12 Kensington Gardens Round Pond Series, Part 1 Composite

docsusan — Sat, 26 Jan 2013 13:53:54 +0000

Kensington Gardens Round Pond Series, Part 1 Composite

docsusan Sat, 01/26/2013 - 08:53

The Round Pond

The Round Pond is an “ornamental lake” in Kensington Gardens, just west of Kensington Palace’s front entrance. It was created by George II around 1730, and despite its name being “Round” it is actually rectangular—with rounded corners. Measuring approximately 200 m by 150 m, it covers approximately seven acres and is up to 5m deep in parts. The swans. geese. and many other birds living there never fail to entertain.

The Round Pond Series, Part 1

When in London, my dogs and I are daily visitors to Kensington Gardens’ Round Pond. We’re fascinated by the creatures who inhabit it. Whatever the hour, day, or occasion, there is always something to witness at this historic sanctuary. I didn’t preplan this Round Pond series. It is observation and interest driven. My naturalistic, and whimsical painting style invites story and suggestions of what might be. All creatures portrayed are given personality and potential, conjure metaphor and meaning.

1. Swan Drip: oil on birch, 24 x 30 in, 2012 -13
2. Swan Lock: oil on birch, 36 x 36 in, 2012 - 13
3. Majestic Mother (Egyptian Goose): oil on birch, 18 x 24 in, 2012 - 13
4. Learning to Swim (Egyptian Geese): oil on birch, 12 x 24 in, 2012 - 13
5. Kensington Swan, Canada Geese: oil on birch, 12 x 24 in, 2012 - 13

Messages and Meaning from the Round Pond

From morning to night, the birds at the Round Pond make every day moments special. If you look very carefully, you’ll see how they show us what matters in life, and how the best things never change.

The Round Pond is a magical place. Believe it or not, it is hundreds of years old, so lots has happened there and around it. Visitors come and go, and people may have changed how they look and act, but its birds have stayed the same.   What the birds do now is what they did then. What delights humankind—and what we notice now—is as meaningful as it was in the very beginning. Animals have an amazing way of showing us what‘s necessary and when, and not to forget it.

Somehow, when we take time to notice what swans, geese, and other birds do, it can make us think and wonder. Rituals and routines pass from generation to generation. The simplest ones, happening right in front of us, make us smile.

Feeling peaceful, calm, excited, or relieved after a visit to the Round Pond isn’t unusual. That’s why many of us return. With so much happening in a fast-moving world, it’s nice to find a safe quiet spot where Mother Nature keeps things simple.

She reminds us of what’s important—shows how to:

1. Take quiet moments by oneself to reflect and let things out
2. Love and connect
3. Keep little ones safe and warm
4. Stay close and cautious when teaching or learning something new
5. Keep on moving, and feel beautiful, even if different from others

If we are patient and watch the birds long and hard enough, our heads fill with stories. Every living creature, young, old, or in between, has tales to tell—whether human, or bird.

Poem about the Series

Royal Feathers at the Round Pond

Color and quietude
Connection and clarity
Quality of life
Order of nature
Things as they should be

Not Just Any Birds  These have found their ideal setting—for life and in paint
Feel the love
Let them be
When all else changes
Rejoice that they’ll be able to stay the same

A Poem about Each Piece

 1. Swan Drip: oil on birch, 24 x 30 in, 2012 -13

Swan Drip

Your nose drips
And a puddle forms

Your nose drips
And you seem very human

We can relate

From your drip, circles form
Pools of possibility
Extending out from the point of impact

Captured in the moment
Off guard
But guarded

Nothing staged
Timing can be everything

 2. Swan Lock: oil on birch, 36 x 36 in, 2012 - 13

And Then There Were Four

The swans interlocked
Captured in the moment

Unsuspecting viewer and
Unsuspecting swans

Swans, they say, mate for life
So, are they in love?
At a glance, looks like it

They’r flanked by two others
The one facing in alongside
And the other facing forward fishing

What is their relationship?
Are they family?

