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Over the past year I have been submitting and showing with The Federation of Canadian Artists. While I knew they were a well respected Gallery, I really didn't know much else about them. On their website they have this lovely article, which talks about their history. In my previous blog post I shared chapter 1. If you have not read it, then I encourage you to go back and take a look at that article.
__Chapter Two: The FCA and the Canada Council
Dateline, Dec 20, 1950:
"If the Federation had done nothing else, the action which it took in 1949, in connection with the hearings of the Royal Commission on National Development in the Arts, Letters and Sciences, was more than sufficient both to justify its existence, and to establish it as the most influential cultural body in Canada".6 Hunter Lewis, National President
With the war over, veterans returned to their families, sought new jobs or finished school and manufacturers turned from making bombs and military equipment to refrigerators and cars. After years of being head of household, women sought new roles that included some of the activities were accustomed to performing in additional to housework and raising their families. War-brides settled in Canada, along with immigrants who had fled war-torn countries for a better life. The new normalcy was under way.
During the first decade following the Federation of Canadian Artists' founding in 1941 the whole art and cultural life of Canada had been transformed. Activity surrounding the arts had increased enormously and geographically extended to all kinds of communities, in all parts of Canada.
As FCA President Hunter Lewis said, "It would be absurd to claim the credit for all these changes and all this growth for the FCA."7 It would be even more absurd, however, to ignore the very great influence the
Federation had exerted in achieving them. The FCA was one of, if not the very first, national organization to be established in the field of the visual arts which continued to work for the general cultural objectives it adopted.
Apart from forming its own branches, the FCA had provided the stimulus and the model for the formation of many local and provincial organizations. It was largely influential in the creating of the "Canadian Arts Council" of which it was a member (not to be confused with the "Canada Council For the Arts" established by the Federal Government in 1957). It sponsored the only national art magazine of the day, Canadian Art. The Federation was linked with other art organizations in other countries through its membership in the Canadian Council for Reconstruction, through UNESCO and other international organizations. It assembled and sponsored local, regional and national exhibitions. It integrated painting and the other arts in Canada...and it kept art constantly in the news and thus in the minds of the public.
In February of 1949, the Federal Government announced its intention to enact new long-awaited legislation with respect to cultural development in Canada. In April, the Privy Council appointment a Royal Commission on National Development of Arts, Letters, and Sciences (chaired by the Honorable Vincent Massey) - potentially the most important single event that had ever occurred in the cultural life of Canada. The FCA held its National Conference in Montréal that same month.
Following the announcement, the FCA resolved to revise and amplify their 1944 "Artists Brief" to this end. It's National Brief Committee (many of them university professors and most from BC - included Hunter Lewis [chair], Charles Scott, BC Binning, Gordon Couling, Donald Flather, Doris Hunt and Nancy Bakewell) took ideas from their earlier work about the setting aside of $10 million from which any community in Canada could be entitled to for assistance in the building of an art centre, with the communities and province contributing on an established pro rata basis.8 They also emphasized the need for a nation-wide extension to Canada's National Gallery.
The Massey Commission (as it popularly became known) held hearings across the country. FCA regions and their branches were urged to explore, discuss and submit points they particularly wished to present for consideration in their national brief. They were also encouraged to write to Ottawa in support of this action. The submission of this brief became the Federation's prime project and was publicized as such.
A sense of excitement aroused a nation of artists to participate. During the course of the Massey Commission's two-year inquiry, it received 462 briefs, hundreds of letters from Canadian citizens, and held 114 public hearings throughout Canada at which some twelve hundred witnesses appeared.9
The Federation's national brief (presented by Messrs. Lewis, Scott and Binning) became widely supported and had important educational effects upon the people and the Government of Canada. The Royal Commissioners were themselves gracious enough to admit the FCA was instrumental in producing the large number of submissions that made those hearing the most significant event that had yet occurred in Canada cultural life. Six years later, Parliament, through the Minister of Canadian Heritage, passed The Canada Council Act which resulted in a national arm's-length agency fostering the development of the arts in Canada through grants, services and awards for professional artists. It would also take over the Canadian Commission for UNESCO work. Initial funding for programs came from an endowment fund of $50 million. In 1957, the revenue related to arts activities equaled $2.7 million. (In 2002, the Government increased Council funding to $75 million).10
After its magnificent presentation to the Massey Commission, and communicating about art across the country became easier, the Federation of Canadian Artists began to phase itself out as a national body.
By the 1960s, the FCA barely existed on a national level but still carried on under that name. It was structured a bit differently in a few areas of Canada - including British Columbia where it was reported the association had about 600 members. We shall explore these changes in the next Chapter.
------------------------------
5) What Is The Federation of Canadian Artists, brochure, c.1945, published by the Federation of Canadian Artists.
