I’ve been pretty quiet here lately because A. My art time has been doing a commission I can’t really show. B. Memphis has had two weeks of ice storm, unprecedented snow (at least in my lifetime), and now water troubles. We’ve been boiling water for days with no end in sight, and I’m washing my face at the kitchen sink with leftover tea kettle water. And C. Mr. Darcy is on hospice care in the middle of all this. His cancer is back. I’m hoping for a little more time with him now that we finally have good weather, but time is definitely short.

Above is a small detail of the commission. I’m designing the logo for the 2022 Music and Worship conference at Montreat, a huge Presbyterian center in Black Mountain, NC. I went to youth conference there every year as a teenager, and it was a really special place and event for me. I’m delighted to be asked to do this project. It’s taken a lot of sketches to get to the right place, a lot of carving, a lot of colors and rollers to print it this morning (I bought a few more small, 2” rollers to be able to use a bu ch of different colors together on the one plate and keep them clean), and there will be a decent bit of digital work this week once it dries enough for me to scan it in. They’ll need different shapes for all the various platforms (wide web banners, a vertical for the booklet, a square for IG, etc.). It’s been more of a project than I expected, but I need to just know to factor that in for church work, and I’m happy to be doing it. Above is a small detail of the finished print, since I can’t show the whole thing. It’s so nice to have your work sought out.

I've been taking Mr. Darcy to the farm a lot lately. His cancer has come back, so we're on a farm trips and extra chicken regime. He's still feeling good at this point, so I'm going to enjoy everything we get. 

I painted out here daily when I started my art career, back when I was doing large scale pastels and carrying a box easel. I felt like I really did all the art I could see for a while, but it's been good to revisit it with a completely different medium after some time has passed. I'm really enjoying our sketching getaways, and Mr. Darcy is too.

I did this sketch a couple of years ago, fast and loose, and it's kept calling to me. I decided to try it as a print even though it's not my usual format. I've gotten this far. It has too much "noise", the traces left of the carving. I always leave a bit more than I think I really want because you can take more away, but you can't put it back in again. Conservative carving is the way to go. I played with it in photoshop a bit just to thin it out more and see which version I prefer. I'm trying to decide now. Sometimes I need to sit with things a while.

I’ve been slowly working on the element of these trees lately. I had the tree on the right first, then the background, and then I decided I wanted the tree to have a buddy. Today I printed the first batch of both of them. I’m also dreaming of a different background —- maybe daytime with clouds and birds. I’ve done a single, finished image for so long that I’ve really enjoyed playing around with blocks in different ways lately. I got a book about the three generations of Yoshida printmakers, and they often used the same blocks for both a day and a night scene. I’ve been thinking about ways to open up my own process and use blocks in a variety of ways. These are likely for my show at Walter Anderson Museum of Art in 2022. You never know for sure until you get all the work together and see what makes the cut, but I’m feeling encouraged about these.

Here is the first proof (on wrinkled-y newsprint, just to see how it is) of my companion tree for the recent one under the dome of the night sky. I’ll put this tree on the same background, and I may think of different backgrounds for both of them. I’m working towards my show at Walter Anderson Museum of Art, and I had a quote from Anderson in my head as I carved this one: "I took a long walk yesterday afternoon to the east and drew trees -- I like the wandering ones, not the absolute freaks but not just the ordinary healthy ones either." I feel exactly the same way, with a bulbous, burled tree at Overton Park being my absolute favorite one.

Speaking of that tree (in my P is for Possum book as well as in several prints), a friend of mine delighted me by telling me that her young grandson recognized that tree in the book as the same in a print on her wall. She told him it’s my favorite tree, and he’s now pondering what tree is HIS favorite. That is exactly the sort of nature excitement I hoped so spread with the book.

This tree, too, is a long time favorite. My family calls it the Hawk Tree, because hawks roosted there for a number of years. I’ve painted it repeatedly for the last 20 years. It’s good to have images that call to you in different ways across the years. I’ll clean this up a bit and then try it on the nocturne background.

I gave Mr. Darcy another farm treat after his latest treatment. I’d been thinking about this tree and wanting to draw it again. It’s one of the ones I always return to, and just afterwards, I got a four year old memory (second photo) of drawing it from Facebook. I’ve done one small print of it, but I’ve been working on a tree under night sky print, and I’d like a companion to that tree. So I drew this one again, and I started carving it this week. As I type, I realize that I haven’t shared that first tree print here. I’ve been in a spurt of printmaking work ahead of a call with the curator at WAMA to check on the state of my show. She’s delighted with the trees as well as the water prints I’ve been doing, and I feel really good about the direction I’m going now. That’s always a boost before a big show. But I’d been working to get prints far enough along to show her. Here’s the first one. The arch still needs a little smoothing out, but I’m overall really happy with it. This second tree will be in the same scale and will fit the same background, and then I might dream up some alternate backgrounds for them as well.

I've got a call with the curator at WAMA tomorrow to have a look at where I am for my 2022 show there, so I've been trying to finish or at least proof all the prints I've had sitting around in various stages of completion. I had printed all the backgrounds for this set back in the fall, and I had all the birds carved, but I hadn't finished the printing until today. It's fun to see them all together. I'm mostly doing landscapes for WAMA, so we'll see if these make the cut or not, but I really like them as a set. I'll try to get better photos of them with good light. I haven't been charging over to Kinko's to scan the bigger things in with the pandemic raging.

This sketch got lost in the flood of Christmas commissions, and I wanted to scan it in and post it. I'd been doing a ton of forest sketches last fall, and on one gorgeous, sunny day I felt the pull of something different. I walked over to the park and sketched the Brooks Museum. I love these statues and the shadows on the white building plus the color blocks of the sign. It was fun to do something different and remember a time when I felt safe going to museums and standing in rooms full of art.