Day 6 and 7: Studies and A Sale

Thursday and Friday proved very busy over a variety of activities including a lot of conversations with visitors, documenting and marketing my work here. Friday afternoon found me navigating correspondence with a client over a 4 hour time difference and two days before the sale was confirmed. I took video of the painting, showing details, so they would have a better idea of the work. Buying artwork should not come with any surprises; I  wanted them to know what they were getting.
"Ariel Creek" will be sent to Seattle within a few months time, to accommodate the client's payment plan and my framing it up which is additional time/materials/charge. It is nice that although they are still fairly new at collecting art, they are familiar with the time and effort it takes to make it all go right. A better process for everyone that way too.

I finished three 11x14" on linen of the water lilies; studies that are complete in their way. Started and finished an 8x8" on board as a study for a 20x20" on linen that I started yesterday. With the studies, I worked on two different grounds to get a sense of things, using a rich but translucent Indian Yellow on one, and a Cadmium Red with a bit of Pane's Grey in it for the other. For the bigger one I chose a translucent Pane's Grey and put down the composition and values in white and grey over it.  The first wash of color over it seemed bright, so I'll continue with it today (Sunday).

 

My husband and three children (23, twins 20) and a boyfriend (25) came to visit Saturday afternoon, spending the night here in the Ice House with me after a long day of canoeing while I was in the studio, and a hike before nightfall that I joined, then dinner. They brought and prepared everything, which was a different operation than I am used to. It also took a while for me to be used to having so many people around! They all loved this place as I thought they would, and are gung-ho for a future, bigger family event in the future.

A group of students and their professor and other staff from University of the Sciences in Philadelphia arrived late Friday night to stay in the Watres Lodge. I had a nice early morning conversation with them, and a studio visit later in the day.

I handed out a lot of postcards on Saturday, to about 10 visitors (couples/groups) and have a possible sale coming from one of the couples who recently built a house nearby. There was lot back and forth as to how/why I am here making paintings. Someone asked if I was famous. I told them that I hoped to be one day, but not necessarily in the Manhattan art scene way, just financially independent because of steady art sales. Another suggested I attend Rittenhouse Square's Art Festival next fall, which I said I am already considering; they said they are regulars and would look for me there. Also had several conversations about what my "work" really entails, besides and over and above the making of paintings. I have found that marketing and administration takes up 2/3 of my total time attending to this re-boot of my career.

Haven't slept well in three nights.

I'll be moved to the Watres Lodge sometime later today, for the duration of my stay, joined by Heidi and another artist. Am expecting a possible sale mid-week, as a collector is driving all the way from Delaware to see this new work in person. I will admit that the amount of interest is a little intimidating, but this is what I am asking for so will meet my own challenge. It also reminds me (which I don't really need reminding of) how valuable a gallery relationship would be.

Am considering driving up to New Hampshire for a two day visit before heading home on Sunday. It depends on what piece/pieces I'm working on by then and how that's going. My time here is invaluable, I know, and I'm balancing that with knowing I will not have time off again until next summer.

Day 5: Visitors

More people here at the complex on Thursday than all those that I'd seen since Sunday put together. Several families with young children stepped into the studio to say hello; Craig L (VP of the Sanctuary) was in the big lodge getting it ready for this weekend's group and we had a nice chat; my sister and mother arrived around noon having driven 3-1/2 hours for the visit; and the day was rounded out sharing a glass of wine under the dark sky with a couple of women who'd come here to attend a nearby meeting and would spend the night in the big lodge. I was glad for company!

My sister Tina is a soulfully creative person, more so than I, truly. We spoke about spending a few days here together next year, which I'd really like. Her quirky photography, found and natural objects weaving, and intimate site installations should come together in an exhibit one day: A dual residency, and an exhibit for the results.

