Year's end is neither an end nor a beginning but a going on, with all the wisdom that experience can instill in us.

(Hal Borland)

Opening a show, is sort of like throwing a big party except there is even more work and coordination and showing your work often evokes a certain level of excitement as well as anxiety and insecurity. The day following the opening, the artist often has to try to discover ways to forestall the postpartum blues (opening of show variety) Then as the show continues your interaction continues. You meet people there, you chat, you answer questions... Then you take it all down. Today I took down the show. I uninstalled. I brought the work home. So in an effort to distract myself and forestall the postpartum blues (end of show variety) I am blogging. I am going to answer that question I am so often asked.... how do I know when a painting is finished? Unfortunately, my honest answer is probably less than informative. The answer is, when I have said everything I can say in that particular painting- when there is resolution, and the painting is not over worked (there is still some entry point for viewers to wander around and find their own meaning, some breathing space). And how do I know that? Well...

“There’s nothing like rejection to make you do an inventory of yourself.” James Lee Burke

A really cool thing happened this week. A submission I made to a juried exhibit was rejected .

note #1 I very nearly wrote I was rejected

note #2 I am quite serious, in the end this was a cool thing, read on...

Let’s s start at the beginning.

The artist's association I belong to (http://studiomontclair.org/)put out a call for a show of works honoring the Fauves.

The Fauves, as explained in the website, The Art story (http://www.theartstory.org/movement-fauvism.htm) were a loosely affiliated group of French painters inspired by the paintings of Vincent vanGogh, Paul Gauguin, Georges Seurat, and Paul Cézanne.

Melody Beattie

Gratitude is more than counting your blessings. Incorporating gratitude into your life, or practicing grateful living, leads to a sense of well being and improved health. When we practice both meditation and grateful living, we become aware of the abundance in our lives. Focusing our attention away from negative and stressful thoughts, increases heart health and triggers positive changes in your brain.

I am not making this up, there is a lot of scientific evidence of these physiological benefits. I am providing a link to a blog on Grateful living practices, that asks us to notice all that is already fully present and abundant in our lives – from the tiniest things of beauty to the grandest of our blessings. In this essay Brother David Steindl-Rast, OSB, urges us to be awake to the surprising world we live in, be aware of the opportunities offered us to simply enjoy our life and lastly to respond to these opportunities alertly.

I discovered and became a devotee of Medardo Rosso (1858-1928) when in graduate school, studying Painting and Sculpture. Last night I attended the closing reception of his works at the Center for Italian Modern Art (CIMA). What a great opportunity this exhibit provided seeing one of his sculptures in person is uncommon, here were 12! Even more enlightening to me, were the 30 drawings and 55 photographs. I am fascinated with his painterly approach to sculpture. Here is an artist who was attempting to ‘dematerialise’ (his term) the sculptures he was making. Light and shade become tools as he manipulated the distinctive characteristics of cast plaster and cast wax (as well as bronze). He chose his materials with this intention that light should combine with the surface to create the form. The play of light on the surface, used to produce an effect of color, is a key element in the finished piece. His aim was to integrate the object with the atmosphere.

Because we are creatures of our society which prizes productivity so highly, we can come to judge ourselves by measuring our output and expecting that output to be consistent and constant. Such self judgement does not acknowledge the rhythm of the creative life. There are times when we draw from the well and there are times when we must refill the well. There are natural rhythms to creativity. Periods of flourish follow periods of incubation, and sometimes one must rest to allow the creative energies to resurge. We must go where we find delight and drink it into our souls, refreshing ourselves. I first learned of the concept of filling the well in Julia Cameron's book, “The Artist's Way” a book that outlines a program to overcome creative blocks.

" Art is an image-using system. In order to create, we draw from our inner well. This inner well, an artistic reservoir, is ideally like a well-stocked trout pond. We’ve got big fish, little fish, fat fish, skinny fish – an abundance of artistic fish to fry. As artists, we must realize that we have to maintain this artistic ecosystem. If we don’t give some attention to upkeep, our well is apt to become depleted, stagnant, or blocked. Any extended period of piece of work draws heavily on our artistic well... As artists we must learn to be self-nourishing. We must become alert enough to consciously replenish our creative resources as we draw on them – to restock the trout pond, so to speak. I call this process filling the well. Filling the well involves the active pursuit of images to refresh our artistic reservoirs. " Julia Cameron, The Artist's Way: A Spiritual Path to Higher Creativity

Do not depend on the hope of results…you may have to face the fact that your work will be apparently worthless and even achieve no result at all, if not perhaps results opposite to that you expect. As you get used to this idea, you start more and more to concentrate not on the results but on the value, the rightness, the truth of the work itself.

Thomas Merton

I am happy to announce the inclusion of two of my paintings in the new member exhibit of CWOW curated by Ebony Simpson at the Atrium Gallery of Seton Hall University School of Law, Newark, NJ. April 26th - July 25th, 2015.

I will be showing "When Morning Comes" Oil on Canvas 48 x 36"

and "Squall" Oil on Canvas 36 x 48".

In both of these paintings I am using aspects and appearances from the material world to disclose an undercurrent, an inner life .