Private moments
In public spaces

A theme that’s current
Ancient birds in a modern world

Special connections put under the scope
When they need to be left in peace

 3. Majestic Mother (Egyptian Goose): oil on birch, 18 x 24 in, 2012 - 13

Majestic Mother Love

She sits majestic
Keeping warm
Keeping others warm

Tending her chicks
Her chicks tending her

Personalities develop
From infant to youth
Nature’s truth

Innocence protected
Then set free

What’s ahead, not known
In the meantime, hanging close to Mama

 4. Learning to Swim (Egyptian Geese): oil on birch, 12 x 24 in, 2012 - 13

At Water’s Edge

We learn by doing
And do by learning

After watching these chicks grow
Day by day
Nothing more satisfying than seeing them
On their way

From round puffy balls
Little bodies developing

Poised to plunge

Camaraderie of siblings
Confidence from togetherness
Developmental rituals that all species have

All the more poignant when noticing others
Innocence, and witnessing of it, easily allure

5. Kensington Swan, Canada Geese: oil on birch, 12 x 24 in, 2012 - 13

Swan and Geese

Regal Swan
Canada Geese passing by

The power of One
Set alongside many

Home territory of the swan
Boldness of traveling geese

Each goes about their day
No one getting in anyone’s way

Cultures worlds apart
The Round Pond
A sanctuary for locals and visitors 

Narcissus

docsusan — Mon, 16 Jul 2012 22:00:58 +0000

Narcissus

docsusan Mon, 07/16/2012 - 18:00

In London, spring 2011, I was happy to discover that a long-time health food haunt from university days still exists: Food for Thought. A vase in the window, filled with Narcissi filled upstairs and down with a sweet and wonderful perfume. Individual blooms were small and delicate. Combined, they were potent and memorable. In this painting, I chose to make them larger than life (40 in x 40 in). The painting created was, originally, triggered by a juried show title: Ego. Narcissus for Ego, I thought. Clever! Maybe the judges didn’t get it. Maybe it wasn’t good enough. Whatever the reason, it didn’t get into the show, and ended up being my penultimate painting before deciding to take hiatus.

p.s. I did have another work chosen for the Ego show, Blue Torment, not painted with the Ego show in mind, but appropriate to the title: a portrait lacking in ego, ego-less.

Art as Therapy Composite

docsusan — Thu, 05 Jan 2012 01:59:05 +0000

Art as Therapy Composite

docsusan Wed, 01/04/2012 - 20:59

A subtitle for this series is Everyday Feelings. When painting the individual works, reason, resolve, and relish became important personal themes. All seven images developed organically. Using wood as substrate, I let its grains influence line and direction, working “coloring book” style, initially. Later, I was ready to go with the flow, beyond what the grain suggested. Some colors were deliberate, others not. As each painting grew, messages came and changed. Eventually, meanings manifested, names and stories attached. The paintings are listed in the order in which they emerged:

• Puddles - Muddles - Possibilities (36 x 42)
  • Traumas - Truths - Roots (48 x 42 in)  
• Basic Grief ( 30 x 30 in)  
• Blue Ice (24 x 48 in)  
• Attention to Detail (24 x 48 in)  
• Oases of the Mind (7 x 9.75 x 9.75 in)  
• Black and White—Not Quite (30 x 30 in)

 Process

Significant sections of each painting were created vertically. So, turning the final pieces in different directions can prove interesting. Some viewers may prefer alternative orientations—and come up with different names and meanings for the work.

Whether painting the known and identifiable or not, I am always open to seeing magic happen: being able to grow, show, help. What I feel inside may not be the same as that manifested outside. On canvas, my inner and outer self tussle. They blend and bend, many lessons to learn, courage to ignite. Uncertainty is bothersome. Discovering and realizing can give relief. For me, whether I intend it to be or not, making art is therapeutic. Any frustration that accompanies is usually technical.
The process of creating artwork, as well as viewing it, offers messages and meaning—new ways forward or better ways to move back. It’s for individuals, artist or viewer, to be ready to see.

During the summertime, I painted outside, so the first two works may have garden influences (and colors)... Work number seven is black. Winter had arrived!

