All Politics Is Local…Available at the Sugarman Peterson Gallery in Santa Fe
It is always powerful
on this day each year
to listen to the journalists at NPR
read the Declaration of Independence
This year it gave me chills.
All Politics Is Local…Available at the Sugarman Peterson Gallery in Santa Fe
It is always powerful
on this day each year
to listen to the journalists at NPR
read the Declaration of Independence
This year it gave me chills.
The Granary Gallery has launched a new blog…Artifacts
I was interviewed early this spring by Libby Ellis and the Q and A session has been published for your reading pleasure…click on the painting below, grab a teacup of your choice and get a peek into my studio adventures…
It’s that time of year again…
Garlic Scape Time
This year’s challenge was to minimize the effects of the Allium Leaf Miner pest which had completely decimated last year’s crop. I can’t even bring myself to revisit the pictures from that devastation, so google it yourselves if you are scientifically motivated.
The local Ag agents suggested covering the crop in the early spring before the creatures emerge. I tried three versions of that. In the cold frame bed featured below, I had the doors closed until mid-April.
In this back bed I used fleece to cover the plants, which the wind and weather rearranged frequently, so there were gaps in time when there would have been access. Image below shows windblown exposure.
In the third bed, (it’s starting to sound like the three little pigs here…) I used a screened tunnel. See garlic growing tall under that screen.
I harvested scapes from all three beds over the last three weeks or so. The bed shown above was curiously the last to form scapes. Possibly the full time cover slowed growth ?
Some test pulling of the plants showed those gnarly wee beasties had indeed begun their invasion. As was the case last year, the leaves were browning early and the bulbs were not forming, or were becoming deformed.
So, this week I yanked them all.
In bed one, 100% infestation. No bulbs were saveable.
In bed two, 60% infestation.
In bed three, the one with the 24/7 tunnel, almost all of the bulbs were untouched.
Out of about 200 plants, I now have close to 60 curing in the greenhouse. If there are some critters lurking within I may lose some of those, but it’s not a total loss.
On the principle of being given lemons… I decided to make lemonade.
Well…garlic scape butter.
I saved all the scapes, which were untouched by the bugs, and yesterday I got out the cuisinart !
The recipe is quite simple. Grind up the scapes, mix them into softened butter, put that into a ziploc bag and spread it thinly to force air out, then freeze. Then it’s easy to break off what you need as you go. It is especially nice to soften and use as the spread for Garlic Bread.
I had enough leftover minced scapes to add some lemon and olive oil and also freeze for later use in sauces and such.
Bonus tip, which I learned from an old blogger whose name I apologize for forgetting, you take the butter wrappers and stack and bag them up and also put in freezer to use as ready made greasers for pre-baking pans.
So, I started this blog yesterday, only to find that my website was down…again. A long frustrating day of dealing with my server resolved the problem late in the evening. When I sat down to write this entry today…down again.
They tell me it is fixed now, for good.
If you are reading this, then at least for now…it is.
You will be hearing more often from me now as we near the big opening for the Granary Gallery Show…This year that date will be August 5.
I’ve been working full tilt at the easel, almost non-stop since last November, and you’ll see the results very soon.
In the meantime, I hope your gardens are glorious, your souls are finding peace, and there is laughter in the air around you.
Stay tuned and stay frosty out there,
The studio inbox has recently received requests for some new prints to be offered…
and it gave me the opportunity to clean that page up a bit and add a few new ones.
You will find this logo at the top of the page after you click on Prints from the menu bar on my website…heatherneill.com
NEW to the site are…
So there ya go,
a little bit of whimsy for this season.
Back tot he easel for me…
you lot stay frosty out there !
This photo popped up in my facebook stream today…
I had snapped the pic a few years ago, when I noticed that my former craft show sign was now a mitten holder. Made me a bit nostalgic for those days when I spent hours on a shaving horse in the yard, and countless trips over the basement stairs to my workshop, then loading the tiny truck with an entire booth’s worth of panels, tent, chairs and tools.
We loved the camaraderie of our fellow crafters, liberal minded hippies like us. The common joke going around back then, in the early 90’s, was…”What would you do if you won the lottery ? I’d keep making chairs (or pots, or baskets) until the money runs out.”