6) Excerpts from President Hunter Lewis' letter to the FCA Executive and Members of Regional and local Branches, Dec. 20 1950 found in the Hunter Lewis Family Fonds, UBC Library, Archives & Special Collections 7) Excerpts from President Hunter Lewis' letter to the FCA Executive and Members of Regional and local Branches, Dec. 20 1950 found in the Hunter Lewis Family Fonds, UBC Library, Archives & Special Collections
8) Excerpt reprinted from the Vancouver Daily Province, Feb 10, 1945 from a column by J. Delisle Parker headlined "Art For All - Federation of Canadian Artists, Looking Ahead, Would Draw Dominion Into One Great Cultural Venture - Dominion Government will be Invited to Set Aside $10,000,000 to assist communities to build art centres"
9) Library & Archives Canada: Royal Commission on National Development in the Arts, Letters and Sciences, 1949-1951.
10) Various facts excerpted from the Canada Council of the Arts website, 2004
Dateline, Dec 20, 1950:
"If the Federation had done nothing else, the action which it took in 1949, in connection with the hearings of the Royal Commission on National Development in the Arts, Letters and Sciences, was more than sufficient both to justify its existence, and to establish it as the most influential cultural body in Canada".6 Hunter Lewis, National President
With the war over, veterans returned to their families, sought new jobs or finished school and manufacturers turned from making bombs and military equipment to refrigerators and cars. After years of being head of household, women sought new roles that included some of the activities were accustomed to performing in additional to housework and raising their families. War-brides settled in Canada, along with immigrants who had fled war-torn countries for a better life. The new normalcy was under way.
During the first decade following the Federation of Canadian Artists' founding in 1941 the whole art and cultural life of Canada had been transformed. Activity surrounding the arts had increased enormously and geographically extended to all kinds of communities, in all parts of Canada.
As FCA President Hunter Lewis said, "It would be absurd to claim the credit for all these changes and all this growth for the FCA."7 It would be even more absurd, however, to ignore the very great influence the
Federation had exerted in achieving them. The FCA was one of, if not the very first, national organization to be established in the field of the visual arts which continued to work for the general cultural objectives it adopted.
Apart from forming its own branches, the FCA had provided the stimulus and the model for the formation of many local and provincial organizations. It was largely influential in the creating of the "Canadian Arts Council" of which it was a member (not to be confused with the "Canada Council For the Arts" established by the Federal Government in 1957). It sponsored the only national art magazine of the day, Canadian Art. The Federation was linked with other art organizations in other countries through its membership in the Canadian Council for Reconstruction, through UNESCO and other international organizations. It assembled and sponsored local, regional and national exhibitions. It integrated painting and the other arts in Canada...and it kept art constantly in the news and thus in the minds of the public.
In February of 1949, the Federal Government announced its intention to enact new long-awaited legislation with respect to cultural development in Canada. In April, the Privy Council appointment a Royal Commission on National Development of Arts, Letters, and Sciences (chaired by the Honorable Vincent Massey) - potentially the most important single event that had ever occurred in the cultural life of Canada. The FCA held its National Conference in Montréal that same month.
Following the announcement, the FCA resolved to revise and amplify their 1944 "Artists Brief" to this end. It's National Brief Committee (many of them university professors and most from BC - included Hunter Lewis [chair], Charles Scott, BC Binning, Gordon Couling, Donald Flather, Doris Hunt and Nancy Bakewell) took ideas from their earlier work about the setting aside of $10 million from which any community in Canada could be entitled to for assistance in the building of an art centre, with the communities and province contributing on an established pro rata basis.8 They also emphasized the need for a nation-wide extension to Canada's National Gallery.
The Massey Commission (as it popularly became known) held hearings across the country. FCA regions and their branches were urged to explore, discuss and submit points they particularly wished to present for consideration in their national brief. They were also encouraged to write to Ottawa in support of this action. The submission of this brief became the Federation's prime project and was publicized as such.
A sense of excitement aroused a nation of artists to participate. During the course of the Massey Commission's two-year inquiry, it received 462 briefs, hundreds of letters from Canadian citizens, and held 114 public hearings throughout Canada at which some twelve hundred witnesses appeared.9
The Federation's national brief (presented by Messrs. Lewis, Scott and Binning) became widely supported and had important educational effects upon the people and the Government of Canada. The Royal Commissioners were themselves gracious enough to admit the FCA was instrumental in producing the large number of submissions that made those hearing the most significant event that had yet occurred in Canada cultural life. Six years later, Parliament, through the Minister of Canadian Heritage, passed The Canada Council Act which resulted in a national arm's-length agency fostering the development of the arts in Canada through grants, services and awards for professional artists. It would also take over the Canadian Commission for UNESCO work. Initial funding for programs came from an endowment fund of $50 million. In 1957, the revenue related to arts activities equaled $2.7 million. (In 2002, the Government increased Council funding to $75 million).10
After its magnificent presentation to the Massey Commission, and communicating about art across the country became easier, the Federation of Canadian Artists began to phase itself out as a national body.