Back Story

The art therapist in me ponders life and its forms and cycles: what can and can’t be controlled. How do we cope with ongoing uncertainty? Can we ever really prepare to manage surprise, pain, doubt? What about relief and support? Will it be there when needed? Images, impressions, and feelings that count for one may be of little consequence to another. In some situations, we are together—feel supported and can relate. In others, we are alone, very alone... What comforts and heals, sustains and reassures? How do we ready and steady ourselves for the inevitable?
The constant and the fleeting, the impressionable and forgettable, the noticeable and the imperceptible, all cause wonder.

Maybe my age and stage put me in reflective mode concerning the world in which we live and sights seen there. What’s next, personally and collectively? All depictions in this series have definite precedents and antecedents. They show a sifting and sorting: acknowledgement of how the too oft unspeakable can stare us in the face, even if we don’t wish for it to do so. Painting processes like this one help make the unconscious conscious—expose private concerns publicly.

Regardless of how hard hard we may try, certain details cannot be changed or overlooked. Despite personal twists and turns, we share a common humanity, one that holds abundant beauty as well as upset. Everyone sees and is influenced and effected differently, conduit, catalyst, conqueror, or conquered. Perseverance, sensitivity, mindfulness, and self-expression don’t guaranty ease. Also, routes from A - B aren’t always fair, kind, or honest. Even if life treats some more unfairly than others, we are all in this (whatever it is) together. Social conscience and being able to take responsibility matter. Try to understand circumstances, then proceed with caution and care.

Piece By Piece

Puddles - Muddles - Possibilities
(36 x 42 in, oil on birch)

In Puddles - Muddles - Possibilities, I’m playing with paint, no plan—just happy to be able to start a new series of work, after hiatus Seeing where the grains in the wood might take me an early initiative, then selecting colors to match mood and environment. A feel good effect, a feel good spirit. Nothing’s perfect. Pondering and painting freely. Eventually, patch by patch, there’s a sense of direction and message. The words “Puddles, muddles, possibilities” present, repeat over and again in my head. Gotta think more about these. A good beginning for a new series, I hope. I stop painting while the going is good. Don’t want to overwork. The positive spirit in this piece has me wonder what will come next...

Trauma - Truth - Roots
(48 x 42 in, oil on birch)

Moving on from Puddles - Muddles - Possibilities, I am excited to welcome whatever will emerge next. Choosing a different color palette feels right. Also, moving the canvas around. Painting horizontally, but then flipping vertical. Right away, there’s a different feel and mood to what’s appearing: more serious and somber, I think. While Puddles - Muddles - Possibilities looks ahead, Trauma - Truth - Roots seems to look back. History is important. But, should we choose to dwell on it. What’s gone before may explain our behavior now. Some trauma doesn’t go away. Truth can hurt. Roots are deep, they may also be pulled. Lots to think about! And, for those who prefer not to think, there’s a “pretty picture” to enjoy... 

Basic Grief
 (24 x 24 in, oil on birch)

Basic Grief draws attention to uncomfortable states of mind—vulnerable and sensitive times that we all end up having. Even if we want to erase them, usually it’s not possible. Most of us have been there. Many of us anticipate with fear. Some will never let you know their pain. Others command a lot of attention. There’s the obvious and expected, and that which is not really known. Grief has many faces, but only some sufferers get attention and validation. Grief for what has been lost. Not for what has never been known. It’s okay to miss what was. Not okay to long for what might never be. Grief can come suddenly. Or, it might always be there. All pervading. Some talk about it constantly. Others never get in a word. Their ache is silent and all pervasive. If there was nothing there before, why the emptiness? Have to have experienced it to understand...

This image appeared by itself: took over the canvas when all else seemed to fail. At first, I painted between the wood grains, as for the other pieces in the collection. Nothing looked or felt right. That’s the beauty of having an art as therapy background—allowing for artistic process to take over rather than being product oriented. I gave myself permission to mush up already labored patches of imagery and go with whatever they might turn into next. Slowly, surely, delicately, a face started to emerge. I recognized her. She was painful to look at initially. Later, a feeling of peace and calm set in. Points had been made, messages given—reality addressed.

