In preparation for the Mountain Brook Art Association’s Spring Show at the Crestline Elementary field in Mountain Brook, I have been drawing some little bees. I usually don’t photograph my art after framing, but the bees, which are about 3×3 inches, look so cute in their frames! The bees are a fun subject, especially when drawn while enjoying a beautiful Spring day!
The Little Bird Hope, 8×10 Pastel on Card
Hope is the Thing with Feathers
by Emily Dickinson:
“Hope is the thing with feathers
that perches in the soul,
and sings the tune without the words,
and never stops at all,
And sweetest in the gale is heard;
and sore must be the storm
that could abash the little bird
that kept so many warm.
I’ve heard it in the chilliest land
and on the strangest sea;
yet, never, in extremity,
it asked a crumb of me.”
Sometimes the little bird hope seems very small, almost hidden in the branches of my heart. On those days when hope is difficult to find, when I feel deflated and situations seem so very hard to bear, if I listen carefully in a quiet moment I can hear hope’s tiny song in the hazy parts of my mind. It’s quiet song sustains me and tells me to be patient, to breathe slowly and wait for peace to come in whatever form. Sometimes it is hard to lean on this little bird’s uncommon and unlikely strength, but I have found if I just stop and cling to the small part of me that remains strong, I will weather any storm. Hope is ever-present and even a small bit can warm our hearts on the darkest and coldest of days.
On those brighter days when all the world seems charmed and full, the little bird hope steps out with a flourish of feathers, encouraging me with it’s bright song that life is full of beauty and grace. No matter the circumstance, hope’s presence is felt in large and small ways…never abashed, always supporting, ever aware.
In a departure from my usual livestock and landscapes, I spent an especially artistically-energetic evening drawing a series of waterlilies, obviously inspired by Monet and my affinity for Impressionism. The pieces range in size from 4×4 to 8×10, and these are two examples.
To me the simple floating flowers seem almost meditative…tranquil, pleasant and serene. Like a lingering hug or a lazy overcast morning, an invitation to pause and breathe slowly and deeply. A quiet moment of stillness when all the world seems good, safe, happy and wrapped in peace, soothing worries and calming the spirit. I enjoyed drawing the waterlilies so much, I had to force myself to stop before I had a dozen!
Rust, 8×10 soft pastel on card
In preparation for upcoming art shows, I am adding to my “Southern Exposure” pastel series with some new pictures from the rural south. Even though I live in “the city,” rural Alabama is very much a part of my life, from road trips and extended family, to our produce bought through the Eastlake Farmer’s Market and our dairy picked up from Wright Dairy in Alexandria. I love the beauty of our rural landscape, the thick trees, the rolling fields, the lazy cows, and the old barns in so many conditions, shapes and colors.
Wood, 4×6 soft pastel on card
Sometimes art comes out almost effortlessly. You can sit down, full of energy, and pop out a piece of art quickly and without struggle. Last week felt that way to me. I was able to create several pieces in an afternoon, a quick piece at the kitchen table in the morning, another while my kids played in the yard.
Then the pollen came. For years I have made it through the Spring without any allergic downfalls…but this year, I have not escaped! My energy curbed by a heavy head, cue “the hard days”: those times when art is a wrestling match, a struggle to create, when nothing comes easy.
A few years ago (well, probably more years ago than I care to admit), a man told me during a one-time conversation, in criticism of a statement I had made about waiting for the “right mood” to do art, that the mark of a “real” artist is if he or she creates art in any mood, even on bad days, similar to an athlete who pushes through the sport even when it is a fight. I remember being insulted, and thinking he was rather rude and pompous, but, as much as I hate to admit it, there is some truth in it. I reject his choice of words, because anyone who creates art is a “real” artist, whether they paint all the time or only when the mood strikes them. I also find it hard to compare an artist’s process to basketball practice. BUT… I can get behind the idea that a “professional” artist, or someone trying to make a living out of art must learn to create art in any mood.
So, here are my two pieces wrestled out on one of my hard days. I had high hopes for the pieces when I formed them in my mind, but the execution was a struggle. I still have distaste for some aspects, but another “must” for an artist is knowing when to walk away.
Little flock, 8×10 Soft Pastel on card
Shade Tree, 8×10 Soft Pastel on card
“Art is never finished, only abandoned.” -Leonardo da Vinci
the Raven, 8×10 Soft Pastel on Card
Warning: this is not the most cheerful post, so if you want to read something peachy today, this post isn’t for you. This does not mean that I am wallowing in sadness today; these are just my thoughts and expressions on a darker subject of the human experience. This piece was inspired by yet another poem by William Blake:
The Human Abstract
Pity would be no more,
If we did not make somebody Poor:
And Mercy no more could be,
If all were as happy as we;
And Mutual fear brings peace;
Till the selfish loves increase.
