Introducing the Silver Linings Sketchbook

Seems appropriate as we head into this new year to take some stock of the unforgettable year just ended. In the midst of all the loss and challenges of 2020, I want to intentionally testify to the good parts, the things that would not have happened if the world had not been upended by a novel coronavirus.

Thus, the Silver Linings Sketchbook.

In this instance, the sketches are written musings. So far, I’ve got twelve -- no, I just recounted -- fourteen items about which to write. As I go on, more may come to mind. Each of them will have some visual illustration.

Look for a new posting every few days.

I just think it’s important to acknowledge the good, the redemptive, in this time.

“The light shines in the darkness and the darkness has not overcome it.” John 1:5

This abstract, “Tangled Up in Blue”, expresses the idea of the Silver Linings Sketchbook well—see the luminous light up at the top spilling over the black? It’s a complex painting…it’s been a complex time.

An Artist's Response to the Pandemic, Chapter One

At the Fencepost Art Gallery with my daughter Lindsay, who is the subject of the painting hanging there that day. Arlo the dog really enjoys “helping” me hang my work each day.

Back at the beginning of the pandemic, an artist friend began putting a painting on an easel out on her front porch each day. The friend lives in an urban area, and the paintings were a joy to the passers-by. I loved the idea but my front porch is on the side of the house, not really visible from the street. After some thought and staring at my house from the road, I realized that the fence I share with my neighbors, in front of the house, would work well. I had a custom sign produced by Vista Prints and used some ingenuity with screws and hanging wire, and, tah-dah! the Fencepost Art Gallery came to be.

Each day, weather permitting, I choose and hang a painting (two paintings if they are small and work together) and place my sign in front. Generally, I also take a quick photo and post that to social media. My purpose in making this gesture is to give neighbors, passers-by and social media followers some small dose of beauty in the midst of the pandemic and all of the difficulties it has brought.

The result has been better than I ever expected. People stop and look, families have made the Gallery a destination on their daily walks or bike rides, and neighbors have shared how much it means to them to see the paintings each day. One man stated “It gives me so much joy to see these!” as he walked his dog past one morning.

Due to the reach of social media, others besides those in McLean are benefiting: a recent repost of a painting on Instagram said “@carolynpaints is giving me life during this strange season”--the woman posting lives in North Carolina.

Another benefit, but one which has taken a number of months to bring to fruition, is that I have sold a few paintings. It took about six months of daily displays, but now people are beginning to decide they would like to have some of these pieces in their home.

A different artist friend also wanted to try doing this, but, he complained, he didn’t have a fence. I pointed out that I didn’t have a porch, which was why I used a fence. I challenged him to figure out what he did have. Turns out, a driveway works really well, if it’s flat -- he simply puts an easel up there and shows his art, where it is blessing his neighbors in Maryland.

What to Do During Physical Distancing

Here in Virginia, we are a full month into no school and “physical distancing”, which I have been told is the new and better way to label what we were originally calling “social distancing”.  I guess folks figured out that we humans need to be socially connecting, even if we are physically distant from one another. 

 Anyway.

This blog post will not be full of musings and lists of suggestions--I’ll wait a week or so to do that.  Believe me, I’ve got lots of thoughts!  

For today, just one suggestion:  Buy the digital version of the May issue of “Artists Magazine”!

“Why?” You ask. Glad you asked.

This issue has a nice, long article about my art beginning on page 58.  In eight or so pages, the writer does a great job of describing my work and process AND there are lots of great pictures. AND the editor-in-chief mentions my work in her “Letter from the Editor” on page 4.  As you can imagine, I am over the moon about being profiled in this magazine. My brain is still saying “Wow!  Oh wow! Wowee, wow, wow, wow!” (Did you notice how sophisticated and articulate my brain gets when I am excited?).

The parent company, Artists Network, is running a big sale on quite a few of its digital editions, you may want to buy more than one issue.  After all, at only $4.50 each, it’s quite a bargain.  Just think of all the money you are currently saving by not buying that Starbucks drink every few days (at least, I assume that because of physical distancing, you’ve become your own barista; I don’t know, maybe you like to live on the edge and are still going…). 

Here is the link to purchase: https://tinyurl.com/sca3dza

So bring yourself some joy as you physically distance, for about the same amount you would have spent on that Tall Iced Chai Tea Latte with almond milk*.

