A few have said something like "It's about two lovers... Awww".  Someone else said "It's an old mother carrying her son home from the war" (I liked that one.)  Everyone filters their own experience through a less-representative work, which is how it should be.  What was my intention?  Not telling!

On Jurying 2009 Ex Arte Equinus: My Statement...

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Ex Arte Equinus International is an art competition presented by the publishers of Art Horse magazine.  As last year's painting winner, it fell to me to jury this year's entries; An absolutely formidable task.  I lost many hours of sleep over my selections with questions like:  Could I eliminate photo realism because of my own personal preference for abstraction?  The answer, after changing my mind millions of times (slight exaggeration there)... Absolutely not.  A good painting is a good painting, however, my highest awards went to those painters that offered excellent paintings, plus a sense of what the artist "felt' while painting the image, offering us a fresh point of view. The following is my juror statement... You'll have to wait for the magazine or the book to see the images selected:

It was indeed an honor and a privilege to jury paintings for the Ex Arte Equinus III International show. The entries provided a fascinating array of work that sometimes left me breathless, sometimes speechless, and something laughing out at the humor present in the some of the works. Thank you, and congratulations to all who entered this unique international platform for the equine art genre.

I should begin by stating that, in my opinion, ‘Art’ cannot be judged. How can one judge a quality that cannot be adequately defined? Rather, one can only hope to witness the absence or presence of “It”, and, if present, to what degree. One can, however, perhaps quantify the competence and mastery of the painter, and hopefully identify creativity and courage in the work.

In an effort to explain the artistic process to my students, I describe it thus: In my experience, learning to paint and pursue art was like learning to write. In the early stages, one learns how to make marks, or letters and words, to simply describe objects and life. As we progress, and we learn to write beautifully descriptive essays and prose, so too do our more advanced paintings reflect, often exquisite, descriptive, pleasing qualities. It is only when technique and skill has been mastered to such a degree, that the artist, author or poet creates something beyond narrative, something that touches our humanity to such a degree that we are changed forever by encountering it… It is only then that we have encountered “Art”. It is not a matter of who was good, better, or best, it is a question of where we are on the journey. With respect, I encourage each of you to ponder this for yourself….

This competition was filled with imagery that would leave you breathless at the technical competence and beauty of the majority of work presented. I love and applaud such beauty and such mastery. The paintings I have selected contained, in my opinion, the most essential ingredient for the works to be considered successful works of ‘Art’. A combination of skills and media, authoritatively orchestrated to create passionate works filled with creative energy and life.

My sincere congratulations to everyone, and my best wishes for your artistic journey.

Time to be your own mother....

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"THE MOTHER" 24 x 24 oil by Lesley Humphrey

I think we're only truly free when we come to the realization that we must, at some point in our lives, parent ourselves.  For some, it's earlier.  For some, it's later; and for some, it happens gradually, in layers and increments, as womens' lives wax and wane.  Carl Jung tells us, via metaphor and myth, that it simply must happen for individuation to take place.  This should give you some clues as to the marks and meanings that form part of this piece.  I hope you like it.

(You can enquire about it from New Editions Gallery in Lexington, Kentucky, and/or ask them for an invitation card...It's on the cover.)

A "dessert" painting... A Day at The Beach

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12 x 12 inches: Oil on Panel. 2009 A Day At the Beach by Lesley Humphrey

This is generally the type of thing I do, when I want to feel better, but can't find the chocolate.  It's from an old photo of my three children getting ready for a donkey ride, but of course, it's about much more than that.  It's an icon for my highest loves, etched and written throughout.  I gave it to my son, Chris, for his 19th birthday recently.

Using your mother for 'mac lady' hunting..

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What is a 'mac lady' and how do you hunt them?  You pose your Mum, or other family member, close to a 'macker' (typical British lady in mackintosh or other coat), and "click".  I give them points out of ten for how fab they are... This one is a good 9.  Not only is she cloaked in a coat and hat, but she also has the required sensible shoes, shopping back, etc.  The only way you can achieve a '10' is if you have a short-legged dog, of questionable origins, on a lead.

Yes, that is my Mum back on her feet, with her little pal Ella.  Whilst posing for this, she said "Oh Lesley, y'don't want a picture of me do you?" ... all blushy and coy (for her)  I said.. "No, but the lady in red is just fabulous!

