If you have ever gone "hunting" for something that you have only seen in photographs then you know the difficulty of locating your quarry. Nature has so many subtleties and quietly consistent habits that looking for something, like a rare wild orchid, is a bit like feeling your way through a dark room that you've only seen in the light once. So we met up and she showed me where they were. The conditions seemed auspicious: it had rain heavily a few days before so the forest was lush, but the trail dry. It was a cool, cloudy afternoon, perfect for sketching and taking pictures. We were rewarded quickly with the side of the heavily wooded path early on our walk being dotted here and there with Showy Orchis in various stages of development and bloom. These shy little flowers are fond of hiding under the undergrowth. However, once my eye was train to look for the tiny flash of soft violet with bright white amid smooth fresh green broad leaves, they were fairly easy to spot. The lady slipper was another matter. It turned out this little treasure enjoys a different environment, drier and higher in elevation than the Showy Orchis and among pine tree clearings and poking up from the pine needle bed. You would think that a lavender slipper shaped flower in a clearing would be easy to spot. But, these flowers on this trail are loners for the most part. We found two but they were about ten feet apart.
If you have been following my blog and works in progress, then you know I am find of working in series. So despite that fact that I currently have three other series in the works, I'm hoping to start a local orchid or at least wildflower series as well. Too many things to draw and paint and too little time!
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 I didn't plan to start the new year with a new sketchbook. In fact, I've been struggling a bit with sketchbooks this past year, making things perfect has always been a stumbling block for me, so sketchbook practice is just what I need, right? But, there was also the fact that I just wasn't getting excited about any particular book that I saw. And I was having difficulty keeping the one I have going because although I altered it to be more to my liking, I am just not in love with it. Since our local independent art supply store closed its doors three years ago, gone are the days of that wonderful serendipity of wandering the aisles to find something unexpected and wonderful. And order on line just isn't quite the same as holding something in your hand and enjoying the smell of the paper and the subtle color and texture of the pages. However, I happy to report that art supply serendipity isn't dead! Recently, and on a whim while ordering other supplies from John Neal, I ran across the Mahara watercolor journal. I wasn't really paying attention except that it was watercolor paper. It's delightfully larger than I expected, and I didn't expect to like that, but I do! Haven't been quite this excited about a sketchbook in a while, but it would be difficult for any artist, I think not to get excited about this sketchbook filled with handmade watercolor paper from India. Just yummy!
It turns out the book is divided into poems where the poet thinks the song of the nightingale is happy and those who find it sad. Hmmm... So I was hooked. I read each poem and decided at the end I would then look up the song of the nightingale (easy thanks to You Tube, despite not living on the continent where they reside) and make up my own mind. Now the poetry was a solid 50/50 split. I loved as many happy nightingale poems as I did sad ones, so I was left with a blissfully uninfluenced mind as I listened to the song of the nightingale for the first time in my life. Alas, I must disagree with Dear Mr. Keats, I find the nightingale's song quite happy and would be more than pleased should I find one making a home in my garden and serenading me each evening. And Rumi agrees, thus my work here. But decide for yourself! Coming soon! |
 | As working artists married to each other and sharing an avid enthusiasm for the natural world and working with children, it was truly wonderful to when my husband and I were able to partner on a the commission to create 10 bronze plaques of native plants and their companion animals for the family nature trail at Ann Marie Gardens in Solomons, MD. The project began with me creating a series of ink drawings to be the base for each plaque. These drawings each included a pairing of local plants and animals determined by our client. A few examples of the original drawings you can see below. These drawings were then scanned into the computer and "chatter" was added in order to create a carved woodblock print effect. Perry, my husband and I, studied many, many examples of master woodblock prints as well as some of my own woodblocks in order to capture just the right texture. The idea was that the plaques were not just art to be looked at, but to be interacted with so that children would be able to better learn about the plants and animals around them. |
| This idea came to us from the British tradition of reproducing brass memorial and commemorative plaques found in old churches (typically created between the 13th and 16th centuries). In this process, a piece of paper is placed over the plaque and then rubbed with a wax crayon in order to record the textures beneath. If the drawings we made were made into relief sculptures then children could create rubbings of them. This simple process has a delightful slow revelation of the image which adds to the sense of wonder as well as creates time and space for studying and learning from the image. And besides, who doesn't love to play with crayons |  |
Once the drawings were complete and the designs approved, Perry quickly set to work to transform their lines into raised surfaces (about 1/8" high) against a flat background. This "modeling" work was done on the computer and he experimented extensively with 3-D prints to get just the right effects of light and texture while preserving the clarity of the overall image. He even cast some of these 3-D prints in wax. But, the amazing thing is with the new digital technologies available, it was possible to go directly from the finalized 3-D computer files directly to bronze with the images being cut into the plaques instead of cast. Note too that the green background to help harmonize with the natural surroundings is in contrast to the raised polished lines. This was an intentional part of the design so that even if you chose not to create a rubbing of the images you could still enjoy seeing them.