They had a rule in the better craft circuits that the “makers” had to be the ones in the booth. You could not, say, run a sweat shop with a dozen elves and then have each one scatter on a given weekend to a dozen craft shows. I guess that kept them satisfied that these were “Individually”, and therefore “authentically” handcrafted goods.
It made it difficult for us full time artisans to find the time and expenses to both create and sell our wares, and, though none of us were adequately compensated for the actual hours spent in producing, let alone marketing, we enjoyed a bounty of good companionship and meaningful work.
The first painting I did, for the very first exhibition of my painting career, was this one…
In the Chairmaker’s Wake
I used to carve poems and quotes in the slats.
This one was a favorite, by Willa Cather,
“The end is nothing, the road is all.”
It’s held up pretty well, the saying as well as the chair, over these last few miles. It’s been almost 20 years since I put down the drawknife and picked up the brushes. I made over 500 chairs while the shavings were flying. I have over 300 paintings under my belt…so far.
My hands turn 60 in a few months.
They have been leading me the whole time…
down this marvelous road.
We have returned to terra firma after an extended excursion to Martha’s Vineyard. We usually let the unpacking phase linger long enough to keep some sand between our toes… as a reminder of all those walks on the beach, but there are wonderful things about coming home too.
Somewhere in the mountain of mail we returned to, ( thank you Sue for sorting it all out for us ) , I found my November issue of American Art Collector Magazine, and was pleasantly surprised to see my pal Ted there…
Humble thanks to Master John O’Hern for his ever so kind words about my work, and my muse. The memory I have of the twinkle of humor and love in Ted’s eyes is almost matched by seeing that rakish draping of jeans over boot.
It is a grey soft day here as November creeps upon us. The apples have all been picked up, but the grass is well over the tops of my boots, and the leaves have only just begun to fall.
Inside the studio, the furnace has begun firing up for the season, and so too have the brushes. It’s a good opportunity to work on the stack of commissions that have been piling up. In this time, between working on major bodies of work for shows, I can give undivided attention to those special projects and, after a long hiatus from the easel, my creative energy is restored and ready to rock and roll.
In the days ahead, I plan to show up more often here on the blog with progress notes and ramblings on creativity and studio happenings.
Today it feel so good to be able to say…back to the easel for now.
This summer we enjoyed a staycation. We had a blast at the Granary Gallery Show at the end of July… here’s a few pics from that week of fun
Then we returned to this little corner of the world wherein we toil and play…here are just a dozen or so pics out of the hundreds I took this year of the studio garden…note I had a helper this year, Kory, who did most of the heavy lifting…yeah !
There was a wonderful visit from Alex, who is probably banging on some drum at a band concert about now…
Kory and I built a new walkway, and he cleared us a beautiful view of our creek…
Zoe spent a week at Camp Gran and Mima, and was a terrific helper…
We taught her to play Clue…
Then we taught Arthur to play Clue…
We celebrated Andrew Wyeth’s 100th birthday with stamps and a trip to see his retrospective at the Brandywine River Museum…
We took in an O’s game with Doug and Scott…
I pretty much parked myself on the studio porch for weeks, and carved spoon after spoon and then got out the spinning wheel and spun my way through the last of the long locked lincoln fleece…
And we kept up the tradition…of opening and closing the season at Reeser’s…
I did a bit of commission painting somewhere in there, and a lot of wool gathering, in addition to the spinning…
Delayed by a hurricane or two, we have just finished packing the car…Finnegan’s followers will be just about as pleased as she was to know that her bed and bowls have been included… and tomorrow we head back to the island of Martha’s Vineyard.
An extended autumn stay to allow the muses to take me down some new roads, and listen to new stories, and refresh my soul.
So this is just to say,
that we are well,
we are grateful,
and we want you all to stay safe out there.
I catch you on the other side of the leaves…
Louise Penny paraphrasing from a letter of Robert Frost’s
I’ve been on this planet for 60 years.
The first 11 were scattered about, but our family came to rest, for a slightly longer spell, when I turned 12 and we moved to Swarthmore, Pennsylvania. An oasis within the post war suburbs of newly poured concrete, it was a small town of cozy tree lined neighborhoods and Quaker sensibilities. It gave my teenage angst a comfortable cushion to flail about on, and a community of friends who helped me learn to trust.
