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I've been painting like crazy since I got home, and I don't tend to push myself to sketch if I'm making art exhaustively in another direction, but I did finally get my sketchbook back out Sunday, and it felt good. I had biked to church and found myself with extra time, since I usually walk instead. I wanted to do a quick sketch of the chapel with the paraments I had sewn a few years ago. It turned into a muddy mess, though. So after church I cycled over to the park to spend a little time before meeting friends for brunch, and I decided to add trees. Trees make everything better. It was fun to sit on the other side of the park than I usually do -- faster to get there on my bicycle.
Then I continued on to Overton Square for jazz brunch at Lafayette's. All three of Di Anne Price's "boyfriends" now play with a guitarist there every Sunday. I so miss Di Anne on piano and singing her songs, but it's good to still have Sunday music with the guys.
Then I continued on to Overton Square for jazz brunch at Lafayette's. All three of Di Anne Price's "boyfriends" now play with a guitarist there every Sunday. I so miss Di Anne on piano and singing her songs, but it's good to still have Sunday music with the guys.
One last sketch is kicking around from last week. My friend Elizabeth Alley gave a lecture about her current show at Dixon, which is such an amazing experience to have. I always learn from her and wanted to go hear what she had to say. It was fun to have a "professional development day," hear a great lecture, and go through the exhibitions there a second time before heading home to paint some more. Of course I sketched as I listened. My favorite thing she talked about was her "studio journal." I keep these sketch journals, and I keep a separate prose one for writing more in depth. I write about my art in the prose one, but those thoughts can get buried in all the other verbiage. A studio journal is genius, and I started one this week. It's always good to hear other folks on their art practice.
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The Reims cathedral was deeply wounded by WWI and consequently has some gorgeous 20th century glass (and some less gorgeous 21st century glass) in it. The standout work is the chapel in the apse, straight behind the main alter (and glowing throughout the nave like a beacon) which was designed by Marc Chagall. It’s exquisite. I love the thoughtful iconography, the worshipful colors with blazing bits surrounded by deep and peaceful blues, and most of all, the green madonna. It seems like such an obvious color for her with motherhood and fertility at the center of her identity. The colors around her remind me of the rich forests of the Pacific Northwest, alive with mossy beauty.
I couldn’t get my camera to capture the blue that glimmers through the cathedral from the Chagalls all the way to the west entrance, so I tried in watercolor instead. Still not satisfying, but better. I also love the off centeredness of the crucifixion, with that white figure showing up on the right hand side, but the deposition and ascension above and below (though less discernible from far off ) to its left. Brilliant design. I did one more sketch of the whole bank of candles that people light and pray by. It was a worshipful space, and I tend to paint the things that move me.
I wish I’d taken time to sketch the 1930’s smaller rose window at the back. Mary is central, and she is surrounded in a circle by several biblical trees (a palm, a cedar of Lebanon, and an olive tree) along with the moon, the morning star, and the sun. I love creation being so central in surrounding and celebrating her. I would have chosen an apple tree to go along with the others, given both Song of Songs and that lovely carol “Jesus Christ the Apple Tree,” along with the connection from Eve through her son Jesus to correct the original wayward bite. But that’s a quibble. It’s a gorgeous window in its own right. I loved the mid century glass they added in the restoration all the way around. There’s some subtle and beautiful grisaille windows as well. I wish I could have done these windows justice, and I wish they would hire one good photographer and get good images to sell. I was deeply disappointed in what was on offer. But it was a gorgeous cathedral to be in, and I’m so glad I went somewhere new this year.
I wish I’d taken time to sketch the 1930’s smaller rose window at the back. Mary is central, and she is surrounded in a circle by several biblical trees (a palm, a cedar of Lebanon, and an olive tree) along with the moon, the morning star, and the sun. I love creation being so central in surrounding and celebrating her. I would have chosen an apple tree to go along with the others, given both Song of Songs and that lovely carol “Jesus Christ the Apple Tree,” along with the connection from Eve through her son Jesus to correct the original wayward bite. But that’s a quibble. It’s a gorgeous window in its own right. I loved the mid century glass they added in the restoration all the way around. There’s some subtle and beautiful grisaille windows as well. I wish I could have done these windows justice, and I wish they would hire one good photographer and get good images to sell. I was deeply disappointed in what was on offer. But it was a gorgeous cathedral to be in, and I’m so glad I went somewhere new this year.
