A couple of times now, I have had people comment on social media that my work is just like paint by number.  

While at the outset, this may be the only point of reference from people's art appreciation, and I would like to highlight the differences. 

My work is far from a paint by number.  

​What is a paint by number?

As you can see this lovely kit gives you everything you need to complete the painting that you purchased.  You simply grab the numbered paint pot and paint the colour in the spot with that number.  And voila you have a painting.  Oh and if you want more detail you can order the kit with an expanded colour palette.  In addition, these paint by number kits, I'm guessing, have been sold 100 times, 1000 times, with varying degrees of completion.

$35 Cdn plus shipping and handling and you have the tools to create a painting. You actually have the materials to follow along someone else's ideas about composition, colour, paint choice and brush selection.

How is my work different?
It's not possible to look at my work, without looking at me as well.  

• 7.5 years of college and university training in the art (Visual arts degree from The University of British Columbia).
• Travel to some of the finest gallery museum's in the world to see the old masters work in person.
• over the last few years I've read 57 books on art, design, business, composition etc.
• Since Feb 2019 I've complete 114 original artworks. 
• My work has been juried into 21 seperate national and International shows.
• In 2022 I was awarded my Senior Signature Member status with the Federation of Canadian Artists, the highest level of distinction with the oldest non-profit arts organization in Canada, which was founded by the members of the Group of Seven with Lawren Harris/Emily Carr being influential in the west coast branch of the FCA.
• To date, I have photographed 12,600 source photos to consider for future paintings.

With each piece of art that I produce all this wisdom and experience gets infused into the painting. 

My process is mindful and immersive.
From the source photos, many are not useable for finished art because perhaps the lighting is not that great.  Lighting is a big deal.  Or there is too much extraneous information that doesn't add to the proposed art piece. 

I often take several photos of the same bloom from many different angles.  I assess each photo for their qualities and start to do detailed compositional studies to see how the foliage, lighting, shape of the bloom etc. can enhance the image with the hopes of drawing the viewer in. I don't manipulate the image beyond cropping to satisfy my desire.  I don't see it necessary to add a bloom where there wasn't one.  I may choose not to paint the rust coloured dead leaf though. 

Once the detailed compositional studies are done, I can decide on the canvas size that would be appropriate for the dimensions of the cropped image.  It's important to keep the width and height in the same ratio as the source photo.  This may result in me building or ordering a custom canvas.  

Once the canvas has been decided on, I use safe practices, for archival purposes, to prepare the canvas to receive paint.  Oil paint is slightly acidic which will lead to a deterioration of the cotton canvas over time if the surface is not prepared correctly. 

Once the canvas is sealed I transfer the image to the canvas.  This is where someone seeing my work may see paint by number. 

From this basic line drawing, I start meticulously mixing colours from my palette of 11 different oil paints and begin placing them where they need to go on the painting. This is not a once and done process.  The paint I mix on my palette is a guess at what colour I need for the particular shape.  Once the paint is on the canvas I can re-assess how it's working.  

I have an easy approach to painting.  If the image is not coming together as you'd hoped it's either the colour you've used or where you have placed it.  If the painting isn't working quite like I imaged I can change the colour or change where I place that colour. 

I'm going for realism.  I want you to feel/smell the flower that I'm painting. 

This is what my colour work looks like.  The colours on the boards on the left image are my detailed colour mixing study that I now use for reference.  All these charts are created from the same 11 tubes of commercially available oil paint.

The palette on the right is my mixing process.  Adjusting the colours one way or another to achieve the exact effect on the canvas that I'm aiming for.  It's a slow, meticulous process.

The painting process, depending on the size of the canvas, takes anywhere from 10 to 100+ hours to complete.  Oil paint takes time to cure.  As a result I am not always able to adjust/overpaint areas that are still wet.  

Once the piece is complete it cures for a considerable length of time before I varnish it and then it's ready to sell/ship to a customer. 

It's my hope that this short blog about my process will help you see and appreciate all that goes into my original artwork. 

Here are a few of the pieces that I have completed. 

I'm proud of myself.  My dedication to my craft and the incredibly beautiful paintings that I'm able to create.  They amaze me, truly.  

​They are far from a paint by number kit. 

When Bruce and Silvia arrived to the coffee gathering, they wheeled up on their tandem bicycle.  Bruce is a cycling advocate and environmentally conscious guy. Silvia is a delight, sharing this wonderful ride with Bruce. 

