In the Midst of Spring

I look out the door of my studio: the redbud is in bloom and small oak saplings are popping up everywhere after our recent rains. I welcome these drops from the heavens.

My challenge is to bring the energy of spring into the hospital.

After admiring the redbud, it's off to work where I'm met with a referral that seems to be at the opposite end of the spectrum from my earlier musings: Help a family with enough children to fill a school classroom to mourn the imminent passing of a beloved family member.

I have just half an hour to come up with an intervention and enough materials to carry it out. I try to remain calm inside and talk out ideas with the palliative care social worker. Each plan has it's drawbacks but finally, we come up with one that might work. She leaves to go back to the family. I assemble the art materials.

When I arrive at the waiting room, the television is on, a laptop game is in session, a baby is crying. Where do I find an entry point?

Go straight to the heart I tell myself. I ask the children to tell me their names, their ages. They're a bit defensive, trying to keep up the barrier--I'm a stranger on their turf.

I tell them why I'm there and that we're going to make something together, something that they can keep for the rest of their lives to remember their family member.

Just to make sure they have an understanding of what is happening in that room across the hall, I ask: "do you know why your relative is here?" Hands shoot up and slowly we zero in on the answers. Like water that swirls slowly around the drain and suddenly forms a vortex, their understanding takes hold.

Both the children and their parents tear up. We talk about the tears; like rain they clean us out.

I pass paper and ink pads and markers and stickers and ribbons--even a hole punch. All of the kids make a print of their hand and draw on the paper; flowers bloom on the page, purple stick people hold hands and hearts. Some of them write messages. Then one by one, they visit their relative to add that person's print to the paper.

Its a sacred and scary thing, this printing. The children hold back at first, but once I help them put their hand on top of the hand that reaches out, they relax into it. The atmosphere builds until the last children are hugging and kissing and giving messages and the grownups want to make their own hand prints.

I'm always surprised that it's the simplest of actions which mean the most at the end of life: one hand on top of another, words whispered into an ear or scribbled across the top of the page.

What I'm Learning in my Fifties

I recently read an article in the New York Times entitled, "What You Learn in Your Forties." A humorous article, it included such tidbits as "There are no grown-ups. We suspect this when we are younger, but can confirm it only once we are the ones writing books and attending parent-teacher conferences. Everyone is winging it, some just do it more confidently."

That got me thinking it might fun to consider what I've learned in my fifties, because, as my office mate reminded me this morning, we'll both be turning 59 this year.

The term "synaptic pruning" springs to mind. This term refers to the brain's regulatory processes, in charge of pruning the neural structures in the brain, and thus reducing the number of neurons and synapses in order to create more efficient synaptic connections. This tends to occur in younger folks...

I've experienced a similar kind of pruning in my 50's. As we grow, we make choices and those choices close off certain possibilities--while others open up. It is true that I will never climb Mt Kilimanjaro or become a lawyer, however, in the areas in which I've chosen to focus, the possibilities appear to be growing.

I've been pondering a new series I've just started: "the ecology of place”–or, “my ecological niche”: a series using plants gathered within my immediate surroundings, to create monoprints exploring the relationship between me (the human) and my environment (my yard).

As I thought about pruning choices, I realized that it was no surprise that I’d chosen this theme. I’ve had an ambivalent relationship to staying in one place for a long time; the result of moving frequently as a child. Although I truly love my small Central Valley town, there is always a part of me that wonders "I wonder what it's like in…"

This little thought keeps me from living fully in the present, in Davis, CA on Olympic Dr., in my house, and probably in any number of places I frequent. What better way to settle in, than to make a series out of it?

I look forward to sharing this work with you as it unfolds, both in my backyard and beyond.

6 Degrees of Creativity Rides Again

In the summer of 2012, I had the pleasure of participating as an instructor in a workshop/project called "6 Degrees of Creativity 2."  Sponsored by the Art Therapy Alliance,  Six Degrees of Creativity is an on-line art workshop and community and included six different workshops, each offered by a different instructor from the art therapy community.

6 Degrees of Creativity unites concepts of social networking, connecting, collaboration, art-making, and creativity into an engaged global community of artists exploring transformation and using art for good.

My workshop, Still Point in a Changing World: Creating a Mindful Studio Practice was a wonderful means to bring awareness of the area of studio practice and I loved connecting with so many art loving people located all over the world.

Recently, Gretchen Miller, the creator of 6 Degrees, told me that  6 Degrees of Creativity will be offered again as a 10 month (wow) on-line workshop running from March 2014-December 2014 and all 6 workshops will be taught by Gretchen herself.

With such delicious sounding titles as: Everyday Creativity,  The Creative Deed Project and Creative Goodness, It's in the Cards, the workshops sound like a great way to charge up your batteries during the depths of midwinter or take time during a summer break to indulge in studio madness.