And it gave me Jim Gainor…
The high school art teacher, who famously taught us to…”Paint the air and not the chair”, and who was a powerhouse of creative energy, and humor and light, and he is here, in this story, because he took me to the beginning…
It was the early 70’s, and all that free spirited flower power was echoed in the open-air curriculum at Swarthmore High, so why not throw a class of teenagers on a bus, and drive them a few miles west on Route 1 to the sleepy crossroads of Chadds Ford.
Mr. Gainor would send us out on our own to wander the fields and the farms and paint. I remember one afternoon in particular, when I collected water from the Brandywine Creek and perched on a hill and lost myself in the painting of a spring house. It was an awakening and, from this distance, I can see those youthful hands, holding a paintbrush, and know that is where the fire began to burn.
I knew that the Wyeth family lived and painted there. His paintings were well known in our household, and I found out recently, that Andrew had begun to secretly paint his young muse, Helga Testorf, around that same time. She would not have been much older than I was as she was helping to nurse and care for Andrew’s friend and muse, Karl Kuerner, who lived on the farm…just over that other hill.
My journey was soon to bend far away from those farm roads,
with many miles traveled over the ensuing decades, but…
Forty years after graduating from Jim Gainor’s lessons,
I once again found myself dropped off in the middle of Chadds Ford…
at the long tree lined entrance…
to Kuerner’s Farm.
The Brandywine River Museum was established in the old Hoffman’s grist mill at the crossroads of Chadds Ford…just about the time I was experimenting with those first watercolor strokes. It exhibits and archives the works of the many generations of Wyeth family artists.
The museum, under the Brandywine Conservancy, which works to preserve the local environment and it’s history, has since acquired the paternal Wyeth family home, where NC Wyeth lived and painted, Andrew’s studio, and The Kuerner Farm and has opened all three spaces for tours. The groups are small, with information provided by docents, who each offer a unique perspective and background about the working environs of the artists and their subject matters.
We have visited often, but last year I got an opportunity of a different sort.
The museum has opened the Kuerner Farm, for a few days each year, to a limited group of artists of any stripe. They call them Plein Air Days and they offer access to the farm and buildings for an entire day. Which is how I got to spend a glorious day last October…in my element.
My journal notes from that day, remind me that, back then, we were freshly off the boat from Ireland, a bucket list trip which had my mind seeing green and left my body racked for weeks with flu. I did more or less crawl there, but once we were set loose to roam…that fire, which had been kindled just a few hundred yards from the farm, but oh so many years ago…well it sparked once more… and I got straight to work.
About the farm, Andrew has said, “I didn’t think it a picturesque place. It just excited me, purely abstractly and purely emotionally.”
I understand that. They have done very little by way of renovation, the place still has the patina of working farm, and I have my own carpet bag full of emotional connections here, but on that quiet day in October, with visions of ancient ruins and wild Donegal fairies recently planted in my head, I came to experience the Kuerner Farm as a thin place.
Where the spirits of his paintings shimmer just above the surface of the dirt and dust in the barn, and float over the mill pond, and whisper through the pine boughs…
there are touchstones to his body of work from this farm everywhere you look,
which is after all… our way in…
and, however the arc of my life has circled me back, I was standing there, on a clear fall morning, with sketchbook in hand, as a mature artist, who has a dusty old toolbox of her own tricks, a few hours of daylight and time enough to find her own way in.
My first thought was to head in to the barn. The metal bucket still leans on the iron pipes in the spring room in the middle of what is the ground floor. I had seen it there before, and wanted to start there. Negotiating the dirt and hay strewn floor, I followed a few other artists into the maw of a cave that darkens by degrees as you walk deeper into the lowest level of the barn. The tiny room had a small light on inside, and a photographer. He had already set up a tripod and begun to work. He and that tripod were shoehorned in there and fixing to linger. So, I moved on.
I spent the next couple of hours just orienting my senses and studying the space and the light. My only goal was to listen. To be open to the muses. I kept my pencils and my camera quiet, and walked through the house, sat on the front porch, watched the two little goats playing behind the wired fencing, strolled up past the barn to the old carriage shed, watched as a red tailed hawk soared over the upper fields, and then I went back into that barn.