By the 1960s, the FCA barely existed on a national level but still carried on under that name. It was structured a bit differently in a few areas of Canada - including British Columbia where it was reported the association had about 600 members. We shall explore these changes in the next Chapter.
------------------------------
5) What Is The Federation of Canadian Artists, brochure, c.1945, published by the Federation of Canadian Artists.
6) Excerpts from President Hunter Lewis' letter to the FCA Executive and Members of Regional and local Branches, Dec. 20 1950 found in the Hunter Lewis Family Fonds, UBC Library, Archives & Special Collections 7) Excerpts from President Hunter Lewis' letter to the FCA Executive and Members of Regional and local Branches, Dec. 20 1950 found in the Hunter Lewis Family Fonds, UBC Library, Archives & Special Collections
8) Excerpt reprinted from the Vancouver Daily Province, Feb 10, 1945 from a column by J. Delisle Parker headlined "Art For All - Federation of Canadian Artists, Looking Ahead, Would Draw Dominion Into One Great Cultural Venture - Dominion Government will be Invited to Set Aside $10,000,000 to assist communities to build art centres"
9) Library & Archives Canada: Royal Commission on National Development in the Arts, Letters and Sciences, 1949-1951.
10) Various facts excerpted from the Canada Council of the Arts website, 2004
I find this all so interesting.
Now I've never been much of a history buff, given that I think I'm slightly dyslexic with numbers. They never stick in my memory and often flip them around. This was a frustrating characteristic in school and plagued me when it came time to memorize date and numbers. However, I digress.
What I am gleaning from this informative article is that some of these names I have heard, obviously the Massey Commission was something spoken about around our dinner table. It's lovely to hear a bit more about how the Massey Commission was formed and what it was destined to do for Canada.
I hope you are enjoying these articles as much as I am. Do leave a comment if you have something you'd like interject. Perhaps you have a memory of these key figures and times in Canadian history.
What I am gleaning from this informative article is that some of these names I have heard, obviously the Massey Commission was something spoken about around our dinner table. It's lovely to hear a bit more about how the Massey Commission was formed and what it was destined to do for Canada.
I hope you are enjoying these articles as much as I am. Do leave a comment if you have something you'd like interject. Perhaps you have a memory of these key figures and times in Canadian history.
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Well, isn't this interesting. I found a wonderful article by Ellen Poole that I will share with you over the next few posts. Here is the first Chapter of her historical review.
65 years of Artistic Achievement: A History of the FCA by Ellen Poole, FCA Historian
Chapter One: The Birth of a Legacy June 1942, Toronto, Ontario: In his report to the first Federation of Canadian Artists' annual meeting, President André Biéler proclaimed, "Let the artist's hand be unbound! Let the emotions of his heart find expression! And let the work of art be shown to all, that our pride may find satisfaction!" 1
After teaching at the Banff Summer School and meeting western artists for the first time, painter and fine art professor Biéler recognized a great need for Canada's artists to meet, commune and understand each other. So, with the blessing of his employer, Queens University, and assistance from the National Gallery of Canada - who agreed to mount a special exhibition of Canadian art - Biéler organized the 1941 Conference of Canadian Artists at his university in Kingston, Ontario. These beginnings are well documented by his biographer, Frances K Smith.
Imagine over 150 professional artists, art critics and art educators from across the nation attending a series of technical workshops, seminars, and discussion groups. Wouldn't you love to have been there! Ernest Lindner from Saskatchewan reflected that "physically it took us all of three weeks to recover from the conference, spiritually we fortunately never quite recovered..."2
Delegates were faced with the issue of examining the role of the artist in Canadian society and whether the organization would be a federation of Canadian art societies - or a body of artists, independent but cooperative with any existing societies. Fortunately for all of us they chose the latter.
Canada was divided into five Regions, each with its own regional organizer: West Coast - Lawren Harris; Western - Gordon Sinclair; Saskatchewan - Ernest Lindner; Manitoba - Byllee Lang; Ontario - AY Jackson; and Maritimes - Walter Abell.
