art ponderings today

Maya Angelou & Inspiration For A Painting

2012-02-05T21:30:00.001-05:00

(This is a re-post from last year. The painting is hanging at the Celebration of Fine Art, Scottsdale, AZ until Mar 25, and is available for purchase.)

Inspiration is a full and varied thing, sometimes young and twitching, other times a vibrational note struck on a crystal glass. It is a muse dancing in your dreams, a wood nymph catching your eye from behind the twilight lit forest. It is shattered light from a glass clad urban high rise tossing itself across the candy apple red of your car hood. It may be a grand philosophical book, read in fits and starts, embedding something unforgettable in your brain, or something inconsequential – a scrap of paper caught on the breeze, landing in your lap like a message from a parallel world.

Last fall I was reading Maya Angelou’s poem, I Know Why the Cage Bird Sings. I had, at the time, been struggling with unresolved ideas for a series of large paintings about women and the patterns of their lives. The original idea was not coming clear for me. About to abandon the whole concept and taking a few days to get away from what I was feeling was a stuck spot, I closed the jars of paint, cleaned my tools and left the studio. Landing on the sofa with a pile of books, I settled in for some quiet time. Maya showed up.

The measure of a good metaphor is how well it connects to the human condition. The caged bird seems nearly limitless, as does the meaning of “singing” or voicing what is within. The voice of inspiration nearly deafened me. Books fell from the sofa in my rush to the studio.

Who knows why the Universe graces us with taps on the shoulder? Not I. But I do know, after 30 odd years of being an artist, that these gracious or raucous or accidental taps are better acknowledged and noted than ignored.

Begin. The surface lies before me – the caged bird sings of freedom - I scoop texture paste onto the board and with the largest trowel I have, spread it in quick broad strokes, leaving trepidation behind – the free bird leaps on the back of the wind – trails and rivers, paths and raindrops show up under the tool, taking me somewhere, bringing someone to me – I feel a door opening – light? Quickly I mix a wash in creamy pale yellow – pour it on, catching it in the river/paths/raindrops – the free bird thinks of another breeze – and warm lemon curd yellow floats into my world. Are you there?

Waiting. Slow drying, but surprises appear. I tape the poem to the wall, print big enough to make out as I work. So many images surface in my mind’s eye, call to me, then drift only to be replaced, crowded out by others. Returning to my work, I see a delicate head wrap, in tiny pattern, and then a sleeve, richly embroidered. She’s here. Waiting for me to give her voice. Where is the window from which you watch? A swallow brings you an offering of berries. You gaze at me, Madonna of the Swallows. I hear your voice.

Madonna of the Swallows

48" x 84"

The universe sends Muse and Inspiration to whisper in your ear that there are fantastic things for you to do – soulful songs to write, luscious colors to mix into unpredictable combinations, elements and molecules to construct the never before seen. There are birds to be let free and voices to hear calling.

Husband/Wife Collaboration

2012-02-04T22:49:00.000-05:00

After 23 years of marriage, Syed and I have finally collaborated on four artworks! Amazing! Not that we've actually been negotiating all these years...just that we finally got it together and figured out how to make two very divergent styles work. And we did it without arguing...at least he did it without arguing... I, of course, had to argue a little.

So, this is how it went. After a couple of years of trying to figure out how to actually mix our media (glass, metal, gourds, painting), we moved on. Mixing all those things just seemed ridiculously forced and a little silly. Next, we spoke about gathering mixed materials for the re-purpose style and mixing that with glass. Appealing at a casual glance, but it just didn't come together. Next we tried on the idea of me painting the glass. Not. How bout working bits of glass into paintings? Really? And we moved on.

This year, inspired by a young woman doing stencil work in Salisbury, we were able to see how my drawing and Syed's abstract glass and metal could come together. This is just the tip of the iceberg. We could easily see how to develop it after these first four were finished. I won't talk about those developments, just to say that a door has opened and we can see the highway before us....it's going to be a great fun trip, and you will be seeing more of us in the future! Till then, come in and see these pieces - jump off into an adventure with us - we've got some great ideas for larger pieces as installations.

Wildflower Series

Ranuncula Series

She Thinks In Color

2012-01-30T00:45:00.000-05:00

In my world of art I do a lot of things. I paint, carve and sculpt, assemble collages from scraps of my paintings, work with mixed media, and time permitting, I like to build memory books for my family. So I am never really surprised when people come into my studio, look around and say, "Is this all you? You do so many things," with a somewhat quizzical look.