*that is my youngest daughter’s go-to drink, not mine. Personally, I am hankering after a Grande Royal English Breakfast Tea with room for milk...

Practicing Free Throws

A few months ago, I listened to a radio interview with an amazing athlete, Tina Charles, currently the center on the New York Liberty WNBA team.  Though I am quite tall, I was never any good at basketball. Turns out, neither was she—for a while. Here are some quotes:

I feel like nothing came easy for me. I was going to the parks in New York. I was the last one picked. [last one picked—yup, I can relate!]

I had to hone in on my skill. I had to be in the gym early before class. 

So, what did it come down to for her?  How did she get from “last one picked” to being a star? She had to practice.  I expect that she spent a lot of time dribbling, jumping, shooting from the free throw line over and over.  And gradually, she got better, and now she’s not only professional, she’s won two Olympic gold medals.  

So that’s basketball, what does that have to do with art?

Practice.

This week, I’ve been focusing quick painting sketches, putting the paint directly on the paper with no drawing ahead of time, simply trying to get shapes, shadows, practicing the act of painting.  

So, I’m limiting my time--10 minutes max per painting--limiting my color palette--three colors plus white--limiting the size--they are all small.  And, unlike my usual work, there is a human figure in most of the sketches. It’s been really challenging--and a lot of fun! Here are some of them.

I’m calling them my “free throw” paintings, in honor of all the basketball athletes that have practiced their free throws over and over to get better, closer to perfection.

Eventually, Joyce got a little tired of the hat…

This red chair featured in all the sketches, whether there was a person sitting in it or not!

No, this is not Tina Charles, this is Joyce McCarten, modeling for us.

And here is one of my sketches of Joyce in that pose.

So.Much.Art.Work

Recently, a new acquaintance asked me: “Full-time artist--does that mean you get to paint all day, every day?”

I couldn’t answer at first, I was laughing too hard.

The answer to the question is: No, in fact, I spend at least as much time each week on other work that has to do with my art as I do actually painting.  There is a lot of art work that has nothing to do with painting.  That is, if you want to show and sell.

Finding shows to enter, finding work that fits those shows, entering the shows (which involves writing artist statements and descriptions of your work), preparing for the shows (matting, framing, label-making), delivering to shows, advertising shows, attending shows, picking up from shows…

What’s getting matted? What’s getting framed? It may look chaotic to the uninitiated, but I do know what I’m doing.

And then there is the self promotion on social media--keeping up the website, writing blogs, having art professionally photographed, regularly posting on Instagram, on Facebook…

It’s a lot of work. 

These past two weeks, the focus has been on show preparation, which is ongoing.  I’m excited for the big days, please put them on your calendar and plan to attend at least one:

• Art, Hope, Love 2: October 17, from 7 to 9:30, to benefit the Catherine Elizabeth Blair Foundation.  I have LOTS of work in this one, but TICKETS ARE REQUIRED! Here is the link for more info: https://www.blairfoundation.org/art-hope-love-2

• Organica II: Opens October 19, runs through November 17, Falls Church Arts.  I have two pieces selected for this show about art that is inspired by or made with organic elements.  Opening reception on October 19 7:30 to 10, https://fallschurcharts.org/

• Explorations in Watercolor, 2019 PVW St. Andrews Fall Art Show and Sale: November 9 & 10, at St. Andrews Episcopal Church in Arlington, VA.  Depending on what is left after the Art, Hope, Love 2 show, I will have a good amount of work showing here. https://www.potomacvalleywatercolorists.org/content.asp?contentid=407

And now, back to getting ready--I have a lot of labels to stick on today...

That was a long time-out...

Those of you who read this blog are aware that it’s not unusual for me to go for a stretch between posts.  Mostly, it is just that life distracts me, and then I feel guilty for not posting and that guilt pushes me to procrastinate even more (anyone out there who can relate?).  

This time it’s different.  This time, I have a real, honest-to-goodness excuse.

“Daylilies”, the first painting in my Concussion Series. This was before the deer ate the lilies…

On May 13, I sustained a severe concussion.  Just an accident in the home, involving a puppy and the corner of the coffee table.  At the time, I had no idea how long it would take to approach a normal life again.

It was seven weeks before I could pick up a paint brush. 