I'm so relieved Mum is doing better now. I spent several weeks in the UK with her and visiting my art friends, and my daughter at her new flat in London.  (She's having a remarkable time at Sotheby's Art Institute, and sharing her discoveries with me.  How delicious!)

Sunflower: Pearl Fincher MFA

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June 2009 "SUNFLOWER" by Lesley Humphrey

The Pearl Fincher Museum of Fine Arts had invited my painting friends and I (we call ourselves the "Six Figure Painters") to have a show in June.  We hired Crystal and painted her all together in one session, each having a different viewpoint.  We then finished the painting at our own studios.  This is my finished piece and it will be on display June 29th at the Pearl for a month.  (We have a reception scheduled for July 24th.. Come and see us!)

"Sunflower" has a lot of content for me.  It may seem a little sullen and lack colour, but this is how I am at the moment.  My Mum's sunflowers were wilting and sad looking on the table, so I put them in the piece, two looking down, one looking up.   The rest I'll leave to your imagination...

Have a wonderful day please!

Embattled...

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June 2009 BATTLE WORN by Lesley Humphrey

We had a wonderful summer planned:  House boating in Hot Springs in June, a cruise to Mexico next week, Hawaii in August... Then my mother had a terrible accident on the boat and sustained a compound fracture.  In an instant, life changed, as life does.  We have her home, she's mending well and I am now a 24-hour nurse.  I am learning a lot, not just about nursing but about love, pain, suffering, healing and managing one's own fears...

I had to do a painting for our local 6 Figures Show hosted by the Pearl Fincher Museum of Fine Arts.  I had to paint my situation, and the result is above... The following is a journal entry from 5 days ago...

The fear demons are banging at my door, Lest I have but one moment of peace and surety, If calm and serenity soothes my heart for a fleeting moment They draw their clawen fngers down the pane Drawing light down in to their cold abyss, As if weighted by the gravity of doom. The wound ripples over the leg like ancient scarred earth, Jagged edges, like earthquake's renting In its wake, a rented lament for smoother times, Forever now a reminder of tragedy, Locked into sinews and never forgot How then, does the healer lead the battle against disease? A heart so worn with doom and dire? How does the winder of the wraps Lend rays of light to heal a body, mind and soul? Am I able, am I enough? Responsibility! Thy yoke is heavy and my shoulders tremble from its press Please, please let up just enough, That I can lift up my head, and see the road ahead, And know at least where to place my feet, That I do not stumble, but find my heart Adequate to this task; this load I'd love to pull If only I had hands to guide me. I am blind, I am blinkered, yet pull I must I pray my burden stays aloft, before my journey's done.

See, if you do this sort of thing, you feel better afterward without having your own emotions run roughshod over those you love.  Anyway, it works for me.  Recommend Julia Cameron's "Artist Way" and "Finding Water" for learning how to dig in, write, and paint.

Synchronicity: A horse, a man & an artist at Rolex 3-day event 2009

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Last Thursday I was at the Kentucky Horse Park Foundation sponsor's tent (at the Rolex Kentucky 3-Day event), doing a demonstration on behalf of the American Academy of Equine Art.  Here I am at the start with the Administrative Manager of the AAEA, the remarkable Frances Clay Conner.  The sun was in my eyes, but people started to come around and bring me lovely drinks and appetizers... so it wasn't too bad at all.

As the new Director of Education of the American Academy (based at the Horse Park), we were so grateful to Frances Dulaney and her colleagues at the Horse Park for inviting us to showcase equestrian art for their sponsors.

This is me at with the start/first 5 minutes of the demonstration.

I had assumed, since I was at the arena, that horses would be present and I could do my demonstration from life.  Just in case, I had selected a photograph I had taken over 14 years ago, whilst I was still eventing myself.  The photo had so much energy and excitement, and I thought it would be fun to paint for the eventing enthusiasts and World Equestrian Games sponsors present that day.  (I had randomly selected the photo from amongst the several thousands I had.)

A little more paint was applied... You can see the arena in the background. (I was painting on David Davis lead-primed linen taped to a board, with oils.)

