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I still can't get enough of sketching Rowan Oak. I went down to meet my sister and brother in law for them to see my show and did a quick sketch while Marian was reading every placard in the museum. I love the pop of the green roof of the barn amid the winter greyness, and I also loved the curve of the trees framing it. More Inktense pencils, since I'm on a kick with them right now, and watercolor on top.
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It's been a weird Christmas around here, and I haven't sketched or posted as much as I had planned. Winter Arts took a good bit out of me since I was low ebb anyway, and then I got the stomach flu last week. But I recovered enough to enjoy a low key Christmas and do at least a little sketching. I did get a smallish tree up, a Charlie Brown sort of cedar from my family farm, and I've really enjoyed it. It's the kind of tree my family has always had, lucky that we still have a farm to cut one on. I did a sketch of it before the bug got me. And coming back out of it, I managed (at the very last minute) to do this map of the same family farm for my dad for Christmas, putting in all our nicknames for specific places and tucking in several of our dogs and my favorite trees. That felt so good to do, and it's made me think about doing a bit more family sketching as a sort of scrap book.
Then today, still tired from the bug but upright and back on solid foods, I decided a good low key activity would be a little car sketching. I had been eyeing the Bartlett Wine & Spirits with Santa on the rooftop and the canary yellow building as I've been driving to and from the farm this past month. I was afraid Santa would disappear any day, so I drove out and sketched from my car and bought a bottle of wine for the new year. A very satisfying outing. I'm ready to get back to more regular sketching.
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I've been doing so much show stuff lately that it was lovely yesterday to take a whole day for sketching and friends and art. Memphis Urban Sketchers met at Dixon yesterday, one of my very favorite places. It's been crazy cold this past week, but it was warmer today and very sunny. I found if I sat in the sun, it felt great to sketch and drink in the outdoors a while. I did the top sketch, a little labored but fun, chatting with one friend. Then I went inside to warm up as the sun shifted and had a great conversation on illustration with another friend in the cafe. I drew two more friends, and the paradise blue ink ran unflatteringly into their faces (which I should have left white given the ink I was using), but I loved the half done bookshelves behind the scene.
I had about fifteen minutes left to draw in one of the galleries, so it's wonkier than I would like (and I can't get the lovely muted teal color in pencil), and I added the left bit outside after we were breaking up but still chatting.
After THAT a few of us went back to midtown and ate takeout Golden India outside on the patio in the sunshine (I'm still reveling in all that time outdoors after some indoor days), and finally I sketched Henry on his favorite chair just before bed. I was totally going yesterday, and it felt great to just flat out draw. None of them are fantastic, but it all felt so good just to do.
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I went without sketching for at least a week after my long trip because I came home to full on family events and house guests. Joyful for sure, but I've also enjoyed getting back to sketching in my daily(ish) life. The first was a forest walk and sketch of the colors changing and a couple of great tree trunks. I started using pencils more with my paints (mostly Inktense water soluble pencils) on the museum trip, and I've kept enjoying them. I like the extra texture they bring.
Next is a farm sketch from Saturday. I went out and had a great visit with my folks, a great walk with Henry (we spotted the Christmas tree I want, though I'm not going to cut it yet), and a little bit of sketching time for me.
Next is a farm sketch from Saturday. I went out and had a great visit with my folks, a great walk with Henry (we spotted the Christmas tree I want, though I'm not going to cut it yet), and a little bit of sketching time for me.
Last is also pencils, using more colors than just one or two base ones. It's the view from the deck of Casablanca yesterday. I had a lovely time sitting out in perfect weather, drinking tea and having lunch and sketching with my best sketching buddy Christina. Always a pleasure.
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I took a day trip to Rowan Oak to call on my show last week and also spent a perfect afternoon walking through the woods to the University art museum and sketching my way back. I am continuing my love affair with the trees on Faulkner's property. I could see a whole second series of prints coming at some point.