Right away upon meeting Bruce his sensitive to the environment became apparent. When I recently visited his studio I was able to see this gorgeous piece in person. It's a prime example of how he applies his values to his work. 

When I asked Bruce "Why stone, why not wood or some other material?" He told me how attracted he is to the permanence of the stone.  There is something precious and timeless when you create in stone. Each type of stone brings different qualities and colour to the designing process.  In his work he also combines wonderful textures, cast bronze, and multiple materials.   

You have probably heard the description of how Michelangelo sculpted by removing all the unnecessary marble in order to reveal the piece within.  This has the feel of 'wingin it' from the start.  Bruce prefers to have plan when he creates.  Again I think this comes down to honouring the stone, valuing the resource and wanted to make the best use of it.

As our conversation continued, he told me about a commission appointment with a client.  Their desire was for an inukshuk.  He suggested that he pop by her place to have a look where the sculpture would site and get a feel for her home.  When he arrived he was greeted by two rambunctious hound dogs.  Clearly loves of her life.  Bruce gently suggested that perhaps rather than an inukshuk a sculpture of her two dogs for the front yard would be more fitting.  Her eyes lit up with excitement.  

I love this interaction between client and artist. 

From this stage Bruce created a maquette of what he had in mind.  A maquette is a small sculpture created in a clay like material called Monster Clay.  From this maquette the client is then able to see the three dimensional idea of what Bruce has in mind.

Once an artist becomes proficient, which Bruce clearly is, commissions become a wonderful opportunity to explore ideas and create something specifically catering to a clients needs.  

After speaking to Bruce for even a short period of time it becomes clear that there are some real limitations for sculptors simply because the weight, dimensions and expense to display the pieces within conventional shows. From the plinth to support the piece, the floor space it takes up, and the weight to ship and install - there certainly are challenges. 

However, Bruce is so keen to support the development of sculpture opportunities.  He is the first juried Signature Member of the Federation of Canadian Artists.  Which is the largest non-profit arts organization in Canada and has been around for 85+ years.  Founded by the group of seven, namely Lawren Harris on the West Coast and supported by Emily Carr.  It was important for Bruce to be juried into the Federation as peer review is a wonderful testing ground for artists talent. As the Federation re-opens their shows to sculpture after a 50 year hiatus, Bruce is directly involved assist the transition wherever needed. 

It also struck me that Bruce has a collaborative mindset.  I think too often artists can feel secretive about their work feeling like competition is something is a threat.  Bruce has a different opinion.  By collaborating together we can accomplish so much more than we can alone. 

I completely agree. 

Belonging to many arts organizations gives him the perfect opportunity to support and grow awareness around sculpture. 

• Northwest Stone Sculptors Association membership 2013 – 
• Peninsula Carvers, City of White Rock Activity Group chair 2013 –
• Semiahmoo Arts Society active member: 2018
• Federation of Canadian Artists, awarded Signature Status, Oct 31, 2023
• Federation of Canadian Artists, Fraser Valley Chapter, 2021
• Sculptors Society of BC juried member:  2020 –

I hope you have enjoyed this introduction to a local South Surrey/White Rock artist creating incredible sculptures in stone, wood and multiple materials.  You can see more of his work by clicking on the link below. 
​​

​This piece... oh my.  Let's start with the details.  36x36" oil on canvas, featuring a single pink rose, wrapped in gorgeous green foliage. Your first impression is of a delicate, romantic pink centre with subtle lemony pink outer petals.  It captures your attention and draws you to come a little closer. 

From a physical standpoint you are being invited in to come close, smell the fragrance, feel the sun on your body, smell the damp dirt and touch the gorgeous petals.  In other words you are invite to experience this magical moment in nature.  A peace, calm and audible sigh come over you.  For a brief moment with this rose your nervous system resets.  All is well.  Whatever is going on, all is well.  

From a psychological standpoint you are invited in to consider that all the trauma, stress, abuse, loss, fatigue or whatever is occupying your mind is not the only thing that needs your attention.  Your beauty, creativity, passion, joy, dreams, desires all require nurturing too.  Far too often we ruminate on the things that upset us.  Rightfully so, as those things do need to be tended to and sorted within your own mind. 

However, they can consume decades of our time, while we try to diminishing their effect. Those decades may be better spent choosing other things in addition. Not to negate the difficult feelings, rather to offer some contrast, some reprieve from the unresolved things within us.  

