Category Archives: Discussion

Sustaining Creativity

One aspect of art that feels like an ‘ace up the sleeve’ is the fact that it is truly a lifetime activity.

Clogs 1

Clogs,1     ©2017 Elizabeth Fram, Pen & ink

While many pursuits are curtailed with the vagaries of age, the desire and ability to bring ideas into physical form can remain undaunted despite advancing years (e.g. Louise Bourgeois, Mary Delany, David Hockney, Claude Monet, Georgia O’Keeffe) and even disability (Chuck Close, Frida Kahlo, Henri Matisse).

For inspiration on the subject, check out Paul Stankard’s op/ed “Artistic Risk and the Ticking Clock” from the latest issue of American Craft, in which he discusses the scary prospect of leaving his successful comfort zone for new horizons in his work. It is a wonderful testament to the longevity of artistic growth and the strength of the creative flame.

Clogs 2

Clogs 2,      ©2017 Elizabeth Fram, Pen & ink

Last February I recommended Stankard’s book Studio Craft as Career: A Guide to Achieving Excellence in Art Making. As in that book, this latest essay maintains the same unflinching acceptance of reality while accentuating Stankard’s propensity for mentorship as he reaches to pull others up alongside himself, encouraging an unflagging drive for achievement via the pushing of boundaries.

A quick search on the subject of the resilience of creativity into elder years unearthed this NPR interview with Nicholas Delbanco discussing his book Lastingness: The Creative Art of Growing Old which “examines artists who either maintained or advanced their work past the age of 70”. Despite the somewhat mixed reviews, I’m looking forward to borrowing a copy from my library.

Oboz

Oboz,      ©2017 Elizabeth Fram, Pen & ink

I have encountered numerous individuals whose creativity bolstered them in their later years, and I bet you have as well. It makes the future look bright, don’t you think?

On a Different Note______________________________________________________________________________

For a special treat, add the Shelburne Museum’s current exhibit Sweet Tooth: The Art of Dessert to your list of shows to see this winter. Clever and enticing, it’s a calorie-free confection that will leave you smiling. It remains on view through February 18, 2018.

Sugaring 1

Miniature Sugaring Scene, Artist and Origin Unknown                          This carved wooden sugaring scene is part of the museum’s permanent collection.

Sugaring 2

Miniature Sugaring Scene,                                                                                                                     I found its enchanting details irresistible. Note the dog’s posture, the sugar on snow to the right, and the squirrel climbing up the corner of the sugarhouse.

A Confection

A Confection  ©2014  Dirk Staschke,  Ceramic                                                  “Tightly stacked like stones in a wall, the cakes and other baked goods featured in A Confection become metaphors for consumer excess”

Lemon Meringue Wedges

Lemon Meringue Wedges, ©2017 Chris Campbell, Shoe Bakery, mixed media             Shoe Bakery’s ready-to-wear lines of footwear are whimsical dessert-themed shoes described as “sweet treats for your feet”.

Too Far or Not Far Enough?

This week has brought with it an unusually large number of deadlines — 4 to be exact. So I have been scrambling to get everything done, and as a result this post gets a bit of short shrift in terms of content and execution. It’s a bonus that I can kill two birds with one stone by writing about one of the other projects I’ve been racing to finish.

Picasso

Green Man,     12x12in., ©2017 Elizabeth Fram

The latest prompt for our Journal Project group is “Picasso”. Without all the Instagram tributes last week that marked the 136th anniversary of his birth (October 25th), I wouldn’t have realized how appropriate  the timing was.

Last year I read Life with Picasso by Françoise Gilot, and while it was an interesting read in terms of learning more about how Picasso approached his work, it really soured me on the man himself. He may have been a creative genius, but reading Gilot’s recounting of their life together completely affected my thoughts about him as a person. However, personal failings aside, Maria Popova’s excellent Brain Pickings article “Picasso on Intuition, How Creativity Works, and Where Ideas Come From” steers attention back to the profound gifts he shared in terms of his work and his artistic wisdom.

Picasso

Green Man, detail     ©2017 Elizabeth Fram

I’ve had fun working on this piece, exploring and pushing the limits of color by playing back and forth between the dye and the thread. The biggest challenge has been to convey a complete image while seeing how much I could leave out — a task I might not have undertaken if time weren’t so short with so much already on my plate. I need to let it be for a bit to decide whether I’ve gone far enough or too far — and also to think about how I might explore this approach in future work. The experience brings to mind and illustrates one of Picasso’s many quotes:

“Inspiration exists, but it has to find us working.”

