Category Archives: travel

Brown Paper Packages

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I’ve never been to Moab, Utah, but Moab came to me in a brown paper package a couple of days ago! My long-time online friend Wilma Sliger who lives there sent me a big assortment of sticks and stones and sand and beads and cheesecloth and petrified wood – a Moab sampler! Who doesn’t love getting an unexpected package in the mail??

Even better, there were handwritten, funny notes attached to the objects.

There is a small container of red sand include in the stash – just the thought of that red sand and the monumental land that it comes from gives me shivers. Maybe some prehistoric artist used that sand as a colorant on some of Moab’s magnificent petroglyphs.

I learned that when the iron molecules in the sand come into contact with the oxygen in the air, they oxidize – basically, they rust – turning into iron oxide, which has a reddish color. And you could mix them in acrylic medium or beeswax for a faux rust finish, I’ll bet.

Obviously, Wilma feels the magic of the land in her own work – I did a post on her cat shamans a couple of years ago. This one has an glass evil-eye protection charm and looks pretty scary-clever to me.

Two things to take away from this – one, wherever you live and create, that area has its own resonance, quiet or dramatic, powerful or gentle. If you are ever in need of inspiration, go outside and look around you at the big things and the small ones.

And secondly, put some special treasures in a brown paper package and send it to a friend in another part of the country or world – it will make their day!!

PS . Here’s a little checklist of ways to connect with the land no mater where you live. Some you may be doing, some may be obvious, some may not work for you, but all are good practices:

Seeking inspiration and magic from nature in one’s local environment can be a deeply rewarding and sustainable source of creativity for artists. Here are five ways artists can connect with nature for inspiration:

  1. Daily Observations: Take time to regularly observe the natural world around you. Pay attention to the changing seasons, the behavior of wildlife, and the nuances of the landscape. Bring a notebook or sketchbook to jot down ideas, sketch, or make notes about what you observe. These small, daily observations can lead to significant creative insights.
  2. Nature Walks and Hikes: Explore your local parks, forests, trails, and green spaces. Spend time immersed in nature, and take long walks or hikes to connect with the environment. The sights, sounds, and smells of the natural world can trigger new ideas and emotions that can be channeled into your art.
  3. Natural Materials: Use natural materials as part of your creative process. This can include using leaves, flowers, twigs, stones, or other found objects in your artwork. Consider making natural dyes or pigments from plants for painting or using natural textures in your sculptures or installations.
  4. Photography and Sketching: Bring a camera or sketchbook with you on your outdoor adventures. Capture the beauty of nature through photography or create on-the-spot sketches. These visual records can serve as references for your artwork and help you better understand the details and patterns in the environment.
  5. Community Involvement: Join local environmental organizations, conservation groups, or community gardening projects. Volunteering or actively participating in these activities can provide a sense of purpose and connection with the environment. It can also expose you to like-minded individuals who share your passion for nature and creativity.

Remember that inspiration from nature can come from the smallest details, so stay open to the subtleties of your surroundings. The magic and inspiration are often found in the intricacies of the natural world, and by immersing yourself in your local environment, you can develop a deep and personal connection to your surroundings that will infuse your art with a unique sense of place and meaning.

Join Michelle Belto and me in Ireland next July

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It sounds rather unbelievable, even to us, but Michelle Belto and I are teaching a Celtic-inspired workshop on the West Coast of Ireland from July 22 – 29, 2023 at the beautiful Essence of Muranny Art School and hope you can join us!

We’ll be offering a new, collaborative encaustic and mixed-media workshop called Offerings to Aine (pronouced ‘aw-ne’). Aine is the Irish Fairy Queen and a legendary inspiration for artists and poets.

Each of us will be lead teacher on two of the four days of the workshop.

For my two teaching days, we will learn various creative fusions with wax, paper, fiber, and clay, constructing an enigmatic goddess figure that is inspired by Aine and wrapped with handcrafted grace and spirit. Using the Legend of Aine as a guide, our figures will be infused with Celtic myth and lore. During the two days of construction and experimentation with wax and mixed-media, participants will find inspiration that will enhance their own studio practice and mixed-media horizons. And the goddess figure of Aine will be your traveling companion on your journey home!