What if you are invited in to the possibility that you can dream of the things that bring you joy?  That you are worthy of feeling relaxed pleasure. What would change for you, if you allowed those opportunities to come into your awareness? 

Divine goddess guided me to paint this painting for a reason.  Perhaps that reason is to remind you of your greatness.

The "You are invited in.." collection includes:

1) The original painting. $3497  
2) Paper or canvas prints. starting at $306.
3) Poster print starting at $43.75
4) Clutch purse $35.00
5) A gorgeous journal $22.95
6) Notecards starting at $6.00 each. 

These items are all available on my website.  Here is the link to take a look. (Click Here)

Whether you decide to purchase something from the collection, or not, please take a moment to consider that you are being invited in to image a life with a bit more lightness, a bit more joy, a bit more fun.  It is all there for you.  All it takes is a bit of nurturing. 

Blessings to you on this journey. 
Love Ciel. 
​

This question keeps rolling around in my mind, and I think this might be a great book idea, however, I'm getting ahead of myself.  I'm going to start capturing my ideas here and see what happens. 

If I'm an artist then: 

• how do I be in the world? Do I dress all bohemian chic?
• how do I be with myself as I focus on my art? What's my schedule/process/practice?
• the naysayers *could* be wrong.
• the art teachers who dismissed my work *could* be wrong.
• getting the 9-5 job, which never seemed to fit, probably wasn't a fit.
• all those ideas you have might be an idea worth pursuing.  What you create from that idea might be really awesome.
• maybe it's perfectly okay that I don't fit into the common way of approaching life.

Earning an income from what you create aside, how do I create the work that I imagine?  It's so elusive.  I have this idea, this imagining, and yet turning that into a tangible thing that even vaguely represents my idea is a huge leap.  I have so many decisions to make, from materials to surface, size, and finish etc. These early decisions are a nice distraction and feel so very important, but they mask the actual moment when those decisions have been made and you are sitting in front of the blank, ready, surface.  I never looked at this as difficult because my process moves smoothly into the first marks being made.  Where the process stalls for me is 10% in, then 20% in, then 35% into the project.  Almost every step of the way is an accessing, re-assessing moment.  Fear, judgement, self-doubt come along on the journey, always.  I read recently that artists who succeed, challenge these fears, those that fail, do not challenge the obstacles.

The other issue with creating art is that sometimes the idea or inspiration is actually a feeling, you feel something and want to create something that replicates that feeling.  Is the feeling from a piece specific to the artist, or will the audience also feel similar things?  Is it necessary that a viewer feel something from your art?  Does it help to invoke a sale if the viewer can feel moved by it?  

It's a risky venture to commit to bringing an idea to life when you have no guarantees that you will actually reach that destination, and more importantly be satisfied with it.  Yet, the fact remains that you still feel full of ideas, brimming to release the expression onto some surface.  Our backed up artistic ideas can feel somewhat like bloating in the body.  Stifling that creative flow can literally look like overeating or drinking to many liquids from the anxiety of holding the creative flow back. When does this change, when you decide to take the risk.  When you clear the schedule of distractions and get down to the business of creating your art.  Just regular old art, not great art.  Very few artistic geniuses have ever existed, yet many regular folk make really great art. 

Artists are no longer restricted to creating works for the church or wealthy patron, but in the release from traditional relationships surrounding art making, there is so much unsupported freedom that the fear is the artist is not capable of holding themselves up and staying the course so that the art can live.  I'm pretty resourceful and self sufficient so I rarely reach out to collaborate or join with other artists.  Yet when I meet another artist, of like mind, ready to inquire about all these deep questions, it is magically.  Those moments are absolutely priceless.  They last from a few minutes to a few hours and man do they fuel the fire.  Those are the moments worth creating memories with.  Amazing.  Being seen and heard for the struggle and the success of the artistic life, is priceless. 

Let's bring the idea of selling your work back into this musing.  The idea that an artist could make a living from the art that they make comes with a whole new set of mental questions. The nuts and bolts are that someone is willing to exchange money for the art that is produced.  But in order for the exchange to happen, the buyer needs to feel a connection or desire for that piece of art. The artist knows intimately why they created the art.  It's personal.  It's a personal reflection on how the artists sees the world.  Now is the goal to illuminate that viewpoint so the buyer can join in?  Or is it an irrelevant detail?  Is the art simply a commodity that is purchased because it's 'neat', or it matches the couch.  Who knows why a buyer buys art.  There are so many reasons.  It could also be with the goal of an investment, the idea that the work will increase in value over time. 