As a wonderful bonus, she told me that I could invite a guest to take the workshop, free of charge. I thought of many ways that could happen, but landed on you, my blog readers as the most enjoyable way of participating. Soooo...If you would like a chance to take 6 Degrees of Creativity, meet a bunch of extremely creative people and find inspiration and imagination for your art, drop a comment in the comments section. Let me know what you'd enjoy about taking 6 Degrees and I'll put all the names in my hat at the end of the week and select one. On Saturday, I'll let you know who the lucky workshop participant will be.

However--if you'd like go straight to registration, pass go, and collect many incredible ideas, you can register by clicking here.

Gelli Interrupted

As I mentioned in my last post, I was set to take an online Gelli Plate Printmaking class this week with Carla Sonheim, a gentle and humorous soul, whose generous manner makes even the most embarrassing flops seem like a blessing in disguise. I felt excited about the class; I knew it would be fun and that I would meet any challenges that arose with open arms.

Clearly a woman who knows her way around a print studio, Carla packed a lot of information into every day of the 5 day course. I headed off to work afterward each day repeating her words over and over like a mantra, "thin, thinner, thinnest, watercolor" (referring to how you can stretch out an application of paint on the plate.)

We worked on a suite of 8 prints and each day, we could, if we wished, post our work on Flickr.  I played with the colors, enjoying the sensation of the brayer (hand roller used in printmaking to spread ink) on the plate and the soft 'squish squish' of acrylic on the gel plate.

On Wednesday, we worked with the same 8 prints, adding layers onto them with stencils--and it got a little trickier. In the first roll out, the paper is a blank landscape and anything goes. When adding additional layers, there's that familiar feeling of discomfort and simultaneous attachment. What happens if I screw it up?

Like any kind of change or alteration, with printing, it's safer to stay with what's familiar, even when it limits how far you can go. Fortunately, the process leads the way. Apply a stencil on paint, put paper on the stencil and whole new horizons open up.

I looked forward to the final day, when Carla told us that she'd share some ways to continue developing the prints--even when the next step wasn't clear.

Unfortunately, fate intervened in the form of boiling eggs accidentally left on the stove by a guest. My husband came home to a house filled with smoke and a shrieking chorus of alarms. We learned that we would have to move out until the microscopic deposits of burnt protein on every surface in the house were removed. I wasn't able to work on the last lesson.

The nature of gelli printing is also filled with blips, spots and full on bloopers. Mistakes are made. Carla noted that one of the best things about these "accidents" (besides consigning them to a sludge pile) is to study them. Pick apart what works and what doesn't. Where are the values too similar? Where does more texture need to be added?

As I witness and experience the effects of this forgetful mistake upon my family's life, I find myself examining our own "virtual prints." We've been asking ourselves questions and finding that there is a lot we can let go of: clothes, papers, attitudes and attachments. A few shifts in attitude are powerful.

I marvel at the correspondences between art and life. Are mistakes truly the way we find our way to change?

Gelli Plate Printing +

I recently visited Hawaii with my family. It's something we try to do once a year, so, with the aid of  frequent flier miles, we headed off; my husband, my sister, my daughter and my daughter's boyfriend--and me.

I'd taken care to pack my new favorite art medium; a gelli plate; a kind of squishy gel surface that serves as a printing plate and allows people like me who treasure immediacy, to create monoprints using stencils, plant matter, and what have you, together with acrylic paint.

I'd ordered some new acrylics and as I packed, I made sure to put plenty of bubble wrap between them and my swim suit.

Each day at art time, I set up shop on the dining room table, which was spacious, overlooked the mountains and had plenty of light.

Wandering outside, I gathered a number of leaves with interesting shapes and began printing--and printing and printing.

Over the next several days, I played with the vagaries of acrylic pigment, strange flora and experimented to find the means to capture the outrageous color and patterns I saw everywhere around me.

I divided my days into warm colors, cool colors and days when I layered both together. Naturally, my guidelines only lasted  a couple of hours until I threw them over and just started adding color by feel.

My intent was to enjoy my time in Hawaii and explore the island through paint, paper and leaves. I learned to tolerate the uncooperative elements and to welcome the surprise that the textures of the leaves created when they met the squishy plate.

Often there was an extra treat; the print on the cover pages I was using would transfer to the printing paper, adding yet another layer of meaning.

I honestly didn't believe that these experiments would lead anywhere. I made a bunch of prints; grist for the collage mill upon my return, I thought.  However, one fine day when the rest of the family was out exploring the island, I found myself exploring the web and discovered the perfect Gelli class.

I'm so excited because starting today, for a week, I'll be exploring Gelli printing in Carla Sonheim's Gelli Print Printmaking course. I'm using some extra professional leave to get a few more hours in the studio and look forward to sharing my progress with you. Gelli ahoy! A hui ho!