For Michelle’s two days, participants will be guided in a partial plein air approach to the landscape of the area on a cradled panel during the first day. This “sense of place” will honor the elements of Aine’s land and become the basis for a small altar to celebrate her magic. The process will continue as participants create a shrine-like opening in the panel. Found objects from the surrounding land can be attached as honored “relics” representing the places she protected.

As you can tell by the timeline, we will have extra days to explore the countryside with our host, Lora Murphy, award-winning encaustic painter and owner of the school.

Our time in Mulranny will be spent with 4 days in the classroom setting, plus additional time sightseeing with a well informed tour guide, evening entertainment with talented musicians, storytellers or surprise events. Beautiful coastal walks or Great Western Greenway bicycle rides are there for free time excursions. Accommodation is provided in rental cottages and houses nearby the school. Meals are enjoyed in local restaurants, guest houses and private accommodations.

YOU CAN LEARN MORE ABOUT THIS MAGICAL ART RETREAT HERE.

It may sound like an impossible dream at this point, but put it on your calendar. If you are worried about the cost, we have you covered – here is an Irish spell that will help you find money for those travel funds:

A charm to always have money

Take the feather of a black rooster, go to the crossing points of three fairy-paths, and while holding the feather and a gold colored coin, call the name of the Goddess Áine three times, to bring you everlasting prosperity.

And feel free to email me privately if you have specific questions – I really hope that you can come!

The Goats of Mulranny

 

 

Afterwords: Shards and Sand

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After I posted “Shards and Sand” several days ago about our trip to the beaches of Normandy, so many of you responded with thoughts and memories about war and peace and humanity. Thank you.

In that post, I wrote, “Part of our duty as artists is to pass on tradition and preserve our cultural history in various formats, to express human emotion and help us all to feel hope and peace of mind.” My artist friend Pamela Ferguson, a wonderful poet and painter, sent this note with a poem she wrote which will speak to all of us.

“I was moved by your post/blog on Normandy, Lyn. I’ve been to France but not there. I can imagine the voices who whispered to you. I look forward to the art that comes from your experience. This poem wrote itself after I read your blog. I wanted to share it with you.”
Here is the poem, brilliantly composed by Pam from the point of view of a young soldier watching the incoming invasion. I superimposed the words on the photograph of a bunker at Pointe du Hoc in which he might well have been waiting.

Isn’t the power of artists inspiring each other amazing? I am so grateful to Pam for sharing this poem which I know will stay with each of you as is has with me, opening our minds and hearts.

Shards and Santos, Clay and Collage

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Happiness is teaching in Taos!

A week from tomorrow, I’ll be at the Taos Ceramics Center working with students in my Shards and Santos Workshop. The class takes place on two consecutive Saturdays – here’s a description.

In this workshop, we will create personal assemblages inspired by these iconic figures of Santos. In the first class, we will construct handmade textured slab-based clay components such as heads, bodies, and enhancements. We will also learn to make hand-crafted clay press molds. These components will be fired once.

Here are some examples of assorted assemblage components that I’m taking with me – honestly, working in assemblage is just like working in collage, only a bit more dimensional:

Continuing the workshop description —

The next week, we will build our figure, incorporating found objects such as bones and shells and bleached twigs into the final assemblage and perhaps include cherished objects and hidden words. We will explore the limitless possibilities of cold finishes, such as metallics and beeswax, to enhance the surfaces of the unglazed earthenware.

These santos, below, are in progress, and I’ll use them to show how the components are put together.

Since we will not be glazing and re-firing the shard components, I’ve been experimenting with cold finishes for fired clay for the last couple of weeks.

One of the most successful combinations I’ve discovered is Pearl Ex powder by Jacquard mixed with Gamblin Cold Wax Medium.  You can control the translucency and the color saturation, then buff the wax finish. It’s exciting to see how well it works on bisqueware.

 

Another technique I’m playing with is tube acrylic paint mixed with a bit of cornstarch to dull the finish.

In the sample below, the acrylic mixture mimics the look of Gilder’s Paste at about half the cost and with less potential toxicity.

This kind of experimentation is part of the fun of planning a workshop. And then I get to share with new people!