The space was empty, of humans, and, as I peeked around the door frame, I heard those pesky muses laughing. What had been a dull dusty space, was now alive with color from a high raking light. The old panes of window glass dividers had an eerie teal tint that glanced across the water, spilled down to the edge of the concrete basin and bloomed into a rainbow as it spilled in divided rivulets over and onto the cracked drain in the floor.
The sunlight somehow was angling back in through the opened barn doors and lit up what was left of the chipping red paint on each of the dutch stall doors. And, there was some kind of magical metal dance playing across the bucket. I was in.
Now I mentioned the closeness of the interior there, right. So, I was extremely cautious about my footing, and the proximity to an oil tank and some other machinery and bottles and the odd sharp metal bits. When my eyes had adjusted, and my camera shutter finger allowed that that light just might hang out a bit longer, I took a gingerly step to the right and looked back toward the doorway and saw that mirror. And the raincoat. And that was sorta fun.
It wasn’t until I got home,
and let all that dust settle,
that I saw the rough pencil lines
of the math equation
where Karl must have been keeping track of his herd
someday very very long ago.
Now, stay with me in that spring room.
And remember the gift of that raking light,
and turn around.
This is your next treasure.
It is here that I need to mention that I returned to the farm, on another of their plein air days, on a cloudy close weather day in May. I had captured this light back in October, but I was unsure of just exactly what that hanging metal contraption might have been used for. It had just the teensiest sinister edge about it’s countenance.
By that time I was already 6 months into the body of work that was becoming the Kuerner Farm series, and I had a list of questions to ask of the docent upon my return. First one… whatever was that used for. I had the good fortune to be spending the day with Melody, forgive my not having written down her last name please, who shared a wealth of details and background on everything from the rich family history to the architectural foibles and the names of the cats who own the place. But question one, well it stumped her.
Another good fortune, was that later in the day, Karl the third showed up. He is an accomplished artist in his own right, who runs workshops on the farm, and has carried forward a commitment, in conjunction with the Conservancy, to open the land up to other artists, allowing the creative inspirations to be accessible to future generations.
So Karl had come to drop off some donated cat food. And he knew exactly what that iron was for. His grandfather raised milk cows. The rig hanging in that room was attached at the top to a long iron carrying beam, which would have allowed the workers to sling a big old milking pail from the stalls directly across the barn, over to the cooling spring. Not so sinister after all. I fell completely in love with it at that point, and though the light on that day in May never reached the dramatic levels of October, the second visit gave me a chance to dig deeper, and to see the composition through new filters.
The cobalt blue…
it still makes me swoon.
In her letters, Willa Cather talks about a passage in her novel, The Professor’s House, where she had been describing the aging and depressed professor in his foreboding attic writing room, which he shared with his wife’s dour black clothed dress forms. She wrote that she wanted the transition to the next chapter, which takes place in the brilliant arid sun of the deserts of New Mexico, to rattle and transport the reader, as the professor would have experienced, after flinging open the tiny attic window to escape his despair, and go soaring into the brilliant warm light and openness of a freshening wave of freedom.
And, so we now step, dear reader, out of the rich peaty darkness of the barn…
and… turning back…
have to shade our eyes from the source of that raking light,
and what mystery is this.
The title for this painting is The Cardinal.
So let’s take a closer look.
When I first walked down the hill, from where we parked out back of that distant shed, I noticed the gate. I could do an entire series just of that gate. I spent a lot of time walking around it, this way and that, asking the gate, as master woodworker, George Nakashima was fond of asking a log…what might you want to become.
While I was carrying on that conversation, the cat, who I have come to know, from Karl, is named Lioness, was weaving through my legs and round and round the sketchbook, which I had leaning against that stone wall. I thought she was dear, but…the gate.
I approached and retreated from this composition a dozen times during the day to scope out how the changes in light angles, and shadow play, might bring out the best in that rust. On my final pass, coming in from behind it, I caught the tiniest glimpse of something red. Up close and personal…it turned out to be a cardinal feather. I brought it home in that envelope and let the muses play for a while.
It was their idea to let the hawk in.
I was rooting for the Lioness.