Does it all look like me, I ask? They look again. Well...yes. But, but there are paintings and the gourds and pots and....

And all that is true. So what is the unifying principle? What is it that drives my work? By what am I compelled?

Color. All surfaces, all materials, all combinations of media are there for just one purpose - to be brought to life in living, breathing, passionate, subtle, intense, complex color. I dream in color, and am aware of color as I breath, move, talk, eat, think. Pulsating sunsets come on the heels of days full of colors as simple as creamy white milk on silver dusted blueberries, the many hues of ochre and grey walking across the parking lot, the shades of lemon and grapefruit yellows in the glass cylinder on the desk at the show. Then I am mesmerized by the complexity of transparent hues that create the moving sea or air that I find in Adolfo's work. And on it goes all day long, until I head for home while the sun turns the desert air into streams and rivers of striated cadmiums, laced in violets, tinges of lime and all there to burn into my memory for resurrection in my dreams.

So, the next time you look into an artist's studio and see a variety of medium or technique or color, ask yourself what is the thing that unifies the work? Is it the palette, as with my work, or is it something else? Is it subject matter - landscape interpreted in many styles, perhaps, or animals in paintings and sculptures, or abstracts in many colors and materials held together by the shapes used, or is it line that is the common denominator? So many possibilities. Just like with color.

So much experimentation to do. So little time. Back to work....See you soon!

Collaboration of the Celebration Kind

2012-01-27T23:44:00.000-05:00

Here's a little tale of a happy combination at the Celebration of Fine Art - I started working on a little gourd with a new technique of layering 10-15 glazes for a dimensional effect in a floral design with a little yellow bird included. As I worked I was thinking of how to finish the raw gourd top...the design seemed so elegant that the raw edge clearly wasn't right. I had found an interesting old Victorian brass back plate for a door knocker while I was in San Diego over Christmas. Just the right size and fit! But, what to do about the hole...now that seemed unfinished. You know, these "simple little projects" sometimes get away from you! So, I wandered down to see what my friends Donna Armstrong and Donna Bernstein thought. We all mulled it over. Came up with some great ideas, but the best was to ask Kevin Powers if he would blow a small stopper for it...and so, back to the other end of the tent, where Kevin was working away on his glass. Gracious guy that he is, he said, sure, let's do it...and after the show closed last night, he blew the sweetest little stopper with a delicate yellow flower in the center, just the exact colors of the work I had done. And here is the glass blowing process and the finished piece! Sweet! Sweet! Sweet!

Slideshow of Setting Up the CoFA 2012 show

2012-01-16T20:29:00.000-05:00

Syed working on the light structure for our studios

Slideshow of setting up the 2012 CoFA show! Click on this link to see the process of setting up the Celebration of Fine Art studios for this 10 week long event and experience what the artists do to bring an amazing selection of work for you to peruse, wonder at, be dazzled by and to share with your friends. It is a daunting task and takes almost 5 full days to complete - often on opening day we wouldn't want you to open any closets for fear of what might tumble out! But by mid week we're all at work in our studios and ready to share what we do, how we do it, and what inspires us. This is an exciting venue, really unique in the country, and at our new location at the intersection of the Loop 101 and Hayden Rd Exit, stunningly beautiful as the sun goes down casting those AZ colors on the McDowell Mts.

This show is a big part of our lives, spending 3 full months with almost 100 other artists, and it is inspirational and energizing, so watch for regular posts about what Syed and I are doing, what our artist friends are working on, and occasional philosophical musings.

And now, it's back to work!

Ken Newman Sculpting on the Road: The Celebration of Fine Art - A Writer's Words

2012-01-16T19:50:00.000-05:00

I had to repost this beautifully written article about my friend and neighbor at the Celebration of Fine Art - the article is poetically simpatico with Ken's work. Hope you can come and see it in person.

Ken Newman Sculpting on the Road: The Celebration of Fine Art - A Writer's Words

Flemenco and Julia Chacon

2012-01-05T10:54:00.000-05:00

If you live in NC or VA, don't miss the opportunity to see Julia Chacon dance!

http://juliachacon.com/

Gorgeous Day At the Gourd Farm

2012-01-03T21:03:00.000-05:00

Belying the stress prior to beginning the 2012 Celebration of Fine Art, I took December 31, a beautiful sunny day in San Diego County, and went to the Welburn Gourd Farm in Fallbrook, CA for an end of the year sale. Sun shown through the live oaks, gourds were abundant (but none of the zucca that I went for), and it was blissfully quiet with only the singing of the birds. And now, back to work! Set up begins this coming Monday!

