I’ve often wished I could understand what my cats were saying but I should have known! Fortunately the Cat Translation Spell has an Unspell to reverse the effects.
This is another page in my Fake Journal for International Fake Journal Month. I was excited to get to this page where the black paper transitions to the brown pages. It’s so much fun drawing with white and gold gel pen on the black and colored pencil works beautifully on both of these papers.
I heard an interview with musician Bobby McFerrin on NPR yesterday and he said something about work, play and creativity that really struck me. He was talking about having always just wanted to be a working musician (rather than a famous celebrity). Then he stopped to correct himself about the word “work” vs. the importance of “play”:
“When we’re doing our lessons, the teacher doesn’t say, ‘Ready, set, work.’ They say, ‘Ready, set, play,’ and I always took that word seriously.”
When I heard his spontaneous and inspired music, I understood exactly. Without the spirit of play, art becomes work, serious work. And serious isn’t fun. You rarely see the adjective serious describing something you want. It usually appears before words like illness, accident, mistake, and problem.
Of course there are serious artists who make serious work. I watched a series about artists on PBS called “Art:21.” The producers must have told all the artists to refer to their paintings, sculptures, prints as “work” (e.g. “I made this work last year…” or “This work is about…” or “When I am making work…”). It just sounded so pretentious, self-important and overly serious.
So now, when I find myself working hard (and enjoying it less) whether in the studio, the sketchbook or life in general, I will remember the spell for joyful art making and apply it once again.
If you want to try the spell too, all you have to do is open your mind, heart, spirit, eyes, arms and PLAY!
(For more information about International Fake Journal Month click here).
For International Fake Journal Month 2010 I bound a journal with dark papers which, as you can see by the title below, is being filled with useful spells and unspells. I say that in passive voice because it is an alternate Jana who is filling it, one with great wisdom and special skills.
The papers I used to cover the book board is made of some kind of bark I think. It was in the special paper drawer at Dick Blick. Here is the full spread of the Elephant Hat spell page:
In case you’re wondering when one might need such a spell, it recently came in handy for me. At my day job I was used to changing hats constantly, putting on the desktop publishing hat, then the finance hat, swapping that with the web-work hat, then the customer relations hat, database, marketing, etc. Such is life in a small non-profit during difficult financial times.
But then the hats got sticky and I couldn’t get them off; I was wearing all the hats all the time. And one morning I noticed that one of the hats had a huge, heavy elephant on it. I was sinking fast. I needed help. I tried the Elephant Hat Removal Spell. Then I asked nicely.
I got the help I needed: Half of those hats have been handed off and my schedule has been reduced to half time. The elephant disappeared and the hats are now a comfortable fit—when worn one at a time.
I had to make my morning coffee with the last drops of non-fat milk (yuck, 1% is OK but non-fat in coffee just doesn’t cut it) and there were no peaches or milk for my Cheerios. A trip to the market couldn’t be put off. But I had a full day of experiments in the studio planned and I needed some exercise. Easy solution:
I’m trying to simplify my choices with my art supplies, wanting to narrow down the pens, ink, pencils and colored pencils to keep handy and those I’ll give away. I did tests today on drawing pencils, sepia liquid inks and sepia pens and will post them and my preferences tomorrow.
I’m also working on painting a grid of 16 different acrylic painting techniques to improve my understanding of acrylic techniques and possibilities. It became clear this was needed when I started a series of paintings in acrylic and realized I didn’t have the “chops” to accomplish what I wanted. I was trying to use oil painting techniques and was getting nowhere fast (and ruining brushes with all the scrubbing I was doing with them which seemed the only way to get the smooth transitions I wanted).
Each medium has its own capabilities and pitfalls. Why not make good use of the characteristics of the media instead of trying to force it to be something it’s not? Despite people claiming acrylic can be used like oils and like watercolor, I’m going to try to learn to use it like acrylics instead and have fun with all the crazy stuff it can do. This series of large paintings wants to be in acrylic and so it shall, and soon I hope.
It’s not what you might think, based on the above work in progress. It’s that I finally started the series of paintings that I’d been waiting on for over a year. I hadn’t realized it, but I was waiting for the painting to tell me how to paint it (see below about intuition and broccoli).
I’m just having so much fun with the series and haven’t wanted to use time I have for painting being on the computer. Also I wasn’t sure if I was ready to post what I’m working on yet. I’m also not sure how much I want to share about each painting and the series as a whole, except to say that it’s sort of auto- and bio- graphical, about the men who’ve played a role in my life, hence the title of the series: “Lovers, Mongrels and Curs.”
This painting is the first in the series and it is still a work in progress; a little sketchy but I like it that way and may just leave it…or not.
I followed the saying, “If you don’t know what to do, just wait until you do,” instead of forcing the start of the series. It just took some down time to conceptualize how the series needed to be painted and for the ideas to bubble up (literally: I was on vacation, lying on my back on the deck of my little, private, open-roofed, hot-tub room at Albany Sauna, watching the clouds float by overhead while the hot tub bubbled beside me when it came to me that the series needed to be painted large, in acrylic.)