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My minister Steve Montgomery retired yesterday after 19 years of leading Idlewild Presbyterian Church. I don't often sketch during worship, but I felt like I needed to mark the occasion, and drawing it for me is a way of memorializing it. I did one sketch during the prelude and one during the children's sermon, and then I paid attention the rest of the time. Sketching is a deep way of paying attention, but it also distracts me from other elements of what's going on.
I was honored that they used my artwork on the bulletin for the last Sunday. Steve Berger had written a song for Steve M. that went well with it, so we used my print to illustrate the song, and it ended up on the front of the bulletin. I love this photo by Frank Kelly of Steve holding my bulletin and listening to a hymn that was commissioned for him. It's powerful for me to belong to a church that understands the importance of the arts in marking these moments and that encourages the artists and musicians who belong to the congregation.
I was honored that they used my artwork on the bulletin for the last Sunday. Steve Berger had written a song for Steve M. that went well with it, so we used my print to illustrate the song, and it ended up on the front of the bulletin. I love this photo by Frank Kelly of Steve holding my bulletin and listening to a hymn that was commissioned for him. It's powerful for me to belong to a church that understands the importance of the arts in marking these moments and that encourages the artists and musicians who belong to the congregation.
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There's a lovely article in the Presbyterian Mission about the upcoming Book of Common Worship that I spent a lot of last year doing illustrations for. It's coming out in May in three different editions, all with my Tree of Life linocut stamped into the cover. I am beyond excited and can't wait to hold it in my hands. I'm going to have to get the smaller personal prayer edition as well as the desktop one. The third is for pastoral use during hospital visits, weddings, etc. -- also smaller to carry around.
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I am deep in the midst of carving linoleum block prints to illustrate the upcoming edition of the Book of Common Worship for the Presbyterian Church, U.S.A. There will be 15 prints about 5.5x8" plus another 13 or so tiny 1.5" ones. Plus 19 ink gesture drawings. It's definitely my biggest commission ever. Work is due in early July, so I'm nose to the grindstone until then. I can't share the full images, but my editor said it would be fine for me to show some process shots and details of the blocks as I'm working. Despite the modest size, I'm including as much detail as I can. The carving has been a lot of fun.
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I have news! The Presbyterian Church, U.S.A., is redoing its Book of Common Worship, which they do every 25 or 30 years, and they have asked me to illustrate it. I am beyond delighted. I've done some illustration work for a couple of different publications for them in the past, but it was always journals or a year long study guide (for the Book of Revelation -- my first ever illustration job, and I dived into the deep end). Nothing that would be in print for a long time. I've been hoping recently to get to do more illustrations, and I am so excited to be offered this opportunity to work with Westminster John Knox Press. I'll be creating about 15 two color block prints, a cover plus a frontpiece for each main section of the book. The work will be due in June, so along with my March show I'll be having a busy spring, but I love having meaningful work to do, so that will be just marvelous.
(The print at the top is an older one of a church in Athens, but it seemed appropriate for this post.)
(The print at the top is an older one of a church in Athens, but it seemed appropriate for this post.)
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I have finally finished my Creation triptych, right up against the deadline of hanging my show at Memphis Theological Seminary yesterday. It feels good to see it up on the wall and hanging together as intended. The titles for the pieces are "Firmament," "Every Living Creature," and "And It was Good."
Unlike the vast majority of Adam and Eve paintings, where they are separated by the tree, already in the process of reaching for the apple, or being expelled from the garden in shame, I wanted to include their embrace as part of good creation, part of the full range of wholeness and celebration that God intended for us. As a church we have tended to shy away from Song of Songs and not talk about the bit of Ruth where she is sent in to the harvest floor to seduce Boaz. There is body positive, celebratory sexual space in the Bible, and I see that as one of the gifts of creation when used in loving ways that don't harm other people.
I appreciate working at a seminary that is willing to have these discussions and hang such art.
Unlike the vast majority of Adam and Eve paintings, where they are separated by the tree, already in the process of reaching for the apple, or being expelled from the garden in shame, I wanted to include their embrace as part of good creation, part of the full range of wholeness and celebration that God intended for us. As a church we have tended to shy away from Song of Songs and not talk about the bit of Ruth where she is sent in to the harvest floor to seduce Boaz. There is body positive, celebratory sexual space in the Bible, and I see that as one of the gifts of creation when used in loving ways that don't harm other people.
I appreciate working at a seminary that is willing to have these discussions and hang such art.
The show also includes watercolors and pen and ink drawings I did for chapel bulletins through my year at MTS. Above is the Creation series from back in September that the print triptych is based on, and below is Exodus.