Pretty soon, people started to come out onto the patio and introduce themselves to Frances Clay, our President Lloyd Kelly, and myself.  I was delighted to see my friends there, W.E.G. sponsors John Paul and Judy Miller, Harold, Becky, and meeting Connie and Martha from out of state, but a remarkable, I think amazing, thing happened.... People came over who knew exactly who the rider was.... At least one lady had tears in her eyes, and several people were moved.  The rider was recognized as a beloved horseman of Kentucky, a Mr. Ralph Hill, who had suffered a terrible accident.  I was privileged to be introduced to the First Lady of Kentucky, Mrs. Jane Beshear and Mrs. Alston Kerr who asked if the painting could be used to raise funds for their friend to aid him in his plight.  Who could possibly refuse?

I am constantly humbled by the power of Art, and by the magic that happens when we put ourselves to its use.  Who could have imagined I would have selected that photo, on that day?  (Even the lady who owned the horse was present!) It is amazing to me that the very man whose image inspired my painting, will eventually be helped via the vehicle of Art.

I'll keep you posted as to the result.  I'll let you know what happens to the painting.

AS A SIDEBAR... HORSES FINALLY CAME OUT... When the demo was over!!!

So I just grabbed some acrylic paper and sketched them romping around.  (Enjoy the sketch, Dunny!)

Who are these people?

John Paul and Harold, remember we were having a giggle whilst I was demonstrating?  I wonder who this dashing cowboy, the dapper horse trainer in rust suit with turquoise accents, the beautiful, talented and extraordinary blonde and brunette ladies were?  Hmmmm...

Just Figures Art Show April 2009

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People (and galleries) are asking me... "Why, Lesley, when equestrian paintings have brought you so much notoriety and prestige (not to mantion cash-ola) would you start painting more figures, when you don't even have a market for them?"  The answer is not simple, but as I develop and mature, as a person and as an artist, I find I wish to be more expressive in my work.  I wish to weave something of the essence of the moment, or of the wonderful person sitting before me, into my work.  Why are figures affording me more of an opportunity to be expressive?  Well, for a start, I know a lot more about being a human than I know about being a horse.  (I know some people who have the opposite traits... please forgive me for saying so.)  Although, when I was a little girl I used to gallop, rather than simply walk or run around the countryside.  I even tried eating grass once or twice... Ugh. Anyway, some wonderful artist friends and I (particularly Mike Stratton, Howie Doyle, Liz Hill and the Woodlands Saturday morning painters at Studio in the Woods) had a "Just Figures Art Crawl" the weekend of the 3, 4, 5.  My work was primarily at Lampros Gallery.  The content of the show all figures painted alla prima, from life.  These are some of mine....

HIJA DEL SOL Lesley Humphrey 2009 36 x 36 oil

LOOKING BACK 2009 16 x 12 oil by Lesley Humphrey

GIRL IN GREEN ABSTRACT 2009 16 x 12 oil by Lesley Humphrey

VINTAGE 2009 oil 28 x 22 by Lesley Humphrey

PENSIVE 12 X 12 acrylic 2009 by Lesley Humphrey

MANDALA 2009 oil 16 x 12 by Lesley Humphrey

Pearl Fincher MFA Glazing Demo

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The Pearl Fincher Museum of Fine Arts is a beautiful new museum in my area.  When they contacted me to request an artist presentation/demonstration, correlating with the current show "State Of Grace", I thought of how beautiful it would be to situate my daughter, Lauren in front of one of the beautiful paintings, and paint her in similar pose.....

The demo had to be done in two stages: I already knew that I would not be allowed to paint with oils, in reverence and protection of the beautiful collection, so I chose to demonstrate a grisaille technique, beginning with black and white acrylics on a grey-stained "Yes" canvas.  The size was 24 x 30 inches. The first session took 50 minutes to complete.

After 10 minutes with the hair dryer, I began glazing with a palette of three completely transparent acrylic paints. They were Golden Fluid Acrylics: Quinacridone Gold, Quinacridone Crimson, and Turquoise. I talked about how the old masters glazed (often over months) using a similar technique. I started with the warmest colour first using Quinacridone Gold as my yellow....

Then I glazed red over those areas that represented the red robe, taking care to do it in thin glazes, rather than slapping on the crimson. Note previously applied yellow gives a warmer red. I added thin, transparent layers of red to the frame. Notice how very transparent the Golden colours are, achieving a baroque-looking frame with just a few strokes!

Now I'm adding the turquoise and at the same time creating some cool tones in the white robe. (Her cheeks look a little rosy don't they! I'll have to fix that some other time.)

I have made some beautiful, rich and organic blacks to enhance my drawing and add the darks that I see. I also added more whites to re-glaze and create more depth to folds, etc.