With all the artistic contributions on social media the arena is filled with art from all over the world, all different genres, several variations on the same genre of art, how does a buyer choose? How is it that one piece of art gets selected to be purchased over the next one? Does it boil down to the "Know, like and trust" idea from other areas of marketing?

What if the art doesn't sell?  What does that mean?  Is this simply another hurdle to get over, to stay the course in the face of a dry patch in sales?  Or is it a time to turn away from the pursuit of art and get that 9-5 job, even though you are dreading that prospect, knowing it has been so stifling in the past.  

I come across a lovely book recently titled "It's not your money." Literally meaning the wealth we have is not actually ours, it belongs to universal spirit, God, Lakshmi (the hindu god for prosperity) or who ever you identify with.  That we are just purveyor of that wealth, investing it in our own lives and sharing it abundantly when we are called to.  

(As an Amazon Associate I earn from qualifying purchases)

Ultimately, this whole discussion boils down to the individual.  If you are an artist, what does that mean to you? I remember a line in Elizabeth Gilbert's Book "Big Magic".  What shit sandwich are you willing to eat?  The idea is that no career is going to be all roses all the time.  Are you willing to put up with the challenges of this particular career you have chosen?  It's a great question, and it calls up the quality of stamina, perseverance, and determination.  Despite evidence are you willing to continue to show up and do your work? To show up and allow room for these creative idea of yours to bloom into something? Only the individual can decide.  There is no outside person that bolster the creative, to hole them up, on an ongoing basis, if they are not willing to hold themselves up.  

It comes down to love, self love, self respect and self awareness.  This is super important when criticism comes, as it will.  I think the criticism is just another form of block coming to test our determination.  DO NOT take it personally and DO NOT stop doing what you are doing just because someone objects.  They feel compelled to tell you about it, because there is something in them that needs to expressed.  It is not about you or your work even though the words they are saying are laced with connections to what you have produced.  

Keep going, be you, do it your way.  If you need to get a job to make ends meet, do it with lightness and grace knowing that this is not your thing, just something that is helping to ease the artwork into the world. Most importantly do not change to impress another person.  Rick Rubin in his book "The Creative Act" talks about the art not being for the viewer at all.  It can't be.  It has to be about the artist and what's good for the artist is ultimately good for the viewer too. 

Onward..... Create your art.  You are an artist if you say you are.  Creating art is an unnecessary, necessity. (I read this in a book and can't recall where now.) We might fall into the trap of thinking that the dentist, nurse, accountant, school teacher are more valuable than the artist.  Art is what makes everything possible.  Art is in our everyday lives.  Every beautiful thing has been conjured up by an artistic mind.  Please find space to contribute your unique artistic voice to the mix.  We need you. 

I was a little surprised the other day when I heard that a fellow artist questioned by distinction with the Federation of Canadian Artists simply because I use a projector to aid in transferring my image to canvas. First of all the artist in question holds a much lower distinction, so there may be some insecurity/jealousy on her part.  I was shocked to hear her comments.  The staff who spoke to her made it clear that my work earned the distinction simply on the merit of the paintings that I produce. 

The residue of this conversation has me thinking about a book I read recently that blew my mind.  Since about the 15 Century there is evidence that artists were using a lens to assist them in transferring an image to the painting surface.  About 1420- suddenly everyone can draw better. Artists such as Caravaggio, da Vinci, Durer, Frans Hals, Ingres, Vermeer, Van Eyke, and Velasques, to name just a few. If the artists themselves were not using a lens directly the changes in the style of art after the use of the lens definitely influenced them, and every artist since. 

The use of a lens in the transfer of images revolutionized the way art has been made ever since.  Have you ever seen early portraits that were done only in profile or straight on? When artists starting doing 3/4 profile portraits, why was that?  The use of a lens.  How about perspective?  Early landscape pieces have a wonky sense of space and distance.  They were often quite flat and distorted.  When did we start to see more representational distance in landscapes.  After the lens was introduced. 

Now what type of lenses am I talking about? 

The book that I mentioned is written by David Hockney.  Here is the link to take a closer look. (As an Amazon Associate I earn from qualifying purchases.)

