Category Archives: thoughts and opinions

The Cracked Cup: Holding Loss with Reverence

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This week, as floods have devastated parts of Texas, I have felt a deep ache settle in my chest. So many lives lost—families shattered, futures rewritten in a single rising tide. There is no mending of such losses, only the sacred act of holding space for them.

It was with this sorrow that I turned to The Cracked Cup, one of the first cards I created  in the Enso Oracle deck. The cup, once whole, now bears a fracture that cannot be hidden. Yet it still holds meaning, still carries essence. A cracked vessel is a reminder that something precious was once contained, and though altered, its story is not erased.

Loss connects us. Not because we can understand it fully—but because we recognize its shape. We have all carried our own cracked cups, fragile with memory and longing. And when we witness loss in others—especially such heartbreaking, public loss—we may feel helpless. But if we acknowledge it, if we name it, if we allow it to soften us rather than harden us, then something sacred can begin to form.

Grief shared is grief witnessed. In honoring the cracks, we honor the love that came before them.

The Cracked Cup

Keywords: Imperfection, Vulnerability, Beauty in the Broken, Holding What You Can

Guidebook Entry:
The Cracked Cup appears when life has etched its story into your form. In the upright position, it honors the quiet resilience of holding, even with a fracture. You are still a vessel, capable of offering and receiving, though shaped now by experience. The crack is not your failure—it is your history, your refinement. Like kintsugi, where gold fills the fault line, your beauty is revealed in the break. This card invites you to celebrate what remains and flows, rather than what was lost.

Reversed Meaning:
Reversed, the Cracked Cup may signal that you’re trying to pour from what no longer holds. You might be ignoring signs of depletion, overextending despite inner fractures. There may be grief you’ve hidden in plain sight, or a perfectionism that keeps you from offering anything at all. This card urges rest, repair, and self-compassion. It’s okay to set yourself down for a while.

Reflection Questions:

  • What am I still trying to hold that might be leaking away?
  • Where can I find grace in my imperfections?
  • Am I trying to serve others without tending to my own mending?

Affirmation:
Even with a crack, I remain a vessel. I hold beauty, truth, and healing within my imperfect form.

_____________________

In the wake of deep loss, there are no easy words. The grief sits heavy, as it should.

And yet, as artists, we often turn to our work to hold what cannot be spoken. We make marks, tear paper, mend fragments—because our hands need to do something with the sorrow.

Artists can bring gold to the broken.

The old practice in Japan called Kintsugi, where broken pottery is repaired with gold, doesn’t hide the cracks, but honors them. It does not undo the break. Like The Cracked Cup, it simply says: this mattered, this was loved, this was lost—and it still holds beauty.

When our artwork feels broken, we can follow this same impulse—to mend with grace, to let the light in through the cracks.

Here are five little ways artists can add a touch of gold to their broken places – almost as a metaphor.

1. Gold Leaf or Metallic Wax on Cracks or Seams
Highlight repaired tears, joins, or fractures with gold leaf or metallic wax. Instead of concealing damage, this elevates it—visibly celebrating the healing process and transformation. Even in collages or fiber works, adding a subtle gilded line over a seam can evoke this reverent beauty. Book Foil makes wonderful lines over a wax surface – I use this often.

2. Thread or Wire Mending
Use gold or brass wire or gold embroidery thread to literally bind pieces together. Whether it’s torn paper, fabric, or broken sculptural elements, the physical act of mending with golden thread becomes a ritual of restoration and reverence. My friend Flo Bartell just emailed me this morning about using a gold wire for knitting, to communicate a delicate permanence. Perhaps we are all needing a bit of gold as shining metaphor.

3. Symbolic Gold Marks
Paint or draw golden lines, halos, or marks over areas that feel unresolved or damaged. These can represent scars or epiphanies—places where the work “broke open” and something new emerged. Think of them as visual blessings for the broken spaces. Use a gold Sharpie or paint pen for some asemic writing on unresolved work.

4. Incorporating Found Golden Objects
Embed small gold-tone found objects—buttons, charms, keys, or jewelry fragments—into your artwork where pieces feel lost or incomplete. These additions can be talismans of memory, resilience, and beauty born from imperfection.