One other body of work I included is my letterpress posters. I acquired a printing press and some type about the same time as I started making liturgical work from the Biblical text. I had always been a pure landscapist before, and I have so enjoyed playing with letters and words and images together. There's also a great power in putting words into print, one reason printing presses are so often attacked during revolutions of various kinds. It's meant a lot to be able to typeset and print phrases that catch my heart and my imagination at various places in my life. This work is different from the liturgical pieces, but I feel they are in conversation with each other artistically, and they come together to celebrate a new phase of my art making.
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I've been continuing to work on my creation triptych lately. It's taking me a lot more than six days for sure. I've got the sky piece done (that's first proof above, but it's quite close -- I just took more yellow out of the moon).
I've been printing a lot of blue skies lately.
I've been printing a lot of blue skies lately.
Below is the final of the animal panel and a later draft of Adam and Eve for the third panel. I'm still edging blue back out of the figures. You never want to cut too much at once, since you can't put it back, and I'm hoping I didn't get too extreme last night. I printed blue today and will do the top layer to find out once that dries. This is definitely the slowest one, because the blue is the middle layer instead of the top one. With the other two panels, the only other layer is a light yellow/brown, so it's less of a crisis what happens in the figures with that. The blue is the top pattern layer. With Adam and Eve, the blue can bleed into the figures, so I'm having to really proof it, check it, carve some more, proof it again. Hopefully this last round will work, because I'm hanging the show at the seminary next week, and this is my centerpiece. I'll also hang the watercolor sketches of creation (five total, the number of Wednesday chapels back in September, not the days of creation...) that inspired this print series. It will be fun to have them shown together.
I'm not posting as much as I like to right now. Between the printmaking and some deadlines and seminary work and switching to a new (to me) computer which wasn't talking to the scanner well, I haven't been either sketching or scanning in what I do nearly as much as I like to. An ongoing crisis in my park, where so much of my painting happens, has also taken a ton of time lately. It's lovely to be able to schedule my own time instead of punch a clock. When something that important surfaces, I can take a lot of time to help. But it's all piled up to make me feel pretty frantic lately and to have less art creation time than I like.
I'm strongly looking forward to a return to Paris in a couple of weeks. It will be marvelous to have three weeks solo just to walk, paint (hopefully the weather will cooperate and I can bring home enough work for a show this fall), and look at art. I do love getting away. I always work intensively when I travel, but it's the best part of the work. The book keeping, matting, schlepping work around, and anything else is eliminated, and I just get to paint. So lovely.
I'm strongly looking forward to a return to Paris in a couple of weeks. It will be marvelous to have three weeks solo just to walk, paint (hopefully the weather will cooperate and I can bring home enough work for a show this fall), and look at art. I do love getting away. I always work intensively when I travel, but it's the best part of the work. The book keeping, matting, schlepping work around, and anything else is eliminated, and I just get to paint. So lovely.
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Here's the first proof of a print based on the creation of the animals. I'm working on a triptych, if they look right together, or perhaps just a series of three, for my upcoming show at Memphis Theological Seminary. They're based on a series of watercolors I did for MTS worship back last fall.
The sky needs to be lighter and bluer and more gradated, but I'm overall happy with the carving. I started a second proofing round last night. Below you can see the carving underway and also the bottom block proof, with one main gold color but pink rolled in spots for the pig and cow udder. I've also got an Adam and Eve underway, with a moon and sun drawn out but not yet started.
The sky needs to be lighter and bluer and more gradated, but I'm overall happy with the carving. I started a second proofing round last night. Below you can see the carving underway and also the bottom block proof, with one main gold color but pink rolled in spots for the pig and cow udder. I've also got an Adam and Eve underway, with a moon and sun drawn out but not yet started.
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Memphis Theological Seminary is celebrating African American history month in February, and I suggested a series of Exodus paintings for the chapel bulletins. I love how the chaplain, my excellent boss, lets me run with the things that are calling to me. She suggested that the phrase "Let my people go" has special resonance, so I used it as the background for each image, and I like the continuity it provides. It's nice to have someone to bounce ideas off of and to collaborate with. That's been a beautiful upside to this job.
It's chronologically out of order for the book, but I want to do a series of Biblical women for March (women's history month), so I ended with an image of Shiprah and Puah, to bridge that transition between the months. I continue to be amazed that we have remembered and celebrated the names of two midwives several millenia later. Powerful.
It's chronologically out of order for the book, but I want to do a series of Biblical women for March (women's history month), so I ended with an image of Shiprah and Puah, to bridge that transition between the months. I continue to be amazed that we have remembered and celebrated the names of two midwives several millenia later. Powerful.