For a bit of trivia to round out what you may already know about the master, enjoy this list.

 

On a Different Note________________________________________________________________________________________

I owe a huge thank you to the Essex Art League for inviting me to speak at their monthly meeting this week. They are a wonderfully warm and engaging group of artists who made it a true pleasure to get out of the studio on a rainy day in order to share a taste of the many layers of process my work has progressed through since I first started working with textiles some 25 years (+/-) ago!

Need a Nudge?

October = Inktober…the perfect time for anyone to dive in and follow through on a goal to draw more regularly.

Table Scape

Table-scape     ©2017 Elizabeth Fram                                                                                                 The path of least resistance is my saving grace. I often finish breakfast and then draw whatever’s in front of me on the dining room table. It’s proven to be a wonderful no-brainer for getting a daily drawing under my belt before the rest of the day begins. Fortunately (or unfortunately, depending on your perspective) this surface is rarely entirely clear of stuff… so source material is plentiful. And with a few adjustments, there is a never-exhausted supply of still lifes at the ready.

Created in 2009 by illustrator Jake Parker as a way to jump-start his own drawing habit, Inktober is a challenge to artists everywhere to pull out their pens and commit to making a drawing every day this month. It’s also a powerful nudge for getting a drawing habit underway.

Orchid

Orchid     ©2017 Elizabeth Fram                                                                   We are lucky in VT that our public TV often has shows highlighting Vermont artists. This wonderful quote is from a recent program featuring Peter Huntoon. ” A quick snapshot gives you nothing but facts, but sketching gives you an experience that doesn’t go away; it’s a memory that’s imprinted. It’s the difference between a glance and a warm embrace.”

This short YouTube video gives the skinny on how to get started. And if you fear you’ll struggle with what to draw each day for 31 days in a row, Parker has provided a list of 31 prompts. For those who don’t like the list this year, previous years’ lists with additional ideas are a short Google search away.

3 Houses

3 Houses     ©2017 Elizabeth Fram                                                                   I am a sucker for little houses. Last spring I took advantage of a sale at a local gardening center to buy these three ceramic houses that can also serve as votives. They have become regulars in my daily sketches.

The public-minded can upload their drawings to Instagram with the hashtags #inktober and #inktober2017. Prefer not to work on such a public scale? It’s just as easy to follow those hashtags to lurk in private for inspiration. Regardless, there is still a lot to be gained by taking the challenge independently, or even better, with a couple of close artist buddies.

Silver Pitcher

Silver Pitcher     ©2017 Elizabeth Fram                                                           A treasured hand-me-down offers great shapes and reflections, off-set by the stripes of placemats and the slats in the chair behind it.

I see that JetPens has a special offer through October 15th in honor of Inktober. Their site is a lot of fun to visit for the sheer volume of all-things-pen-and-ink they offer — even if you decide not to take them up on their Inktober special.

Hydrangeas

Hydrangea     ©2017 Elizabeth Fram                                                                                                     I have a lot yet to learn in portraying this lovely mass of blooms from a friend’s garden. I’m grateful they are such long-lasting flowers so I have time to keep trying before they fade.

And for further support, check out my post “Seasonal Change as Incentive” from last May, which discusses in detail Charles Duhigg’s wonderful book The Power of Habit and an enlightening video by Ingrid Sundberg that provides a step-by-step outline of how to begin a creative habit.

Good luck!

Flowers

Flowers     ©2017 Elizabeth Fram                                                                   Let’s end this on a colorful note…

Marking the Change

As we move into September the days are becoming noticeably shorter and our evening temps here in Vermont have already dipped into the 40’s, making for great sleeping weather.

Olive Oil

Olive Oil     ©2017 Elizabeth Fram

I know that many bemoan the last days of August, perhaps more so than the end of any other season, but I am happy for the change. I find comfort, not just in the reminder of natural rhythms and cycles beyond my control, but also in welcoming the chance to get back to activities I enjoy without the guilt of feeling I ought to be outside taking advantage of summer’s fleeting sun and warmth.