Blue Ice
(24 x 48 in, oil on birch)

For Blue Ice, I’m thinking of winter—painting in early fall. Don’t want winter. Don’t like it. Trying to find beauty in winter. Skating on thin ice, blue ice (not black). Mood changes, feelings are clear and strong—wrong. The closing of a year. Heavy care. The on-going desire for something better. A new chapter. The one that transforms landscapes and climate. Seeking warmth, an environment for growth. Pink tinges: happy little buds of hope. The frozen North. How did I get here (to Canada)? Why did I stay? Winter! Little mystery ahead. A time when folk are all bundled up, pretending they think this season is fun. Putting on brave face. Pondering change of place. Thin ice = blue mood. Short days ahead. Long nights of black. Important not to slip and slide, see the magnificence of nature, not dwell on (wo)man-made obstacles and upsets.

Attention to Detail
(24 x 48 in, oil on birch)  

Twists and turns, unknown lands.... In Attention to Detail, I was ready to start another new journey, hopefully to more positive places. Attention to detail, as is my tendency, slowed the process down. I also decided to work on a series of seven smaller canvases, simultaneously (Oases of the Mind). Going back and forth between this larger work and the smaller ones seemed to dilute my engagement with it. Between interruptions, I wasn’t chancing on deeper messages, just admiring color combinations. Nothing wrong with that, but I’d still like, when viewing the finished piece at a later date, to find something more to it. On completion, my main reflection was that life is complicated with many paths to take. Some lead us in circles, others up hills, yet others to rest spots. What looks pretty might not be. What’s pleasing to the eye can be comforting to the heart. We all need to find a place to stop. I am still searching for mine...

Oases of the Mind
(7 x 9.75 x 9.75 in, oil on maple)  

The pieces that make up Oases of the Mind don’t have to match or fit together, and that’s fine. I’ve given myself permission here! Sometimes you have to. Sometimes it’s important to quieten the mind, switch off the engine, find a place of comfort, get some respite. No destination is guaranteed to be ideal and it takes some time to discover the ones that are. These seven separate canvases are best viewed all together. Each helps make up the whole picture, literally and metaphorically.

Black and White—Not Quite
(24 x 24 in, oil on birch)

Black and White—Not Quite shows how nothing is all black or white. Gray is nice, but not usually fun or exciting. Contrast enables specifics to stand out. A few hints of color go a long way. A sprinkling of blue, yellow, green, or pink, strategically placed or not, gives cause for conversation. Even if shapes and juxtapositions aren’t obvious, answers may be found—and to questions not asked. Is this the last in the series, or will there be more to come? This piece has left me thinking... Do I want and/or will I be able to commit to paint (and share) what unveils next?

Love Composite

docsusan — Sat, 24 Dec 2011 14:06:35 +0000

Love Composite

docsusan Sat, 12/24/2011 - 09:06

After a spring/summer of creating series of atypically turbulent pieces, I returned to my comfort zone—and got back to painting what makes me feel good. Time spent with doggies, especially in their geriatric years, is precious. They are my strength and inspiration.

1. We, 24 x 24 in, oil on birch

"We" is set on Toronto Island. As many days as possible of summer 2011, we cycled there, doggies in bicycle basket, or running alongside. They were like pups and kept me going, emotionally, spiritually, and physically. Just to see them enjoy the moment was uplifting. So much to learn, so little time... Our canine companions know what matters and how to fit it all in.

2. She, 18 x 24 in, oil on birch

She is a typical woman, prone to be a tad moody and emotional, but always has her heart in the right place. A very special alpha dog, she's the leader of our pack, or at least we like to let her think she is. Her name means heart in Hebrew and Lion in Russian and she is both. Lounging in her car seat is one of her favorite places to be. Even when you think she's not paying attention, she's always on guard. That glance from the corner of her eye is one that sticks with those who know and love her. She has your back!

3. He, 20 x 16 in, oil on birch

He is cheeky, always has been, always will be. He's also full of fun and light. A Sage by name and sage by action. This little dog makes friends with everyone and truly loves life. No matter the health issues he has had, he hasn't complained, and bounced back to love and entertain time and again. He's a true inspiration and guiding spirit.