I also checked in at the house and took a little video of my show Faulkner’s Trees. It is such a thrill to have my prints in this amazing place.
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Rasar State Park is one of my favorite spots in Washington. It has forest, beach, river, and meadow with mountain views. On an unusually sunny afternoon for late October in the PNW I headed there to walk and sketch and drink in a bit of sunshine. There's a perfectly positioned picnic table, lovely for perching and sketching, that I drew the overall mountain and cloud view from. I did a couple of trees on a smaller path.
The tree watercolor uses Diamine Ancient Copper ink to its best advantage. I forget occasionally and try to use it with buildings, and it bleeds all over beejeezus, but it's perfect for the organic nature of trees. The day had a ton of moisture in the air, and the paint took forever to dry, which meant it would often bleed into the color next door. That totally worked on the tree sketch, a little less so on the landscapes, but it was an interesting challenge. The odd one out is a walnut ink sketch with a dip pen of a nurse stump. The stumps of fallen trees will often "nurse" a new tree growing up and out of them, and the visual effect is dramatic. I also love the symbolism of new life, or new opportunities springing forth out of destruction, as has happened more than once in my life.
I walked three miles and did four sketches, and it was a total win of an afternoon.
The tree watercolor uses Diamine Ancient Copper ink to its best advantage. I forget occasionally and try to use it with buildings, and it bleeds all over beejeezus, but it's perfect for the organic nature of trees. The day had a ton of moisture in the air, and the paint took forever to dry, which meant it would often bleed into the color next door. That totally worked on the tree sketch, a little less so on the landscapes, but it was an interesting challenge. The odd one out is a walnut ink sketch with a dip pen of a nurse stump. The stumps of fallen trees will often "nurse" a new tree growing up and out of them, and the visual effect is dramatic. I also love the symbolism of new life, or new opportunities springing forth out of destruction, as has happened more than once in my life.
I walked three miles and did four sketches, and it was a total win of an afternoon.
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I took myself on a museum trip last week that I'd been trying to work in all spring and summer. I finally made it the last week of Kristine Potter's show Dark Waters. Good to have a deadline. I spent two days in Bentonville and two days on up the road in Kansas City, since I was that close already. The Momentary in Bentonville was the primary destination for this photography exhibition based on murder ballads. I had seen a single image in Oxford American last year and immediately ordered her book, but I wanted to see it on the walls, and I'm SO glad I made that effort. It was a remarkable installation. A cafe table set up with a video screen of an open mic ballad singing greeted you as you walked in, and the murder ballads themselves followed you through the exhibition. I'm usually not a fan of video installations in museums, but this was exactly right.
A luthier (guitar builder) was, perfectly, one of the museum guards for the show, and we had a great conversation the second day I was there sketching. He said a lot, really a lot, of people just didn't get the show at all. But I was raised on murder ballads and play clawhammer banjo, and it was a perfect fit. A glorious display of Southern Gothic but with an incredibly timely (sadly always true) commentary on the danger of being a woman in a world of men. With the Olympic runner just murdered by her boyfriend (set on fire) and the Avingnon woman raped by 80 men while her husband drugged her for their and his pleasure and invited them in to do violence, this show about the dangers of trusting men is all too current. One old time singer I heard do a concert said what she has learned from ballads is never to go down to the river with anyone named Willie.
There was deep and great beauty amid the menace though, as there is everywhere. Anyway, I loved the show and visited it two mornings in a row to sketch. After lunch both days I went to Crystal Bridges and toured their collection, and then I walked home. I loved being able to park my car for the two days and walk everywhere. Such pleasure. It felt a little like Paris again -- walking, looking at art, sketching, and walking some more. I think and digest art while I'm walking, and I see things I want to draw.
The first evening I celebrated all the art I saw by sketching the wonky old tree out the window at sunset. I had a lovely bank of windows with a small breakfast table that was perfect for perching and sketching and tea. What more could I want really?