5. Transforming Damage into Focal Points
If part of a piece is damaged, emphasize that area with a glowing, gold-infused feature—like a golden portal, sunburst, or frame. This approach not only restores but transforms what was broken into the heart of the piece’s meaning.

In the quiet aftermath of loss, The Cracked Cup reminds us that even when something breaks, it still has purpose—maybe even more than before. Like the golden seams in a kintsugi vessel, the work we do to mend our hearts can become part of the beauty we share.
If you are an artist, know this: your creative practice is a balm, a beacon. Keep making. Keep tending to your art as an offering—not just for yourself, but for the community that surrounds you.
And please, take care of yourself and those you love. Be gentle with your days. Hold your own cracked cup with tenderness, and let your light shine through the places that have been broken open.
♥Lyn
Previous Oracle Cards:

THE SHINY OBJECT

THE HUMP

THE WANDERER

What does your vessel hold?

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Jennifer Dixon, Vessel Workshop

I spent this past weekend in the Art Studio at UTSA/Southwest teaching a workshop called The Ephemeral Vessel: Exploring Plaster, Fiber, and Paper. As usual, I learned as much as a taught.

We began the first day by discussing the vessel as a concept. A vessel holds deep symbolic and spiritual significance, representing both containment and potential. The outside of a vessel symbolizes the physical form, protection, and boundaries, encapsulating the external aspects of life and the tangible world. It is the visible, crafted exterior that interacts with the environment, often reflecting cultural artistry and craftsmanship.

Jalen uses a soldering iron to pierce the “skin” of his vessel in progress

The inside of a vessel, however, carries profound spiritual connotations. It
represents the inner self, the soul, and the essence of being. This inner space holds potential and mystery, symbolizing the capacity to contain and nurture life, emotions, and spiritual energy. It is a metaphor for the unseen depths within every individual, the potential for growth, transformation, and the holding of sacred or significant contents.

The inside of Janis’s vessel shows little scraps and shards of memories of the process

Together, the inside and outside of a vessel illustrate the dual nature of existence: the balance between the external, material world and the internal, spiritual realm. This duality underscores the importance of harmony between our outer actions and inner values, encouraging a holistic approach to understanding life and spirituality.

And when we weren’t pondering the existentialist nature of the forms we were creating, we were also have fun! There was a moment of silence in the studio when each person got ready to pop their plaster-covered balloon. There were many oohs and ahhs when an unexpected material turned into magic on the surface of a bowl.

Almost dry enough to pop!

Taking simple materials and transforming them into meaningful creative statements has always been kind of a miraculous process. Every one of the vessels created in this workshop held a narrative. I am in awe of the vessel-makers and their stories.

Click here to see a catalog that I put together of some of the amazing work that was done this weekend.

As a final note, Everyday Sacred by Sue Bender is another one of those books that I can return too whenever I need centering. The begging bowl in this book is such a powerful image. The begging Zen monk receives the food people can spare in his bowl with gratitude. It’s an ongoing practice to accept what happens in life – and my bowl is so full of gratitude for this workshop experience!

Clay Soup and Alan Watts

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Riddle: You have 60 small clay faces drying in the sun, almost ready to be fired. What do they turn into after an expected thunderstorm?

Answer: Clay Soup!

If only I had loaded the kiln before we left for the afternoon! But noooooo – the sky was clear, so who would have thought that a gully-washer was coming?

Seeing all of those dissolved clay faces when I got home made me feel sad, but also a bit philosophical. After all, they were still clay. Only their shapes had changed. They were returned back to their primordial soup!

This experience got me thinking about Alan Watts, whose writings have been a huge influence and comfort to me all of my adult life.

Alan Watts often spoke about the nature of life and death in terms that demystify and de-dramatize the transition. The concept that when you die, you go back to being what you were before you were born, is a profound reflection on the nature of existence. From clay to clay? From soup to soup?