Here is the excerpt from the book: 

​Join one of the most influential artists of our time as he investigates the painting techniques of the Old Masters. Hockney’s extensive research led him to conclude that artists such as Caravaggio, Velázquez, da Vinci, and other hyperrealists actually used optics and lenses to create their masterpieces.In this passionate yet pithy book, Hockney takes readers on a journey of discovery as he builds a case that mirrors and lenses were used by the great masters to create their highly detailed and realistic paintings and drawings. Hundreds of the best-known and best-loved paintings are reproduced alongside his straightforward analysis. Hockney also includes his own photographs and drawings to illustrate techniques used to capture such accurate likenesses. Extracts from historical and modern documents and correspondence with experts from around the world further illuminate this thought-provoking book that will forever change how the world looks at art.

If you are interested in the documentary, you can see it here.  BBC Youtube feature.

How this all pertains to me is that I'm a business woman.  I have a choice.  I could spend two days transferring an image to the canvas or I can use a projector and accomplish the same thing in 45 minutes.  It's neither efficient or cost effective to opt for slower techniques when there is an alternative.  The fact remains, either way the painting does not paint itself.  It is my mark in the line drawing and my mark in the painted representation. It is all me regardless of how the image was transferred to the painted surface. 

If we naively think that there is some elite place of prestige because we don't use any technology to produce our paintings then it also means you better be mixing you paint by hand, grinding your own pigments and using egg tempera as a binder because the advent of the metal tubes of paint we buy are a result of technology.  

Did the ancients use tubes of paint once they were available? You bet they did.  We would not have the Impressionist period of art had it not been for portable tubes of paint.  

Technology is a part of our life as it was for the ancients. 

Be clear on the point of making art the way that I do.  Honestly, there are so many options to choose from between medium, subject, method etc.  I think I have most of the process decisions all sorted now. At the core of all the choices is my purpose to create art in the first place.  

There are a few things I'm clear on: 
1) I want to immerse myself in my process so that I can feel the rhythms of nature, 
2) the colours that I work with have me feel amazing,
3) my perspective/viewpoint is unique and I think impactful,
4) I want to have an impact,
5) I want people to be attracted to my 'brand' of art because I create something unique.

A very good question comes up from this. Why paint at all, why not take a photo and leave it to that? 
The painting process, mixing paint and putting a mark on the canvas is my unique 'voice' being spoken through the decisions that I make. What I create comes entirely from my intuition and skills.  I feel like that is important.  It's my imprint on this time in history.  

If your painting is about colour, then why not abstraction, playing with just colours?  Representational art is something I enjoy, the challenge of it.  Creating the feel of the real thing is an important part for me. 

I said to my husband this morning, when I showed him a proposed upcoming painting, that it feels like ballet.  The movement down the jagged edge of a leaf, the rhythm of the spacing and shaping is magical.  I want to experience those rhythms coming from by brush.  I want to understand how the colour changes across the leaf.  How the different values and hues end up representing the real leaf, as I understand it. 

That's the key, as I understand it.  My understanding. My mark making.  My vision.

In this regard making art feels self-centered and self-serving.  Which it really is.  As Rick Rubin says what's good for the artist is ultimately good for the viewer.  He states that art making can never be about the viewer, ever.  

In my mind, pleasing a viewer will never be sustainable, because viewers have differing ideas of what they like.  It would be like constantly chasing your tail.  You think you are making what the audience will like/buy, but you could be totally wrong.  

It seems I ask myself, fairly frequently, what's the point of all this?  Each time I come to a greater understand and conviction about the contribution that I have to make to my community. 

What I've done in the past couple of years is look specifically where my art can make a difference.  In 2023, I donated a painting to the rebuilding of Lahaina.  I cried when I realized my beautiful painting was going to a great new collector, but also helping those who lost everything in the devastating fire of 2023.  This year, I will be producing and donating all the profits of a 36 x 36" painting for Malawi Africa.  I'm going to fund a water well. I guess there are (5) communities that are in dire need of water wells.  It feels great already to be putting this together for people in need. 

In 2023, I also sent out close to 180 mini prints of one of my artworks.  I do this each year.  It's a special gift that I send to my email recipients.  The kind words and appreciation I receive from this little gift is quite amazing.  It feels good.  Art makes us feel good.  I feel good creating it.  Collectors feel good receiving it.  It's a win, win.  If you would like to be included in this free gift, simply join my email list and leave me your full mailing address.  You can do that here. 

