Week 5: Day -To - Day Painting Living in the Present

To become mindfully aware of our surroundings is to bring our thinking back to our present moment reality and to the possibility of some semblance of serenity in the face of circumstances outside our ability to control.
Jeff Kober


Writing on the first day of November and thinking back to the last week of July I recall one benefit to being couch-bound was that I was totally in the “now”. I couldn’t do anything or go anywhere so there was no point in planning. The tyranny of the clock was completely obliterated. The only time I needed to keep track of, was when could I take my meds, and I did that by writing the time down when I took my last dosage. There was no need for grocery lists I couldn’t go shopping, I was totally reliant on food that people brought me (and my gratitude to the people who fed me grew daily.)


The only appointment in my calendar was the follow up visit with the doctor, scheduled for July 31. The physician had told me to go home and lie down and do nothing until I came back at the end of July. I understood him to promise that I’d be healed by then. And so I hoped. I was painting these paintings and slowly increasing the time and distance of walking in my house using a cane, not relying on the walker, I was hopeful. (Spoiler alert, it did not work out the way I hoped but I’ll write about that in the next blog).

​I worked on each piece from this place of acceptance and hope, not anticipating anyone’s reaction.
This week I began to start and complete one piece each day. Moving on from the homage to Bonnard, leaving behind the domestic scene, the familiarity of recognizable shapes that were used to create blocks of color. For the first painting, I used the palette knife to create the marks and shapes, creating a piece with all over patterning while still playing with and exploring Bonnard's colors, This piece feels full of bright energy.



Most people treat the present moment as if it were an obstacle that they need to overcome. Since the present moment is life itself, it is an insane way to live.
Eckhart Tolle



If we think about the transitory nature of our lives, and acknowledge that none of us can control the relentless change in our lives, we realize that the present moment is all we have. still, we fool ourselves, we walk around acting as if we know the future and can control the outcome by doing certain things, by acting in certain ways. We are shocked into a state of honesty when we are confronted with some circumstance that we can not control.
Being in the present moment and accepting my condition as it was, required me to release my need for security and to feel like I was in control.
I became aware of the part of me that exists beyond planning or security seeking. This acceptance carried over into the painting. I worked directly with the colors and shapes. The piece has no direct reference to anything but itself and yet there is a place of peacefulness found here.




When you take your attention into the present moment, a certain alertness arises. You become more conscious of what's around you, but also, strangely, a sense of presence that is both within and without.
Eckhart Tolle

Here I set up a rhythm through the use of color and marks, it is still Bonnard's color. Again, there is no direct reference to any place and still the painting itself becomes a place of refuge. These colors seem appropriate for these hot July days. ​




There seems to be a hint of a place in each of these pieces. I think my inner experience was translated out to the paper.
What experiences have you had with discovering peace in accepting your condition, whatever that condition was?​

RitaMarie Cimini

RM Cimini is a painter based in Delaware, working in oil glazing over acrylic on canvas. Trained as a formalist, she now turns that structural discipline toward a different aim: paintings that invite viewers into a moment of interior stillness. Most works begin with an underpainting, built up through repeated layering, scraping, and re-layering, sometimes with raw pigment worked into the surface for texture. That process of addition and subtraction stays visible in the finished painting, inviting the eye to travel through the paint and find forms that are partly hidden.

Drawn to water and celestial skies, Cimini uses light as a visual metaphor for the fragility of form and our shared transitory state of being. A meditation practice spanning more than four decades informs both the paintings and how she hopes they're experienced. She also facilitates meditation groups and writes about art and spirituality for Huffington Post, Sivana Spirit, and her website, rmcimini.com.

Cimini's work has been featured in solo exhibitions at the McNichol Gallery at Neumann University in Aston, PA, and at baby grand Gallery at the Grand Opera House in Wilmington, DE, and in group exhibitions at The Delaware Contemporary, the Delaware Art Museum, the Belskie Museum in Closter, NJ, and the Monmouth Museum in Lincroft, NJ. She served on the board of Studio Montclair, a nonprofit visual arts organization, from 2013 to 2022, including as President from 2016 to 2019. She holds an MFA in painting and sculpture from Bennington College and is an inducted member of the National Association of Women Artists. Her work is held in private collections in the United States and abroad, and in the public collections of Atlantic Health System, Memorial Sloan Kettering Cancer Center, and the MC Hotel.

https://www.rmcimini.com
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Working with Pain

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Painting Faces: An interview with Janet Boltax