He encourages us to view life as a temporary journey through a realm of awareness, much like a bird’s fleeting passage through a lighted house. By understanding and accepting the cyclical nature of life and death, we can alleviate the fear of death and appreciate the transient beauty of our existence. (Alan Watts Organization)​.

If you haven’t read Alan Watts before, I encourage you to start with THE BOOK
On the Taboo Against Knowing Who You Are. If you’re interested in The Book, there’s a PDF version available here.

This is all kind kind of a heavy-duty metaphor about something simple as melted clay, right? But there are lessons in everything. Living an artful life means looking at things through a different lens.

And the other HUGE bonus from this experience was the rain! Because I live in South Texas, I will willingly trade a couple of hours work for some welcome rain! I can make more clay faces but I sure can’t make it rain!

Thanks for reading – back to the clay studio 🙂

Lyn

 

 

 

 

Shards and Stories – Lessons from Greece (continued)

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Taken at the National Archaeological Museum in Athens

Examining shards of pottery in Greece, especially in historical museums, is a fascinating and often deeply meaningful experience. These fragments, bearing partial symbols and images, are remnants of ancient lives and cultures, offering glimpses into the past. Each shard is a piece of a larger narrative, a fragment of a story that once was whole.

Taken at the National Archaeological Museum in Athens

The symbols and images on these shards might depict scenes from daily life, mythological tales, or intricate patterns that were significant to the culture that produced them. Even in their broken state, these fragments can tell us a great deal about the artistic styles, technological advancements, and social practices of ancient Greece.

One of the most compelling aspects of these shards is their ability to be reassembled with other pieces, even those from different pots. This process is akin to piecing together a complex jigsaw puzzle where the final image represents a broader cultural or historical narrative. When these shards are put together, they often reveal a more comprehensive picture, connecting disparate elements to form a richer, more detailed story.

Humans have always told stories with symbols and pictures and objects.Even a small scrap of of pottery gives a rich clue that inspires us to infer more of the story.

My personal artwork has  been strongly influenced by the idea of “shards” as a metaphor for human communication across time. A shard can be a found fragment of clay, a rusty nail, a scrap of handwriting – any little clue that becomes a “secret handshake” between the maker and the discoverer.

Lyn Belisle, Encanto Assemblage, 2011

Have you ever wondered whether fragments of the artwork that you create today might one day be discovered and displayed in a museum, offering clues to the creative expressions of the 21st century? Imagine a future archeologist unearthing remnants of our contemporary art, much like how we now marvel at the fragments of ancient Greek artifacts. Each piece, though incomplete, tells a story of its time, revealing insights into the culture, technology, and aesthetics that defined an era.

In ancient Greece, even the smallest fragment of a vase, statue, or fresco can speak volumes. These pieces provide invaluable glimpses into the past, allowing us to reconstruct the visual and cultural landscape of a civilization long gone. The intricate designs on a pottery shard or the delicate chiseling on a broken statue reflect the artistic prowess and thematic concerns of their creators.

Reconstructed Lion, National Archaeological Museum

Similarly, future generations might uncover fragments of our current artworks—perhaps a piece of a digital print, a shard of a ceramic sculpture, or a remnant of a mixed-media installation. These fragments would serve as tangible connections to our present, helping future historians and art enthusiasts understand the themes, materials, and techniques that shape our creative output.

Lyn Belisle, Shard Components

As artists, the possibility that our work could one day be part of an archeological discovery adds a layer of legacy to our practice. It encourages us to think about the durability and impact of our creations. What messages are we embedding in our work? How do our materials and methods reflect the values and technologies of our time? In contemplating these questions, we become part of a continuum, linking our contemporary expressions to the vast tapestry of human artistic endeavor.

Lyn Belisle, Icon, 2020

So, next time you create, consider the enduring journey your art might undertake. Perhaps, centuries from now, a fragment of your work will be unearthed, sparking curiosity and admiration in a future museum, much like the ancient Greek artifacts do for us today. Through these fragments, our stories will continue to be told, and our creative legacy will persist, connecting us to future generations in a timeless dialogue.

Birds on columns, Heraklion Archaeological Museum

Learning from the past enriches our understanding and inspires us to create meaningful, lasting art for future generations to cherish. Or maybe just to wonder about . . . .