One of their aims was to try and dissipate any feeling among artists and Eastern art societies that the Federation was in any way an usurper of their rights. Soon after, a chain of groups and individuals sprang up from coast to coast consisting of both artists and art lovers. "With a large, unified membership, the Federation hoped to become the voice of the artist - strong enough to be heard from Nanaimo to Nova Scotia."3
____________________________
1) Federation Bulletin, published by the FCA, Summer 1942 (including President Bieler's report entitled No Blackout For Art)
2) André Biéler: An Artist's Life and Times by Frances K. Smith, published by Merritt Publishing Co.Ltd., Toronto/ Vancouver, 1980
3) André Biéler: An Artist's Life and Times by Frances K. Smith, published by Merritt Publishing Co.Ltd., Toronto/ Vancouver, 1980
The "Artists" part of our association's name originally referred to artists from every walk of life - painters, sculptors, architects, graphic artists, designers and craftspeople as well as art lovers, critics and curators. There were even music, poetry and drama divisions!
In announcing the newly formed FCA, the Vancouver Art Gallery stated, "This is not just another art society, nor is it intended to replace any existing art society. It is an organization formed to unite all the artists in Canada, whether member of existing societies or not, in a federation which it is hoped will become a power in the country. The Federation hopes to bridge the isolation of artists in different parts of the country, discover talent and organize regional as well as country-wide activities and to publish an art magazine to serve the interests of art and artists in the country as a whole..."4
In addition to various exhibitions, instructional workshops, classes and painting studios, the FCA sponsored lectures and plays (but rejected the proposal to sponsor a new opera due to high costs.) This started to change about 1949 as the Federation began to focus on the world of visual art.
National headquarters shifted from city to city in which the FCA President resided at the time, although all correspondence was handled by capable National Secretaries. Remember, this was the era of carbon paper and erasers, well prior to the computer age. In the late '40s these extraordinary women (notably, Alison Palmer and Nancy Bakewell) were paid the princely honorarium of $250 per year!
Membership benefits included the periodical Canadian Art, published under the auspices of the National Art Gallery in Ottawa with co-editors, DW Buchanan and Robert Ayre. Members received both regional and national bulletins as well.
WWII was still raging in Europe. Under the heading of "War and the Artist," the executive passed resolutions that the government be asked to employ artists professionally for purposes of national defense, that the government permit artists to draw and paint in military areas for the purposes of record, that the Federation be allowed to organize loans of painters to army camps and the artists be assured of a place on committees for post war reconstruction.
Among Canada's war artists, FCA members included Eric Aldwinckle, Abe Bayefsky, Molly Lamb (Bobak), Bruno Bobak, Paraskeva Clark, Albert Cloutier, Charles Comfort, Orville Fisher, Charles Goldhamer, Rik Kettle, Rowley Murphy, Jack Nichols, Peigi Nicol McLeod, William A Ogilvie, George Pepper, Moses Reinblatt, Goodridge Roberts, Carl Schaefer, Jack Shadbolt, and Charles H Scott.
_______________________
4) Vancouver Province, Feb 10, 1945, "Art For All: FCA, Looking Ahead, Would Draw Dominion Into One Great Cultural Venture - Dominion Government will be Invited to Set Aside $10,000,000 to assist communities to build art centres," by J Delisle Parker
In June, 1944, the Federation, in concert with other national art organizations, was responsible for drawing up a significant Brief concerning the cultural aspects of Canadian reconstruction. The main feature of the Brief was the responsibility of the FCA. Ultimately, this action spawned the Canadian Arts Council, forerunner to the Canada Council for the Arts.
During his presidency, Lawren Harris said, "It is significant that the Federation was born in the early years of World War II, when people were beginning to realize that war not only meant a struggle for existence but also an urgent search for a new pattern of living."5
______________________
5) What Is The Federation of Canadian Artists, brochure, c.1945, published by the Federation of Canadian Artists.
Stay tuned for the next chapter, coming soon.
I find this so fascinating. I hope you do as well.
Leave me a comment below.
To sign up for my VIP list and receive updates from the studio and early access to new works leave me your email address here: https://cielellis.activehosted.com/f/12
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Flowers are a classic accompaniment to many of our lives special moments, but is there more to them than that. Why do we give flowers to someone in the hospital? Why do we have flowers at funerals or weddings? Have you ever wondered these same questions. Well, I did some research and I found some cool evidence.
First of all, research has shown that memory retention and concentration are improved by having natural elements like plants and flowers around us. In the early 2000's studies were conducted at the University of Michigan and showed that the effect of nature in the home and in the workplace served to stimulate both the senses and the mind, improving mental cognition and performance. (Bisco Werner 1996; Brethour 2007; Frank 2003; Pohmer 2008; Serwach 2008; Shibata, 2001, 2004; Yannick 2009)
Now this doesn't surprise me at all. For years I've known that plants within the home can improve our lives by simply cleaning the air if nothing else. So I find it reassuring that they actually improve out mental ability too.
