When I decided to forgo our live workshops, Kelley said she was interested in the subject of plein air painting. As you may or may not know I was an avid plein air painter for many years. It was my most popular class. I got to the point where I was invited to present at a plein air convention... this is where I looked around and thought: "I am NOT a plein air painter, I'm over it!" It may have been the culture there, the cosplay of wearing outdoor gear in a convention center, the demos from photos which absolutely do not convey anything about painting outdoors. And the fact that Eric Rhoads, an organizer asked me to come up to his room and pose for him. My response was "I think YOU would probably be the one posing if ANYONE was, as I am a presenter here!" 🤢 After that it was so interesting - my plein air classes just stopped filling. I moved toward portraiture and those classes became popular. I learned SO MUCH from plein air painting. It is the gun slingingest type of painting. You have to make choices and stick with them - hemming and hawing will get you nowhere. While also adapting to the changes inherent in the 'least static subject you can choose to paint from life'. My creative problem solving skills were born with plein air painting. It was also very good for claiming my creativity out loud in the world. At first I was shy to be so seen, but soon I just WAS an artist out in the world. If anyone wants to engage in a conversation about this subject we can do it in the comments. Kelley asked: "I would love information about how you approach site selection, and any other tidbits or helpful hints." Answer: I would choose places I liked to be in. Views I'd seen and admired going about my life. Often times if I was teaching I chose spots that a group could easily disappear into without too much interruption from the public. A restroom is handy! Harder for female anatomy to pee in a bush in certain settings (urban). My mood and energy levels came into it. Sometimes it was nice to pick a place I could walk to. But I was happy to get up early and take a long drive if the location held big inspiration.

I want ARTISTS to be valued over their work!!!!!! I want hearts and minds to be cherished by how their work emerges naturally. Fuck this commodification of g d everything. We need sacred observation of creation, of the process of learning, of humanity. A body of work should be so specific to the soul that created it that it's like getting to know them, exploring their inner self, a singular experience!!! How much more interesting would going to art shows be if bodies (of work) came in all shapes and sizes.

This feature isn't working. I am ending it. As those of you who've been with me for ages know I have tried many things to build this membership. Always balancing what I care about participating in with what mentees/artists desire. Initially it was simply about Creativity Club, that is the part I love the most. Critique Club feels like a natural addition, love her too. I had thought that since I added technical lessons into the library - a live lesson would be aligned and attract more people. The few people who joined FOR the live workshops have cancelled their subscription since and to be honest I can't afford this much energy output on something that isn't giving energy back. This is so interesting because it shines a light on a problem. If these workshops were something I loved doing right now I wouldn't mind so much how long it took to get them going. How long did I show up for creativity club through sparse attendance (still happens!) to keep her alive because I love her?? Forever! I have thoroughly enjoyed writing lately, and sharing the gallery experience blow by blow. I need to think on what feels right to make for this membership beyond the clubs, let it evolve through inspiration and passion. - I WILL still be doing the artist statement workshop. But I think we should make them annual or biannual or even quarterly offerings, and add one for artist bios too!! (I feel excitement about this!) - If you were looking forward to any of the live monthly workshops on the calendar and feel disappointed let me know and describe what you were excited about.

I really enjoyed that! Thanks all.

Hello! I am currently painting a dog a day. These are small study paintings in gouache. My intention is to keep them loose, in some places I feel I succeed in others not so much.