Once the plaques were made then it was time to design their stands and labels, this was all Perry's expertise as a professional sculptor. Working with a local stone cutter, Perry worked with our client to select the stone and finalize the design to insure that the plaques would be easily accessible to all and withstand the weather since they would be installed along a nature trail. Thanks to Perry and our good friend and Perry's assistant, Melvin Johnson, the plaques were installed just in time for Ann Marie Gardens' big fall event: ArtFest.
I hope you get the chance to see the plaques in person and I hope the joy of working with my husband and such good folks on a project designed to delight the child in all of us shines through!
Once the plaques were made then it was time to design their stands and labels, this was all Perry's expertise as a professional sculptor. Working with a local stone cutter, Perry worked with our client to select the stone and finalize the design to insure that the plaques would be easily accessible to all and withstand the weather since they would be installed along a nature trail. Thanks to Perry and our good friend and Perry's assistant, Melvin Johnson, the plaques were installed just in time for Ann Marie Gardens' big fall event: ArtFest.
I hope you get the chance to see the plaques in person and I hope the joy of working with my husband and such good folks on a project designed to delight the child in all of us shines through!
After so many years researching the life of William Hamilton Gibson, it was such a special privilege to have dinner in his home after the lecture. Designed by the New York City architect Ehrick Rossiter, the home was considered a true showplace in its time so much so that it was featured in an extensive New York Times article. An amazing experience to actually be able to be in his family home!
 | Normally this time of year I would be busy in the studio wrapping my summer works. I am still busy creating art, and of course preparing for the upcoming school year but much of my artwork has that has taken a bit of a back seat for the past few weeks and certainly for the next several weeks as I prepare for an upcoming lecture for the Gunn Museum in Washington, CT. I'm very excited to have the opportunity to speak about my favorite artist, William Hamilton Gibson. For those of you who frequent my blog, you may recall researching his life and work is a pet project of mine. Eight years ago, I had the privilege of meeting some of his descendents, as well as seeing some of his original, unpublished artwork first hand. I'm looking forward too to possibly writing an article on him after this so stay tuned! Please check out the information below. I hope you can join me on the evening of September 20th! |
So this is the essence of summer to me. Long hours in the garden and long walks, just filling up with the quiet and the sights. Currently, I'm reading The Hidden Life of Trees which has me questioning ever definition of sentient life I have ever heard. Coupled with my class in Buddhism, I find myself pondering quite a bit lately and feeling that perhaps, I've been sleep walking through life thus far. Along with this I've been wandering through the Blue Cliff record.
| A classic of Chinese Chan (Zen) Buddhism, this text contains 100 verse of "cases" with commentary as well as 100 koans (think, "What is the sound of one hand clapping.") This text was named for the temple where it was write by Yuanwu Keqin, a monk and teacher. Designed to test the discipline and comprehension of his students, this text began as a series of lectures during the Song Dynasty (around the 12th century). I love that Yuanwu Keqin was quote as saying, "All summer I've been verbosely making up complications... and tripping up all the monks in the land." Zen is meant to be understood not conceptually or with the intellect but through immediate experience which is why the koans seem so strange and often confusing. Which brings me back to my walks through the trees and my own garden. |  |
 | To put my feelings into words at these times I feel would sound silly or convoluted. But, at the time, my heart/mind tells me, "Yes!" and then it disappears as quick as the affirmation came. That what my art is for, I think, my meager attempt at capturing those "Zen" moments when everything around me feels alive and conscious. I'm finding that I am not alone in this experience, particularly among artists. Feeling affirmation of my experience while drawing in nature has been a happy accident. Both The Ways of Drawing and The Unknown Craftsman speak if it. I am so happy that my students a colleagues are reading these over the summer. I'm excited to find out what spoke to them in their artistic practice from these texts. |
So what have I been making? Well, my focus, when I'm not working on my bonsai project, has been on honing my skills in Japanese printmaking through an excellent online course in Mokuhanga by Terry McKenna at the Karuizawa School in Nagano, Japan. I know I've mentioned before in my blog how much I love online learning, but, I really do. What a treat to learn and travel the world without having to leave my beloved home, a home bodies' dream! I've been continuing sketching, refining and carving my series of blocks of images inspired by the Blue Cliff Record.
