Mystery

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It was strange to see this cat girl emerge.  She was painted just before the time that women were donning knitted pink cat hats.  They were called “pussyhats” and worn in the 2017 Women’s March on Washington DC.

A little recent history lesson from Google:

A pussyhat is a pink, crafted hat, created in large numbers by thousands of participants involved with the United States 2017 Women’s March. They are the result of the Pussyhat Project, a nationwide effort initiated by Krista Suh and Jayna Zweiman, a screenwriter and architect located in Los Angeles, to create pink hats to be worn at the march for visual impact.[1]

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As an artist, have you noticed this…not only does your art respond to the political and socio-economic climate, but sometimes it is almost predictive.  Artists, poets, writers, creative beings have a heightened sensitivity.  It’s no surprise that they can tune into something before it hits the press.  And express it through their art.

Obviously, my girl’s hat isn’t pink–but the concept of woman merging with cat, with her wild nature–and yes, she has magic–are reminders to myself.  A woman is an enigma to the male of our species.  Rather than men fearing and trying to dominate what they don’t understand, why not honor her?  Why not seek her out for wise counsel?  Why not be curious to know her more deeply?  Why not recognize that she has gifts to share (that he does not possess) and lend value to them?

That men are making most of the rules, guiding the politics of our lives, belies the fact that women comprise over 50% of the population in America!  2019 census shows 168.08 million women versus 161.48 million men!  When are women going to realize that they have more power for change than they are exercising?

There are so many things in place in our society (and world) that we know are morally wrong and socially unjust.  Women know this deeply…if they could gather their courage and unify their voices, change for the good would occur.

What is something you, as a woman alive today, are called to take a stand on?  How are you going to align yourself with what you know to be true and correct?  Is there an action you know that you need to take?  One step at a time…dare to take the first one.

 

 

 

The Ugly Stage

When painting a portrait…you soon arrive at THE UGLY STAGE!  That is when your mettle as an artist is tested.  You don’t see how you can possibly convert this ugly piece into a thing of beauty.  This is the time–you’ve been working on this for awhile already–when you want to walk away and abandon the piece.  It’s hard to imagine something
“pretty” coming out of this.

That said, experience has taught you that this is only a stage.  Stay with it.  Don’t give up too soon.  So you go forward in conversation with the piece to see what’s next. Then, what follows that?  You step back and then forward and bring this being forth to become who she is determined to be.

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Sometimes, often or always, there is a message in a painting.  The artist may have a clue  before she begins painting.  Then again,  it could emerge during her process with a piece.  Blending words with art is often an intriguing way of stating the message.  The word that sits in the lower right corner of the piece is “STORY.”  Like each one of us, the subject of this painting has a story to tell.  While we may not have a sense of her exact story, we get the idea that she has a depth of experience.  Those eyes convey something.  The mouth, neither smiling nor smirking, shows determination.  There is character in her chin…and so on.

If she were the heroine of your short story, who would she be?  That’s the thing about art, each person views a piece and then their imagination begins to conjecture a story.  We do that when we meet someone new also.  “Who are you?”  “Where are you from?”  “What brought you here?”  Then our judgments and old information come in and create a story before we even really know who we’ve actually met.  Interesting that we do this.  Make up stories all of the time.

Blue Hair!

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Artists take liberties!  Artistic License, like Poetic License, the artist’s choices reign on the canvas.  Artists are creators on a substrate.  They have the power to paint blue hair and put a cardinal on their subject’s shoulder.  And, once again, to capture an expression.

This class was taught by another amazing artist, Sara Burch.  With this painting, Sara addresses a common artist’s fear, the looming blank canvas!  Believe it or not, there are those of us artists who feel frozen in front of a fresh canvas.

“How or where do I begin?”

Sara Burch’s remedy is to jump right in, laying splotches of paint on the substrate where the facial features might be.  She uses a soggy brush that drips paint and it’s all so casual, playful and easy.  No predesigned face, neither a pencil-drawn face nor a photo of a face to work from.  The artist’s memory of a face begins to lend form to the painting as she crafts the face from the colors she’s laid down.  And then, she mixes up new colors finding a skin tone.  The background color adds more definition to the portrait, popping it forward.  This was a fun and original approach.  Some painters desire to be looser in the way that they paint.  This isn’t easy to achieve believe it or not.

