I made a flying trip to Ocean Springs again recently and stopped to see Faulkner's home at Rowan Oak in Oxford, MS, on the way back. I hadn't been since I was a teenager and was struck by both the beauty and the lasting imprint of Faulkner's personality on the place. It was given to the adjacent University of Mississippi by his daughter, so all the original furnishings are in place, along with some well told stories in the individual rooms. I loved his study with the typewriter he used, the fan that blew papers off his desk, and the outline of a story written around the wall once the fan had blown his outline around one too many times. I tape things up on my wall to look at all the time in my work, so I felt a kinship to that approach.

But the thing that really grabbed me, as always, was the TREES. They called so loud that I went back down the next week to walk the forest path next to the house (leading, beautifully, to the university art museum) and to draw the trees I'd been thinking about. It was good to spend more unhurried time, check out the exhibitions at the museum, poke around in Square Books, and visit Faulkner's grave at the local cemetery. With my show up at WAMA, it's nice to have a new thread of art to start dreaming on, and we'll see what comes from these trees. My last few prints for WAMA had moved from water back to trees, so this feels like a lovely continuity to where my muse had been leading me already.

This last sketch is the last page in my sketchbook, and it has my Ohr museum sticker from down on the coast. I love to put those entry stickers from various museums right at the front or back of my sketchbooks. this tree just happened to need the one half page, so I went ahead and worked around the sticker that was already there.

I’m giving myself some vacation time this month after all the craziness but am also working slowly on this new print. I sketched after sunset one evening during my opening week. The family all walked down to enjoy the beach, but I got there first with my sketchbook to wait for them. You can see from the sketch on top that I need to lighten the pink and purple both, by a lot, and I’m keeping on carving on the blue block. I’ll whittle down those large blue splotches to more pattern. But I’m pleased with where it’s (slowly) headed.

Here it is with the third block that has both black and blue on it.

The story of Emily Sutton was fascinating (and sad) to me. She owned a bordello, and her madam name was Fanny Walker. When the yellow fever epidemic hit Memphis like a brick in the 1870's, she turned her bordello into a hospital and nursed sick patients until she died, while many prosperous people fled the city instead. She was buried at Elmwood with a lovely marker, but the judgemental patriarchal society added not one, not two, but THREE large boundary stones with her madam name in large letters so no one would forget that she was "only" a prostitute. Jerks. You can see Gideon resting his chin on one of those while I sketched her.

My last sketch with the sketchers (Gideon was with me a different day for Emily) was a rapid walnut ink sketch with a dip pen back at the meet-up site waiting for everyone to gather. I'm really enjoying my dip pen lately. And the walnut ink.

Here is the final batch of sketches from my opening weekend at Walter Anderson Museum of Art. Beautifully my family stayed Wednesday to Monday, so I had some lovely long days to both visit and sketch. (My sister did say that if I'd had a show in, say, Omaha, they might not have stayed as long, but she was delighted to have most of a week at the coast.) Above is a quick post-sunset sketch done in the half dark that I'm not making a print from.

Next is the dinner I had with two artist friends. It was Melissa's actual birthday, but we pooled our celebrations and had a wonderful time catching up and talking about the business of having an art life, navigating self employment, keeping some time for yourself, taxes, and all the fun stuff... But I love talking to other creatives, and it was a wonderful evening that set the tone for the whole week. I also love being out with other people who pull their sketchbooks out with joy and abandon.

Next I noticed the moon walking home from dinner with the family a different evening. I was transfixed, grabbed my sketching stuff, and did this quick piece with a fat, water-soluble graphite crayon and some watercolor on top in near darkness. Hence the simple colors.

Finally the last day, my sister, her husband, and I cycled out the coast road to the Davis Natural Area. We took a breather at a picnic table right on the shore. I love that trees are right along the water line in so many places. Two of my favorite things. We poked around, did a shortish hike, and I made one more visit to the museum before heading home.

I celebrated delivering my new show by sketching lots and also buying a new "I HAD A SHOW AT WAMA" tea set that will forever hold these happy memories for me. I had gone to Shearwater Pottery just looking for a cream pitcher, since I'd recently broken one of my favorites. But of course I ended up with a teapot too. Actually not "of course" -- teapots are hard to make, and they don't always have them in stock. This blue/green/grey glaze was so gorgeous I couldn't resist. In an added bonus, when I got it home, I found that my new favorite tea infuser fits EXACTLY into the hole with the lid going just inside it, so it's my easiest to use teapot of all the ones I now have. (Lots of them, sadly, are too narrow for my infuser, so I use them less than I used to, but I do still rotate through them for joy.).

Speaking of joy, they got my show up on the walls before I left, so I sat in the gallery and did a celebratory sketch of it. So much joy.

I also sketched this tall tree that I've been wanting to do a print of. It's good to have sketches as well as just photos to work from, though both are helpful in different ways, especially for more detailed subjects. And I'm adding in a second vertical that I did at my opening weekend to balance it out. My mom's three best friends have shown up for me at all the truly important passages of my life, acting as her proxies. They couldn't be at the museum in person, but they sent these gorgeous flowers to mark the occasion, and I couldn't be more grateful.