Studies went on to find that flowers can actually help us develop a sense of happiness. This is due to the reduction in people's stress when there are plants around. When people have flowers in their homes they were found to feel happier, less stressed, and more relaxed. Which also means that the stress and experiences of depression in the home are reduced. Flowers can also help you achieve a more positive outlook, by bringing visual pleasure and an increased perception of happiness. (Brethour 2007, Collins 2008, Dunnet 2000, Etcoff 2007, Frank 2003, Haviland-Jones 2005, Hartig 2010, McFarland 2010, Rappe 2005, Waliczek 2000)
Now about flowers being in hospitals. "The presence of plants in hospital recovery rooms and/or views of aesthetically-pleasing gardens help patients to heal faster, due to the soothing affects of ornamental horticulture. "(Brethour 2007, Frank 2003, Friend 2008, Lohr 2000, Park, 2009, Pennsylvania Landscape and Nursery Assn. 2009, Ulrich 1984)
Being around plants can also improve our relationships. This is because of elevated feelings of compassion.
Reduced stress, increased compassion, decrease in depression, better relationships.... wonderful side affects of having plants and flowers in your life.
Having a painting of a flower in your home brings you into the naturally healing realm of horticulture any time of year. No longer are you dependent on the growing season or the cut flowers from the florist.
If you would like to see the work that I have available for purchase you can do that here: www.cielellis.com
And if you would like to become a V.I.P. email subscriber and receive sneak peeks at new work then you can do that here: V.I.P Sign up
If you are interested in where I found these research finding on the affects of flowers and plants you can take a look at it here: Research article link.
First of all, research has shown that memory retention and concentration are improved by having natural elements like plants and flowers around us. In the early 2000's studies were conducted at the University of Michigan and showed that the effect of nature in the home and in the workplace served to stimulate both the senses and the mind, improving mental cognition and performance. (Bisco Werner 1996; Brethour 2007; Frank 2003; Pohmer 2008; Serwach 2008; Shibata, 2001, 2004; Yannick 2009)
Now this doesn't surprise me at all. For years I've known that plants within the home can improve our lives by simply cleaning the air if nothing else. So I find it reassuring that they actually improve out mental ability too.
Studies went on to find that flowers can actually help us develop a sense of happiness. This is due to the reduction in people's stress when there are plants around. When people have flowers in their homes they were found to feel happier, less stressed, and more relaxed. Which also means that the stress and experiences of depression in the home are reduced. Flowers can also help you achieve a more positive outlook, by bringing visual pleasure and an increased perception of happiness. (Brethour 2007, Collins 2008, Dunnet 2000, Etcoff 2007, Frank 2003, Haviland-Jones 2005, Hartig 2010, McFarland 2010, Rappe 2005, Waliczek 2000)
Now about flowers being in hospitals. "The presence of plants in hospital recovery rooms and/or views of aesthetically-pleasing gardens help patients to heal faster, due to the soothing affects of ornamental horticulture. "(Brethour 2007, Frank 2003, Friend 2008, Lohr 2000, Park, 2009, Pennsylvania Landscape and Nursery Assn. 2009, Ulrich 1984)
Being around plants can also improve our relationships. This is because of elevated feelings of compassion.
Reduced stress, increased compassion, decrease in depression, better relationships.... wonderful side affects of having plants and flowers in your life.
Having a painting of a flower in your home brings you into the naturally healing realm of horticulture any time of year. No longer are you dependent on the growing season or the cut flowers from the florist.
If you would like to see the work that I have available for purchase you can do that here: www.cielellis.com
And if you would like to become a V.I.P. email subscriber and receive sneak peeks at new work then you can do that here: V.I.P Sign up
If you are interested in where I found these research finding on the affects of flowers and plants you can take a look at it here: Research article link.
- Published on
When you have an abundance of ideas it's important to put them in some sort or order.
Let me walk you through how I organize myself.
Currently, I have 110 images that I would like to turn into paintings. With each image I place it in a plastic sleeve protector, assign an inventory number and arranged them in order.
When I'm ready to choose new paintings I go to my big book of ideas and pick out some images. Often I choose a theme, like a particular variety of flower, or by the size of canvas. I remove those sleeve protectors from the big book and place them in a smaller, working, binder.
From the smaller binder of work I create a master list documenting the square inch size, the canvas size and the likely time it will take for me to paint that image. Then I go to my calendar and block out the time using post it flags. This really helps me see how many paintings I can get done during a week or a month.
This is so helpful for a couple of reasons.
1. I avoid the over scheduling that was happening before;
2. I stop my self criticism before it gets started.
Before getting organized I would look at what I had accomplished in the month and always feel like I should have done more. Now with the estimated times to complete a painting I can see what is realistically possible. For example, if I'm working 6 hours a day I can complete (1) 6 x 8 painting. That's it.
My self criticism would have me believe that I could get more paintings completed in that time. Not possible.
This might seem like a lot of work and this nerdy artist loves this part. Getting organized feels so grounding.