All the welcome interruptions kept me mostly out of the studio but I did complete the big canvas "Ariel Creek, October" the scene from below St. Mary's Church Road bridge looking out toward Lake Wallenpaupack. The painting came close to overwrought in places, and I'm keen on other parts, so all in all it seemed time to walk away, consider it done. In the late afternoon after my family visit was over, I did a 10 minute study on an 11x16 of the water lilies in Lake Lacawac. Today I'll do more of them, painting from the hip, then a 30x40 which I hope to create as a looser piece, more in kind with "Forsythia on the Creek". Big goal for tomorrow morning is to hike down to the Ledges with a couple of small boards before my husband and our kids arrive for the weekend.

Completed "Ariel Creek, October" 20x60" acrylic on linen:

Day 4: An Angled Companion

Late to bed and late to rise, it seems 8:30 is my internal waking time. I've elected for no alarms, and so without noise outside either, I've been opening my eyes completely rested and ready for the day. Yesterday's morning coffee, and several other times as I stretched my legs from the easel, I was met with the eyes of a young buck not more than 30 feet away. It seems this acre is his too. I'd seen him each other day once or twice, but yesterday he was closer and maybe less hidden as he strolled through the trees or lay in a patch of sun throughout the day. He's sporting a one-horn rack, one side cantilevered over his right eye like a jaunty hat line, pointing the way for him to make a constant circle so maybe he's trapped on this acre.
I spent the whole day in the studio, pushing the 20x30" piece that I started yesterday, and my comfort levels, then pushing more. It went to the ledge then over it, and I've hauled most of it back up with good result. I'm hoping to have it mostly finished today.

Had a good long chat with Roy, the Lacawac man responsible for the renovation in the Ice House last year. He gave me some history of the place from a personal perspective as he'd known Arthur Watres well. He's been the only visitor on a consistent basis as he comes and goes for work in this immediate complex. A couple of young girls (college?) were here for a few hours for a research project, and several cars went by during the day on the way to the pond dock for sample readings. The boats at the dock invite a ride on the water but I am reluctant to do so alone; looking forward to doing so this Saturday when the family comes visiting for an overnight.

Am expecting my sister and Mother to visit today for a few hours. A big investment (7 hours round trip) for the opportunity to egg me on, to see this location, and to consider it for a future family event.
The sun is out again today, no clouds at all. Planning to explore Heron Lake and the Ledges tonight.

Day 3: Dreamt Brushstrokes

Got a lot done yesterday, engaging some discipline to keep going when the day seemed done. Because the trees hold back so much light here, by 3pm it seemed dark in my studio where I'd been working on a 30x30 that I'll call "Lawrence Oak" based on a tree I pass every work-day; it may well be a maple, so I'll have to check that out.
Having taken some photos yesterday morning at the bridge over Ariel Creek, near where it engages Lake Wallenpaupak, I returned to the site at 5pm with a 20x60" canvas, primed and sketched out. I hauled a small kit down the steep grassy slope to the wet field below, and set up my easel within an array of deep animal tracks and scat. My companions were a couple of jays that make a constant ruckus in the opposite river bank. The painting went well and as I worked the sun hit the shore on the opposite side of the lake which I could see through the trees on either side of the mouth of the creek. I'll head out there this morning to keep going. My intent is to push some detail into this piece while keeping sweeping brushstroke, which I think I an do at this scale.
As I fell asleep last night, I dreamt brushstrokes, which I found annoying as I was tired and ready for sleep. My evening prior had me reading and studying my Group of Seven book, mining it for a lesson or two on restraint.
Near sunset I had returned and packed up the studio for the night, and was enjoying a hot cup of tea on the porch when a perky hiker about my age came by. She seemed happy enough to be snagged as a walking companion and we strode the rocky paths at a nice clip for about an hour, chatting about like-aged kids, real estate, art, and being middle aged. Her path continued as the sun was going down so I headed back before my return would become darkened. Feeling as I'd earned it well, my steak and mushrooms dinner with a glass of wine was welcome, with a laptop-sized movie, and then more reading.
Seems I'm getting the hang of the social media thing, having put some relevant hashtags on my Instagram. All evening and this morning I had unfamiliar Instagrammers looking at my feed, most from this region. It did give me the creeps a bit as a paranoid thought about having broadcast my general location making me vulnerable. My camp/hunting knife was by my bed all night.