Today however, I am starting something new. I'm designing a hand printed book that will feature blue birds or rather birds that are blue. This was inspired from checking my email and learning that the Book Workers Guild is planning an exhibit of books that have a "blue" theme. Nothing like a deadline to get you moving! Stay tuned for sketches and bonsai updates!
Today however, I am starting something new. I'm designing a hand printed book that will feature blue birds or rather birds that are blue. This was inspired from checking my email and learning that the Book Workers Guild is planning an exhibit of books that have a "blue" theme. Nothing like a deadline to get you moving! Stay tuned for sketches and bonsai updates!
 | Can you be running late when you are on holiday? Hmmm...my husband would say a definite No. However, I'm a big believer that some of the most important promises we ever make are those promises we make to ourselves. A long time ago, I promised myself that I would keep a bi-weekly blog, particularly in the summer when I'm focused, more or less, on my own work and to model a good reflective practice for my students. Alas, even teachers lose track of time during the summer so here I am, no excuses except that I was busy doing and being. |
| The first two weeks of July I spent in class everyday. The first week was Basic Buddhism, an intensive introduction to essential Buddhist texts. So, yes, on the 4th of July I was in a discussion group focused on the nuances of the Sigalovada Sutta and that actually is my idea fun. But, before you get too impressed or think me a complete snob, no, I had no idea what it was prior to my reading it 24 hours before and even then was struggling for a clue. But, that's what school is for right? Don't worry though, we had hosted a family bbq on our deck after class. |  |
My class had everyone from just about every walk of life and quite an age range: from recent college grads to a fellow who quietly but proudly proclaimed he graduated from college in 1952...do the math. He is my hero. I hope I'm still pursuing my curiosities and questions when I reach the same age-Inshallah!
Taking classes for a teacher has a dual advantage. For me, I think it keeps me in touch with my "beginner's mind" as the Zen masters would say. I hope that it helps me stay more thoughtful and sensitive to my students' needs and perspective. Watching others teachers teach is the second benefit. I learn so much about different pedagogies, styles, and approaches.
Basic Buddhism was a wonderful insight into the spiritual context that has shaped Asia. In returning to school to study Eastern Classic, this was one of my primary goals: to gain a deeper understanding of the mind set and perspective of the artists who created so many great masterpieces. I think the main thing I learned is there is nothing "basic" about Buddhism. And like the texts of other religions, there is historical context and the varying interpretations and insights into each work. Stylistically the detailed imagery of each story appeals to me artist's eye greatly, for the lesson of the Buddha and his followers, like those prophets and great thinkers of the West, are more often than not told in the form of a story. Stories that you glean new, and different wisdom and lessons from each time you visit them because we all grow and change throughout our lives.
I truly learn the meaning of Aristole's quote, "The mark of the educated mind is to be able to entertain a thought without accepting it" in our class discussions. I have seen this quote many times in our faculty mail room. Initially, I interpreted it to mean that you could think about something you didn't agree with. But, I think Eastern thought is good for me, it's taking the "I" out of my thinking. The educated mind (that I aspire to) can look at a thought without passion, without commitment, can turn it around, and consider it from all perspectives without espousing belief, just thinking. There is a freedom in this, a letting go that every intellectual act is performance for evaluation. I could let go of having to have or form an opinion and give my mind and heart time and space to listen, absorb and consider quietly. I know I learned more this way because quite honestly I was listening better, frankly because I got my own voice in shut up in my head. All in all a good class.