The other problem I have is that I've collected almost 60 canvases for these paintings. Where do you store them so you aren't tripping all over them?
Let me walk you through how I organize myself.
Currently, I have 110 images that I would like to turn into paintings. With each image I place it in a plastic sleeve protector, assign an inventory number and arranged them in order.
When I'm ready to choose new paintings I go to my big book of ideas and pick out some images. Often I choose a theme, like a particular variety of flower, or by the size of canvas. I remove those sleeve protectors from the big book and place them in a smaller, working, binder.
From the smaller binder of work I create a master list documenting the square inch size, the canvas size and the likely time it will take for me to paint that image. Then I go to my calendar and block out the time using post it flags. This really helps me see how many paintings I can get done during a week or a month.
This is so helpful for a couple of reasons.
1. I avoid the over scheduling that was happening before;
2. I stop my self criticism before it gets started.
Before getting organized I would look at what I had accomplished in the month and always feel like I should have done more. Now with the estimated times to complete a painting I can see what is realistically possible. For example, if I'm working 6 hours a day I can complete (1) 6 x 8 painting. That's it.
My self criticism would have me believe that I could get more paintings completed in that time. Not possible.
This might seem like a lot of work and this nerdy artist loves this part. Getting organized feels so grounding.
The other problem I have is that I've collected almost 60 canvases for these paintings. Where do you store them so you aren't tripping all over them?
You store them in your new canvas storage rack on wheels, of course. My husband helped me put this together a couple of weekends ago. Oh my gosh! I was so happy. I think I cried.
As you can see I have various sized all lined up in their cubbies. I can find the sized easily and they are not getting damaged. So happy.
This is what the nuts and bolts of getting organized looks like for me. It feels amazing to have this all in place.
Now I can relax, check my calendar, see the painting that is scheduled, and get down to business. Prior to all this organizing I wasted a lot of time fiddling around, trying to figure out what comes next.
I hope you have enjoyed this tour of my organizing system.
If you'd like to see more of what I'm doing, join my email list.
As you can see I have various sized all lined up in their cubbies. I can find the sized easily and they are not getting damaged. So happy.
This is what the nuts and bolts of getting organized looks like for me. It feels amazing to have this all in place.
Now I can relax, check my calendar, see the painting that is scheduled, and get down to business. Prior to all this organizing I wasted a lot of time fiddling around, trying to figure out what comes next.
I hope you have enjoyed this tour of my organizing system.
If you'd like to see more of what I'm doing, join my email list.
- Published on
That moment when you felt moved by something. What was going on?
In the bigger picture, I think this is what the human experience is all about, moving from one moment of delight to the other.
Chasing that feeling is not always a linear pursuit, of course. The twists and turns that we take along the way can have us forget the last episode of delight.
Can I tell you a story?
My husband was taking me to Butchart Gardens on Vancouver Island. I had my new camera in hand, ready to capture what I encountered. Within a few steps down the path, I fell behind him, he carried on without realizing what was happening. I was crying. I was so overcome by the beauty of the place, the moment, the true partnership with this man, I had to stop and just allow myself to feel the moment.
My work has this same effect. Hundreds of people have messaged me to express their reactions.
Having something tangible that triggers this moment of delight is priceless. Being able to create images that affect others in such a profound way, is my gift.
Leave a comment and share a story when you felt delighted.
In the bigger picture, I think this is what the human experience is all about, moving from one moment of delight to the other.
Chasing that feeling is not always a linear pursuit, of course. The twists and turns that we take along the way can have us forget the last episode of delight.
Can I tell you a story?
My husband was taking me to Butchart Gardens on Vancouver Island. I had my new camera in hand, ready to capture what I encountered. Within a few steps down the path, I fell behind him, he carried on without realizing what was happening. I was crying. I was so overcome by the beauty of the place, the moment, the true partnership with this man, I had to stop and just allow myself to feel the moment.
My work has this same effect. Hundreds of people have messaged me to express their reactions.
Having something tangible that triggers this moment of delight is priceless. Being able to create images that affect others in such a profound way, is my gift.
Leave a comment and share a story when you felt delighted.
- Published on
Up until Now.. The journey from beginner to full time art career.
I'm so excited to reveal that I have published a lovely little book documenting my journey from the beginning.
I know there are other artists out there who are up against the self-doubt and worry that I have been up against in the past. What I have learned along the way I suspect is going to be really valuable for others.
This 20 page book is filled with my art, stories, champions, and inspiration.
If you would like more information you can click the link below.
Click here.
I'm so excited to reveal that I have published a lovely little book documenting my journey from the beginning.
I know there are other artists out there who are up against the self-doubt and worry that I have been up against in the past. What I have learned along the way I suspect is going to be really valuable for others.