And even then, it needed to be very simplified.  There was only stamina for about half an hour of painting.  Decisions -- type of paint, colors, paper, subject matter -- had to be made ahead of time.  

The art that resulted is a radical departure from any I’ve done before.  Plein aire watercolor sketches of the world directly around me, they have an immediate and ethereal quality.  I did about one a week. They are called the Concussion Series. There are thirteen of them, two have sold already.

Today, I was officially discharged from my last vision therapy, begun due to the damage from the concussion.  Though still not completely healed, I am most of the way there. Far enough along to declare that I have painted the last of the Concussion Series, and am now ready for what’s next on the horizon.

Rejection Update

In case you’re wondering about how this whole rejection project is going, I thought I’d give an update on the results so far.

But before I hit you with actual numbers, a few notes about what I’m experiencing so far:

1.) It is very freeing to apply for art shows when you are anticipating rejection--it’s a total mind re-set! I don’t angst back and forth about whether or not to enter. If it’s within a reasonable distance, not too pricey to enter, and the dates are such that I can get art there and back, I’m doing it! I do have to angst a bit about which paintings to enter, but that’s coming along.

2.) I’ve had more success than I expected so far--you’ll see in the numbers below.

3.) Given #2, I need to be a little more prepared, framing-wise, with the pieces I enter.

4.) This project is getting kind of expensive, what with the cost of the show entries AND the framing (see #3). I just paid $125 yesterday to buy a frame for a piece going into the TART show--hopefully, it will sell!

5.) Even though my mind is set for rejection, and I’m making that a goal, it still stings a little to get rejected…

Ok, now on to the numbers!

# of Shows Entered as of 3/19: 8

# of Shows Heard From 5

Total # of Works of Art Entered 25

# of Works of Art Accepted as of 3/19: 6

# of Works of Art REJECTED as of 3/19: 9

A ways to go till I reach that goal of 100 rejections!

One other idea that may belong up in that numbered list: I can’t just rely on entering art shows in order to rack up my rejections. There aren’t enough of them around!

So I am actively thinking about other ways in which to get my art rejected, for instance, approaching interior designers to see whether they might use my work with their clients. And sending images to venues to suggest showing my work. It may be difficult to quantify those rejections (if I don’t get a response to an email, is that a rejection?), but I’ll cross that bridge when I come to it. Next time I post about rejections, I’ll hopefully have more to report on that front.

Rejection Redemption

Rejection--used to be, no one wanted that!

Lately, it’s become popular, lucrative even.  

Accepted? Rejected? We’ll find out soon! Either way, it’s a win for me!

Just Google the word and you’ll find out about the man who determined to be rejected 100 days in a row, beginning by asking a perfect stranger to give him $100.  And then there is the woman who has made the concept of seeking after rejection part of a year-long coaching program. For them, and for others, the experience of being rejected has become a game-changer, a way to expand your life and livelihood.

Me, I’m still  stuck back on the playground at age eight, waiting to be picked for a kickball team when I think about rejection. Last to be picked, that’s one of my earliest and most painful rejection experiences.  Which set me up for attempting, thereafter, to avoid that pain by avoiding rejection.

Fast-forward to the present: as an artist, I want people to see my work, and I especially want them to see it in person, because no matter how wonder the latest iPhone display is, nothing compares with being there.  So how do people see my work?

In art exhibits.

And how do I get into art exhibits?  I have to apply--along with hundreds (yes, sometimes thousands, depending on the show) of other artists.  

Guess what?  

I get rejected.

Used to be, I would decide to enter  a show (or not!) based on whether I thought my work would be accepted.  As in, not rejected.

But this year, based on what I’ve read about all these people who have been using rejection for good in their lives, I’m striving for my own record number of rejections from art shows.  One hundred works of art rejected by the end of 2019 (Not 100 show rejections--at $40 or so a pop to enter, that gets too pricey).

So far, I’ve got three rejections--and one acceptance!  You can see the accepted piece in the TREE-mendous show at the Hill Center in Washington, DC, now through the end of April.  Eight more pieces are out there, waiting to be judged, and I’ll enter three more shows (another eight pieces) in the next few weeks.

Meanwhile, I’m looking for more venues in which to be rejected.  Switching up the mindset totally switches up the energy and drive.  I’ll let you know how close I come to reaching the goal!