I wanted to work on two paintings simultaneously, side by side on the wall so first thought of using gessoed paper or unstretched canvas, finally settling on stretched canvases. But how to hang them?
Using Velcro to Hang Canvases on the Wall for Painting
After some brainstorming I found an easy way to mount two canvases side by side on the wall without harming the wall or making holes with nails.
I applied a few strips of Velcro along the top rail of my 36×48″ metal framed bulletin board already hanging on that wall (the cork is covered by a sheet of paper pinned to it). Then I measured and matched the other half of the Velcro strips to the backs of the canvases and stuck them together. To stabilize the canvases a bit I put a few large push pins along the bottom and sides. It’s working great!
Intuition: Listening to Your Broccoli
As Annie Lamott said in Bird by Bird: Some instructions on Writing and Life:
“There’s an old Mel Brooks routine, on the flip side of the ‘2,000-Year-Old-Man,’ where the psychiatrist tells his patient, ‘Listen to your broccoli, and your broccoli will tell you how to eat it.’ And when I first tell my students this, they look at me as if things have clearly begun to deteriorate. But it as important a concept in writing as it is in real life.
It means, of course, that when you don’t know what to do…you get quiet and try to hear that still small voice inside. It will tell you what to do. The problem is that so many of us lost access to our broccoli when we were children. When we listened to our intuition when we were small and then told the grown-ups what we believed to be true, we were often either corrected, ridiculed, or punished. God forbid that you should have your own opinions or perceptions–better to have head lice.
. . . So you may have gotten in the habit of doubting the voice that was telling you quite clearly what was really going on. It is essential that you get it back.
. . . Get your confidence and intuition back by trusting yourself, by being militantly on your own side.
. . . Get your intuition back and make space for it, when you stop the chattering of the rational mind. The rational mind doesn’t nourish you. . . Rationality squeezes out much that is rich and juicy and fascinating.
. . . If you don’t know which way to go, keep it simple. Listen to your broccoli. Maybe it will know what to do. Then, if you’ve worked in good faith for a couple of hours but cannot hear it today, have some lunch.”
After I posted this painting a few weeks ago I realized I’d left off the foamy bubbles on top of the water. Last weekend I worked on the painting some more, at first planning to just add the bubbles but ended up adding a whole new layer of paint. I gave Hannah another haircut and slimmed down her dress a bit. I felt a little afraid to go back in and start messing with things, but told myself to just have fun and see what happens.
I don’t think I quite got the essence of the foam, it looks more like rose petals floating on the surface, but I decided I liked that idea and left it alone.
I’m wondering if there is a problem with the grasses behind the rust colored reeds on the middle right that sort of point towards her head. Should that patch of yellow-green grasses have less texture, be cooler and more blurry so that they recede more? I think so.
Here’s what it looked like before in the original post:
I’m trying to get over the idea that paintings need to be completed in one painting session or in one day. Alla prima and plein air painting is great, but so is letting layers dry and adding more more until the painting says it’s done. Sometimes it forgets to say “When” though, and then it’s overdone.
I have the same trouble with steaming vegetables. I lose my concentration and before I know it my broccoli has turned to mush. So is the revision mushy broccoli or an improvement? Do you think I should soften those grasses or move on?
Thinking about painting and broccoli reminds me of this poster I made a long time ago:
Memories! Everyone I know is losing theirs including me. Ater repeatedly walking into a room and then forgetting why I’d gone in there, it occurred to me that if I carried clues with me, I’d save lots of time and extra steps.
So I invented the “Get a Clue Necklace” complete with a key ring, a tiny flashlight, sticky notes to jot down reminders, an attractive small pen to write them with, a magnifying glass for small print, an optional “My name is…” tag with a reverse side note “If found return to…” should I ever get REALLY forgetful, and a little pill box for those vitamins I always forget to take.
Below is the full page which you can click to see bigger to read some of the funny quotes about aging, as well as my list of the pros and cons of aging back when I made this.
Here are a few of the choice quotes from the piece:
I’m at the age when remembering something right away is as good as an orgasm.
Whenever I meet a woman over 55 who’s just fallen in love, I always ask, “Are you taking hormones?” I tell her, “If it turns out you’re in love in a way that’s not good for you, stop taking them.”
[Addendum: Gloria Steinem, the feminist icon who once dismissed marriage as an institution that destroys relationships, became a first-time bride at the age of 66, a few years after that quote was printed.]
Peg Bracken, 81 at the time this quote was printed, said:
“These are your declining years and you can jolly well decline to do what you don’t feel like doing!”
Right on Peg, wherever you are now!
P.S. When I saw Illustration Friday’s prompt this week was “Memories” I had to share this, even though it’s from my journal several years ago.
And one more Pro to add to the Pros and Cons of aging is that when your memory goes, everything old becomes new again. Stories and jokes you’ve heard (or told) before sound vaguely familiar but since you can’t remember the punchlines, they’re good for a whole new round of laughter.
Jana Bouc, Artist 