This 20 page book is filled with my art, stories, champions, and inspiration.
If you would like more information you can click the link below.
Click here.
- Published on
2006
2020
Beginning can be so challenging. Have you even noticed when you start something new, challenge yourself, that your negative/judgemental self comes along with you.
I know why this is... we don't have enough evidence to combat the negative chatter.
Unfortunately, the only way to gather evidence is to keep practicing. To build up a body of attempts that you can compare or maybe not compare but rather take pride in the number of times you have shown up to try.
The one thing I know for sure is that the self doubting part of us is not something that is going to go away. However, when we practice we relax into the tangible evidence that we have collected.
There is a real sense of accomplishment and pride. Whatever you are showing up for. I used to love running because if you ran a 5 km race that is hard evidence of what you have accomplished. It's undeniable proof. Painting, for me, is the same thing.
When I look around my colourful studio, while doubt is sitting with me at the easel, I have all the proof to contradict what doubt is wanting me to believe.
What are you showing up for consistently? Do you feel a sense of pride for that commitment? Perhaps you haven't considered that, up until now.
I'd love to hear your thoughts. Leave me a comment below.
Better yet, join my V.I.P. email list and I'll give you early access and sneak peeks at what I'm working on.
Here's the link to do that.
I know why this is... we don't have enough evidence to combat the negative chatter.
Unfortunately, the only way to gather evidence is to keep practicing. To build up a body of attempts that you can compare or maybe not compare but rather take pride in the number of times you have shown up to try.
The one thing I know for sure is that the self doubting part of us is not something that is going to go away. However, when we practice we relax into the tangible evidence that we have collected.
There is a real sense of accomplishment and pride. Whatever you are showing up for. I used to love running because if you ran a 5 km race that is hard evidence of what you have accomplished. It's undeniable proof. Painting, for me, is the same thing.
When I look around my colourful studio, while doubt is sitting with me at the easel, I have all the proof to contradict what doubt is wanting me to believe.
What are you showing up for consistently? Do you feel a sense of pride for that commitment? Perhaps you haven't considered that, up until now.
I'd love to hear your thoughts. Leave me a comment below.
Better yet, join my V.I.P. email list and I'll give you early access and sneak peeks at what I'm working on.
Here's the link to do that.
- Published on
As many creatives can attest, the journey to their art practice is often not linear. In fact, many, including myself, have been faced with negativity, harsh criticism, critiques that were not helpful and yet there was still the desire to continue.
Where does that come from?
God/Spirit/Divine/Universe.... I don't really know. All I know is that when I don't make room for my creativity I am not well. and I mean that quite literally. I am not myself if I am not following my inspiration and creative urges.
Not to self: Your creativity is non-negotiable.
Part of my journey has certainly been filled with desire and push back while other aspects have included comparison to other and others comparing to me. All these situations have slowed me down or stopped me from creating.
Inevitably I come to my senses and return to my creativity. I've been blessed to have a couple of mentors who saw potential and believed in me when I wasn't able to do that for myself.
In reflecting on my journey, I suspect that I could possibly be that mentor for someone else. To believe in another creative enough that are willing to start creating again, or start period.
One of the ways I intend to do that is with my first art compilation. It's a small book sharing some stories, images and inspiration.
Where does that come from?
God/Spirit/Divine/Universe.... I don't really know. All I know is that when I don't make room for my creativity I am not well. and I mean that quite literally. I am not myself if I am not following my inspiration and creative urges.
Not to self: Your creativity is non-negotiable.
Part of my journey has certainly been filled with desire and push back while other aspects have included comparison to other and others comparing to me. All these situations have slowed me down or stopped me from creating.
Inevitably I come to my senses and return to my creativity. I've been blessed to have a couple of mentors who saw potential and believed in me when I wasn't able to do that for myself.
In reflecting on my journey, I suspect that I could possibly be that mentor for someone else. To believe in another creative enough that are willing to start creating again, or start period.
One of the ways I intend to do that is with my first art compilation. It's a small book sharing some stories, images and inspiration.
This is the editing copy and will be available for purchase very shortly.
Leave a comment and share some of your creative successes or detours.
Leave a comment and share some of your creative successes or detours.
- Published on
This is my first..... ever painting course using the images that I love to paint. I was surprised to find that others want to learn to paint like this. Well, I guess, I'm not surprised about that as much as I'm surprised that I can share my process and effectively teach others to do this work.
I find it really easy, the process of it. The interpretation of the images and creating the likeness on the canvas is a little more difficult.
The interpretation really comes down to seeing accurately. Can we see the details that comprise the various shapes of the specific flower. Mother Nature is amazing because each variety of flower has a different shape and characteristic. I love that. The ruffles of the peony versus the cup shaped petals of the tulip. So different. The light falls differently on these various shapes which makes it a challenge to render.
