“Always approach the shrimp bowl as you own it.” Mary McGrory
‘Tis the season…of Shrimp Mousse
In the all kitchens of my adulthood Along the margins of each recipe Tucked and retucked inbetween the pages of all the cookbooks I have written in tiny script some words to mark the making and the maker each time I make my way back to that particular recipe.
A trail of micro journaled jigsaw pieces which periodically get reassembled as I return to refresh the ingredient lists for old and new favorites.
Yesterday, after chatting with dear Peg about birds and pity and beaches and pools, I pulled out the well worn card with her original instructions for her shrimp mousse.
It has been updated and upgraded and tweaked over the years, but the bones remain strong and the sentiment has become crystalized.
The first entry I wrote on the card was…
1 Jan 2000 – The world has celebrated. We made it ! Now for some special treats to start off the new millenium.
What follows are regular entries just about that time almost every year with the exception of the few years interim when I seem to have lost that original card. I do remember the desperate searching but it seems that the Muses returned it a few years ago…
22 December 2016 – Thought I had lost this recipe – but in the wild autumn of home repairs -when both kitchens had to be redone – it was found. Now we are in the dark ages – and need some peace.
And here we are… planning on making a double batch I sat down with all three of the Shrimp Mousse incarnations and when Herself wandered into the studio kitchen I was smiling through tears.
Chronicled on that little slip of paper was celebrating the “first day of full time Artisanship” The last walk with our Gulliver and the first snowy Christmas with Finn and this year’s entry made all the more special to be able to write that we are all still together around that kitchen table a bit gimpier and slower afoot and settled deeply into our seasons of happiness.
As squalls of snow flurries surround the studio, the artist within is happily ensconced in her hermitage and the brushes are flying. Had a bookend of visits with Peter Follansbee last week so his painting gets the pride of place here today.
I’ve been away from this portal for so many months that there is a towering pile of posts waiting to be written. Look for me to promise a regular flow of entries, but I’d hedge those bets. My energies and attention span tends to be hyper focused at the easel when I return from weeks away.
While the weather freezed me out of the garden, and the darkness deepens into the solstice, the dust collects on every other corner of the studio except where I and my brushes are at work.
But I’ve taken a quick break to visit the office today because I need to give you a heads up about the prints offered here on my site.
Due to the increased costs of paper and ink the price of prints will be following suit.
Figure I would return the kindness of your years of support by giving you all a heads up…so I’ll wait another month or so and make the price changes take effect on January 31, 2020.
The small prints will go from $95 to $125 The large prints will go from $195 to $225 And I will be charging a flat shipping rate of $12 for all tubes, multiple prints can be shipped in one tube and will only be charged once.
The Menemsha Basin and Strider Prints will remain at their current prices for now.
OK, that’s done.
Now back to my snuggly spot by the heater in the corner with my Muses.
Stay frosty out there and thank you all for being there. H
It’s beginning to look a lot like fall around here. We have been home a month since our Vineyard visit and Granary Gallery show. A great time and very successful show was surrounded by a warm and positive energy which has been riding in my back pocket ever since.
And we needed that to get through some stressful weeks with a string of those unwelcome but generally benign hiccups that lurch your well laid plans into a different gear…or reverse in this case. Extreme heat kept me out of the garden, silly germs kept us all sick and snotty for Zoe’s camp Gran and Mima, the blue screen of death on the studio computer meant a week of tech gurus replacing one motherboard after another, and then there is…( and here I will allude to, but not elaborate on because I have a strict “NO politics in the studio rule”… the mother of all shit storms that is the current state of the nation and the planet )…but worst of all our dear Finn has been plagued with one infection after another.
None of the usual anti-depressants were working.
Putting all the bags of yarn on the daybed to plan out the coming winter of knitting…didn’t help. Getting out all the spoon carving tools and making pile after pile of shavings on the porch…wasn’t helping. Planting flats of seedlings for the fall garden and weeding out the old for the new…was hampered by the summer’s sauna.