This month has been so non-stop that I have most of a sketchbook finished and almost no scans done until today. I put snapshots on site up on my social media and sometimes here, but the scans show the sketches so much more clearly. Here are a batch from the beginning of the month when I got to stay in this lovely artist cottage at WAMA. I take down my traveling teapot and electric tea kettle and have breakfast (and lunch and sometimes dinner) on the little balcony. It's a beautiful, peaceful place to stay.

Driving down that trip my art delivery day was February 28. The day before Mardi Gras. So I got to pick up an actual king cake on my way in to town. They are SO much better down on the coast. The Memphis versions I've tried have been very pale imitations, even though we're a good food town overall. So here's my king cake along with my travel teapot. All the essentials.

I admire the artists who do full on collage. I've always felt that mine look more like 4th grade projects. But with this sketchbook, I've been making small movements in a multi-media direction, pasting in bits of ephemera that evoke the moment. The king cake label was one, and this lovely card from a kind friend is another. I got called up to the front of the museum while I was there, and a longtime friend had seen me down there delivering art on fb and actually sent me flowers to celebrate that moment. It meant so much. They sat with me on my little balcony and nodded gently in the back of my hatchback as I drove back home to Memphis.

I always try to draw flowers when I'm lucky enough to get them. They are a gorgeous but ephemeral gift, and having them in my sketchbook helps me remember the moment and the beauty long after the original flowers have faded.

I could not be more happy this week. I just got home from five days in Ocean Springs. My family came and stayed Wednesday to Sunday/Monday, thirty-three freaking friends showed up from out of town for the reception (most of them 6 hours away and some more than that). Several other friends saw the show the same weekend or came to one of the artist talks. I’m stunned and touched that so very many people showed up.

Very beautifully, three of Walter Anderson’s children came to the opening as well, sought me out, talked to me about my work, and told me that the movement and pattern and nature focus in my work was a great fit in this space and with their father’s work. Their father is one of my premiere art heroes, and that kindness from them meant more than I can put in words. Sarah Dutton from WAMA captured me talking to Mary with John in the background, and I was delighted that she caught the warmth and radiance of Mary’s kindness to me. John has been gracious over several meetings and always takes time to come talk to the children in the museum. The first time I saw my show on the walls two weeks ago, he was there talking to the kids, and I got to spend some time with him after talking art and hearing stories about his dad.

Melissa Bridgman took this photo of me and Leif, the other daughter, a dancer and dog lover and gently glowing person. I was delighted to meet her and her daughter as well.

I’ve mostly forgotten how to dress up and go out in public, but Kaleigh Donnelly took this photo of me in my favorite dress that made me feel exactly how I wanted to for this occasion, and I’m grateful.

Here are a few more shots by Sarah Dutton that I loved from the opening. The Old Ways from Oxford, Mississippi, played wonderful music that was just right for both St. Patrick’s Day and this traditional music loving woman. The whole night exceeded all my dreams, and I could not feel more lucky. It’s rare you get to say that. I finally went home, sat under the stars for a while, and wrote in my journal to help me remember in times to come.

Darel Snodgrass of WKNO fm kindly hosted me again to talk about my show at WAMA, sketching (always), the new catalog for that show, and my graphic essay about Mr. Darcy. With all that, he also kindly let me go on longer than usual. I'm so grateful for this daily show about the arts in Memphis. It gives musicians, theaters, dancers, artists, and other creatives a way to get the word out about the things we're doing, and I always learn a ton when I listen.

I went to Shearwater Pottery yesterday because I always do when I’m in Ocean Springs. It’s in its third generation of family potters. I was mostly looking for a cream pitcher, since I’d broken one of my favorites recently. But I fell in love with this set. They don’t have a full set very often, and it’s lovely, and I figured I would really enjoy having an “I had a show at WAMA” tea set going forward. Happy memories every time I use it. And it’s lovely. It’s earning its keep this morning by posing while providing tea.

It’s been beautiful to have a couple of slow mornings here. I’m usually walking the crazy puppy at least a couple of blocks before I bring in the paper and make tea. And it’s been a long, intense lead up to delivering this show. So I’m grateful for space where all I have to do is exhale and sketch for pleasure. Or read my
book for pleasure. Or have Second Tea. I’ll be back at work soon, but it’s a beautiful short break. Even though I helped hang Daffodil Season yesterday, I had a slow morning and evening to bracket the day. Deeply good.

My deadline for the last two years happened yesterday when I dropped off art at WAMA. I was delighted to see this sign waiting by the gallery slated for my show. It was huge just to unload the car and see the work here.

I celebrated by going down to the water, wading and sketching on the beach, and having a little actual gulf coast king cake. I always try the Memphis versions and am always disappointed. Driving down here this time of year is a big treat. Here are a few images from yesterday.

I’m having a slow morning today and will go to the museum later to help lay out the graphic essay for the small secondary show.