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That idea of perfectionism gets thrown out the window when you paint in this way.  Perfect is not the goal.  There is art that is precise, realism, and I absolutely admire that.  Sara’s approach has to do with letting go in the beginning and then defining and refining the face later.  Any artist finds her own style.  Sometimes by exposing herself to the style of another artist(s) and/or through experimentation.  Being curious is a key element in developing your artistic range.

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Were you someone who colored outside the lines as a kid?  Did you feel shame in that?  Art is an invitation to continually color outside the lines.  To discover the land that lies beyond the defined lines.  Sometimes it could mean giving your subject blue hair.  And other times it could be dripping paint down a blank canvas.  And then, you may have discovered another approach that no one has even dreamed of yet.

A new day is sort of like a blank canvas.  You begin somewhere.

 

 

 

Red

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The story of Little Red Riding Hood wasn’t one of my favorites…however, it did impact me.  Early on, I rewrote the ending…the wolf was a good guy and everyone sat around together having tea in my final scene.

This painting was inspired by a class called Barn Painting, taught by Alissa Millsap in Paint Your Heart and Soul, 2017.  Entering the realm of this piece, it was painted on an 8″x8″ birch panel, I quickly decided that it wasn’t going to be a barn.  It was going to be  grandma’s cottage in the woods.  And then, in the forefront, I placed Little Red Riding Hood and her companion/friend the wolf.  I just realized that here I go again, making the wolf an ally.

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Taking a class from a fellow artist, I am presented with a formula of sorts.  This artist showed me the techniques and tools that she used to create a barn on a substrate.  I was guided through her process.  While I borrowed techniques and used the tools, I diverted and made different choices, incorporated my own style and personal perspective to create an original painting.  I was relatively new at painting faces, so this Red Riding Hood’s face is rather juvenile.  Yet, I like her and think that she works with the piece.  I love the wolf…a friendly fellow (so long as he’s well-fed).  The wolf is made whimsical and less frightening with the wisps of pastel colors in his coat.

In direct contrast, the color RED is dramatic and immediately eye-catching.  Some artists love the drama of red while others hide from it, modify it or use it sparingly if at all.  I’m learning to have a liking for a true red.  Used without apology.

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If you are familiar with the chakra energy system, you probably remember that red symbolizes the root chakra located at the base of the spine.  The root chakra can represent our origins, our quality of feeling grounded in present reality, living in connection to the earth and our core self.  We cultivate this connection by the choices we make in our lives.  Many people have a need for healing their family history–yes, root chakra taps into that.  To support this energetic healing, a person might eat red foods, wear red clothing, carry a red stone or crystal, write or make art around their family history, and if necessary, see a therapist and work on that early family bond.

When I wear red, it seems that I want to be noticed.  Red is not for wallflowers.

What’s your experience with the color red?

 

 

Who Are You?

A journal page is meant for exploration.  Yes, you can explore the existential questions in your journal.  It is a place to explore techniques as well as for self-discovery.
I wonder, at times, about the influence of place on person.
Having grown up a few blocks from the ocean in San Francisco,
how did that form me?  I lived there, beside the sea, for forty-nine years before moving to the mountains.  Who was I then “living beside the ocean?”

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Moving to the
mountains, what in me has been influenced and changed by this place?

This journal page was inspired by a class taught by Ivy Newport, Sacred Landscapes.

The consideration of the placement of a horizon line is an interesting aspect of a painting.  A decision is made where to place the figure in relation to that line.  Dividing the page into three sections, the horizon line is in the top third on this page.

The figure is placed in the forefront of the study…she could have been standing, reclining.  I chose sitting.

Figure drawing is a whole other form of artistic expression.  I took one other class in sketching figures.  We also practiced drawing figures in relation to one another and intimated body language between the two figures.  In drawing and painting, there are lifetimes of worlds to be explored.

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Perhaps a larger and more expanded question is “Who am I during this pivotal time in history?”  or “Who am I in the light of a global pandemic?”  It is astonishing, really, to have such a cataclysmic, unifying event across the planet.  It’s hard to put the proverbial head in the sand at such a time.  It feels to me like we are being called to take a stand on behalf of our earth and the unsustainable ways that we’ve been living up to now.  What are your thoughts?

 

Female Buddha

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Splashes of acrylic inks on a 140# weight watercolor sheet of paper.  Purposeful play to see how the ink flows when sprayed with water.  What images emerge from this play?