I just couldn’t shake the blues.
As of today, most of those bumps in the road have been worked out but they wore this artist down and sent some old dragons a’ knocking at the door.
Alas, I caught them on the whisper… and realized that in spite of all the things I was trying to do to pull myself up and out of that negative space…what I really needed to do was to get myself back to my day job.
The second I sat down at the easel I felt better…lighter…centered and safe.
I have come to understand that this work that I do, the art that I create, the focus that is demanded of the process of bringing a painting to life…it is all of me. It has become what I am not just what I do. And it has an intense and powerful connection to something that is much bigger and vitally more important than Mercury going retrograde and blowing up the schedule.
It is no longer quiet listening, but a fierce reckoning with truth, and finding where it lives at the core of my soul, and then looking hard for where it lives in others. The closest I’ve come to labeling it is that “common ground”. I catch glimpses of it now and then, like a pixie winking from behind a garden shed. And more often when I stand behind someone studying one of my paintings and watch as they step closer. The noise in the gallery shuts off, and they are pulled in to a very private place. Sometimes, when they step back and notice me, they will take me where they went. Sometimes there are no words. But the recognition is there, between us, that there is some common ground.
I can think of it as a portal. Through which there is a tapestry of threads, more like live wires, and we, the artist and the patron, have found one or two that we recognize as familiar, that are alive in our own paintings as it were, and we come to see that we are not alone.
Well that is starting to get a bit tingly…like I said…the universe..or is it those muses… is shifting things around here in a most unpredictable and frustrating way…which is when I know to step out of the stream and go to a safe place.
OK I’m back now. This started out as a quick peek at the burgeoning fall garden, which is plugging along all on its own tingly threads in spite of the heat and my profound neglect.
And since, I have already articulated that the best place for me to be right now…with a tiny brush in my hand…and not playing in the dirt…I shall simply throw out these pics of this morning’s garden.
Beginning with a before shot of the Ruth Stout Memorial Arch to compare with the opening photo of today’s vining mess. You will see that the black eyed susan vines are finally thriving but the morning glory (mostly on the right) are insane…with nary a blossom.
Here it is again…before
In general I am very pleased with the RS bed experiment so far. I will elaborate in future posts but here are some random updates…
WE HAVE A LUFFA !!!
Finally. You can see how showy this vine has become. It has smothered the tunnel and begun to invade the lower forty…
looking back it is on the right
Here it frames the now almost cleared potato run…as it waddles on over to make an annex out of the old pea trellis.
Back at the far end of the bed you get a whole lot of rotting tomatoes and a fair supply of peppers showered by Pat’s zinnias…
A row of bags and boxes are mostly cleared of the failed onions with some lingering leeks…
Walking outside and into the raised bed area it’s the sweet potatoes that have taken the lead…
Three bags full, they hold some promise but it will be a month or more before I peek. The second planting of cucumbers are fighting off the squash bugs and going strong…
The beans have only now begun to provide enough for a meal for two…
Underneath that tunnel are some newly planted carrots and broccoli …
And the brussel sprouts and parsnips are roaring in the back bed…
On the backside of this very large array is the sad state of the strawberry beds, I am flummoxed at the heavy invasion of grasses and weeds which have taken over every single bed. I’ve weeded this bed intensely 4 times this summer !!! and look at the mess.
Back in civilization…
the new herb beds are doing well…
and the salad bed is once again producing lettuces and spinach…
After taking this pic I pulled a couple of those radishes, and then I yanked them all because I found cabbage worms on each one and a heavy infestation of baby aphids. They all went to the bucket of death. Now Herself can come and pick her lunch in peace.
And that leaves the best part of the garden for last…
Miss Finnegan is starting to feel better. These cooler mornings are just the ticket for a Bernese Mt. Dog. She lays here on the shaded cement and supervises my ramblings while she waits for her buddy to come over and take her for a ride around the neighborhood. Her favorite thing is to turn left out of that gate and jump into the car.