I’m grateful to the Taos Ceramics Center for inviting me – and at this writing, there’s just one spot left, so if you need a quick get-away, come on up to the mountains of New Mexico!

 

Cuban love song

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I loved exploring the joy of Cuban artist Jose Rodriguez Fuster‘s mosaic-covered “Fusterlandia”, a home, studio, and community in Havana

Cuba is a land of creativity, contradictions, and complexity. After eight days there, I’m still processing the experience, and probably will for a very long time. (Cuba is a photographer’s dream. To go directly to the photos in my Cuba Journal, take this link.)

Our small group tour included “people to people” interaction with many local artists, entrepreneurs, musicians, ecologists, schoolchildren and more during our travels four areas across the island.

Dance students in training at a no-cost government-supported arts school

We spent several days in Havana, which is celebrating its 500th birthday this spring. The city is a time capsule of transportation and architecture. Cuba is a country still deeply entrenched in a complex political situation. Nevertheless, innovation and invention are everywhere and the spirit of the Cuban people is inspiring.

On the street near Ernest Hemingway’s house

There are many helpful guides for Americans who want to travel to Cuba, and it’s important to read them before you plan a visit there. For over 50 years Cuba was essentially off limits to Americans thanks to a 1962 trade embargo that made spending money on the island tantamount to treason.

This all changed in 2014, when the Obama administration announced a reestablishment of diplomatic relations with Cuba. However, to quote travel guide Andrew Scott, “This opportunity will not last forever. The influx of foreigners is rapidly transforming Cuba’s economic and social realities. Meanwhile, political uncertainties in the U.S. make it impossible to know if the borders will remain open.”

I am so grateful that I visited Cuba when I did. For artists, it is rich with visual imagery – and Cuban artists are prolific and skilled, particularly in printmaking. I spoke to several of them about their processes and vision.

Two artist/educators discuss their work as professional artists

One thing we didn’t talk about was Decreto 349, a new decree by the Cuban government that criminalizes independent artists and places severe restrictions on cultural activity not authorized by the Ministry of Culture. You can read more about that here.

The Internet just become available in Cuba two months ago, and vendors were selling WiFi cards everywhere we went. It is going to be extremely interesting to see what effect that kind of global access produces.

I have a lot more reading to do about Cuba, but in the meantime, the photos from the trip continue to inspire me. Here are some of my favorites, presented in a photojournal on my website. I hope these digital snapshots express all the reasons why it’s easy to fall in love with Cuba and its people.

 

 

 

 

Marfa – and wax on black exploration

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In the 1970s, minimalist artist Donald Judd moved to Marfa, Texas, where he created giant works of art beneath vast desert skies

I’m back from a week in West Texas and the beautiful Davis Mountains. One of the best parts of the trip was visiting Marfa and connecting with minimalist artist Donald Judd’s vision. There’s a great NPR article about this – click here. I love the quote by sculptor Campbell Bosworth – “You just come out here and you feel like, I want to make something; I want to do something!”

Maybe it’s the minimalist influence, but it must be true. The Marfa getaway ignited my creative curiosity, and as soon as I got back, I went into the studio and started working in black and white on an experiment with black substrates and beeswax.

I wondered what would happen to the translucent layers of beeswax when they were applied over a dark background.

I used an absorbent black paper and added some white markings with different kinds of media – crayon, stamps, paint:

I added a layer of beeswax – it made it kind of glossy, and did penetrate into the paper, which had been a concern. You don’t want it to just sit on the surface of the substrate:

More experiments – black and white (and a bit of walnut ink):

Like all experiments, some of the techniques worked well, and some were definitely “learning opportunities.” But there is a certain potential for interesting effects that are both chalk-like and smokey. I am going to push these ideas a little further and see what develops (like old black and white film).

Now that I’ve been “Marfa-ized” and infected with some new ideas, it looks like I may be spending more time at the studio, perhaps even developing a wax on black workshop!

 

A few random things

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RANDOM THING ONE: Monika is coming to San Antonio. Yep, the internationally know and loved Austin designer, Monika Astara, will be at my house on Saturday from 11-3.  If you’d like details, send me an email – the flyer is below.

I love Monika’s clothes – me and about a jillion other people. The make everyone look good, plus they are comfortable and washable and iconic.