San Francisco Gray Composite

docsusan — Sun, 17 Jul 2011 18:43:26 +0000

San Francisco Gray Composite

docsusan Sun, 07/17/2011 - 14:43

Pansies

docsusan — Wed, 02 Jun 2010 20:10:07 +0000

Pansies

docsusan Wed, 06/02/2010 - 16:10

PANSIES, A Special Mention

Pretty, peaceful, and positive
Always Enchanting
New ideas in bloom
Season by season
Idyllic as daffodils
Eternal as roses
Sprinkled on salads—delicious

Pansies seem to be many people's favorite, and an early "trademark" of mine. Little did I know that how I first chose to paint them would become an identifiable style in later work, whatever the subject matter or media:

Background: No. It would only detract from what really matters, the flowers themselves. An all-over pattern.

Color: the colors of the flowers, themselves: bold, bright, and contrasting.

Paint: Not too much, nor too little—as much as feels right.

Size: Magnification from life—more impactful and engaging.

Olympic Portraits 1 and 2: Nathalie Lambert Diptych, Alex Baumann Triptych

docsusan — Wed, 02 Jun 2010 18:34:23 +0000

Olympic Portraits 1 and 2: Nathalie Lambert Diptych, Alex Baumann Triptych

docsusan Wed, 06/02/2010 - 14:34

Nathalie Lambert was Canada’s Chef de Mission for the 2010 Olympic Winter Games. She is a pioneer in short track speed skating—first introduced to the Olympic Winter Games in Calgary (1988) as a demonstration sport. Lambert’s team finished third there. In Albertville (1992), short track speed skating was a medal sport for the first time. Lambert’s team won gold. Lambert’s third Olympic appearance, in Lillehammer (1994), yielded two silvers. Lambert won many World Championships, and set many records before retiring from competition (1997). She returned to the Olympic Games as Canada’s Assistant Chef de Mission in Athens (2004), and is a long-standing member of several Halls of Fame: Canadian Olympic, Quebec’s Sports, Canada’s Sports. She has also been named as Athlete of the Year by both the Merite Sportif Quebecois and the Canadian Speed Skating Association. Lambert has been Director of Communications and Marketing at Montreal’s Club Sportif MAA since 1999. She also brings passion for sport and physical activity to motivational speaking, fitness DVDs, and a book. Diagnosed with osteoarthritis, while still speed skating competitively, Lambert became an Honorary Patron of the Arthritis Society of Quebec on retirement. A mother of two, Lambert and her husband live in Montreal.

Alex Baumann is an Officer of the Order of Canada, appointee of the Order of Ontario, and member of the Canadian Sports and Canadian Amateur Sports Halls of Fame. He has an Honorary PhD in Physical Education (Laurentian University) and was World Male Swimmer of the Year twice (1981,1984). Alex swam at the 1984 Olympic Games, winning gold, and setting world-records for both the 200 and 400 metre individual medley races. He won five more gold, and two silver medals, at Commonwealth Games (1982,1986) and two gold, four silver, and six bronze at other Games: World University, Pan Pacific, and World Championship. In 1991, Alex pursued graduate studies at the University of Queensland, Australia, later working for the Queensland Academy of Sport (QAS) and the Queensland Government. From 1999, he was Chief Executive Officer of Queensland Swimming. From 2002, he was Executive Director of QAS, overseeing Athlete and Coach Support Services, Regional Services, and the Centre of Excellence for Applied Sport Science Research. He helped make sure Australian athletes had the best resources to attain optimum podium performance at Olympic and Paralympic Games. In 2007, Alex returned to Canada, becoming Executive Director of the Road to Excellence (RTE) program, now called Own the Podium (OTP). This program aims to re-establish Canada internationally as a leading sports nation with a top 12 finish at the Olympics and top eight finish at the Paralympics (London, 2012). In 2009, Alex became Chief Technical Officer, responsible for all OTP summer and winter technical programming.

Commentary: Artists, Athletes, Canada

Athletes’ and artists’ bios have much in common. To attain such high standards, reach goals, pursue dreams, and make their country proud, they have had to work very hard and not give up, whatever the challenges. Many have grown up and or trained in other countries, but come to call Canada home. They are thrilled to represent her, winning medals and accolades, locally and internationally. Ways to do this might not, always, have appeared certain, sure, or predictable, and some exceptional folk have had less recognition than they merit.