As I write this she and her buddy are getting ready for the tennis finals. Finn lays in front of the TV and as soon as the ball is hit she follows it. She got bored with all those double faults in the match last night but has a special fondness for Nadal, so she’s looking forward to his forehand.
And there we have it. A winding look into the labyrinth that, for my sins, is my world this month.
Now I’m headed to the kitchen for some lunch, and then up for one more cone at Reeser’s, and then back to the easel…
Yours in brilliant blazes of Mexican sunflowers, hovering hummingbirds… and finally flying brushes,
I want to take a moment to thank all of you for the kind words and support for each of the paintings in this year’s Granary Gallery Show.
Both Pat and I have enjoyed reading your comments and I greatly appreciate those of you who have shared the images forward.
In this day and age, so many of us are self-employed, and sharing your support on social media increases the opportunity for success exponentially. It means a lot to those of us creative hermit types.
There is always a crazy rush here in the studio on the eve of our departure, and this artiste is feeling her age. So, in amongst this last minute multi-tasking, I wanted to take a breath and give you a look at all 15 paintings together.
I won’t get to see them this way until Sunday, when they are up on the walls of the gallery.
And we have arrived at the end… only to start at the beginning.
I owe everything Vineyard to my friend Lynn. She brought me here for the first time.
We would throw a box of spaghetti and some brownie mix into her car and drive from our shared apartment in Somerville out to the ferry and over to her beloved island.
It was ten years or more before I even knew there were towns other than Chilmark.
We drove straight from boat to bluff and left only briefly for the annual lobster from Larsen’s …and regular visits to Chilmark Chocolate.
Lynn had the biggest heart I’ve ever known and its core and depths were chiseled out of those cliffs.
Her honest and joyful humor was wedged in between every one of the giant stones she tended along her wall.
Her kindness and overflowing generosity live on in the daffodils that now soak up her spring sunshine.
Her friendship and her family have given me the closest thing to a home that I have ever known.
The monarch is for her. Actually it may BE her.
For me they always will be.
On the day I captured this light there was a very short window of this calm after the storm just enough time for the sheep to make their way across the field to where I stood and as the sun began to set she flew behind me and landed on this bend of grass and stayed until I turned around.
Her smile was exactly as I remembered it with that laughter and love come to share the moment which I had been searching for all those years as we had made a ritual of stopping at this turnout each time we left her camp to see if the sheep were there and the muses might be too.
After four decades … and with a wink and a nod from one happy dancing angel they did.
This is the last painting in the Hancock Mitchell House series, and for me it pulls all seven of them together. My working title for this originally was Advent because all those openings and passages reminded me of an advent calendar.
As if you could open each one and step through and back in time and pick a different century in which to explore.
I personally imagine doing that as the woodworker I used to be. With hatchet in hand and shaving horse at the ready, I’d love to work alongside all of the builders of this house. Learning from the masters who cut the massive timbers and swung the hewing axes. Listening to stories of sea voyages as they wove the wattles and mixed the daub.
I can almost feel the ocean breeze lift across the grassy plain, come to softly cool the sweat on my shoulders and back as we share in the splitting of lath under a steamy solstice summer sun.
Above the cry of a pond diving gull, I can hear the rhythmic swish…pull…swish of the planes as they fashion the moulded edges along the wide cabinet boards.
Across the wind swept meadow, along the road from the beach, I can see a cloud of dust rising as a team of draft horses pulls a sled of ship-wrecked planks, washed ashore and gleaned to live now… a landlubbers life of pantry shelf, mantelpiece or sill.
And from just over the treetops, on the next island farm, catching a ride on the early morning breeze, the remnant of woodsmoke drifts from the forge where its fire burns and builds to harden her irons.
Away and alas… here in this century I have put down my hatchet to pick up a brush…and quill…
From the depths of her shadows in the company of her years opens a new whitened door holding fast and proud to its first ever latch poised now to witness this next chapter of life for a quiet old house on a wild island plain and so it begins with a trickling thin line reddening apace of modest…new rust.