RANDOM THING TWO: Remember the piece I showed in my last post on knowing when something needs more work? I did several more pieces based on what I learned while I was putting that one together. You can see them here on my website (click below) – they look like sisters from the same tribe.

All these pieces are going to Marta Stafford Fine Art in Marble Falls, Texas today, but I have clay in reserve to continue the series. Doing the beading is a lot more fun than I thought it would be, kind of meditative. The artificial sinew I use makes its own “needle” because it’s heavily waxed.

RANDOM THING THREE: This involves both earthenware and clothing – it’s a Waxed Linen Thread kit that came today – ordered on Amazon – (is there no odd craft supply that you can’t find there??). As I said, I used sinew to put those new clay pieces together, but wanted to try this waxed thread as a substitute. I’ve been playing around with it and am really happy with the way it feels. It’s very strong and would be useful for jewelers and fiber artists. And look at these cool colors!

There are 33 yards of each color on each spool, and the whole kit of eight spools cost just $9.99. That’s your Tip o’ the Day.

RANDOM THING FOUR:

If you go to Marble Falls, Texas, first visit Marta Stafford’s Gallery, then go up the hill to the Blue Bonnet Cafe, est. 1929. The menu will tell you it’s the real deal.Where else can you get a cup of gravy as a side order? But it’s the pies that bring people back. Just suspend thoughts of diet and order a slice. They even have a Pie Happy Hour from 3-5.

Those are all the Random Things on MY menu today – I hope you have a great week. Thanks for reading SHARDS!

 

 

 

 

 

Rivers and remembrance –

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We returned to San Antonio yesterday after a road trip to the past. My husband’s family is from East Texas and mine is from Louisiana and Mississippi. We visited family (and family cemeteries) in all three states, and reconnected with our roots. On the trip, I came to realize how rivers connect all my memories of childhood.

The Ouachita River near flood stage, March 11, 2018

In Louisiana, we walked along the Ouachita River which flowed near my maternal  grandparents’ farm near West Monroe. That river provided energy and materials for the paper mill, which is still in production. The distinct stinky odor of paper production took me right back to nostalgia-land! Anyone ever smelled a paper mill? You don’t forget it!

My father’s family roots run deep in the Mississippi Delta on the Yazoo River. He and his brother were raised in the town of Itta Bena near Greenwood. On Tuesday, we visited the family cemetery there, which is filled with Haleys and Reeses and Lees, all family names (my middle name is Rees and my maiden name is Haley).

Family graves near the Yazoo River

My cousin, Jesse Lee (“Skip”) Haley, came with us to tell us about the “Who’s-Who” in the Itta Bena Cemetery. One of the older graves in the cemetery is that of Ransom Reese, who was in the Infantry in the Civil War. I love his name.

The cemetery is bordered by the Yazoo River, which runs along the edge of Itta Bena. Incidentally, the crossroad near Itta Bena is supposedly where famed blues musician Robert Johnson sold his soul to the Devil.

Below is a photo of my father and mother in 1943, fishing just across the street from my paternal grandfather’s house on the riverbank near the cemetery. It was easy to imagine them there. There is a strange nostalgic peace in the Delta that I’ve never encountered anywhere else.

My parents fishing on the riverbank in Itta Bena

This beautiful, sorrowful angel was on the back side of the cemetery close to the river.

Angel in Itta Bena Cemetery, Mississippi

After all the rivers and memories, we went down to the biggest river of all, the Mississippi, to spend a couple of days in New Orleans. As usual, I visited galleries to see what local artists were up too.

They, too, seemed influenced by the rivers of the South. There was a wonderful show at the Degas Gallery on Julia Street by Lafayette artist Kelli Kaufman. She works in oil and cold wax.

Kelli Kaufman, To the Wetlands, 60×40″

I also found some great clay assemblages at the Ariodante Fine Crafts Gallery on Julia Street created by Nancy Susanek. This is called a Story Box – I brought it home with me to remind me of the trip and all the river stories that I learned along the way.

It’s good to be back home again to my favorite river – the one that runs through beautiful San Antonio.  I hope you get the chance to visit your own past – it’s an important journey. Thanks for letting me share!