My next week was a dive into one of my favorite subjects, the world of Tang Dynasty poets (8th century CE). This is way I've included my favorite poet of this periods portrait here, Du Fu. Translation is a powerful tool for poetry, I've learn it can reveal nuances of social and historical context, subtleties of the poet's perspective and personality. In other words, it allows you to step into another world. A world that for me prior to this past year was completely curtained off by the translations of others. You can imagine my excitement. It was a profound artistic experience for me for I became a true fan of Du Fu a poet who can touch the sky yet has his perspective about how to live one's life grounded in realism with a touch of humor. If you haven't read him, please do. I discovered too that Du Fu and Li Bai, another great Tang Dynasty poet, were great friends and I was reminded of Coleridge and Wordsworth. Certainly a doctoral dissertation there for someone to write.
I'll write again shortly, to update you on my summer reading and latest creations!
Taking classes for a teacher has a dual advantage. For me, I think it keeps me in touch with my "beginner's mind" as the Zen masters would say. I hope that it helps me stay more thoughtful and sensitive to my students' needs and perspective. Watching others teachers teach is the second benefit. I learn so much about different pedagogies, styles, and approaches.
Basic Buddhism was a wonderful insight into the spiritual context that has shaped Asia. In returning to school to study Eastern Classic, this was one of my primary goals: to gain a deeper understanding of the mind set and perspective of the artists who created so many great masterpieces. I think the main thing I learned is there is nothing "basic" about Buddhism. And like the texts of other religions, there is historical context and the varying interpretations and insights into each work. Stylistically the detailed imagery of each story appeals to me artist's eye greatly, for the lesson of the Buddha and his followers, like those prophets and great thinkers of the West, are more often than not told in the form of a story. Stories that you glean new, and different wisdom and lessons from each time you visit them because we all grow and change throughout our lives.
I truly learn the meaning of Aristole's quote, "The mark of the educated mind is to be able to entertain a thought without accepting it" in our class discussions. I have seen this quote many times in our faculty mail room. Initially, I interpreted it to mean that you could think about something you didn't agree with. But, I think Eastern thought is good for me, it's taking the "I" out of my thinking. The educated mind (that I aspire to) can look at a thought without passion, without commitment, can turn it around, and consider it from all perspectives without espousing belief, just thinking. There is a freedom in this, a letting go that every intellectual act is performance for evaluation. I could let go of having to have or form an opinion and give my mind and heart time and space to listen, absorb and consider quietly. I know I learned more this way because quite honestly I was listening better, frankly because I got my own voice in shut up in my head. All in all a good class.
My next week was a dive into one of my favorite subjects, the world of Tang Dynasty poets (8th century CE). This is way I've included my favorite poet of this periods portrait here, Du Fu. Translation is a powerful tool for poetry, I've learn it can reveal nuances of social and historical context, subtleties of the poet's perspective and personality. In other words, it allows you to step into another world. A world that for me prior to this past year was completely curtained off by the translations of others. You can imagine my excitement. It was a profound artistic experience for me for I became a true fan of Du Fu a poet who can touch the sky yet has his perspective about how to live one's life grounded in realism with a touch of humor. If you haven't read him, please do. I discovered too that Du Fu and Li Bai, another great Tang Dynasty poet, were great friends and I was reminded of Coleridge and Wordsworth. Certainly a doctoral dissertation there for someone to write.
I'll write again shortly, to update you on my summer reading and latest creations!
| I was excited this afternoon to complete my study of four-hole, Chinese style book binding from the text Japanese Bookbinding by Kojiro Ikegami. So I dove right in and made another small book. This one with the various called, Tortoise-Shell Binding, named after the resemblance of the stiching pattern to the pattern on a tortoise's shell. You might have noted that I constructed my books such that they open on the right hand side, rather than the Asian style with the binding on the right. Unfortunately, I find the traditional Asian opening to be somewhat confusing for me to use. However, it did mean that I had to be very careful in following the examples so that I didn't accidentally flip the back and front of the book while in construction. The finished product is picture at the right and the process below. |  |
Making the book:
Stitching the Binding
Author
ME Carsley
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