by Diane; Mini-art Respite from caregiving #10: Self Publishing

Way back in Bellingham in the late 1970's or early 80's Fisherman Hubby and I self published a manual for Steelhead fishing on a black and white zerox machine.  Time for an expanded edition not only with color but also professional binding. Technology has gone a long ways to foster creative authorship in the decades since the beginning of a book symbolic of our marriage together.

Whether or not Fisherman Hubby chooses to actively engage in the update, I hope the memories it will kindle will enrich these final days.

by Diane: Mini-art respite from caregiving update #9: A new meaningful direction

This painting might be close to finished.  It could be an illustration in Fisherman's Hubby's revised book about fishing that we did in the late 1970's or early 1980's when we lived in Bellingham, Washington. Since then he has expanded into fishing from a glass drift boat and aluminum Almar motor boat.
As his ALS prevents him from many physical activities, I hope he will join me in making a book that we can pay to be bound in a display book. Even if he doesn't feel like composing it, I am going ahead with this project with the assistance of the  Home Instead Senior Care caregiver.

This week has been very upsetting to me seeing Don suffer sometimes not being able to eat without choking or taking longer and longer to eat mostly staring at the food and not really wanting to eat more but still trying.  Don't know if he will engage in the book. Don't know if he will change his mind and accept tube feeding.  Wish us luck, yesterday we scheduled an appointment with his neurologist.

Excuse my short post I need to make sure that Hospice comes to asses us this week.

Just a taste of Arizona

by Rain Trueax

There are several elements to a book that must be considered before setting out writing. One of them is setting. Does the setting work with what happens in the story? How much do you know about the location? How important should it be to the plot?

For me, setting is one character in all of my books. I set them only in places I've spent time or better yet-- lived. I like that sense of reality for my stories, which are otherwise fiction. Mine are all set in the American West. Some are contemporary and some historical, but they all have ground under them where I know what the soil is like, how the wind feels, when it rains, what kind of vegetation, and even who are the people who live there.

by Diane, Hidden benefits of keeping the best of my art

 

I want to go out and paint on a spanking new surface but have run out of space to acquire even a medium sized canvas. In the past I have retired a few paintings and then acquired new surfaces. So I am in the process of purging my own work. Having several hundred paintings ready to hang is a nice manageable limit. After years of this process enabling me to continue painting without the bother of marketing I am approaching with enthusiasm the destructive part of creating a strong body of work.

Going through my unframed smaller work is like a walk through my past. In the '60's when Nancy was a toddler, I made wood block prints.

As my daughters grew up my husband started restoring Model A Fords.  The kids in the neighborhood got involved when we started up the motor. This is an illustration for a children's book for our family.

When we moved to Albany, Oregon we raised bummer lambs. This pencil drawing also was an illustration for a book I made for nieces, nephews and grandchildren.

When on a cruise friends agreed to pose for me! This is a sketch on an accordion folded watercolor paper book. I started 19 years ago cutting up full sheets of watercolor paper to make books without heavy covers.  Pocket sized books were handy to record memories of our trips while riding in a bus or walking along trails.


1987 our backyard view

                                                                                                After last year's clear cut, 

                                                                                              there are many oak seedlings everywhere.

 

While going through my collection I found the 1987 watercolor of the Christmas tree farm. I was briefly inspired to paint the same scene as I see and feel it today. On second thought, I am not excited enough to immediately go out and paint in my old style. A more abstract distillation will take incubation in my mind.  I think I will select the flight of the swallows over the open meadow where the wind blows the grass that moves like waves.
        I took a picture with my phone. Taking pictures gave me new perspectives. But no camera can capture what I feel about the energy of the open space. When I complete the painting, I will update this post.
        It is fun to reminisce but mixed with the fun is making difficult choices requiring retiring some of my past work. Retiring too much can be depressing. But enjoying the new open spaces gives me a sense of accomplishment. I am not preparing even medium sized surfaces because as of late my small works are encroaching on more and more nooks and crannies. More paintings are stored closer and closer together on the walls.  I not only need more space to continue painting but I suspect that my work on paper as old as 60 years degrade- even acid free paper may degrade. I suspect dust mites are seriously worsening my husband and my allergy symptoms.
          I need to set priorities to make these difficult decisions of what to keep of my own and other artist's work in my collections.  My number one priority is having a personal relationship to the content of my work as well as a personal connection to other artist's work in my collection. Number two is keeping representational work from each period. Number three is keeping work representative of my series including paintings of waterfalls, water in landscape, self portraits, vases, dragons and fantasy.
          Each piece of importance will be supplemented with a handwritten story. If I do not have a good enough story, I will retire the painting. If the paper is old it goes into the garbage. If it is new and acid free, it is cropped to make greeting cards.   I hope dust mites will not be a problem if I keep art work sealed in archival museum boxes.
          I feel some time soon in the future I might again market my work. With my strongest work and a catalog of the ready to hang work, I hope to impress a gallery that will promote my work whole heartedly. Since mostly my best work has been sold over the years, I have on occasion received some of my work back. Some have willed my paintings back to me or my heirs. I hope other collectors will do the same.
May 15 UP DATE
This morning  I woke up with the realization that my body of work is sentimental. My process of keeping only works that I can write a story about is a sentimental visual diary. Hard to admit sentimentality because my art professors cringed and criticised  saccharine sentiment in paintings.
         Also I foresee more clearly the second watercolor to show how I feel about the change of the meadow since 1987 as seen from our back yard.  As I paint the vision may change but at this moment I see the field of grass in brush strokes like Van Gogh's painting of a field with crows. But not crows in the air. I see swallows.