The Measure of a Civilization

This past week had two moments that have led me to wonder about what markings and measures make a civilized society. The first was an article about Afghans digging up a horde of ancient treasures they had buried to protect them from the government. The men who buried them risked their lives and the lives of their families to protect art. Only now did they feel it was safe to bring them from their hiding place. The article went on to say they were going to move the artifacts out of the country to which they belonged to protect them. Was this act of courage as sign of the quality of that civilization as much or more than the artifacts themselves? Or was the willingness to destroy such treasure by the government (regardless of the reason) the true measure?

I just returned from a trip to Mesa Verde, CO. I overlooked the amazing cliff dwellings, and thought of the civilization that created it, lived there, then left; and even surrounded by tourists from around the world I felt the sacredness of the site.

As I sit here I weigh the protection of the Mesa Verde site, the protection of those Afghan treasures, and the meaning of each. I think the measure of a civilization is the value the individuals within places on its art and history. When art no longer has value to a culture that culture is lost. When its own history is deemed dangerous, or worthless, that culture teeters on the brink of destruction.

the eyes

My muse has been funny lately. There are images floating in my brain that I want to paint, but fear they exceed my skills. I WILL do the muse's requests and show them to you. They take longer though. I think the muse wants to stretch my skills, and that is a good thing. Sometimes there is wisdom in sticking with the familiar, and that is animals for me.

So between two paintings the muse requested, I did a puma. Here it is. Nietzsche said that, "when you look into an abyss, the abyss also looks into you." So it is with eyes.

Pentimento or Zen and the dirty brushes

A week of frustration has been spend dealing only with the mechanics of painting, and not actually doing it. I have been working on handouts for my students, framing my work, buying supplies and all the necessary but uncreative things that art requires. I am reminded that every creative action has with it the mundane. Perhaps it is part of what separates the true artist from the one that just enjoys dabbling in an art. You have to have such a commitment to the craft that you WANT to do the mundane because you NEED to do the creative.

Pentimento. When I am painting I often add a layer over the original, transforming it and it transforming the one above. Each gains new meaning and understanding from the action of joining them. I think it is that with memories as well. As life brings more knowledge it adds a layer to the memory and the new and old both gain from the interaction. A teacher I had once referred to cleaning his oil paint-filled brushes as a zen moment for him. I was young, and had no understanding of what he meant. I can remember scoffing at it with fellow students after the class. And now, older and more committed to my art, I wash my brushes out in a peaceful sort of trance that eases me from the passion of creation to the normal thought patterns.

burrowing owls

I am working on a painting of three burrowing owls. They live in the town of Rio Rancho, and I am fascinated by them. I thought of submitting this painting to a contest given by the Rio Rancho Art Association that involves images of the city, but I am sure the judges are thinking in terms of landscapes, not funny little ground owls!! Maybe I should submit it just cause it would stand out from the rest. :) Guess the first course of action is to finish the painting and see if it is good enough!

Learning about Acrylics

Yesterday I attended a lecture about Golden brand acrylic paints given by Nancy Reyner at the Artisan Art Supply Store in Albuquerque. I am an oil painter, but I was curious as what I might be able to do with acrylics that I can not do with oils. It was fascinating, and the mediums and gels, and molding pastes definitely caught my attention. I also loved the iridescent acrylics! How fun are those?! I think I will have to experiment with some of the products a bit and see how they feel to work with. Perhaps a hands-on class in my future?

If you are thinking of trying acrylics I can not think of a few hours better spent than listening to this lecture. Nancy was fun - very informative, and the time just flew. Thanks to all who set the lecture up!

Restaurant and Art

Last weekend I hung 15 paintings at Joe's Pasta House in Rio Rancho (New Mexico) with friend and fellow artist Nan Adamson. It is a venue done in conjunction with the Rio Rancho Observer, the Rio Rancho Art Association, of which I am a member, and the Pasta House. It is very different from hanging in a gallery -- the lightening is appropriate for dining, not the art, and so selecting my paintings was based on what works best in that sort of setting. The owner was incredibly gracious, even including a wonderful reception lunch buffet for all the attendees. The food is wonderful, and his prices low. I highly recommend it and not just because he was kind enough to show RRAA art! But look at the walls when you are there! haha. The art hangs for about 6 weeks, then is replaced with art by two more RRAA members. What a wonderful community effort. My thanks to all involved, and my thanks to those patrons that purchased my art!

Talking birds

I have a dear friend, Gordon, who is a wonderful photographer. Out of the goodness of his heart he allows me to see and use any of his photos for inspiration for my paintings. This one of the two birds caught my eye, but it was solemn shot and in the process of painting it I felt the left hand bird begin to enjoy the fountain. I know how odd that sounds, but he talked to me about it, and I was compelled to let him show is feelings. Sometimes these things just happen