Garden

It’s time to bring in the harvest in earnest and to start putting some of the bounty up for winter enjoyment. It’s been a great year in my garden for garlic, blueberries, carrots, beans, herbs, and greens. My tomatoes, on the other hand, are slow to ripen and have had a relatively weak showing — a result, I’m sure, of all the rain and relatively cool days we’ve had on our hill this year. I’ve come to accept the fluctuation between what does well from one year to the next, and look to that variation as an opportunity to explore new recipes and to evade any sense of being caught in a rut.

Bookended tools

Bookended     ©2017 Elizabeth Fram

When summer arrives, I’m ready for a break from the kitchen and try to avoid too much time cooking. But when we begin to see signs that the transition to fall is taking hold, it feels good to pull out my pots for “putting food by” and to get back in the swing of creating with food. It doesn’t hurt that there are endless opportunities for happenstance still-lives along the way, making sketching just another gratifying perk of the job.

Balanced

Balanced     ©2017 Elizabeth Fram

These drawings mark the beans that were blanched, the batches of pesto mixed up, the turkey broth simmered & flavored with fresh herbs, carrots, and garlic…and of course the resulting piles of dishes, before and after washing.

Years ago my mother gave me a copy of the book Putting Food By. It’s a keeper; a trusty resource that never goes out of date. This link is to the most recent edition.

Also, for a bit of meaty reading, artist Anne Sherwood Pundyk recently contributed an essay entitled The Beholder’s Share to the online magazine artcritical. Pundyk discusses the neuroscience of abstraction and figuration, drawing on personal and professional experience in conjunction with consideration of two books on recent scientific findings: My Stroke of Insight by Jill Bolte Taylor (2006) and Reductionism in Art and Brain Science: Bridging the Two Cultures by Eric R. Kandel (2016). Fascinating! …I found it particularly resonating bearing in mind my ongoing interest in straddling a line between the two (abstraction and figuration) through composition and values.

Finally, a bit of gratifying news and shameless self-promotion: my piece “It Isn’t That Simple” was picked-up and used by the Surface Design Association to illustrate their Friday Fibers Roundup blog last week.

Perennial Inspiration

I don’t remember exactly when it was I bought Sara Midda’s 1981 book In and Out of the Garden, but it must not have been too long after it came out. Years before I was able to have a garden of my own, that little book has graced my bookshelf in all our many homes, serving as an inspiration and a reminder of the universal beauty and solace to be found in the magic that results from adding seeds to soil.

Scissors Detail 1

Stitching in progress, detail      ©2017 Elizabeth Fram                                                                    The idea of including and concentrating on an area of tone-on-tone cropped up while working on the piece previous to this one.

The main draw for me is Midda’s tiny watercolor images, luminescent and charming. Paired with her hand-lettered text of quotes, historical facts, poetry, and recipes, I have always found a gentle delight in reading and rereading this book that underscores much of the way the world of horticulture captures the imaginations of those of us inclined to garden.

Scissors Detail 2

Detail      ©2017 Elizabeth Fram                                                                  The scissors remain more sketchily defined as a foil to the heavily stitched areas above and below them.

In 1990 she followed up with Sara Midda’s South of France – A Sketchbook, and in 2014 A Bowl of Olives: On Food and Memory was released. I was quick to buy copies of each as soon as I learned it was out, happy to become re-immersed in Midda’s eye for the details that honor the essence of the unsung elements that surround us, things we tend to take for granted but which give such a strong sense of place and moment. All three books are meditations of a sort, quiet picture books with “more”. To some degree I am sure appreciation for her observations have had some lasting sway on my own choice of subjects.

Scissors Detail 3

Detail      ©2017 Elizabeth Fram                                                                  In the end, I think it’s the “conversation” between the diversity of pattern, evident in both the stitching and the stitched-resist pattern, that pulls the piece together, making it whole.

Despite looking, I haven’t had much luck learning more about Sara Midda. There is relatively little information about her on the web other than a few promotional articles and blog posts marking the release of each book. Disappointingly, she doesn’t seem to have ever had a website. So I was thrilled to discover that Danny Gregory* conducted a 40 minute video interview with her on his Sketchbook Club blog last week. How lovely it is to hear her talk about her process and the history of these books. Outwardly quiet and gentle, just like her art, it was one of those rare occasions when all elements seemed to add up.

