2019 travel journal WORKSHOP DATES are officially posted and open for registration! (Click on the linked pages below for all the specifics!)
Antigua, Guatemala: March 30- April 5, 2019 OR April 7 – April 13, 2019 (note, these are two separate workshop weeks which I’ll offer back to back.)
Taos, New Mexico: June 9- 15, 2019
For my friends out west, there is also a weekend sketch workshop with me in the Santa Cruz area slated for May 18 and 19, 2019. Send me an email if you are interested!! (linked is my post about this year’s trip, which was wonderful!)
And below, I’ll catch you up a bit on the landing home after a most wonderful summer……
The future is indeed very bright around here. We ‘gotta wear shades’ as they say. This magical gypsy summer of serious traveling has left me feeling newly and deeply inspired, even unmoored and untethered at times. Summer is always a a season of churning and resetting, but this year these feelings are exceptionally poignant and rich. I’ve had so much time to think about things, what with all the flying and driving and waiting and watching along the way from place to place to place.
A bit of art was crafted here and there while on the road, but mostly I found myself in a place of keen inner observation, a bird’s eye viewing of the self just now and the work currently at hand.
This summer I pondered a great deal about what in the world I am up to in this artful life (age appropriate behavior, as I just turned 49 the other day!!). So many proverbially spinning plates all going at once, and there’s me, the mad, rushing spinner, jumping from thing to thing, spin, spin, spin, lest it all come crashing down around me. At least, that is how it feels some days. On other days, the balance of things settles deeply into my heart and I just know I am on the right track, in spite of all the wobbly plates.
“Balance. It was all about balance. That had been one of the first things that she had learned: the centre of the seesaw has neither up nor down, but upness and downness flow through it while it remains unmoved. You had to be the centre of the seesaw so the pain flowed through you, not into you. It was very hard. But she could do it!”
― Terry Pratchett, I Shall Wear Midnight
Recently, I was listening to a lovely chat between Krista Tippet and Liz Gilbert on the nature of creativity and the notion of choosing curiosity over fear. (I like this notion a lot.) There are many quotable gems throughout this interview and I highly recommend you take a listen to the unedited version of it. There was one small thing though that made me stop the recording at one point and run for the journal to write it down. Gilbert was talking of an inspirational favorite poet of hers called Jack Gilbert (no relation) who was described by his students at one point as being a teacher who –
“didn’t necessarily teach us so much HOW to write a poem, but rather WHY to write a poem.”
This statement stopped me in my tracks. In some strange way, this philosophical shift encapsulates the work I do with travel journaling in my own workshops. Yes, of course we do a bit of Drawing 101, and Basic Use of Watercolors, and etc. But more importantly, we work together to get to the why of it all. Why even bother to draw or paint or capture quotes in a little book which no one besides our patient loved ones will ever see?
Somehow, through the experiences shared as fellow artists, we distill these notions into the inspiration to do the work and figure out why along the way. It is all about enchantment.
And so, while I do teach the how-to along with my fellow sketchers locally, my heart of hearts is invested in the why of it all, which is at the core of my travel based workshops.
Coming to this realization has helped me connect the dots a bit in the work that I do. How the practice of local “Urban Sketching” might relate to and feed my passion for making anthropomorphic illustrations of animals having people-like adventures. How these illustrations might also be “serious” enough to feed the fine-art branch of my artistic interests (i.e., paintings, sans hamsters). How the fiber-based arts of embroidery and knitting might serve as idea-hatching meditations (whilst on the surface they may look like netflix-binging in my pajamas). And how all of these varied practices might actually come together to make the workshops I teach quite different than others because they come from a very unique place, me.
And as they say in Maine, ‘different is good‘.
And now here it is, not even the end of August, and I am already a feeling a little less angsty about work. A bit more centered in forging forward in all of it, varied though it may be. I am excited to have the dates and costs set for 2019’s offerings so get those checks in the mail lads!!
It feels good to be back home in this ol’ river valley of ours for a couple of months before the need to escape it all once more overtakes me and I hit the road again.
But for now, I am settled in my little nest, catching up on work at the shop, drawing and painting and writing every day possible and trusting that all will be well.
ps. Many of you have been asking when an Ireland based workshop might happen. As of this writing, the right place has not quite found me yet. And place is important. We’d need a home base, something with space for us to live while we work (lodging AND classroom space); a place which has available local meal-catering options we could hire in if needed, walkability to a local village (because, MUSIC!) and preferably near the sea. If you have any places on the emerald Isle to suggest, do let me know! In the meantime, I plan to get back to Ireland on me own via artist’s residencies and visits to friends when at all possible. I’ll keep you posted!