After a further 40 mins., the painting was completed to this point, and the demonstration over...

In the end, I was filled with gratitude... For the chance to paint and be inspired in such a beautiful museum with my subject being one of the people I love most in the world; For being so inspired and honored to be surrounded by the amazing masters in the exhibition and surrounding me on all four sides; For Rosemary Hickman and Tim Novack for having the faith in me to afford me such a special event; A special shout out to Jerry's Artarama for sponsoring my supplies....and last but not least, to the wonderful crowd that came to share the experience with us.  Support your museum! Support the Arts!  Have a fabulous day!

25th Anniversary Jazz Cruise

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My wonderful husband took me on the most luxurious experience of my life, a jazz cruise to Cayman Islands, Bahamas and Florida. Oh my goodness! Can you imagine being surrounded by such beauty, in a truly fabulous suite, wine, tremendous musicians, and sitting there with a bottle of wine and painting it all?  Well, that's what I did.  To show my tremendous gratitude for my husband I made this wee little book and, with a make up bag full of my trusty Golden fluid acrylics, I painted something we did together each day....(then had his favorite artists sign the book)

This is the little book,(you can see my fingernail bottom right). I would pre-prepare the pages with colour the night before, ready for the next day's adventure to capture...

A beautiful boat sailed by in Key West. This was a rapid little painting. I abstracted the landscape I saw on the island beyond.

The artist on the left was the remarkable Nick Corlionne who was generous enough to give a guitar seminar in the cocktail lounge (hic... this was helped along by a nice rum and coke. The one on the right was gin and tonic.) I was inspired and touched by these amazing musicians and the way they shared their lives and their Art with us. Their journeys were often tough... Nearly all were true masters of their craft. Sheer and unadulterated pleasure!

Marion Meadows... A most beautiful jazz saxaphonist (with the most adorable and beautiful wife, Maria.)

There was a spot in the main performance hall that had some lights shining down on the table.  How convenient!  So Larry and I would plant ourselves there sometimes whilst I painted, bottle of wine or champagne at the ready, just responding to the magic.  Just before our anniversary, I had all the artists sign my book and gave it to Larry that evening.  He was "dead chuffed", as they say where I grew up.  Now, all that is left are delicious memories that echo in my mind like a Larry Carlton solo.

Thanks to my amazing husband who surprises me with enchanted, delicious adventures all the time (you're amazing, and I love you)....Thanks to all the artists who touched me so:  Nick Corlionne, Norman Brown, Larry Carlton, Boney James, Miles and Accoustic Alchemy, Chieli Mannuci, Mindi Abair, Heather Hedley, Mr. Sandoval, and so many more...

What do you do when your gallery doesn't want your new style?

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TRINITY 36x36 oil on gold canvas

My husband and I own DaVinci's Gallery in our local downtown area, (that we used to operate but now lease to a co-operative) so we know the incredible pressures gallery owners and operators have in sucessfully marketing art.   I have been extremely well represented for my equine and sporting works by Sportsman's Gallery Limited and Paderewski Fine Arts for over 18 years and cannot fault their business ethic in the slightest.  They know their market.

As I grow and change as a painter (it's not for me to say I'm an artist - only time can tell that), I yearn to pour content and meaning into my work not necessarily having anything to do with the representative image; using the image as a sort of  icon for something more.  This painting is just such a piece.  I painted the canvas with Daniel Smith's gold gesso before beginning (also symbolic for me) and poured out my deep intention, sometimes carving it into the background.  (I'll leave you to guess at the meaning.)

My main gallery did not feel this was something they could represent, probably not wanting to confuse my collectors.  I completely understand, yet the rejection hit a nerve as  I realized that my gallery was not representing me and my artistic journey, but a certain brand of image I may not forever be able to furnish.  (Probably a little deluded and narcissistic to think otherwise all these years, but there you are...) A a certain amount of soul-searching took place when I realized this truth.  I was reminded of a conversation I had with one of my teachers Alex Powers when he said "Drop your galleries and do Art".  I suppose I am at a crossroads; I suppose it's time to choose...

What does one do?  Lick my wounds for sure.  Buying an ice cream (oink) helped.