End of lesson from Greece !!

Lyn

 

 

 

So many thanks!

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I am so grateful to you for re-subscribing to SHARDS. You are the reason I teach workshops, share ideas, and learn so much about our arts community. Thank you for being a part of my creative life! I look forward to staying in touch, thanks to you.

As promised, I did a random number pick of those kind people who subscribed yesterday to win a free workshop, and the winner is number 217, who happens to be my friend, Joanna Powell Colbert! Joanna is primarily responsible for my journey into Spirit Dolls and the Tarot. I hope you have a chance to look at her work.

Joanna, when you read this, send me a quick email and pick out a gifted workshop on my Teachable Studio space!

Don’t forget, there are also free workshop for everyone on that site.

In the meantime, thanks again, and please stay tuned for some SHARDS posts in the near future! If you have questions or suggestions, please feel free to send those along!

♥Lyn

 

 

 

Artists or Artmakers?

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Question – “What do you do?”

“Well, I’m an artist.”

Next question – “Oh, cool – what do you paint?”

Why does that “artist” description automatically conjure up someone who paints paintings? If you look up images for the term “artist” on Google, that’s what you’ll see, rows of people at easels painting paintings. (Hi, Bob Ross ♥)

If this sounds familiar to you, it’s no wonder we have a problem calling ourselves “Artists.” That term doesn’t describe what we do because it has so many associations and preconceptions.

But what if I answered, instead, “Well, I”m an Artmaker.” The next question would be, “What kind of art do you MAKE?”

This difference is HUGE!

Now I can answer, “Hmm –  that’s tricky, but basically I work with my hands in my studio on all kinds of artwork that connects us.” Then I can click a few photos on my phone that I have ready to go. And hopefully, a conversation starts. Maybe like this —

“I make sometimes paintings, but they are not traditional paintings . . .still, people seem to like them.” (click)

“I do assemblage work” (click)

I work in beeswax wax and paint for all kinds of different projects and objects: (click)

“Sometimes work with photographs and fiber” – (click)

And so on – not too many photos (if you get that far) – just four or five.

Or if you (like I) use MOO business cards that let you have as many as 50 different images, you can show several of those, and hopefully, your inquirer will take a card, any card. Ask, “What’s your favorite?”

The point is, we are ARTMAKERS. From the introduction to Melanie Falick’s wonderful book, Making a Life, “We make art to connect with others. To express ideas and emotions, feel competent, create something tangible and long-lasting. And to feed the soul.”

What do YOU do?? If you find yourself mumbling that you are “an, er, artist” (and thinking “am I a real artist, or what — why do I call my self that, what does it mean anyway, urg, it sounds so pretentious, I don’t even have a true studio,etc. etc., rethink that.

Tell them with a happy smile that you are an Artmaker. It’s more than semantics. It’s how and why you work to make beautiful things. Feel the truth of that through your heart and soul right down to your toes. Then get ready for an interesting conversation!

It’s the little things . . .

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This wasn’t the post I intended to write this week. Instead, it’s just a short “thank-you” note – to myself!!

Take a look at this photo. It won’t mean much to anybody but me.

This is the work table in my small studio area off the kitchen. Yesterday evening it looked like this . . . . . .

It had been a loooo-oong day. I finished filming two hours of workshop videos for Painting With Fire, editing and uploading them. I also did some assemblage work in the middle of this mess that was left over from Art Stroll projects.

I wanted to go to bed!! But the Good Angel in my tired old brain said, “clean it up – you won’t be sorry.”  Sigh.

It took about ten sleepy minutes to put stuff away – not a great job, but enough to make me smile when I walked in this morning, coffee in hand, ready to work on a big clay commission. I could actually see the surface of the table!

If there is any message to this, it’s be kind to yourself! Even if you are feeling tired and grumpy, straighten up your mess just as if you were working in somebody else’s studio so you can be ready for the morning.  Put things back where you will find them the next time you look for them. You will thank yourself later.