Next time you purchase an original or reproduction of an artists work, just know that you are helping to make their career and dreams possible.  Your support is deeply appreciate in ways that are not easily measured.  When an artist is support they are able to continue to produce and share their work.  

I for one, appreciate all the support that I receive.  It is such a gift.  
​
Namaste. 

I read a lot.  I love learning especially when I find inspiration and guidance from authors who have experienced similar inquiries.  I crave all kinds of different books from money mindset, to habits , to truth telling about what it really takes to have this art career. There have been some wonderful leaders share their wisdom and I feel blessed to be able to learn from them. This short list of titles are the ones that I have in my permanent collection and that I have read multiple times.  No frivolous recommendations here, these are my go-to's.

Let me give you a tour of the books that I find particularly helpful.  Just a note, if you click the title of the books, it is a link to the listing on Amazon. If you decide to purchase using that link I earn a small remuneration. “As an Amazon Associate I earn from qualifying purchases.” 

Boy this is a book that a lot of people are talking about.  Do a Youtube search and you will find several interviews with Rick.  If you have not heard of Rick Rubin he is a world renowned music producer.  He has worked with the Red Hot Chili Peppers, Johnny Cash, Adele etc.  But you won't find him leading with all his associations.  He is a humble, spiritual guy.  He would like to produce great music, something that has you say "Wow, I've never heard that before." What's interesting about Rick is that he has worked with many different personalities gleaning all kinds of wisdom about the process of being an artist.  This book is an easy read with small vignettes of wisdom and some really great quotes.  I'm really enjoying it. 

Twyla Tharp is an American dancer, choreographer, and author who lives and works in New York City. You might wonder what a dancer can teach an artist.  The premise of her wisdom is that art is first created when a habit that supports the art creation is put into place.  She talks about her routine of getting out of bed, hailing and cab and heading downtown first thing.  Her creative expression starts when she climbs out of bed.  Setting yourself up with the habits that foster the creative practice makes being creative so much easier.  Again, it's a lovely read. Her style is easy to follow and makes a lot of sense. 

Lynn Grabhorn breaks down how our thoughts and feelings affect what we do with our lives.  I believe that this life of ours is all made up by the experiences and beliefs that we choose to nurture.  Lynn encourages us to take a close look at the thoughts and ideas that we are allowing to occupy our days.  Some of them may not be that helpful.  So how do we change the thoughts and empower ourselves to capture something else?  Lynn goes into that with stories and ideas from her own life.  Great read.  I have to pick it up again myself.  I've read it several times and always get such benefit from them. 

Oh Maria.  Such a lovely woman.  You can find here video teaching online with a quick search.  She has been a business consultant to creative entrepreneurs since 2009.  What I especially enjoy about Maria is her innovative way of approaching business.  Just as an example her husband Drew Brophy is a surfboard painting artist. They wanted to be a part of the big surfing exhibition where all the major brands and fans of the surf culture gather.  However, they didn't want to purchase a booth themselves.  Maria thought to approach one of the surfboard brands and offer that Drew do a painting onsight during the event.  They were thrilled.  This is quite an entertaining draw for the guests to the show.  Seeing an artist in action... very cool and they had one of their boards painted by Drew.  In addition, when you enter the exhibition there was a large wall of the building that was blank.  Maria approached the organizers and asked what they planned to do with the wall.  They didn't have any plans.  She suggested that they bring a number of boards down and decorate that space.  The organizers loved the idea.  This was a huge win. Drew's boards were the first thing people saw when they arrived and he was painting 'live' during the event.  Great promotion and they didn't have to pay for any of that exposure.  Innovation in action. This book is filled with idea that artists can implement in their careers.  

Oh Elizabeth Gilbert.  I love her writing.  Eat, Pray, Love is one of my favourite books.  However, Big Magic - I think I've read it 5 times so far - is a must have in my library.  One of the quotes that stands out from Jack Gilbert, not related, is "Do you have the courage to reveal the gifts you have inside."  This quote has stuck with me.  The other idea is "Which shit sandwich are you willing to eat?"  Not everything in your chosen field is going come up roses.  So what you are willing to put up with in order to have the career/art expression that you want?  It's a great question.  When things get hard are you going to be able to realize the shit sandwich for what it is?