Even when talent comes naturally, it doesn’t, usually, shine without the necessity of making unusual efforts and sacrifices, giving inordinate amounts of time and resources to help develop and nurture it. And, even with extreme dedication, there are still no guarantees—of reward, recognition, or satisfaction. Winning doesn’t have to be everything. Just being chosen to participate should be enough. But, it isn’t always... Being so close, but yet so far, often without others’ understanding of the efforts made, begs further consideration and attention.

Regardless of outcomes, or how others feel about them, those who are successful in their athletic and artistic vocations know that their journeys are often lonely, long, and hard. Getting juried in and accepted, even without medal or acquisition following, can be arduous. Easier daily routines have to fade into the background: self-discipline, endurance, and persistence being required to take over. Teams and groups may strategize together and have a spirit of camaraderie and fun along the way. But, there are still obstacles: not wanting to let self or others down, or cause embarrassment, may be restrictive, as can having to keep up the pace and not fall behind. Pressure and persistence are ever-present. Responsibility, obligation, and accountability prevail, even when end-results tend to, and or have to, appear flawless and uncomplicated. The simplest objectives, and outcomes can have the most intrigues, detours, and dangers.

Bringing art and athleticism together requires courage, community, and conviction. We know that our sportsmen and women are terrific. Our artists are, generally, a little more hidden from public view—and not just due to the nature of their work, study, or personalities. With Canadian government cuts to arts funding, there just aren’t the mechanisms and support options to help grow talent and have it shine publicly. Canada, as one country, has different modes of expression and accomplishment to show off to the world. History, and popular opinion, more often than not, has Canadians being better known for their sportsmanship than artistic craft/cultural endeavors.

Not unexpectedly, even though these works were painted to raise money for charity, as for most of the other pieces for the Portrait Society of Canada show that year, there were no takers.

Above the Clouds

docsusan — Tue, 11 May 2010 20:30:54 +0000

Above the Clouds

docsusan Tue, 05/11/2010 - 16:30

Above the Clouds

During a gloomy Toronto winter, my sub-conscious led me to a more congenial place: above the clouds. The magic of Kilimanjaro lives on in my dreams. Even when I'm not thinking about the climb, directly, I realize that images and feelings linger. Seeing them translated onto canvas, spontaneously, I welcome the sense of magic they impart.

Cloud Series

Clouds drift in and out of our lives. Some arrive with messages. Others help in their formulation. Nothing in life is permanent, even if we want it to be. In 2007, I was fortunate to take many plane journeys; see all kinds of cloud formations, sunrises and sunsets. I also climbed Kilimanjaro, spending a week in and above the clouds. One minute, we could see what was in front of us. The next, it was gone. One moment, we felt one way. The next, feelings changed. Cloud-watching taught me a lot about how life can be short, fragile, wondrous, and out-of-our control. Back in my studio, I started painting clouds spontaneously, no plan except to see what might appear without copying. Clouds on my mind, they started emerging in all colors and forms. Each set seemed to highlight specific circumstances. Some took me to familiar places, others to where I hadn’t been before. I discovered and grew and hope viewers will too.

Animal Magic 1, Composite

docsusan — Mon, 10 May 2010 20:40:16 +0000

Animal Magic 1, Composite

docsusan Mon, 05/10/2010 - 16:40

Animal Magic is a body of paintings I created for my Artist Project exhibit (2008). It includes animals I was fortunate to see live while on travels in Africa (2006 and 2007). Animals, for me, are magical. I marvel, every day, about the good fortune to have them in my life. Of course, the domestic variety are a little different from the wild, and most of us don't get opportunity to live with the latter. Poodle Pals, Lev and Sage, have taught me much of what I know about "animal magic." However, a couple of trips to African bush lands, desserts, and swamps have enhanced learnings. My earlier animal paintings were of Lev and Sage. These later ones are of favorite larger beasts: elephants, giraffes, lions, and zebra. Intoxicated by the sense of wonder these exotic creatures generate, my spontaneous blending of whimsy, realism, expressionism, and color come to the fore.

