Maya Angelou & Inspiration For A Painting

(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.  

Beginners - A Review & Comparison

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.

Sketches

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

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!

Maya Angelou and Inspiration for Madonna of the Swallows

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.  

Efflorescence and Inspiration from Poetry

"Efflorescence" Series is the name of this innovative new work from Syed.  Multi-layered glass panels inset in etched copper-clad boxes are pregnant with small shards, creating volume and depth of color which delicately shimmers, shifting color as you move across the piece.

Efflorescence - "a period of bloom", "a result of growth and development"- describes both the work and the artist's presence in his studio this year.

 The new "Autumn Sunset" Series is an extension (and may be seen at the Celebration of Fine Art along with the pieces shown here) of the original "Autumn" Series which he has reprised this year with some alterations in the etched copper portions.

Autumn for 2011

This year I had more time in my studio than I usually do.  This is always a gift from the Universe since I would greatly prefer to be there working than anywhere else on the planet (with children, being the only exception).  Coincidentally, I knew I would have a larger studio space at the Celebration.  I'm not sure I can quite describe the feeling of being lost in time and space that I get when lost in my work.  It is something of grace, I think.  The result is the major work this year - two large figurative pieces - and if you visit the show, I would be happy to tell you about them, as they have their own "stories", their "birth" and their "history".  

I Know Why the Caged Bird Sings/Madonna of the Sparrows

I Know Why the Caged Bird Sings/Letters from Burma

I had intended to introduce you today to Donna Armstrong's jewelry but I was not able to get her pictures yesterday....but check in tomorrow for simple elegance!

All text and images on this post copywrited 2011 Whitney Peckman

Just the Beginning...

Good Morning Everyone, and a gorgeous morning it is here in Scottsdale, AZ!  The Celebration of Fine Art opened its doors last night for the opening night party and, though all the artists were breathing hard from the four days of fourteen hours constructing their studios and getting their work hung, the guests seemed only to marvel at the result (and enjoy the delectable offerings of Cafe Laredo).  Seeing old friends/clients who are always interested to see each artist's new work is food for the artists, and the appreciation feels like a real pat on the back for the efforts we make.

I hope to do something a bit different this year with my blog, posting each day about what's happening at the show, but particularly to acquaint you with our artists.  This is my fourteenth year at the show and I have seen so much remarkable work that I wish I had told more people about - now I have this great vehicle to do so.

For now, I'm off to our first official day and to shoot some pics for an overview to share with you tonight!

Grace

"Grace" found a new home this weekend at Common Grounds Birmingham, MI. I had just finished her the day before we left for the show, so I was fortunate to have good natural lighting to take this photograph in. I thought the texture and color was leaning towards flowers, but then I dropped the rusty red in and her cheekbone appeared! Magic! And she was there with her swept back hair and slightly tilted head, full of knowing. I love her!

Look What the Muse Left

So here's what the Muse left for me after yesterdays session.  I took this pic on the floor mats in my studio at about 6 pm with no direct light, so it looks pretty flat.  I'll take another tomorrow and you can see it and other new paintings at www.whitneypeckman-painter.com.

Echos IV

We'll be heading to Common Grounds Art Birmingham on Thurs - better clean the studio up and finish stretching those large canvases I started yesterday.

And this isn't the real mess...that's behind me!

Part Two-Working Backwards on Visions

It's been a curious week working on four paintings that came to me in a Vision - full blown (but not easily adaptable to my process...see earlier posts).  A Vision is a willow-the-wisp when it comes to getting it down in concrete form.  Waking with the image in my head, I knew I would probably fail - too etherial, too much in the dream state.  So, I went back to sleep.  That's dangerous.  Happily, the Vision locked itself in pretty well and I sat for a bit, eyes closed, dissecting the layers of paint, setting them in my inner eye as though they were open pages on my Mac screen.  Hmmmm.  That was a new experience.  I am so NOT analytical - never thought of actually mentally dissecting work!  Maybe Syed's wearing off on me!  Still, not ready to actually get to it, I wandered around, physically and mentally, for a while.

So, here are two of the pieces.  Are they the Vision?  Well, close.  But, they are definitely sketches for a direction I have been wanting to go for some time...guess my subconscious just decided I needed a kick-start.

Echos I

Echos II