Jen is quoted as saying "If my broke ass can get rich, so can you."  Money is such a thing in our lives.  We either love it or hate it, it seems.  If money is not loving you, what can you do to change it?  From Jen's start of living in converted garage with her broken down car, collecting bottles and wondering where the next meal was going to come from, to her revolutionizing the way she thought about what she had to offer.  It's pretty inspiring.  I have really enjoyed getting to know her work.  I think you might enjoy it too.  

Observations on the perils and rewards of artmaking.  Now isn't that an awesome title.  This little book is a breath of fresh air.  A no nonsense read that tells it like it is.  For example, the authors tell us to get over the idea that we need to be a genius to make art.  Geniuses are rare, just go make art.  Great art, ordinary art, is made everyday.  

This book explores not only how art gets made but also how often it doesn't get make.  The difficulties that artists come up against and how often they stop the art process because of the challenges. This book is written by artists for artists.  What is it really like to make art?  

This is a go to book for me.  An easy read and one that sets me up on my two feet again when I run into the challenges of making my art. 

 "Establish a daily practice, infuse your world with  meaning, and succeed in work + Life."

Chase Jarvis is an interesting guy.  He was on his way to Grad School, going after a career he came to realize is not what he really wanted.  He left Grad School, grabbed his camera and set out to attend every extreme sports event he could afford to get to in order to take the action photos that he was drawn to take.  He was largely self taught, and wanted to make a career as a professional photographer.  This refreshing book that he has written outlines the journey he took to his career.  It's quite inspiring and thought provoking.  Check it out. 

​I hope these suggestions help you in your artmaking.  Do you have a book that you are reading that you want to recommend?  Let me know.  I love learning and I'd love to hear what you are reading.  Leave me a comment below.  

It's January 1st, the perfect time to reflect on the successes from last year.  Here's the run down. 
​
1) I painted for (7) shows last year, getting in to 6 of them. 

• (4) shows with the Federation of Canadian Artists with 6 pieces being accepted by jury review and the sale of my largest piece through the Federation, so far. "Love @ First Sight" pictures below had two buyers vying to purchase this piece.  Very exciting. 

2) I took on a month long watercolour painting project.  I set out to try plein air painting with this project and soon realized that the cold, windy weather made it so uncomfortable that I would jot down the start of an idea, take a photo and finish the piece back in the studio.  It was an amazing project.  I produced (33) small pieces and sold all but three of them. 

3) Lahaina, a beautiful seaside community on Maui was completely destroyed by fire. The Oil Painters of America, which I'm a member of, partnered with several other arts organizations to put together a fundraiser.  I decided to contribute a piece to the cause. It felt amazing to be a part of it. "Peach Hibiscus" is the piece that I donated. 

4) In total last year, I completed 10 paintings which may not seem like that many, by quantity, however, they totalled 7100 square inches.  That's 350 hours of painting, and almost 100 square inches more than last year.  Whew.  

5) Commission were a big part of my year.  From Ontario, to Idaho, to local clients It was fun putting these projects together for them. 

6) I was asked to speak and present with Opus Langley & Granville Island as well as present at the South Surrey White Rock Art Society.  Great to share knowledge with other artists.

7) One of my paintings, "The Delightful 6" was accepted, by jury review, into The International Artists Magazine.  It's a publication out of Scottsdale Arizona that reaches over 100,000 reads around the world.  Wow.  It was awarded a finalist in the Florals and Gardens category and printed in the Feb/Mar edition.  Very cool. 

8) In my personal life, my husband and I celebrated our twelve anniversary.  It's wonderful to have a partner to walk this life journey with me.  Very grateful for all the support from my family. 
​

2023 was amazing on so many levels and it was also one of the most challenging.  The deeper I get into my art career the more I find myself refining what it is I really want to do with my art.  I am embarking on another philanthropic project as well as planning to create a number of gorgeous paintings for shows/exhibitions and special collections.  I have some big plans for next year.  Stay tuned.  

All the best for a wonderful 2024. 

For centuries artists have gone to great lengths to create their art.... but why?  Why go through all the hardships and challenges to create something? 

Art began as a way to document the lives and activities of early people.  It was a way to leave a mark for future peoples to understand and learn from.  Which evolved into intentionally telling stories with the use of images. The early church ministered to largely illiterate people and the way they communicated their teachings was by way of painting the story through images.  Those images were often used to influence the viewer, perhaps frightening them to behave a certain way, to donate gifts to the church etc. The creation of art was then adopted by patrons, wealthy landowners, nobility, and clergy, to present themselves in the best light, to show their place in society, their stature, their wealth. When patronage died out artists were forced to find their own patrons in the form of gallerists or private collectors who would fund the production of their work. This is largely the environment that we still find ourselves in. 