The first treasure I found, on that morning in May, was this tiny egg shell. It was white, but some shadow from the spruce trees gave it a faint teal glow.
It reminded me of the wash of paint in the main room of the farm house…so I started there.
The story goes that, when Karl the first lived there, the house was divided into two halves, in order to accommodate two families, or maybe the owner’s family and then the workers. Somewhere along the way, the central wall was removed, which left two fireplaces side by side.
Though the soft pastels are muted now, by years of hard living, their gentle hues reminded me of that chambered nautilus. You know the one. Betsy’s nightgown could have been used to paint these walls.
The shell is mine,
from an island far from these pillars,
but the shadows belong…ever…
Now turn around…
You’ll know this kitchen.
and that ground hog day long ago.
The museum has done a marvelous job of recreating portions of the antiquated wallpaper pattern, which had been worn away over the years, but was revealed, anew, for the next generation, when they went to move that corner cupboard.
They also strove for verisimilitude by dragging a big old log out there, complete with fanged hinge.
What you can’t see is all the commotion behind that wall to the left.
A flurry of photographers had been camped out on that side of the kitchen all morning.
They were smitten by the chair, and the light, as was I. But their preferred angle of composition crammed them all into a small corner by the old kitchen stove. I don’t like crowds.
And I found this view to be pretty spectacular in it’s own right.
Even after one of those dodos walked into my shots,
and moved the chair a quarter turn to the left.
The force was strong in that room.
Now follow that bright white light coming from the transit,
and step through the screen door onto the wide front porch.
The first thing you don’t see is the spruce tree Karl planted to remind him of his boyhood days in the Black Forest of Germany.
When I first visited the farm, right after they opened it for tours, that tree was so large that it completely obscured the front of the house. When you stood on the porch back then, you couldn’t even see Kuerner’s hill.
The next time I was there, on that first plein air visit, I had made my way onto the porch, while I was waiting for that photographer to finish up in the spring room, The first thing I noticed was the bucket hanging from the gutter. Andrew painted it at least once that I remember, so it was another of those echoes, placed, or not, by the museum, or by Karl the third perhaps. No matter, it fits.
I sat myself on the stuccoed ledge opposite this window and took it all in.
It seemed to me that, if I had lived a good life… to borrow from my friend Follansbee, the sun might just cooperate and sweep over to the right in an hour or two, and cast some manner of interesting light play across those well weathered surfaces of paint.
I waited a long time. Sketched a bit. Rested my eyes. Listened. Hiked up to the truck for a snack. And back down. And there it was. A slow creeping at first, and then a full blown blast of light that would have made Rudolph weep. Full power.
So, I began to document at high speed. Thousands of shots, zooming in and out as first one paint drip cast a shadow, and then a different edge of framing snapped to attention. The reflections interested me and the dark shape in the lower right slowly resolved into a tree. I turned around to look again. Sure enough, there was a young tree planted right next to the giant stump of the old one. The new light was also coming to play on that spruce tree, outlining each needle, and the wind kept rearranging the branches so I that I would have lots to work with.
Then I felt something on my arm. A lady bug.
Then two more.
And on the nearby post…dozens.
They had arrived with the light, and were having a merry old time.
I knew at once that all would be well…it was Ted.
He had a special gift for me.
I focused back on the window…
and saw the pine cone.
Chills actually went along my shoulders.
The last remnant of Karl’s forest was tucked into the wing of the shutter hinge. When I took a closer look, there was the faintest trace of paint from the brush of whoever had most recently whitewashed the moulding.
Slayed, by a whisper of grace.
There were many moments like that.
Throughout the painting of this series, which I know now, is only about halfway completed.
These last few months have been hard, for most of us.
As November collapsed into December I felt psychologically, and spiritually threadbare.
It was a brutal time to show up in an art studio each day and try to connect in a creative way.
In the two months since that first October farm day, I had tried several times to find my way in to the reference work I had done “en plein air” . The work felt serious and intense, which echoed my mood, but I felt heavy and dark, which was the opposite counterpoint to the richly positive energy I had experienced while working there.
So, I carried on with other work, and re-read Louise Penny’s brilliant series of mysteries that take place in the fictional Canadian town of Three Pines. It’s a deeply honest, warmly sentimental, mischievously humorous place to hang out. All her readers harbor intense fantasies about living there. And boy, did I need to believe that a place like that might still exist right about then, even if it was only in storyland.