A luthier (guitar builder) was, perfectly, one of the museum guards for the show, and we had a great conversation the second day I was there sketching. He said a lot, really a lot, of people just didn't get the show at all. But I was raised on murder ballads and play clawhammer banjo, and it was a perfect fit. A glorious display of Southern Gothic but with an incredibly timely (sadly always true) commentary on the danger of being a woman in a world of men. With the Olympic runner just murdered by her boyfriend (set on fire) and the Avingnon woman raped by 80 men while her husband drugged her for their and his pleasure and invited them in to do violence, this show about the dangers of trusting men is all too current. One old time singer I heard do a concert said what she has learned from ballads is never to go down to the river with anyone named Willie.
There was deep and great beauty amid the menace though, as there is everywhere. Anyway, I loved the show and visited it two mornings in a row to sketch. After lunch both days I went to Crystal Bridges and toured their collection, and then I walked home. I loved being able to park my car for the two days and walk everywhere. Such pleasure. It felt a little like Paris again -- walking, looking at art, sketching, and walking some more. I think and digest art while I'm walking, and I see things I want to draw.
The first evening I celebrated all the art I saw by sketching the wonky old tree out the window at sunset. I had a lovely bank of windows with a small breakfast table that was perfect for perching and sketching and tea. What more could I want really?
Here are some images from Dark Waters, photos first, and then a short video to give you a sense of the ballads playing behind. I can't say enough how powerful the exhibition is, and I hope it gets another showing I can visit down the line.
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It took me getting to Washington to get to a scanner and clean up my St. Louis sketches. I love to draw there and did some smaller, faster sketches as well as full watercolors. This first one is walnut ink with a dip pen of an Osage Orange tree. They always grow in such fascinating shapes.
I also got a fantastic blueberry/lemon curd crepe from a food truck creperie that flashed me back to Paris. I loved both the food and the fun little bus, so I did a sketch to remember.
I also got a fantastic blueberry/lemon curd crepe from a food truck creperie that flashed me back to Paris. I loved both the food and the fun little bus, so I did a sketch to remember.
There was also a great book signing at the graphic bookstore Betty’s Books. Beautifully they got in an art hero of mine Lucy Knisley. I found her first graphic memoir An Age of License some years ago, and it (plus my first Ben Hatke book found at the same time) made me want to include more storytelling in my work, which had been purely landscape up until that point. She had a huge influence on my work, and I trace a direct line back from her book to doing several of my own, even if they’re quite different in feel. It was fantastic to hear her talk, meet her in person, and see her delightful hand painted cat dress.
One more lovely day in town was revisiting the St. Louis Art Museum, another favorite place. They had a Vuillard I don’t remember from before on view this time, which makes sense because it’s on cardboard and probably needs to rest for preservation purposes in between times out in the light. I love his patterned interiors and interlocking shapes and had fun doing a sketch while standing in front of it.
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I’m doing some sketching in Tower Grove Park in St. Louis. My favorite park away from home, and it’s such a pleasure to walk and sketch here.
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Every show I do I get a last minute wild hare to do some extra project to go with it. For WAMA it was doing an entire show catalog called Hints of Gladness. This time, with the show hanging on Monday, it was a much more manageable project. I had kept the artist statement quite brief, and I decided to typeset it and print a small edition of handmade ones. Most of the fonts I have are limited in the numbers of letters, but this Parsons 30 point set had JUST enough letters and was a lovely size to show up in a frame and hold its own space. It has the added delight of the fancy, super high ascenders (the "ls" and "hs" that reach up well above normal height), so I used them for the first line before going back to the normal set for the rest of the paragraph. It was a satisfying one day project, and this morning
I will get it in a frame and have it ready to hang with the rest of the show on Monday. I've also carved and printed a small gallery card for folks coming through the museum to pick up and have my information available. This is one of the handful that print two tone when I add a second color once the first is established. I love the variegated effect. I usually get three or four of these before the inks blend to a solid color again, so most of the cards will be a little less wild, but I always love these the best.