Scissors Unframed

Divide and Conquer, unframed     ©2017 Elizabeth Fram                  Stitched-resist dye and embroidery on silk

Have you had a similar experience with a book that has had a lasting impact on you? Please fill us in…

*I credit Danny Gregory’s book Everyday Matters and his original blog of the same name as being the instigation behind spurring me to commit to drawing regularly. I have no doubt his welcoming and encouraging approach, pointing out the huge benefits to be gleaned from drawing, regardless of ability or experience, has been one of the main driving forces behind awakening or reinvigorating the desire to draw for thousands of people. If you aren’t familiar with him, check out his site.

Dog Days of Summer

I find Elizabeth Gilbert’s Magic Lessons podcast to be something of a mixed bag, but Episode #204 – “Who Gets To Decide Whether You Are A Legitimate Artist?” took my breath away.

Quinn1

©2017 Elizabeth Fram

I think we can all agree that rejection, criticism, and even intentional disregard come with the territory of what we do, but it doesn’t seem to stop us, does it?

Quinn 2

©2017 Elizabeth Fram

Whether you are at the height of your success or have never shared your work beyond your own eyes or ears, if you are someone who is called to make art of whatever discipline, take some time to listen to this episode.

Quinn 4

©2017 Elizabeth Fram

It will only underline that you are on the right path.

On a Different Note___________________________________________________________________________________________

Did you see Colossal this week?
As the saying goes, a spoonful of sugar makes the medicine go down. So it is with Laurel Roth Hope’s wonderful work that offers a touch of humor and beauty while “exploring environmental harm, extinction, and consumerism”. Check out her Biodiversity Reclamation Suits for Urban Pigeons and Peacocks on her website – beautifully constructed and so smart.

Pyrotechnic Analogies

With all the rain we’ve had this summer, my garden is especially lush.
And while, as I’ve written before, I love the quiet and visual restraint of a winter landscape, these months of vibrant color definitely serve to recharge my batteries to carry me through the more subdued seasons ahead. In February I’ll look back at pictures taken around my yard from June through October and they’ll seem almost impossibly luxuriant.

If given a choice, I am overwhelmingly partial to purple, particularly the shade that hovers over the line between blue and violet. I have a delphinium, planted several years ago, that fully came into its own this summer. I can’t get enough of the depth and layers of color within its blooms, even as it slowly fades. It is placed so that I can see it up close just as easily from inside the house as when outside. I’ve been watching it attentively and think its dramatic change from sprigs of branched buds to full-on sprays of exuberant blossoms has been equivalent to a fireworks display in slow motion.

Embroidery part one

© 2017 Elizabeth Fram, Dye and stitching on raw silk

I suspect being steeped in this beautiful blue had a subconscious influence on choice of dye color in my current textile piece. But also, the section I’ve been working on/stitching this week certainly seems to echo this idea of slow motion reward: a measured start building into a crescendo of stitched pattern.

Embroidery part 2

©2017 Elizabeth Fram, Dye and stitching on raw silk

Hopefully I can carry the spirit of that idea forward with the next steps I have planned.

Speaking of fireworks, I’ve had them on my mind since finishing The Book of Fires by Jane Borodale. It’s a fictional tale of 18th century London that is most interesting for its view into the workshop of a fireworks maker, paired with the harsh realities of the daily workings of life in that time and place. It’s the author’s debut and a quick, entertaining read if you’re looking to add one last title to your summer reading list.

And finally, I love the wisdom of this poster by Libby VanderPloeg. It appeared this week on Sara Barnes’ illustration blog, Brown Paper Bag. It should be my daily mantra. What are you working to get good at?

VanderPloeg poster

Libby VanderPloeg

Metaphorically Speaking

Last week a friend and I were talking about how making art is much like chess — a series of moves and counter moves in tandem.

Scissors 1

©2017 Elizabeth Fram     Beginning with an outline is pretty straightforward. The first major decision was to choose a variegated thread. The gentle change of color/value gives an initial suggestion of moving back and forth in space, in a way that solid-colored thread wouldn’t allow.

You may enter the process with an overall idea of the direction you’d like a piece to take and how you expect it to eventually end up but, unlike a recipe, the steps can’t be completely mapped out in advance or followed blindly.

Scissors 2

©2017 Elizabeth Fram    Stitched highlights and dark areas play together with the variation in value of the dye colors. It’s important to keep in mind how the two can work together rather than against each other. For instance, on the left handle, the dark inside area plays against the lighter area of dye just above it, while similarly the highlight of white in the corner of that same handle contrasts with the darker zone of dye above it.