Working Hard In the Studio

2011-11-18T17:55:00.001-05:00

dThought it was time to unveil the yearly hysteria in the studio as I get ready for the 2012 Celebration of Fine Art opening in Scottsdale, AZ Jan 14 - time to confess to how messy it is to be an artist (at least that's my excuse!). And just one more thing - if you enjoy this blog I would so appreciate it if you would forward it to your friends - word of mouth is the best for artists!

3 waiting for varnish

Beginning a sculpture

Early stages of standing Salmon Poppies

Primula in process

Waiting to Become

Wine & Art: The Perfect Pairing

2011-11-13T07:40:00.001-05:00

Recently I had an opportunity arise in the form of an invitational exhibit at our local winery here in NC. Cauble Creek Vineyard invited several artists working in several mediums to show up to three pieces with the only stipulation being that one of them should have something to do with wine. I have had grapes on my list of sculptural gourd pieces to do for years and have never gotten around to! This seemed like the perfect time. And so it was. I am happy to say that it sold at the opening and will be residing right here in Salisbury.

Here are several views of "Full Bodied". It has lead to another piece, almost finished, for the Celebration of Fine Art in Scottsdale, as well as a request for drawings for a totally different "wine piece" for the wall.

In an English Garden

2011-10-30T17:45:00.000-04:00

A big project is finished and ready to deliver this week. It is a companion piece to a peony and butterfly piece I did a number of years ago. They are both 44" tall and In an English Garden will be a gorgeous mate. The first piece is all rose reds and pinks with butterflies zipping through them in shades of yellows, blues, lilacs and whites, and perched on shades of green leaves and sunlit blooms. This new piece is a rambling garden of a variety of blue and purple iris, peach and cream lilies, deep green hosta with delicate white blooms, some roses peeking out. Dragonflies are here and there and a few other surprises as well.

I was asked to do this with the utmost trust that I would do something "just right", and I hope these lovely clients will be as pleased as I am. That is always the thing, with commission work. Will the expectations be fulfilled? Will the artist understand the request? Will the client be so nervous that the artist feels constrained and indecisive about the end design? It really all is a delicate balance between them, and often hinges on how much each knows of the other. The artist, being the artist after all, will have a strong vision of the work colored by her style. If the client isn't very familiar with that style, or if the artist isn't solid in a particular style, the visions can be drastically different - sometimes not even in the same park. The client may have a strong vision too - perhaps something he seen in a photograph or a place visited, a memory. But if the client isn't able to tell the artist some particulars about that vision - something beyond a color palette or medium for example - then there's a good chance that a problem may arise.

How do we avoid such a mishap? Artists need to be certain that the client understands her style and has seen several examples, preferably in the flesh as well as in the portfolio. And I believe the artist should ask many questions - questions dealing with the more subtle aspects of the request - questions like, what is the angle from which you will view my work? What other things are in the peripheral view? What other artwork is near? What is the overall "feel" you are wanting to create for that space? Conversation that is more ephemeral perhaps, but the answers may get to a deeper place from which the client may clarify his expectations. If we take a little extra time to distinguish these things, I think commission work can be exciting and very satisfying for both the artist and the client.

Then, every once in while, some wonderful people will say to you, "Do what you think is best - we love your work!"

Detail

In an English Garden

another view

and another

I can't decide which I like best!

Sculpture finds perfect home!

2011-10-29T08:31:00.000-04:00

This is so exciting for me to post! Check our this ArtPrize sculpture by my friend Bryce Petit! I have loved Bryce's work ever since he joined us at the Celebration of Fine Art in Scottsdale many years ago. And this piece is so much who Bryce is as a person - I hope you'll come to the show and meet him - he's just the best! Congrats Bryce!

AZ to CO 2011-Dust Storms to Double Rainbows

2011-07-15T00:53:00.001-04:00

Artists and miles and miles and miles, bringing art to you.

