Memphis has a great public radio station that does something unique in my experience (and I listen to a lot of NPR as I travel). Every single day and usually twice a day, they have a short program called Checking on the Arts. They interview artists, actors, musicians, people putting on fairs and booking concert halls, anyone doing something artistic in Memphis. Lots of stations get occasional bands into the studio, but no one I've heard has daily features that include visual artists as well. As a listener, I've gone to a number of plays I might not have, once I've heard the director or actors talking about the production, and I hear about lots of things I want to get out and do.

As an artist, it is gold. Especially since I've gone solo and don't have a gallery doing publicity for me, it is a beautiful thing to have a station willing to put me on the air and let me talk to the city.

And they do an amazing job. I got in this time, and Darel Snodgrass had a printout about my new show sitting on his desk already. He always does research ahead of time, asks great questions, keeps things moving along, covers everything that needs to be announced (challenging this time, because I have a lot on this year), and he does it all with warmth and enthusiasm. Here is this week's interview about Dixon, MTS, my holiday sale, and more....

liturgical work has been in black and white to honor the budget constraints of the churches I work with. When I began, pen and ink was more comfortable for me anyway, but I've really been enjoying watercolor the last couple of years, so I'm excited to get to branch out a bit for MTS. Here is my Genesis painting for the first week of chapel. I'm looking forward to doing a series.

First Congregational, universally and affectionately called "First Congo," invited the Memphis Urban Sketchers to draw during their worship service this morning and show our sketches at the back of the sanctuary afterwards. They have a ministry position devoted to the arts, ably filled by Mary Button, and they change art installations regularly. We were invited to celebrate the beginning of a season where they focus on the creative spirit of God.

It was a neat invitation, and I enjoyed walking in and seeing so many friends and neighbors there. We sang a couple of neat hymns and had a lovely table service, and otherwise I concentrated on my drawings. I did one longer term watercolor and then did several quicker pen sketches.

I think I mentioned that I got some advice from Tom Pellett yesterday at our meeting, and I worked on implementing it today. I've been lukewarm about my marker sketches, even though I love his and like the idea of the quickness and ease (compared to setting up a full watercolor kit). Tom suggested I use the wash to pick out the lines around the edges of things -- not to fill in the entire drawing with tone. So I played with that in the sketches below and was excited about the results. I'll have to do some more people studies before I go cold again. He also makes me want to sketch in the Metro next time I'm in Paris. I may have to get up my nerve and try that.

This is the eighth and final print for the season of Easter. It's been a long time to do a weekly print series, but I learned a lot and especially enjoyed playing with the varied color inking.

I think I've written that I've done several art series for Lent but never for Easter. Lent seemed long enough (six weeks), and eight full weeks of Easter surprised me, but I do believe it's right that a celebration of the Resurrection should outlast the journey to the cross. Last year I read some excerpts of N.T. Wright about the way the church as a whole observes Easter. He is an Anglican bishop, but the observations are applicable to most denominations, I think.

Since his words affected my thinking so deeply, I thought I'd finish the Easter season by quoting a couple of passages here. Thank you for taking this Easter journey with me.

"It's a great step forward that many churches now hold Easter vigils, as the Orthodox church has always done, but in many cases they are still too tame by half. Easter is about the wild delight of God's creative power -- not very Anglican, perhaps, but at least we ought to should Alleluias instead of murmuring them."

"But my biggest problem starts on Easter Monday. I regard it as absurd and unjustifiable that we should spend forty days keeping Lent, pondering what it means, preaching about self-denial, being at least a little gloomy, and then bringing it all to a peak with Holy Week, which in turn climaxes in Maundy Thursday and Good Friday...and then, after a rather odd Holy Saturday, we have a single day of celebration."

"Is it any wonder people find it hard to believe in the resurrection of Jesus if we don't throw our hats in the air? Is it any wonder we find it hard to live the resurrection if we don't do it exuberantly in our liturgies? Is it any wonder the world doesn't take much notice if Easter is celebrated as simply the one-day happy ending tacked on to forty days of fasting and gloom? It's long overdue that we took a hard look at how we keep Easter in church, at home, in our personal lives, right through the system." (All quotes from Surprised by Hope, N.T. Wright)

This series of prints has been my attempt to live Easter this spring. For those of you who do not celebrate Easter, thank you for your patience, and I'll be moving on to travel painting quite soon. My family is taking a trip to England in June, and I'm looking forward to painting a country I love.

This is the seventh of the eight week series of Easter prints, done for various churches that subscribe to my artwork and use it in their church bulletins. I based this one on a painting I did at the woodworking school Country Workshops, located on a gorgeous piece of land that is one of my favorite places to paint. You can see the original painting and then the pencil sketch and the trace of it (to transfer to the block with carbon paper) below.

Here are the block and the color print. I had fun mixing the colors on the block with three different rollers, blending as I rolled. I was totally absorbed in the process and didn't think to take photos at the time, but I'll be doing this again. I've learned a number of things from doing this series, but the color inking has been the most fun thing to play with.

The type printed on top was the last step, after the original block

Five down, three to go. Here's this week's psalm. I think I may do an edition of the block alone, without the text, as well as a small edition of the psalm.

Below are the block halfway carved and the very first proof. I pull a couple of proofs, hone a few things I don't like, and print in color only when I've got it the way I want it.

Once the image is printed, I move on to the text. I took a little wider area picture this week. You can see the metal chase (frame) that I set the type in. I build around it to the edges, like working a jigsaw or piecing a quilt. The final stage is the lock down. The metal strips at the right and bottom with round holes in them are "quoins." There's a "key", a metal tool, that fits into that hole and turns, and as it turns, the quoins expand a bit to make everything snug so that I can pick up the chase and put it in the press without the type falling everywhere. This is after I've printed. I've cleaned up the type, but you can see the roller with the dark red ink on it.

I'm finding it quite a challenge to have one of these finished every week, so this week I took a moderately easy route and went with a very simple to carve design. Now I'm trying to work ahead a bit before I'm out of town a good bit of next week. Thank heavens for a marvelous house mate.

I'm taking a break from the instruments this week. I really love in the Psalms how all of creation takes part in praising or lamenting. We humans get to thinking that everything is about us and forget that we didn't even get our own day in Creation --- we shared it with all of the beasts of the earth.

Here is week two of the Easter Psalm series. I just looked at the liturgical calendar and realized I have six more of these to do. Possibly an ill advised series when I'm traveling so much, but I really like celebrating Easter for more than a day, especially in a year and a spring that are so personally joyful to me.

In previous years, I've done a series of prints to mark the season of Lent, but last year I read a quote from N.T. Wright talking about how we observe Lent for 40 days but only celebrate Easter for one. This year I decided to do a series for the season of Easter instead.

I carved the trumpet for the first print on my recent road trip, and, knowing I had a pretty quick turnaround after coming home, I also took my travel printing kit to be able to proof it and really have it ready to print when I got back. I found a train style make up case at the second hand mecca of Unclaimed Baggage in Alabama a few years ago, and it's the perfect size for my basic printing equipment.

When I got home I was ready to print the final image on the good paper in colored ink.

Then I set the wood type, using a metal frame called a chase. This means I can pick it up and move it around instead of having be stuck in my proof press, making me unable to print anything else until I disassemble the type. For smaller projects I can use a chase. For the bigger ones, I put larger type right in the bed of the press. This project is about 10x11", using my smallest wood type, so a chase is just right.

Finally I printed the type on top of the trumpet image.

And here's a sneak peek at week two of Easter. I couldn't resist a banjo, of course.