Therefore it’s necessary to be open to surprises with flexibility, which is one of the key aspects of making that I’ve come to love most. Also, it’s the act of move, response, move, response, that lays open a sense of a living process as opposed to a mechanical progression.

Scissors 4

©2017 Elizabeth Fram    The shadow underneath really brings out the scissors’ definition, but also underscores the need to further define certain edges on the underside of the blades and in specific areas under the handles where the lightness of the variegated thread hindered the sharpness of the image.

There are plenty of challenges with each step, but the enjoyment of solving these inevitable hurdles becomes a strong allure within the process, seducing me back to begin the exchange again with every new work.

Scissors 5

©2017 Elizabeth Fram     The happy accident of the dye is that the darker areas on the upper edges enhance any suggestion that the scissors are underneath the shibori. However, I found when I stood back that the scissors seemed to be levitating above the surface they are sitting on. I changed the less dense areas of shadow  by resewing them in a deeper red, more in line with the nearby dye color. Interestingly, that seemed to bring the scissors back down onto their surface.

The satisfying sense of interaction that comes with facing unexpected results have proven to make for richer resolutions.

Scissors 6

Cut-Off (detail)   ©2017 Elizabeth Fram     Tiny tweaks at the end can make a huge difference. Adding a thin line of lighter value stitching on the top of the left handle, pulls it away from the background, lending a sense of substance.

Once corralled, I think it’s that intriguing dance between the known and the unknown that generates the nut of the satisfaction that comes with making art.

Scissors 7

Cut-Off   ©2017 Elizabeth Fram    This piece will be framed so that the outer edges of dye are cropped. But I wanted to show here the way it flows beyond the mokume-shibori.

Kéké Cribbs blog post Why We Need Art, for Tansey Contemporary gallery in Sante Fe,  is a great reminder of our shared humanity and the part that art plays, not only in shaping our culture, but in preserving it — in part by helping to get it back on track when in danger of running off the rails.

Peonies Unparalleled

When I was in my 20’s, I had the extreme good fortune of being invited by a distant relative to accompany her on a trip to the Far East. It was the mid-80’s and China had barely opened their doors to the West. Inspired by Chinese art history classes in college, I had developed a fascination with Chinese culture. And having the opportunity to fully immerse myself in that environment before westernization took hold, (as much as any American was allowed to immerse themselves at that time), was an incredible opportunity.

Peony

Paeonia “Coral Charm” – from my garden

Images of Beijing and Shanghai today portray metropolises of high-rises and neon hardly different from any of the world’s other great cities, but when I visited, China was truly a different world, caught in a different time. Most buildings then were no taller than 3-4 stories and the streets swarmed with bicycles rather than cars. There was a sense of space and intimacy despite the burgeoning population, qualities that the encroachment of concrete and highways tend to nullify. Everywhere you looked there was something beautiful to see, and it was not unusual to come across a sight (such as fishermen casting their nets) that was exactly as illustrated in a centuries-old painting. The importance and attention attached to aesthetic details enhanced even the most banal of structures, leaving a lasting impression. Flora and fauna were liberally depicted and our guides made a point of sharing their symbolism.

 

Chinese Peony Painting

 

I didn’t have much expendable income, so was careful in keeping my eyes open for something I could bring home to mark the experience. By far my favorite and most significant souvenir is a lovely painting of a peony and butterfly that has hung prominently in every home I’ve lived in since. The peony is the national flower of China, and in full bloom it symbolizes peace, making for a worthy remembrance.

Peony 2

©2017 Elizabeth Fram

Peonies are such glorious flowers and hold a special significance for me, a factor which I’m sure influenced my choice of Chinese souvenir. My mother had a peony bush with pale pink blooms that were lightly streaked with deeper pink stripes. It was one of the showiest and most exotic flowers in her Maine garden and we eagerly anticipated its annual display. Like a sacred object, she would bring a single blossom inside each year to grace the dinner table, floating it in a square silver dish that I don’t remember being used for any other purpose. I have an ancient childhood memory of sticking my nose into one of the flowers, deeply breathing in its scent with the naive expectation of being rewarded with the cool aroma of peppermint, as its coloring suggested.

Peony 3

©2017 Elizabeth Fram

In my current garden I have three varieties of peonies that bloom in succession and all strike me as just as extravagant and rewarding as my mother’s. It’s as much a treat today as I remember it was then to bring in one special bloom to set on the dinner table to treasure in its fleeting glory.