Main Characters: 10 x (24 x 24 in), oil on birch, 2008, described in order of creation

	*Dreamer* is somewhere else. His dreams border on the psychedelic. He can bend himself in almost any direction, mentally as well as physically. Creating Dreamer was an adventure: the creation of new characters would lead me to fresh styles, techniques, and discoveries. I knew right away what I hoped to accomplish—which body part was which—but realized others may find the final image to be a bit of a puzzle.
	Sheeba is as elegant as she is exotic. She also has a softness and sophistication about her which adds appeal. Creating Sheeba was a calming experience. This character's gentleness was transmitted from painting to painter. Since there'd been a few weeks between Dreamer's creation, and Sheeba's, I was very aware of a shift in ambiance and approach.
	*Eli* is an old bull who doesn't only look like he's been around the block, he has. He's thinking about Bella. It was fun to be up-close and personal with Eli, His depiction was almost life-size and reminded me of the real elephants I'd been privileged to tend to and ride. Detail and attention to it mattered with Eli, but there came a point when it was time to stop.
	Bella bounces along. Everyone loves her. She knows who she is and where she's going, and has a following. Bella will, likely, win the "popular vote." And, not surprisingly, she was as magical to create as she is to view. Bella caused few problems, start to finish. She was ready to emerge—and just did.
	*Lenny* isn't the dominant male, nor is his self-esteem great, especially when he views Leo. Lenny proved somewhat difficult to create. Not at first, but once the painting got underway. He gave me back-ache and neck ache, and made me feel baleful at times. Then, finally, he agreed enough was enough. He let me finish bringing him into being, however I could.
	Leo has just had sex for a week and feels chuffed, basking in the sun. Like most viewers, I feel Leo's allure. He is self confident, charismatic, and powerful, a true king of the jungle and beyond.Not only was Leo invigorating and exciting to create, he enabled me to take a leap of faith—that I was feeling more comfortable painting subject-matter other than food.
	Majesty is a bit of a snob. She keeps herself to herself, but isn't the happiest for so-doing. She blends in with the vegetation around her and seems to like living in her own world. Majesty put me through my paces. Every time I went to work on her, I started confidently, then finished by questioning what I was doing. Over-and -again, struggles continued till the end. With a hint of grace, she let me know when she was finished.
	Flirt can be a little infuriating. Just as Majesty thinks she has him, she realizes she doesn't. He's always sticking his neck out, looking for better. Flirt's games with Majesty didn't help my creation of either of them. Once I’d conceptualized them, I realized I might have taken on more than I could chew. Interesting choice of word! For starters, I usually like to include backgrounds—impossible when giraffes are in the picture. They need trees around them. Only choice: to focus on the task I'd set myself, take time, concentrate, appreciate.
Two "Stragglers" (following on from the main characters) Every pack has stragglers. Usually they are weak, young, or "different." But, this doesn't mean they're inferior. On the contrary! Babe (the baby elephant) and Tell-Tail (the older zebra) weren't ready in time for the Artist's Project Show, even though I'd started to paint them before it began. Once the show was over, and a couple of months had passed, I went back to them, adding some finishing touches, and reflections.
	Babe hangs at the back of the group and learns from elders (Bella and Eli). Children have a naiveté and innocence most adults have lost. They speak without thinking—say what they mean, and what they want to, no worries about who may be offended. Things are as they are, not as grown-ups, sometimes, would like us to perceive (and believe). Babe is aware of the differences between the sexes and how age effects behavior (and entitlements). Petty squabbles don't interest her. She prefers to keep the atmosphere light and stay busy with play. Fortunately, she has a playmate when she needs company and/or to bounce ideas. Tell-tail is on her tail—funny as it might sound! Painting Babe took patience and time. Sometimes, the simplest looking pieces can be more difficult to develop than might be thought. I realized that one dot out of place, or too many, could effect the desired outcome.
	Tell-Tail is more jaded than Babe. He's done and seen more than her, and shares opinions and gossip that sometimes show attitude and bias. Is he a good influence on her? That's an interesting question! Tell-Tail knows what he knows and thinks what he thinks, and is never afraid to stir the pot by calling other creatures on their behaviors. Though he has no official role as "policeman," Tell-Tail sure acts like one. The problem is that when you're busy commenting about others' actions, your own have to be exemplary! Tell-Tail doesn't often show his face—will transmit his information via other people. He seems to have become the trouble-maker behind the scenes and is a bit of a coward... My challenges painting Tell-Tail were quite similar to those painting Babe. Patience and time mattered, texture as well. These final two pieces weren't as flat, smooth or precise as others in the series.