Beginners - A Review & Comparison

2011-07-05T23:49:00.000-04:00

Last post was about our experience seeing A Tree of Life. Tonight we saw Ewan McGregor and Melanie Laurent in Beginners. Touching, melancholy, sweet with wonderful expressive actors. It was, as an experience, exactly the opposite of A Tree of Life. By that I mean to say that I was always the observer in Beginners - appreciative, sympathetic, engaged - but never did I actually experience the emotions as my own. A fine film. I recommend it. But not a film to experience, to be in. And not a film that will stay with my conscious or unconscious mind.

Now, as we wend our way to Colorado for this coming weekend in Edmonds at the Vail Valley Art On The Rockies show, we take our art critic hats off and become our artist selves again. Fun to live another life for a while. Whitney and Syed and Roger Ebert.

A Tree of Life - A Review & Varied Opinions

2011-07-03T20:08:00.000-04:00

Syed and I went to see A Tree of Life, Terrance Malick's new movie starring Brad Pitt, this past week. I had heard it was a "visual experience", and being into that sort of thing, we wanted to see it on the big screen. Yes, it was that, absolutely. But it was so much more. It was, in my opinion, the most exquisite meditation of what it means to be human that I have ever seen. And the most deeply refined explanation of the metaphor of "tree of life". I would not, could not, saddle it with easy phrases - "spiritual" or "religious" or "new age" or "meaningful". All of that seems to completely miss the elegance and totality of the concept. The film was, in fact, a true experience of being. Yes, it is a difficult film because it asks of the viewer to give him/herself over - to suspend disbelief, cynicism, guardedness - and just experience what you are seeing. Once one allows the mind to enter the abstract visuals without conscious criticism, one is able to simply open to whatever is coming. And when one opens one's mind in this way (and the clue is given by the mother in her first audible thoughts when she tells us that there are two ways of being in the world - the natural way and the way of grace), the experience of being human in all it's history, it's development, it's complexity, becomes something we are able to actually experience while in our role as audience. Quite amazingly, we can feel what they are feeling, become who they are, without judgement.

This film is so fully conceived, so delicately executed, that it is possible to exit the theatre with greater sensitivity to life than when you went in. And, because I have read that many people have left early, asked for their money back, and have even been angry, I would invite them all to find other viewers with whom to have conversation and dialogue and above all, to go and try again - go gently, go alone, go without hostility or expectation - and then, let me know if your experience changes.

Love Things Italian?

2011-06-24T10:58:00.000-04:00

This is Liana Sofia Tumino's latest video showing the inspiration behind the incredible real frescos she creates. It's a marvelous mix of music, art, dance and love!

Sketches

2011-06-21T11:33:00.002-04:00

Working on smaller and more casual pieces now - somehow the summer heat and humidity make me want to work quicker and on paper - perhaps the fan blowing on large pieces makes for problems with proper drying of the highly textured work I usually do. Whatever it is, it's a nice change for me, and I hope interesting to you. I am not a fan of highly developed portraiture - I think I lived with enough of those in my childhood - or perhaps it's just the times that make me want to see work that is more in the matrix somehow.

Girl With Red Scarf ©Whitney Peckman 2011

CreAtive Sparx in McCall, ID

2011-06-17T10:33:00.000-04:00

Registration is now open for all the classes and workshops at this exciting ART week in McCall, ID - Syed will be teaching glass fusing and his newest multi-layered work will be on exhibit; Ken Newman has three full days of in-depth sculpting; Deb Newman will be offering a class in social media for artists; Deb Fachin is offering a special class for teachers - and there is so much more! Time is short - check us out and please forward this to your friends - we don't want anyone to miss out! See you in beautiful Idaho in July!

A Week of CreAtive Sparx in McCall, ID This Summer!

2011-06-14T18:17:00.000-04:00

We are all so excited to be participating in the first summer of art events at the brand new McCall Art & Commerce Center in McCall, ID!

Classes, events, exhibits and open studio time - something for everyone!

Don't miss the Art & Wine Pairing because it's a delectable, delightful and delicious way to tickle your tongue and your eye!

The CreAtive Sparx 20/20 Vision will let you peek into the hearts, minds and souls of some artists in a stimulating and unusual way!

Visit the exhibit in the Gallery and see sculptures, paintings, glass, pottery, jewelry...and maybe even some surprises!

Join us for this inaugural event at MACC (and if you are a member, don't forget to ask for the discount on the class fees).