She emerged.  A feminine buddha angel in prayer.  She stayed like this, filed away in a pile of other such paintings for a few years.  Then, one day, the time had come.  I chose her from the pile and gave her a face.  I added a complementary background color.  Studying the color wheel, learning how to use and apply it to a work in progress is yet another learning experience.  Primary colors, then secondary colors, finally tertiary colors.  Complementary colors, analogous, monochromatic, triads, tetrads, etc.  Then, there are hues, values, tints, tones and shades.  I had no idea!  So much to learn.

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Facial expression is another practiced technique.  Sometimes, the angle of the eyebrows can create an expression of alarm, surprise or worry.  The intensity of the eyes, the poise of the mouth–there are many other tools that help to give expression to a face .  I don’t know enough about this to claim expertise.  I would say that the feeling behind this piece fits with the energy of the painting.  A contemplative face showing some concern.  Before the facial features were emphasized, there was a solemnity and sense of deep quiet.

Then, you could read this differently than I do.

 

 

Everyone Needs an Ally

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This painting was prompted by a class in Paint Your Heart and Soul. Not initially knowing what a painting wants to express, I allow the images to show their presence.
I added the wolf and turned the figure into an angel.

What was new to me in this class was learning how to paint a lacy dress.  I couldn’t imagine how an artist could imply lace fabric.  I’m not 100% pleased and I appreciated acquiring a new art tool.  Another painting challenge for the artist is PAINTING HANDS!  I remember the painstaking effort to paint this one arm and hand.  I was pretty pleased at the time and by no means have I come close to mastering hands.  Sometimes an artist, not wanting to take the time and effort it requires to paint a hand let’s it disappear off the page, in a pocket, or hidden behind a skirt or another shielding object–a bouquet of flowers, a table or anything that fits with the painting.

This angel has an ally.  He is an ethereal wolf…part of the night, yet real to her as she is real to him.

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In 2018, I encountered a gray wolf as I was driving down the mountain from Bunny Flat.  I had visited a new friend who was camping there.  We spent a sweet time together getting to know each other.  The vista was smudged by smoke from surrounding fires.  At this higher elevation, the air was breathable.  At one point she offered to lead me through a qigong set.  I agreed.  For the next twenty minutes, we moved our bodies in harmony with the nature around us.  A magical time.

I left her well before the sun set.  As I was rounding a curve in the road, I spied a large animal not very far ahead.  He seemed to be in no great hurry.  I slowed the car.  As happens, my brain tried to comprehend what this creature was.  Bear, no.  Dog, no.  What’s that in his mouth?  Finally, as I drew closer, my mind settled on a gray wolf with another rather large animal in his mouth!  He slipped down the side of a slight slope.  I pulled my car into the space beside the road.  I got out of the car, no fear only wonder.  I watched as he slowly meandered off into the shrubbery and trees.

The sense of wonder I felt stayed with me for a long time.  A visitation from a rare animal has meaning for me.  In the Native American Tradition, wolf is a teacher.  From Jamie Sams book, Medicine Cards:  “Wolf is the pathfinder, the forerunner of new ideas who returns to the clan to teach and share medicine.”

When I returned home, I googled the Gray Wolf.  I remembered reading that the Gray Wolf had crossed the border into northern California a couple of years before.  They were being tracked and protected by a team of rangers.  Their exact whereabouts were kept a secret so as to avoid hunters.  Then the team lost track of the sly wolves.   How fortunate I was to see one of these amazing beings that memorable day.

The Walkaway

In the face of Covid 19, the United Nations Secretary-General, in one of his speeches,  declared that war is obsolete!  In these times of the pandemic, war seems to be a non-sequitur.  A virus is now “the enemy”.  Can we stop the nonsense and focus on what’s at hand, like the virus, global warming, overpopulation…and start addressing the real issues of a planet at risk?  Aren’t people experiencing enough trauma without having to contend with war?  We know which people are the first to be attacked during warfare–women and children.  Time for a serious time out!

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This painting and poem were first published on this blog in November of 2017.  This painting originated from a poem I wrote several years before.   He is walking away preparing to board a naval ship, shipping out to Vietnam.  Is he going to return?  If he does return, how is war going to change him…hence the refrain “Did anyone ever come back from Vietnam, I wondered.”