Artistic Ramblings: Reflections While Painting Animal Magic

The Animal Magic imagery that emerged had been a long time incubating. From trips to Africa, to the review of photographs taken there, by hand, and on the computer, there were many stages and aha moments (even four dozen poems). The final stage, the actual painting, moved more quickly than all the others. Something that took me by surprise.

I painted with thirst and passion, keeping a grueling routine. What might have appeared as discipline to others was sheer delight for me, as well as drain/back-pain. Thankfully, as each magical herd member took form, I couldn't wait to develop the next.

Starting out, after determining I would introduce unexpected colors and forms to otherwise fairly predictable beings, I had no rules. What I clipped was spontaneous, and what I colored was randomly decided. From real sketch book to electronic assistant, I was open to whatever looked and felt right—would depict the magic of animal kind as memorable, clear, and wonderful.

My initial intention was to conceive all the animals one-by-one. But, once properly started, and with the painting of several underway, personalities and stories spoke up in my head. Just as for Noah's Ark, two-by-two was the actual way living creatures needed to show themselves. This was what felt right. Next came the names, chosen spontaneously.

Dreamer (the first of the herd), a "contorted (male) zebra," would soon have Sheeba (a more elegant mate) to gaze upon. The vibrant patterns on Dreamer's hind contrasted with softer patterns on Sheeba's.

Elephant Eli would soon meet Bella. While Eli's skin showed his age, he'd have no trouble partnering with a younger more energetic mare. Bella, I was certain, wouldn't be Eli's favorite, only. I confess, she became mine too. Her energy coursed through my brushes. She couldn't wait to show herself!

Lion friends, Lenny and Leo, came afterwards. Male lions aren't always good chums. But, these two seem to have a "special rapport."

Finally, came Majesty and Flirt. For some reason, they prompted the most complications and least satisfaction. Could it have been that I was tired? After completing Leo and Lenny, who were full-page beings, I rediscovered that backgrounds aren't as interesting as foregrounds. Keeping the focus on the subject matter, not its context, is more my prerogative. Perhaps this is why, with Babe and Tell-Tail, the last two "straggler characters," there are no backgrounds at all, just sections of the animals, themselves.

I painted with awe (and questions), each species presenting in different ways—especially those with whom I felt lucky enough to get up-close-and-personal.

Buon Appetito!-Composite

docsusan — Fri, 02 Apr 2010 18:04:36 +0000

Buon Appetito!-Composite

docsusan Fri, 04/02/2010 - 14:04

This body of work was created especially for the 2007 Florence Biennale. Built around a representational theme and message, it's about getting back to basics. My artwork captures the fun side of food—something positive," even in societies that are overweight and diet crazy. All images are from life and depict edibles that should be familiar internationally. The book, More Than Just A Meal: The Art of Eating Disorders, (2000), shows my serious long-term commitment to promoting healthier life-styles, especially where food is concerned.

Un Collage di 20 Immagini Ognuna 60 x 60 cm, olio su tela (244 x 305 cm)

Susan ha creato questo corpo di opere specificamente per la sesta edizione della Biennale dell' Arte Contemporanea di Firenze. Le opere rappresentano un tema e un messaggio principale: ritornano alle cose di base e fondamentale. Promuovono il “cibo” come una cosa divertente, qualcosa di "positivo" in una societá che da' tanta importanza al sovrappeso e alla dieta. Tutte le opere sono estratte dalla vita quotidiana e contengono immagini di cibi che dovrebbero essere riconosciuti internazionalmente. Il libro, Più Di Un Pasto: L'Arte dei Disordini Alimentari, (2000), dimostra il mio costante impegno nel promuovere un modo di vivere più sano, soprattutto nel rispetto dell'alimentazione.