2011-06-09T13:57:00.000-04:00

Here is the flyer for a week of great workshops and events we are offering in McCall, ID at the new and very beautiful McCall Art + Commerce Complex (MACC) this summer the week of July 18-25. The idea for this began at the Celebration of Fine Art this past winter. A group of us, the NW Salon, who have been working cooperatively for a few years to enhance our audience's art experience, generated CreAtive sparx when Donna and Dave Armstrong told us about MACC. Since all of us either live in or have lived in the northwest, we loved the idea of spending a week bringing our ideas, our work, and our energy to beautiful ID. We are equally excited to join with McCall artists in the development of what may become the Art Event of many summers to come. So, join us! Besides the classes/workshops here, there are other curiously delightful events for you to attend....I will post more about these soon, so keep in touch!

And check this link out for other classes held on the campus all summer long - www.mccallarts.org

As for our road trip on the way to McCall - it's going to be a busy summer. We start out in Chicago where Syed has a show over the July 4th weekend. I'm taking a few days to visit family in Iowa City and a trip to the University art galleries and the wonderful Chait Galleries Downtown where Syed has his work. Then it's back in the van to Vail for the Art On the Rockies show, July 9-10. We haven't been to Vail in several years, so this trip to the Pacific NW provided a timely opportunity to spend a couple of days in the Rockies again. Then we go all the way to Salem, OR for the Salem Art Festival, a show we did many years ago - I love this festival! They have great music and it's the annual fund raiser for their Art Association - so if you're in the area (and who wouldn't want to be in Oregon in the summer?), join us.

And finally we get to McCall July 18 for a meet-up with a bunch of great, inventive artists for a week of fun - teaching, sharing, sipping, tasting!

art ponderings today: Is THAT Art? An Answer

2011-05-23T17:25:00.000-04:00

art ponderings today: Is THAT Art? An Answer: "I love this question. I love it when I hear it. I love it when I ask it. Because if something elicits that question, it has intrinsic val..."

Is THAT Art? An Answer

2011-05-23T16:36:00.001-04:00

I love this question. I love it when I hear it. I love it when I ask it. Because if something elicits that question, it has intrinsic value. The work by Argentinian artist Marta Minujin written about in Escape Into Life blog post begged the question. In my opinion, the answer is a resounding YES. I hope you'll take a look at this large tower made from books, read about the cultural connections and meanings and finally, the plans for it's deconstruction when the exhibit is over.

If every piece of art was as deeply thought out as this one, as environmentally conscious in regards to both materials used in the creation as well as spiritually conscious in the universal importance in it being archival, we could all enjoy the question, "Is THAT art?"

Would I feel the same if it had been done in metals or stone, relatively "permanent" for ages to come? I don't think so. Its impermanence is part of the spirituality, or universality, of memory, paths of understanding, and need for connection and at the same time asks, by virtue of its temporality, to be remembered, recalled, carried into the future consciousness.

What do you think?

Website Update

2011-05-11T16:48:00.000-04:00

Finally updated my website www.whitneypeckman.com, so hope you'll take a peek - time to build inventory after our great winter - so thanks everyone for your continued support of my work.

Artists and Commissions

2011-05-07T09:20:00.000-04:00

Note: This is a post I wrote for NWSalon.com and was originally published there in Mar 2011. I am reprinting it here as a response to a Twitter stream. Thanks . Whitney

For a variety of reasons, some artists dislike working on this basis, preferring instead to sell only what has already been completed. Others of us enjoy the challenge and the conversation to balance and coordinate our ideas with that of our client.

Final touches

What contributes to getting a commission? (And here I am speaking only of private commissions, not public or corporate ones.)

Listening is the first and, I think, most critical. We listen for that which impresses the viewer, because, after all, it has to be more than just a “that’s nice” reaction to our work to interest them in a specially made piece. Each artist has a gut feeling about the strength of his own work. Is it born out by the viewer? Or, can you hear a potential problem – perhaps, “I love that piece, but not the colors” or “Beautiful colors! Too big, though.” There are hesitations to listen for, and tones, and casual comments – “Hmmmmm” and “That would look great in your bathroom, Alice,” and “Good colors, but not so much for the bedroom, do you think, Honey?” or “Hmmmm, not quite."

So is a positive comment always a positive? And is a negative one always a negative? No, to both questions.