©2017 Elizabeth Fram

Yet another reward of keeping a sketchbook…the opportunity to tap into the richness of memories while standing firmly in the beauty of the present.

Have I recommended this before?
The Flower Recipe Book by Althea Harampolis and Jill Rizzo is an extraordinarily beautiful book – one that will sweep away anyone with the slightest interest in the forms and colors of flowers. I would even go so far as to recommend the digital version as  the backlighting of an iPad or similar device somehow adds to the impact of the gorgeous images.

See more inspiring and lush floral imagery on Instagram: @pottersarms and @tulipinadesign

Pike Place Peonies

Hard to resist these buckets of peonies at Pike Place Market in Seattle last month

 

Escaping the News

I need a break from current events…how about you? This week I’m sharing three artistic escape valves that caught my eye. Each offers a healthy measure of food for thought and moral fortification for moving forward since putting our heads in the sand isn’t an option. Hopefully one or two of them will interest you as well.

Townley Untitled 1979

Untitled 1979, ©Hugh Townley, Mahogany and maple relief, 26 x 15 inches

If you’re in Vermont between now and September 10, please consider a trip to Rochester to see the Hugh Townley exhibit at BigTown Gallery. It is a lovely collection of Townley’s sculptures, reliefs and prints, highlighting his strong sense of design with a healthy dose of play. You couldn’t ask for a better example of the power of art to lift one’s spirits in pure joy; it’s just the ticket for getting your head in a better place.

Dark Night 1992

Dark Night Tuba City 1992, ©Hugh Townley, Obeche relief, 26 x 16.5 inches

Townley’s painted works are bright and amusing, and his prints are strikingly engaging. Yet I was drawn to and favored the oiled wooden wall relief pieces. His manipulation of light, shadow and shape draws one into each imagined space, accentuating the natural grain of the wood while emphasizing each piece’s rhythmic layers of depth. The work is vaguely reminiscent of Louise Nevelson yet never loses its infectious sense of playfulness. I found myself smiling as I made my way through the gallery, and realized later that, in addition to being a bright spot on a dark and rainy afternoon, my visit was also a very welcome respite from the anxiety that has been hovering over my shoulder with each new revelation from Washington.

Townley Lost in Space

Lost in Space 1996, Hugh Townley, High-gloss painted wood color relief, 35 x 19 inches

To maintain the good mood, cap off your visit with a slice of homemade maple cream pie from the Rochester Cafe a couple of doors down from the gallery. There is much to be said for the art of a good baker!

Townley Untitled 1998

Untitled 1998, ©Hugh Townley, Mahogany relief, 23 x 18.5 inches

Fortuitously, the next day Maria Popova’s Brain Pickings article “Wallace Stevens on Reality, Creativity, and our Greatest Self-Protection from the Pressure of the News” showed up in my inbox. It is a lengthly, but oh-so-worthwhile read if, like me, you are feeling a bit overpowered by the unrelenting media onslaught. As the world continues to spin, I think many of us are wondering how our work can fit in and remain relevant; whether it can possibly stay abreast at a time when it seems an artistic perspective is more important than ever.  Which leads to the question: what exactly is an artist’s responsibility in such times?

Townley Fight Night

Fight Night 1996, ©Hugh Townley, High-gloss painted wood color relief, 31 x 24.75 inches

Popova’s article includes the following quote from Stevens which addresses that specific question:

Certainly it is not to lead people out of the confusion in which they find themselves. Nor is it, I think, to comfort them while they follow their readers to and fro. I think that [the artist’s] function is to make his imagination theirs and that he fulfills himself only as he sees his imagination become the light in the minds of others. His role, in short, is to help people to live their lives.

For further reading on the subject, check out the links in my post from last January: Art as a Responsibility; Art as Superpower .

Townley Soaring

Soaring (Ups and Downs) 1992, ©Hugh Townley, Mahogany relief, 22 x 11.25 inches

And finally, consider giving a listen to Joseph Todorovitch’s interview on the Savvy Painter podcast to see how the act of buckling down and doing your work can be a remedy in itself. I found much to connect with in what Todorovitch says, but what struck me most was his articulation of an overarching truth I am coming to understand through stitching and drawing — the value of slowing down and being present. Ironically and counterintuitively, it is perhaps the best escape of all.

On a Different Note…                                                                                                                                  

I crossed another big project off my list this week. I invite you to take a swing through my newly updated website — it’s reorganized and simplified with new work added.