Oh, and speaking of Painting with Fire, next Wednesday my lesson called Myth and Mist airs. If you are a member of PWF, look for it. I talk about telling stories that are veiled in beeswax and other media using this layered collage encaustic painting as one of the examples. It recounts a myth about crows and dragonflies:

And if you’re not aware of Painting With Fire, it’s never to late to join this amazing year-long encaustic extravaganza! You will even learn how to master encaustic without messing up your studio.

Well. . . . .maybe not that last part . . .

 

 

Pleeeeeze buy my art??? (whimper)

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When I was a Girl Scout, we were supposed to go door-to-door selling Girl Scout cookies as part of our merit badge activities.

I was painfully shy, and had to force myself to slink up someone’s front steps and ring the doorbell. When it was answered, I’d hang my head and mumble “You wouldn’t want to buy any Girl Scout cookies, would you?” People felt so sorry for me that I actually sold a few packages.

Fast forward about six decades to the Uptown Art Stroll which took place last weekend. It had been years since I had sold art in person at a large art fair like that, and I had forgotten how weird it can be.

First of all, when I got my art together the night before the Stroll to tag it and such, it looked like a whole lot of exciting stuff.

But by the time I got the table set up the next day at the sale, it looked pretty puny. Yikes!

You have to remember that there are about twenty square blocks of art tents in this event with eleventy-thousand artists packed on every corner, so there is a whole bunch of competition! Gulp. No wonder it looked puny.

And it’s called a “Stroll” because people walk around at the event, look at your stuff, pick it up, ask questions, and then stroll away. Actually, that’s a fib. They often purchase art, and I made a respectable number of sales. But it did bring back memories of Girl Scout cookie days.

When people came close to the booth, I tried to balance my expression somewhere between desperation (“pleeeeze by my art”)…..

. . . .and sophisticated coolness (“if you knew good art, you’d definitely buy one of these assemblages, dude”).

I want to give a high five to my fellow artists who do this kind of event with such ease and grace. And I want to thank the buyers who actually purchased my art – you will never know how much it meant to me! Want some cookies to go with that art??

And finally, thanks, Marta Stafford – you do a much better job selling my art than I do!

 

 

 

Five Easy Questions

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Do you “journal”? To me, a “journal” is still a noun – I am just not disciplined enough to write down my thoughts everyday in a meaningful, artful journal-ese way. That doesn’t mean I don’t take notes and write out ideas and make outlines for classes and write/sketch constantly on scraps of paper or in my Lefty Date Book.

See? Look at these notes – clear, organized, legible. . . . not.

Seriously, though, since Michele Belto and I have started working with The Enso Circle group, I am learning the value of keeping track of my time just so I can see were it goes. I devised five questions for the group to fill out at the end every week for that very purpose.  I’ve started answering these questions for myself every Friday, and it’s helping me keep track of my projects and my processes.

Here are the five questions, below. They are specifically designed for our Enso art group, but anyone can use them by changing a couple of words. If you want to use them, feel free.

I suggest you print them out and put them somewhere, then answer them once a week on the same day. Don’t spend more than five minutes on this but do it every week. And save your answers in a file or folder so you can track them after a few weeks.

What took up most of your headspace this week?

What was your proudest art-related accomplishment this week?

What one specific step did you take toward your goals?

What was your biggest obstacle this week in moving toward your

goals?

If someone gave you a present to help motivate you next week,

what would it be?

_________________________________________________________________

So, one of the things that I have learned from answering these for the last couple of weeks is that “Life happens.” My headspace gets filled with unexpected family distractions, or appliance breakdowns, or an email that needs immediate attention, or an offer that is too good to pass up. We just have to balance our time in the best way we can.

The “biggest obstacle” question is related to this. Often the obstacle is something unexpected and un-preventable. I just got my flu shot today, and it may lay me low tomorrow just when I need to be working. Oh, well. It’s important to get the flu shot. Balance it.

It’s super-important to concentrate on the proud moments and those small accomplishments that nobody but you might understand. Today I taped the sides of six 24x24x2” cradle board panels with masking tape  – it was incredibly boring, but I did it! This kind of achievement is like prepping to paint a room – you gotta do it if you want the job done right, but it is spectacularly tedious.