There’s a whole lot of maritime history to be witnessed in this little room
Hanging left and right are copies of centuries old nautical maps and charts which were discovered in the attic of the Hancock Mitchell House when the Sheriff’s Meadow Foundation began its restoration.
Having recently trodden my own path along the rugged Wild Atlantic Way, I am choosing the map of the West Coast of Ireland to feature in detail here…
Martha’s Vineyard, Nantucket and New Bedford were at the center of the whaling industry in the mid 1800’s. Several whaling ship captains came from this homestead in Quansoo. One of whom was West Mitchell…
I have lifted these lines from a 2017 article by Alex Elvin in The Vineyard Gazette, click here for direct link to read the entire piece…HERE.
Capt. West Mitchell, who once lived in the house, was among those who weathered the whaling disaster of 1871, when dozens of whaling ships from the region became stranded in the Arctic. He was captain of the barque Massachusetts, which now lies at the bottom of the Arctic Ocean.
Mr. Mitchell’s name remains scratched into a wall in the Quansoo house, barely visible above the stairs leading to the attic.
This one ticks all the boxes for me… centuries of living on the island talismans left for us to puzzle maps to point the way salt and brine soaked patina on wood worked by hand passages in and passages out and always and ever our return…to the sea.
If you peer in closely through the blue doorway and into the pantry you will see shelves lined with artifacts.
Treasures unearthed and discovered behind walls an old clay pipe horseshoes and coins bottles and bricks.
What you won’t see that I can is Katie in there studying them.
She was the navigator on the day I first saw this place.
I mentioned before about our wild adventure on the bouncy bouncy dirt lane as we searched the wilderness getting closer and closer to the isolated homestead.
At one point I think it was seeing giant spider webs glistening with heavy dew under that medieval forest of low branching oaks at a moment when we were particularly lost that we both looked at each other to gauge the fear factor.
Yep it was creepy.
But, as ever with Katie, so much fun.
Her young strong legs climbed the stairs before me to test if they would hold and her brave confident self looked behind the darkest of dusty corners to spare my heart.
She’s the one who opened the lid on the oval roaster and found the shells then played apprentice moving them in and out of the crawling sunlight.
It’s going to be harder now to coordinate our Ted Trips because she went and grew all up and graduated and is going to step right on out into the big wide world any day now all by herself.
I have a feeling though that there will be a few more adventures a painted cormorant now and then a little bit of knitting together and listening and the occasional snapshot of that dimply smile.
This is a wall of the oldest section of the Hancock Mitchell House which is one of the oldest houses in this young country.
Hand hewn posts and beams whose gaps are filled with wattle and daub to keep the rugged island weather out there on the plains.
From the Sheriff’s Meadow Foundation –
Standing upon the sweeping outwash plain of Quansoo, the Hancock-Mitchell House is considered the second-oldest or the oldest house on Martha’s Vineyard. A classic, Cape Cod style home, the Hancock-Mitchell house is found on Sheriff’s Meadow Foundation’s Quansoo Farm property in Chilmark. The oldest portion of the house was built in the 17th Century. In this oldest section, the walls notably are made of wattle and daub –a mixture of mud and straw that is packed around wood-en rungs. The wattle and daub walls place the house among the very few such “first-period” structures still standing in the United States.
One reason the house still stands, even when faced with centuries of hurricanes and gales, is that the walls feature hurricane braces. The hurricane braces are boards that run diagonally across sections of the wall. The braces are mortised into studs and mortised into girts and rafter plates. In the oldest section of the house, the walls still contain wattle and daub. Inside the house, some of the timbers are exposed, while others are encased. Some timber edges bear “lamb’s tongue” chamfers, a decorative effect used in the 17th century and early 18th century.Some portions of the house contain pit-sawn boards.
Here’s a direct link to the Sheriff’s Meadow Foundation site which has a complete layout of the house and more on the history of the people who owned and lived in the house during its over 300 years of occupation and notes about their restoration and plans for the future.