You may have experienced synchronistic events in your life, well I felt that I did on this day... I received an invitation to enter an international equestrian art competition called Ex Arte Equinus with my new pieces.  I decided to see if everyone felt the same way about new works and entered "Trinity" and other like pieces.  Trinity won first place in painting, and my Appleby Flasher won third in drawing.  Evidently I will receive some goodies, works published in a lovely book, but the real gift is the whisper from the Spirit of Art that says "Keep going....."

You may view the competition Ex Arte Equinus at: http://www.arthorsemagazine.com/art_competition.html

A Pivotal Moment: Painting a waterbucket?

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Now I know this isn't the masterpiece of the modern world (far, far from it...) but I felt something "shift" while I was doing this painting. Like everything changed in an instant, possibly forever.

As is often the case, when helping students, someone else understand painting, you learn so much yourself.  One of my students was having a miserable time with these constantly moving Norwejian Fjords (they must have been self-conscious of all the strange, oily-smelling predators lined up at the fence line).  I encouraged the student to relax, to paint literally 'everything' from the greyish hill behind, stubby trees, fence, two Fresians looking over the fence (yes....that's what they are... Rubbish isn't it?)  I remember saying "Yes, even the red and yellow plastic water bucket!"  And I did.  And I loved it... And I realized, from that moment on, something "clicked".

I would never sell this little 5 min. painting.  In fact, I've glued it into my art sketchbook (so there).  All the funky, bright, contemporary-looking paintings that are showing up now have been because of this "shift" and the little painting journal I showed you before.  The following painting was the first on stretched canvas.  I think I did it the week I came back from Kentucky...

My beloved mentor, Dick Turner, in his studio smoking a cigarette. KINDLY OLD TEACHER. 18 x 14 acrylic on canvas. November, 2008.

Painting models from life... Why paint a human still life?

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Shawni. 16x12 acrylic. November, 2008.

What do you do when you find yourself in a model group... They have posed the model, often in a position no human would ever sit in for 2 hours (and it often shows on their face and posture), and you've been there, (yawn) done that so many times before?  I have begun to find patterns in the environment just as relevant to a painting that creates a feeling within me, like this one, a two-hour sketch of a model called Shawni.  I love to feel totally connected with "All That Is" (at the risk of sounding biblical...)  when I paint and so, instead of struggling to get a likeness of the model, everything else that intrigues me becomes part of the painting.  Just in the moment, seeing everything; quite Zen really, I should imagine.  (And no... I'm not sitting cross-legged humming all day!)

HANNAH. 16x12 Oil on panel. November, 2008

So.... I was in a model group and the model, lovely lady, was propped-up looking stunning (as usual), and my heart sank a little.  Meanwhile, whilst getting out my paints, drinking cups of tea trying to get motivated, I watched this wonderful woman called Hannah really "getting after it" across the room.  Hair and arms a-flailing, tongue poking through her cheek; her face expressing such a wide array of emotions I think she was painting a vampire one minute, and an angel the next, no vamipire... No angel.  Well... With such an interesting lady, it was no choice for me.  I was painting her, plus the doors and the air conditioning vent behind her, her bags below her, etc.  When she finally decided to walk around, about 2 (20 min.) sessions later, she walked behind me and said "Well I like that.... OH MY GOODNESS!  IT'S ME!!!"  Great for me is that she bought it, so everyone was happy.  Well worth my $5.00 model fee.

Painting Horses from Life: Kentucky Workshop

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Fjord pony. 9x12 oil on canvas. 10 min. sketch

Cold, (I mean, frigid...brrrr).  What was I thinking!  Scheduling an outdoor painting workshop on frosty mornings.  Not only were the poor students terrified (always are when painting loose horses from life), but they couldn't concentrate with the cold.  Some just sat in my car and didn't bother.  (You have to know, this was extremely difficult for me and my "need to please" also.)  Anyhoo.... They had to push past their fears.  The day we painted this little fellow was warmer.  By now,  I had given them so many exercises about how to get, not just a "good picture", but the gesture of the moment.  It's always astonishing to me how afraid we are to explore and just be in the moment.  We're so desperate to create an impressive image, yet Art is not "how the thing looked" as much as "How I felt when I was here... In this beautiful place with this magic little horse from Norway".  We can get photos of the Fjord, it's YOU that we may never see again.  It's YOU that we want to see all over the canvas... terrified or not!  This was done on "Yes" canvas taped to a board, with oils.  Boy, does that stuff dry fast outside!!!  Faster than acrylic... I really mean it!