Then Cruelty knits a snare,
And spreads his baits with care.
He sits down with holy fears,
And waters the ground with tears:
Then Humility takes its root
Underneath his foot.
Soon spreads the dismal shade
Of the Mystery over his head;
And the Catterpiller and Fly,
Feed on the Mystery.
And it bears the fruit of Deceit,
Ruddy and sweet to eat;
And the Raven his nest has made
In its thickest shade.
The Gods of the earth and sea,
Sought thro’ Nature to find this Tree
But their search was all in vain:
There grows one in the Human Brain
In religious communities, and especially Christian theology, one hears a lot about “the Fall,” “Original Sin,” “Adam and Eve,” and “the fallen nature of humanity.” These theologies bring a sense of unavoidable doom. While in my own spiritual journey, I choose to search for the good in humanity, the love of God, the optimism and life found in nature, I cannot deny that some form of underlying depravity (thought I hate to even use that word) exists within our beings, that it tries to grow within our minds as our bodies grow. Selfishness, greed, deceit…they are part of us whether we encourage their growth or not. We should and hopefully do resist; we can and should choose goodness, love and service. But it seems, as much as I wish to deny it, that this darker side of humanity–our ability to choose deceit and to cause pain–is inevitably present, and very hard to avoid, if at all possible. If left unchecked, these darker thoughts can grow in our lives as a tree; if indulged, a sort of darkness can roost in the shade of our mind’s arbor like a Raven. This Raven, not meant to be ominous or depressing, serves as a reminder to myself that while a darker side of life exists, it does not have to triumph. This Raven can be an omen of doom, or a sign of life, depending upon our own choosing.
Ocean Cliffs, 14×18 Soft Pastel on Card
The works of Monet and my love for the beauty of the British Isles inspired this piece; what made it’s creation even better was drawing outside on such a fabulous and warm Spring day. I love Impressionism, and this particular image seemed a perfect choice for another attempt at using bolder color and strokes. In my art room above my desk, I have a handwritten quote taped to the wall by Georges Riviere from 1877: “To treat a subject for the colors and not for the subject itself, that is what distinguishes the Impressionist from other painters.” I am far from an Impressionist and am constantly pulled toward capturing minute details, but this sentence echoes through my thoughts when I am drawing, pushing me to look for color over subject, for feel over accuracy. It never fails to surprise me that when I let go of rigidity and move with the colors, I step back and see that the picture has come together…and each time I delightfully wonder how it happened.
Gray Barn, 8×10 Soft Pastel on Card
I was drawn to this scene by the curved, rutted tracks in front of the tall gray barn. I loved the colors in the grass and dirt, and put in some simply drawn cows to keep the piece company.
Hay Fields, 12×16 Soft Pastel on Board
I love pastels, and I love teaching. Because of the nature of this dusty medium, it is hard to demonstrate to a large crowd since I cannot easily draw the picture upright, as on an easel, as the pastel dust cascades down the board with each stroke. To remedy this problem, in a recent pastel demonstration for the Birmingham Art Association, I inclined the board a bit to make it more visible and drew upside down, standing behind the table. My unorthodox method worked and here is the finished result: a colorful landscape that began upside down and was touched up a bit at home. I like the bright colors and think it is a pleasant, simple little scene.
Au Naturel, 5×7 Pastel on Board
My favorite first sign of Spring is when the Daffodils appear; we have some that pop up around a tree in the front yard. I especially love the simple, small yellow version…the kind without the frills and elaborate coloring. Just a little yellow flower, with its six delicate petals, its fragile trumpet, and its softly colored green stem. Simple, basic, au naturel.
In this small piece, I tried to work quickly, getting down the basic shapes and colors without overworking, to capture the warm simplicity of the image…two little flowers in an old honey jar. I used a board painted with pastel ground in varying textures.
I'm a self-taught pastel & watercolor artist and instructor, raised and based in Birmingham, Alabama. I constantly collect stories and pieces of the world around me, turning them into works of art. Inspired by nature, I love to share what I've learned and build connections and community. I invite you to browse and join my site. I hope you find something that inspires you!
Voted one of Birmingham's Best Local Artists 2013, Birmingham News & al.com
Featured in Birmingham Magazine, March 2018
Visit the Commissions page on the top menu to find out more about my pastel & watercolor portraits. Portraits are drawn from photographs in a timely manner with the highest quality materials to ensure they will be enjoyed for generations!
Thanks for visiting my site! I am an awarded pastel artist and instructor based in Birmingham, Alabama. A self-taught artist, I have been working with pastels for over 6 years, selling in shops, galleries, shows and by commission. I teach pastel workshops for adults, and love to help emerging artists on their journey into the art community.