Irregardless of who commissioned the artwork whether patron or artist driven, art is a way of saying something that words cannot convey.  To invoke emotions, to stir ideas, to create a mood or reflection about something meaningful, to make a political statement that goes otherwise unheard. 

With the advancement of cell phone camera technology, why not just take a picture, manipulate it with a filter and use AI to enhance the image and call it a day?  Why even bother creating a handmade piece of art? 

The answer is in the handmade. Artists make a mark that conveys emotion and intent by the very materials they choose and the way they apply those marks.  I mean no discredit to photographers - their form of art is simply a different medium. 

As a fine-art oil painter, I have something to say with my art.  With my HEart.  The handmade, personal process of creating my art, navigating the myriad decisions that need to be made, means I get to put my unique stamp out into the world.  Which is a bit self serving and egotistical because I have the belief that what I have to say is important.  My work has an impact, a positive, beautiful impact.  Never before in my life have I felt so on purpose with my creativity. 

I know this must be true for the artists that have gone before me because they created their art in often dire conditions.  Why the tenacity?  Why continue when the challenges are many? 

Art matters.  "Art fulfills something in us that we lack" - Richard Serra.  France, the most visited country with Italy a close second, are so sought after simply because of their history, art and beauty. The value of their art is immeasurable. Art is unbelievably worth it - Jordan Peterson. Katerina Gregos said "Art is the unnecessary, necessity.  Without art the banality of reality would be intolerable." 

For me personally, I understand that creating art is my purpose.  This is what I am gifted to do and I intend to do it to the best of my ability.  I have something to say with my art.  With the current state of the battles going on in our world today, I know that our nervous systems are on overload.  If I can bring some peace, a moment of beauty to restore a sense of calm, I'm all for that. 

As a certified life coach, one of my past clients faced a two hour commute from her home to get to any park or natural spaces and once there, she had to share it with thousands of people.  This is a type of poverty that seems intolerable.  The disconnection with mother nature.  

We need art. We need beauty.  We need a connection to mother nature.  

If you are feeling disconnected, over stimulated, and need a bit of peace, it is my hope that one of my paintings would help sort that out for you.  You can see my art at www.cielellis.com

I know, love is so cliché.  We don't really want to talk about it because it's awkward.  Love means different things to different people. And there are so many nuances within the concept of love.  

So let me see if I can capture what I'm meaning. 

When I was young, there was a lot of trauma in my life.  My nervous system had a hard time because there was always a new challenge.  The result was that I shut down a lot of my emotions, withdrew, had few friends, and felt quite lonely.  The longing to feel 'well' has been a driver for in many years of counselling and my 30 years of journaling.  

Through my healing journey I have been seeking a sense of myself where I'm able to feel all the 'feels' without being overwhelmed. My art practice has been the best self help that I have ever done.  When I'm at the canvas it's all me.  My desire to create the idea meets my skills, and my pigments, while my intuition/muse meets me and together we explore how to bring the vision to life.  During the painting process I have to trust myself.  I have to listen closely to what the painting wants next from me, and I have to listen to the fatigue in my mind and body if I sit for too long.  It is such a dance.  

I'm so immersed in the painting that I often find myself crying as I complete my painting.  It is such a wonderful feeling.  Then I sit back and revel in what I've created.  I often wonder "I made that?"  It's a fascinating process for me.  

This is the love, connection, acceptance and relaxation that I crave.  It's where I feel well. 

The other remarkable aspect is that what I create is a point of connection for my collectors/viewers. My challenge is to convey the love I felt making the painting in such a way that viewers can connect to it.  I'm working on that.  

What makes me absolutely overjoyed is when a collector says they would like to own a piece of my work.  It is the full circle moment when the love I felt with the initial idea lands with the right person to receive it.  It feels like a give and take exchange of positivity and LOVE.

It's my goal and hope that the paintings currently in inventory and the ones that I have planned for the coming years in my career will continue to connect with people in a meaningful way.  That my art will make a difference in the world.  That I will be able to donate paintings for a philanthropic vision, doing good for others beyond a single collector. 

Onward we go.  Bring on 2024.  I'm ready to celebrate over the holidays and meet the new year with new vitality for this amazing career.  

Thanks for coming along on the journey with me.