Loving someone’s work doesn’t automatically mean anything. It is, however, an invitation to ask your own questions. “What is it about the piece that you most like?” (Appreciate that they may be in awe and inclined to burst out with “Everything!” but encourage them to be more specific.) Now here is the place where sales books tell you to begin inquiring about their home and “qualifying” them. I HATE this approach. I’m not a car salesman. This person who is standing in your booth or studio or gallery is most likely responding to your work on an emotional level. For me, that is the signal that we have a place where we might relate to one another. Instead of assessing her shoes and asking, “Do you collect original art?” I might ask if she gardens (because she is staring at my garden painting) or “Are you from here? Are you watching for the hummingbirds to come back?” (because I have some in another piece). Take a few moments to find what moves this person, because what moves her in her role as viewer, as potential client, is what may move you, motivate you, inspire you. A piece of your self, your being, your soul can make a difference in a client’s life. Learning a bit about who she is as an individual can open the door to the possibility of a long and successful artist/client relationship. Finding spaces for relatedness connects both ourselves and our art to other human beings. Relatedness never happens in isolation

Similarly, “Nice colors, but it won’t work,” may sound negative, but in actuality is not at all. Acknowledging their appreciation of your colors is the open door. “Thanks – I’m glad you like my colors! But what is it that won’t work? I’m always interested in people’s difficult spaces.” Your interest in their space is personal and caring. I have had this conversation many times in my career. Sometimes the resolution I see requires a different kind of artwork, and I am able to suggest artists who might be a better fit. Often it is just an issue of position or shape or pattern – basic design principles of which they may not have a working knowledge. It’s a great feeling to see their eyes light up when they see the possibility of one of my suggestions working for them. And what better way to develop trust but to help in a generous manner without agenda. If you don’t get the immediate sale, I guarantee that you will see the benefit down the line as they tell their friends all about you and your work.”

After you have developed the seeds of a relationship with your potential client, what comes next?

Instead of announcing that you do a lot of commission work, why not suggest looking at their problem space together – maybe try a few pieces in the space to see what kinds of shapes/colors/sizes might work? “Perhaps we’ll come up with some fresh ideas – then we can go from there. I’d love to be part of the solution!”

Artists have good eyes. That means if we use them, it is easy for us to take in a great deal of visual information, assimilate it, and generate many possibilities to solve spatial and design problems. Are you approaching commission work with your eyes wide open, or are you just looking for a quick sale – no fuss, no muss? It’s perfectly ok not to be interested or inspired by collaborating with the client. If this is the case, just be clear about it within your own mind, be generous – give the client some artist’s names who might better be able to meet their needs. Be clear about boundary lines –“I can incorporate this idea of yours, but not that.” But, if you like this type of problem solving, then enter their home, eyes open to the myriad of details in their surroundings. Why is the problem area a problem? Listen to why they think it’s a problem. Are they looking at your sculptures which are clearly not going to fit into the 4” deep niche? Should they be considering a painting or shallow wall sculpture instead? Can you see a place where they might be able to place your large sculpture? Suggest it. Perhaps you are a painter and they like garden paintings but have four broad-view garden paintings already in the room. Suggest to them that perhaps they would like to consider a close up of the iris – one bloom in fine detail – to set off their wonderful collection of garden paintings. Do you hate the other paintings? Do not be insincere, but look at their home from their viewpoint. After all, you are not the one living in the home. They have paid you the complement of loving your work. Respect their other choices.

Listening. Seeing the fun in problem solving. Respecting your audience. Require 50% deposits and gurantee your work (they will be less anxious and, after thirty years of being an artist, I’ve never had to return anyone’s deposit).

art ponderings today

Maya Angelou & Inspiration For A Painting

Husband/Wife Collaboration

She Thinks In Color

Collaboration of the Celebration Kind

Slideshow of Setting Up the CoFA 2012 show

Ken Newman Sculpting on the Road: The Celebration of Fine Art - A Writer's Words

Flemenco and Julia Chacon

Gorgeous Day At the Gourd Farm

Working Hard In the Studio

Wine & Art: The Perfect Pairing

In an English Garden

Sculpture finds perfect home!

AZ to CO 2011-Dust Storms to Double Rainbows

Beginners - A Review & Comparison

A Tree of Life - A Review & Varied Opinions

Love Things Italian?

Sketches

Recommended Reading

CreAtive Sparx in McCall, ID

A Week of CreAtive Sparx in McCall, ID This Summer!

art ponderings today: Is THAT Art? An Answer

Is THAT Art? An Answer

Website Update

Artists and Commissions