The last question about a “present” is fun. It could be something silly, like having somebody show up at your door who loves to put masking tape on panels, or it could be something serious like a call from a gallery offering you a solo show. But by answering this question, you are allowed to wish (and therefore define) any short-term assistance that might move you forward. And by defining it, you might even figure out a way to get it, or something reasonably close.

If you are  journaler (and I admire your dedication) you can include these in your journal every week. If like me, you are more of a random note collector, you can answer these every Friday on your computer, or jot them down on a sticky note, or whatever you choose. But the point is to give yourself a consistent creative check-up. You’ll make better progress when you can reflect a bit on how far you’ve come that week. And no matter what your answers are, I’ll bet you’ll enjoy the process.

 

 

 

 

 

 

 

Busted.

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Busted. I got caught doing the very thing I warn everyone not to do. Copyright violation.

Photo by Markus Winkler on Unsplash

THE STORY

Last month I received and completely unexpected email regarding an image that I used on this very blog in 2017:

Unauthorized Use of Boxist.com’ Images Cease and Desist / Settlement Agreement – Case #150421B

It has come to our attention that you are using an image (or images) owned by Boxist.com (Stock Photography) for online promotional purposes without our authorization or a valid license which is copyrighted work in accordance with the copyright law, We own the image(s) exclusively and have filings with the U.S. Copyright Office for said image(s) under: Registration Number: VA0002000962.

We have searched our records and have not been able to locate a valid license for the use of the image(s) under your name, Attached for your reference is a copy of the image(s) in question and the usage found on your website, Also attached is a payment demand representing a settlement that Boxist.com would expect to receive for the unauthorized use of the image(s) should no license exist.

Although this use might have been unintentional, the use of our imagery without proper licensing is considered “copyright infringement” and entitles Boxist Stock Photography to pursue compensation for infringing uses, the consequences of copyright infringement can lead to substantial penalties, and If you continue to engage in copyright infringement after receiving this letter, your actions will be evidence of “willful infringement”.

List of the infringement materials on your website:

(Digital cached data and printed proofs of this infringement have been preserved for our use as evidence in any lawsuit or litigation proceedings).

________________________________________________________________________

YIKES!! At first, I did what any computer-savvy person would do – I googled the sender, hoping it was a scam. Long story short, it turns out that they were right. This company does provide images but they require a license. They also do a thriving business in searching for people who are using these images without a license, and they found me, four years later.

The image was something I had found through a Google search. Here’s what it looked like in the 2017 blog post:

In my own defense, when I choose something from Google images, I do a cursory search for copyright, but in this case (and in every case) you need to look more thoroughly.

Boxist.com asked for $150 to use their photo – it didn’t matter that I had already taken it down. I had used it without permission. I also found through searches that this company catches a lot of people this way – but they are absolutely within their rights.

In the end, I went to their site and paid $50 for a license to use the small version of the photo which I wasn’t even using any more on a four-year-old blog post. But the law is the law.

I quickly heard back from Boxist.com – here’s the email:

Dear Lyn,

I appreciate your attempt in resolving this matter, the purchase of a new license subsequent to notification of the unauthorized use does not address the copyright violation, but since you have already purchased the image from us, and such action make me believe that you had no intention to harm our business and this is all just an innocent mistake, so in good faith I will consider this issue resolved and the case is closed, also you have been granted a perpetual, non- exclusive, non-transferable license “meaning the rights are non-sublicensable, meaning that you cannot transfer or sublicense the image to anyone else” to use the Photograph for your online and social media uses under our standard license.
This is to confirm: Boxist.com (Stock Photography) is ending all legal claims and does hereby release and discharge you from any and all claims for copyright infringement regarding this case, this settlement is effective and the payment for the copyrighted image(s) is completed, our invoice and confirmation for the payment has been sent with the order email.
____________________________________________________________
Apparently, I escaped by the hairs on my chinny-chin-chin! Or at least with only a small financial penalty — and a big fat lesson! If you want to read more about this, check out this link (and be sure to read the responses).
Your Friend,
The Reformed Copyright Violator