The other part of painting this way is the mindset work that is necessary. Already my student commented that she stopped herself from putting a mark on the canvas because she didn't know what to do. She was afraid to make a mistake. Where else in our lives do we stop ourselves from making a move for fear of making a mistake?
The good news is that we really can't make a mistake, in painting, or in life. We can always repaint the section that is not working, and we can always make a new decision in life.
I'm so inspired by the work that is being accomplished in my first painting class that I'm preparing to put together my next class. It is called Sunlit Gold. This is the image that we will be painting.
I find it really easy, the process of it. The interpretation of the images and creating the likeness on the canvas is a little more difficult.
The interpretation really comes down to seeing accurately. Can we see the details that comprise the various shapes of the specific flower. Mother Nature is amazing because each variety of flower has a different shape and characteristic. I love that. The ruffles of the peony versus the cup shaped petals of the tulip. So different. The light falls differently on these various shapes which makes it a challenge to render.
The other part of painting this way is the mindset work that is necessary. Already my student commented that she stopped herself from putting a mark on the canvas because she didn't know what to do. She was afraid to make a mistake. Where else in our lives do we stop ourselves from making a move for fear of making a mistake?
The good news is that we really can't make a mistake, in painting, or in life. We can always repaint the section that is not working, and we can always make a new decision in life.
I'm so inspired by the work that is being accomplished in my first painting class that I'm preparing to put together my next class. It is called Sunlit Gold. This is the image that we will be painting.
If you would like more information about this upcoming class then leave me your details below and I'll be sure to message you once I have the dates ironed out.
- Published on
2020 has been a year full of surprises. Many things have occurred that we never imagined. One response can be to coil up and protect ourselves. There is nothing wrong with that, and it is a reflex to circumstances. Whenever I have been in reflex mode, I am no longer in creation mode.
Creating my experience by being very intentional, is beneficial, and feels so much better.
Creating for me is about delight. When I'm in delight I am more generous, I have more compassion, I'm less reactive and more conscious in my choices.
Delight, by definition is great pleasure. What happens when we put our focus on delight? Can we allow ourselves to have great pleasure?
These are great questions and delight is often more difficult to allow than the discontent that is right at the end of our fingertips. Delight opens up the door for more possibilities simply because we are open to new ideas.
Here's one idea that I've been working on recently.
Creating my experience by being very intentional, is beneficial, and feels so much better.
Creating for me is about delight. When I'm in delight I am more generous, I have more compassion, I'm less reactive and more conscious in my choices.
Delight, by definition is great pleasure. What happens when we put our focus on delight? Can we allow ourselves to have great pleasure?
These are great questions and delight is often more difficult to allow than the discontent that is right at the end of our fingertips. Delight opens up the door for more possibilities simply because we are open to new ideas.
Here's one idea that I've been working on recently.
What is one idea that delights you that you tend to disregard and set aside?
Could I invite you to pull that idea out and explore allowing yourself to have it?
I have often heard things like: " that's over the top... too decadent... selfish...excessive." Really? Really? Just imagine for a minute you allowed yourself to have what you really want. No compromise. Now this could be something small or something large. It could even be a decadent day off, or a solo trip somewhere.
What would be different for you, if you allowed yourself to have what you want?
In creating this latest painting I'm inviting you into an image that feels really decadent to me, and I'm also inviting you to considering buying something that feels decadent for you. Liberating that desire, liberates your energy, opens the door to more possibilities, and meets your own personal needs. Guess what happens when you meet your own needs? You are more available to be a support to those around us.
Self care first - always.
Our communities need us at our best and being at our best is about allowing ourselves to have the things that we desire.
I'd love to hear your reflections. Leave me a comment below.
Could I invite you to pull that idea out and explore allowing yourself to have it?
I have often heard things like: " that's over the top... too decadent... selfish...excessive." Really? Really? Just imagine for a minute you allowed yourself to have what you really want. No compromise. Now this could be something small or something large. It could even be a decadent day off, or a solo trip somewhere.
What would be different for you, if you allowed yourself to have what you want?
In creating this latest painting I'm inviting you into an image that feels really decadent to me, and I'm also inviting you to considering buying something that feels decadent for you. Liberating that desire, liberates your energy, opens the door to more possibilities, and meets your own personal needs. Guess what happens when you meet your own needs? You are more available to be a support to those around us.
Self care first - always.
Our communities need us at our best and being at our best is about allowing ourselves to have the things that we desire.
I'd love to hear your reflections. Leave me a comment below.
Bruce Kleeberger - Sculptor
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...
You are invited in....
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...
What if.... I am an artist?
Early abstract work 48x48" Acrylic on canvas. Circa 2007. SOLD 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...
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