When I got up to her book, The Long Way Home, the challenges she had written for her characters felt very close to home. The artist, who had lost his way. The one whom he had left questioning hers. The intensity of their struggles, and the power of her prose…“Fear lives in the head. Courage in the heart. The job is to get from one to the other. And in between is the lump in the throat.”
“The poem – art – begins as a lump in the throat.”
I wrote those words down…
and got out my sketchbook from those days at Kuerner Farm…
and picked up a brush.
I’ve spent this stormy day working on the Painter’s Notes for the new paintings.
If you are of a mind to spend some time away from the news of the ongoing apocalypse,
and would welcome some detours down the pathways of this artist’s musings,
follow this sign…
On my website…http://heatherneill.com/
Under the menu tab…Portfolio
You will find, sorted by year,
all the paintings I’ve ever done.
As I have been loading the new works onto the website,
Small thumbnails appear when you open the window for 2017…
When you click on a thumbnail there,
you open up the larger format image for each painting.
There you will find info like size, and which gallery it is currently exhibiting the work.
Down there, at the bottom of each of those pages, is that quill and teacup logo at the bottom left.
When you click on that…POOF !
It takes you to the Painter’s Notes.
I started writing them when I had my first solo show back in 2001.
I had been a chairmaker for a decade or more,
so I could make money,
so I could paint.
That was a whole lot of work,
and scads more fun,
but a creative reality check.
Turns out, 16 years later,
it was a better bet to try this painting gig out,
so I could carve spoons in my free time.
At that first show I wrote some journal like notes with each painting to help my chairmaking patrons understand that I was putting the handtools down and picking up brushes.
These notes have become an integral part of the painting process for the patrons who took that leap with me, and I offer them for anyone who might be curious about where my mind was wandering when I was at the easel.
We’ve got some new people checking in, hi there,
so I thought a review was in order.
For you well-seasoned followers…
this is just to send a nod and a wink,
and all the thanks in the world.
I’ve written the PNotes for all the new paintings I’ve launched so far.
Tomorrow I begin to document the last six of the new works.
They are the beginning of a substantial body of work that has taken me full circle,
back to the core of my artistic soul,
from the very first brush strokes,
and all the halting stages of creative adventures in between,
to the cascading circles of how I’ve gotten to here…
to the painter, who walks into the studio each day,
wondering what does it mean to be a mature artist.
Who picks up the brushes,
with aging hands,
and trusts that the muses have her back.
So, here’s the thing…
The way my brain scampers about these days,
I need to take notes.
Okay, I’m being generous with the “these days”,
I’ve always taken notes.
With scraps of paper and napkin corners
and dog-eared pages of old magazines,
I have jotted and doodled
hundreds and hundreds of ideas for paintings over the decades.
Sometimes just a few gestures,
often a phrase run across while reading,
or listening to music,
or watching a movie.
Two or three times a year,
I gather the sketchbooks and journals
and thumb-tacked notes,
So, there I was,
in review mode,
when I remembered that there were notes…
on my phone.
Been a long while since I was in a place without a pencil,
but there have been the odd times when I had to use my phone app to jot down an idea.
Some of those pencilless moments must have been in the middle of the night.
For the life of me, I have no idea what I was thinking when I wrote…
Shackled and dilled
Exploding from the center
Two entries from the bottom was this sentence,
Celeste speaks well of Ruth but secretly envies her aprons
A perfect jewel,
which there is no way I thought of myself.
No reference, just that rarefied run-on of perfection.
I instantly ran to the teacups,
searched the studio for my two favorite aprons,
and got to work.
Here is where I must beg forbearance,
from whomever I am so shamelessly plagiarizing,
I thought enough of your playfully glorious words
to save them in my “Painting Ideas” folder,
though I have absolutely no idea where they first crossed my path.
The Muses made certain that the sentence stayed hidden
until the precise moment I was ready, or rather,
THEY knew I was ready.
tag me for the steal,
and thank you from the bottom
of my Aunt Imy’s wedgewood,
and wait for it…
I may catch Celeste and Ruth
in some future,
dare I hope…compromising,