Exquisite ephemera

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My friend Lisa Stamper Meyer had a great studio show and sale yesterday that showcased her recent painting trip to France. She (lucky woman) enjoyed a time of deep artistic exploration during a month-long residency at the Chateau Orquevaux.

Here’s a piece that I purchased from her yesterday. It reflects some of her signature materials and themes, which came into sharp focus during her journey – and everyone loves her ravens:

Mixed media collage, Lisa Stamper Meyer

Lisa is a master in both collecting and using “ephemera,” those wonderful scraps of vintage paper that add intrigue to artwork. Fortunately for her friends, she brought back packages of French papers, letters, and book pages to share with us. Look at some of the cool stuff I got!

There is something about using authentic letters and book pages that somehow makes one’s artwork more precious than using reproductions.

When you are working with ephemera and printed pages, remember that the same guidelines of composition apply – Alignment, Breathing Space, and Thirds.

Here’s a preliminary collage arrangement of some of the pieces that I got from Lisa:

collage composition practice

And here are a couple of tips for YOU that will help when you use ephemera or printed media.

ephemera composition tips

  • If there is a border on the torn paper strip, use it to good advantage by reinforcing the visual border of your work (see on left edge how the black border stops the eye from going off the page).
  • If you have one torn edge and one straight edge, the torn edge should face into the work (see the top edge) – again, this focuses the viewer toward the interior of the composition.
  • When you use a section of text, align it into the center. If it’s aligned away from the center, the viewer will be inclined to turn the composition outward to try and read it, and that will redirect the eye off the page.

Next time Lisa goes to France, I am going too, with four empty suitcases to fill with nifty French ephemera! (I wish) What is it about printed materials foreign languages that is so intriguing?

If you’re interested in materials like this and can’t get to Chateau Orquevaux, there are good sources on Pinterest for vintage French correspondence like this one

There are also design sites like this one that sell more vintage collage and decoupage ephemera that you can shake a glue stick at -:Southern Blackberry Designs

Somehow, though, going to France on a residency program to collect ephemera sounds a little more appealing. Thanks, Lisa, for sharing your experience, your work (and your fantastic ephemera) with us!

Zen and the art of fly fishing

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I’m in love. If you had told me that I could stand in an icy stream for hours and be totally attentive and happy, I would not have believed you – that is, until I was introduced to the beauty of fly fishing in northern New Mexico last week.

My teacher was my husband’s grandson, William, who is plans to major in marine biology when he graduates from high school.

Grandson William explains how the line works

William is a smart and passionate fly fisherman, and ties his own flies. These are his, made of fur and feathers and wonderful stuff, very artful assemblages that mimic nature: 

William was patient with me in teaching the techniques, but more importantly, he taught me how meditative this kind of fishing is – it’s really not about catching fish, since fly fishing is a catch-and-release partnership – it’s more like a dance.

It’s about the observation of the water and the creatures that inhabit it.  And it ‘s about the ritual, such as threading the fly rod with the tippet, the leader, and the line, each of which has its purpose in a successful cast.  The purpose of the leader and tippet is to complete the transfer of energy built up in the fly line through the casting stroke through the line and down to the fly so that your line rolls over and straightens itself out if a fairly straight line. Wow.

I also want to learn to tie my own flies – talk about an art. William told me that there are two kinds- wet and dry. This is a dry fly, one he made and floated in a glass to show me how it mimics a mayfly.

Lest I get too zen-like about all of this, it’s also about getting your line stuck in a tree across the stream. AAcckk!! But William saved me by patiently untangling the line.

Quite honestly, I’ve been totally entranced by this. You are alone with your thoughts, your rod and your serenity. You hear the rushing water and you stand and you wait. You cast and you wait. It’s peaceful. It’s rhythmic. For someone like me who can’t sit still for a minute, this is a revelation.

I’ll never be more than a rank beginner – there are people who devote their lives to this – but the gift of this discovery for me is a peaceful mind, a spiritual concentration, and an immersion in natural rhythms. Thanks, William, for showing me something wonderful! I came back from the trip with a new energy and a feeling of accomplishment. 

My teacher, William, practicing his art

 

 

 

 

 

 

 

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