Ariel Creek site:

"Lawrence Oak"

Day 2, Sun

Hadn't known I was so tired. Slept 10 hours for the third night in a row, waking once at 4:30. Did I give myself permission to oversleep? The virtual absence of anyone else's needs and schedule intersecting mine must be a key to this state. In any event, I am rested. The sun is out steadily (having not shown itself through the cloud cover for more than moments at a time yesterday) and so I will go for a drive and look more closely at a spot that caught my eye on Sunday. Yesterday's painting was a struggle as I have not figured out the best studio-lighting-to-easel orientation yet. It's a 30x30" linen, and I'll attend to it again after some fresh air. It is more evident to me now that I've been spending my painting's requisite drying times attending to household chores; without those in front of me, I may start a second or even third painting and work on them all together. Not sure if I can work that way. I took a small canvas and paint kit down the road yesterday around 4:00 to catch the bit of sun hitting the lake. From the road the air through the screen of trees seemed a grey-green with an grey-apricot haze here and there. So windy and cold that I abandoned the effort after a quick slap-down of underpainting and a few photos. Call me fickle; I like to be warm when I paint.

Some spilled tea near my cell phone must have stuck to its lens resulting in this ghostly image of the studio. I like it!

Lacawac Residency, Studio Log: Day 1

Wind is shivering the grounded leaves below a colorful canopy, and though this morning is chilled, the report is for a glorious day and rest of the week. I have not been alone for years. This residency - two weeks to make paintings and otherwise as I like - looms on this Day 1 morning like an anticipated joy ride, likely with as many ups as downs. I arrived yesterday at 2:45. The Ice House was open, clean and cozy. The Carriage House was open too, with lots of table and chairs strewn about, projecting some recent activity there. The Lacawac liason, Heidi, met me on the road then gave me a brief tour including a short hike down to the lake and a rapid-fire report on the highlights to be had - especially sunrise on the lake as beavers are there at that time - made sure I had keys, and reported on what to expect for other's coming to the lodge area over the next week. It seems I'm to be mostly alone for the week save for the hikers passing by. We said our good-nights and then I set to unpacking the van and setting up my studio. Pushing a large table to one corner of the house (area is about 10x15) and putting all chairs to the other end, I put my easel facing two corner windows, and set out my paints. Two days ago I purchased a contractor's grade, adjustable 3-panel LED light stand, and it seems to put out the right kind of light to augment whatever comes in through the trees, and might extend my painting day. During my 2-1/2 hour drive here yesterday, the sun finally made its appearance 15 minutes before I arrived. It's overcast now, but I'll go for a drive soon to seek and intercept some first morning sun. If you want to read about the Lacawac Field Sanctuary, its history and programs: www.lacawac.org Here is my studio, and the old entranceway to the lodges:

Sharing some thoughts that I expressed in a LinkedIn chat room about art making when its hard to do so. It felt good to put it in writing. This having followed a spurt of posting portfolio work from early 80's to late 90's, and seeing a thread between works that had seemed disparate. "There was a time, about 20 years ago, when I was making, exhibiting, selling my art and I had a good momentum, and was building a good platform both aesthetically with abstract works, and philosophically. Finding a way to continue that while raising a family proved difficult though, and despite a good run at simply redefining what I made (size and material wise) according to shrunken time and space, I was unable to continue for the long haul. Although I know many who have managed to keep a balance and have success at both career and the complex system that is home and family building, my energy to do so just wasn't there so I chose to focus on the latter. Picking up the baton now is proving difficult. I've made the space and have increasing time, but what I've realized is that I cannot pick up the same baton that I put down because I am simply not the same person, don't have the same perspectives that I once did, and my body has changed in ways that don't matter until I try to hold a brush for an extended time. Although I will admit to some embarrassment at having done so, I've returned to the representational landscape as a familiar "comfort food" just to get working again, hoping that in hindsight I may well see or make a connection that makes sense." Postscript: A bonus to the posting of portfolio work was a thought about how landscapes as an art form were an early, daily experience, through my mother's own watercolors of the Canada wilderness. No wonder I'm drawn to the Group of Seven.