When I was eighteen years old, a girlfriend and I volunteered at the USO club on Market Street in San Francisco.  This was in 1967-1968, during the Vietnam War.  One night a week, we showed up to dance with the sailors and soldiers.  To sit and talk or play games like chess or checkers.  It was an intense time as these young men were either preparing to ship out overseas or had just returned from a stint overseas.  The poem tells the story of one young man who took a liking to me.

The poem:

Circulation
by Christine O’Brien

Don’t dance with just one boy,
make the rounds–
circulate.
Play chess and checkers
card games
no dating them outside of here.

The USO–
we’re here to
provide a home
away from home.
You are the girl next door
…a reputation to uphold
no loose behavior.

His name was Mickey
–from Mississippi.
He wanted a girl
more than anything.
He was being sent off to Vietnam.

Did anyone ever come back from
Vietnam
I wondered?

He claimed me;
threatened all the other soldiers
to stay away.
But I’m supposed to circulate,
I said.
He picked me up after work,
treated me to a soda,
rode home with me on the bus,
met my family,
even loaned my dad a book.
He was scheduled to ship out
in two weeks.

Did anyone ever come back from
Vietnam
I wondered?

His friend drove him to my house.
We kissed in the back seat of the car.
Hard kisses
from him who wanted
to know a kiss
before lips grew cold.
My lips were uncertain
but compliant.
Suddenly I pulled away,
fearful
withdrew into my house
tossing him a good night.

Did anyone ever come back from
Vietnam
I wondered?

He had been so cool
on the dance floor
smooth, sexy dancer.
In his dress blues
bell bottoms
swishing the slippery floor.
I could never attract
a guy like that
I thought.

He wanted to marry me NOW!
The urgency of youth
the uncertainty of undeclared war
leading one to declare love.
I cried all the way home on the bus.
He comforted me
not knowing that I was trying to
break up with him.
He threatened suicide
wasn’t going to Vietnam
suicide enough?

I wondered,
did anyone ever come back
from Vietnam?

the walkaway.

 

 

The Koala

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What inspires you to paint an animal?  Especially one who isn’t native to your place on the planet?  Where does that inspiration come from?

Regarding this painting, the image of the Koala arose from creating a background first.  This painting was definitely intuitive.  I believe that when we are tuned in, things show themselves to us or want to be seen by us.  That is what I would say about this Koala Bear.  He literally showed himself to me, arising from the background and wanting to be seen and painted.

As an artist, it is my responsibility to respond to what is asked of me.  Yes, in this case, to paint a Koala Bear.  In one sense then, this little koala bear image floating out in the larger world beyond my art studio becomes an ambassador for all Koala Bears.  Whoever happens upon this painting is reminded that we share the planet with many other amazing creatures.

If I were to paint this again, with what I’ve learned since, I’d define the image of the Koala Bear by employing light and dark values.  This would give emphasis where it is needed.  I’d also probably paint over some of the background.

Regardless, I like imagining him in his Australian forest, likely in a Gum Tree.  As seems to be the case with many of our planet’s precious animals, the Koala Bear is considered to be vulnerable to extinction.  This is supposed to be one step above endangered.  Yikes!  The threats to their survival comes from habitat destruction, bushfires, dog attacks and accidents on the road.

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I wonder how many animals have to go extinct in our lifetime before we change our ways of harvesting and using resources.  When do we begin to value, through our actions, all of our relations and the earth herself?

Horse

This horse painting appears to be total whimsy.  However, it appeared at a time when I felt the wind had been knocked out of me, out of many of us.  It was the occasion of the 2016 presidential election in the United States.  The helplessness and shock that I felt with the election of someone whose values were so opposite to my own, to so many of us.

The one word on this mixed media piece is WISDOM.  I felt that this was what was needed more than anything.  This seemed to be lacking in the newly elected administration.  I painted and collaged this white whimsical horse as a way to cope with what was ahead.  As I prayed for a leader who loves the earth, mankind and all of our relations.

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In one sense, this could be seen as a political cartoon or a bit of satire.  After the election of 2016, things were (and continue to be) extremely serious.

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Picking up a brush, pencil, paints, clay, charcoal, pastels, watercolors–any creative tool can help you to cope with what is challenging.  It can give you a field of expression when you feel powerless or without a voice.

I have several art journals.  They are a private expression of things that seem too large to manage; the word could be unwieldy.  Words and images blend on these pages to express what I feel and have trouble sharing with others.  Or understanding myself.

What about you?  Do you have a journal for your writing and art?  Or several?  Use them.