The Big Neighborhood is 22×33. It’s like a city map or an aerial view of a city. When all of its colors are put together, I hope that it represents that the best of us are better for living among all kinds of people. If I work very very hard on it, it might be finished in time to hang with the show “Connections,” at the First Unitarian Society of Minneapolis, which will hang on December 30. If it doesn’t make it into the show, it will be on hand for the artist talk (date TBA).
Big Neighborhood: start with red
After taking a very long, deep breath, I started to paint on it. First blocks are the brightest red watercolor on my palette, of course. Having determined that this will be a random collection of blocks, I will work color-by-color, spreading them out all over the piece.
Why isn’t this made out of tile?
It looks like tile. Why isn’t this tile? As some of you know, for my 60th birthday I gave up everything that required safety equipment. Conspicuous among the activities that I abandoned were cutting tile and bungee jumping.
The Big Neighborhood is a nanoscape, an abstract painting made with Painstaking Exuberance (PE). PE paintings begin with a pencil drawing which is sometimes followed by a Davy’s Gray outline (not this one). Next, I fill in each small space with color, and, sometimes outline each small space with a Micron pen or paint outline. The minute-by-minute focus is on each small space and its bright color. In the end, the riot of color speaks for itself.
Since 2006, I have celebrated connections within the tiny spaces in paintings called nanoscapes. My friends and fans have been after me for years to make coloring books, and as with so many things, I’ve realized that resistance is futile. Now all I need is a printer who can create a book at a price that my pals can afford. Suggestions? Use the contact form at the end of this post.
Celebrating connections with painstaking exuberance
Almost by accident, I created a consistent body of abstract work that reflects my interest in connections among and between people, their neighborhoods, and their cities: true nanoscapes. I use painstaking exuberance, a four or five-step process, to make each one. I begin with a pencil drawing, continue with a Davy’s Gray watercolor outline, then paint between the lines, and outline each shape with paint or Micron pen. Sometimes the fifth step includes a paint or ink outline of the complete piece. I love and celebrate every single step.
My earliest watercolor paintings were all about tiny spaces, complex designs, and bright colors, and were reflected in the business name: nanoscapes & other visions llc. The first paintings (8×10 inches or smaller) were shown at the now-closed Rosalie Wahl Library in Stillwater. It was a very tiny library, and the very tiny nanoscapes looked great on the walls.
Some of you know the story. No sooner than I had acquired the business name, and other pieces of a corporate entity, than one of my pals said “Honey, I love your work, but I can’t put a postcard behind my sofa.” Although they maintained their tiny designs in small spaces, the nanoscapes got bigger (16×20, 22×33). In 2009, whimsical creatures arrived and took over the studio, and integrated some nanoscapes’ designs into their bodies. I am returning happily to true nanoscapes, and most of the coloring (or painting) pages are inspired by paintings I’ve done or plan to do soon.
Pages coming in tandem with the First Unitarian Society “Connections” show
On December 30, 2015, I will hang a show that is focused on “Connections” at the First Unitarian Society of Minneapolis‘ elegant space on Mt. Curve. It is an honor to be there, and I am inspired to collect and showcase paintings from the underlying and unifying theme of so much of my work: connections. The show will be a combination of old and new connections-themed pieces with a handful of creature paintings that incorporate abstract images and link my old, new, and forthcoming work.
Some samples as work-in-progress:
I hope to see you at the show. Watch this space, Facebook, Instagram, Twitter and other social media platforms for information about the show’s reception. Also, I promise to create a genuine artist newsletter in 2016.