September has been a crazy month. As you may have noticed, my little garden gives me a lot of produce, and I’m a bit obsessed with not letting it go to waste. I feel like I jumped from a plum roller coaster right into an ocean of pears! I’ve canned 50 jars of pears (underestimate), eaten a million pears (overestimate) and baked a decadent French Pear Tart.
My mom gave me my pear tree 12 years ago, and it’s getting really big. Since our cherry tree came down, the pear is the new favorite for the birds. Our resident Steller’s Jays like to nip at the fruit on the top of the tree, so it felt perfectly natural to invite this Jay to the French Tart party.
Speaking of a crazy month, my own little bird (five your old son) started kindergarten, and talk about roller coasters. My emotions keep going up and down with excitement and fear. Except for a few school bus mishaps in the beginning, it’s been a pretty smooth transition. He is such a sweet little guy, and he really appreciates special homemade treats like this. He loved the tart, but he REALLY loves the canned pears. I have every faith that we’ll go through those 50 jars! The tart was incredible, but with a 21 step recipe, it’s a once-a-year occurrence.
I haven’t quite accepted that fall is already upon us and plan on staying in denial for as long as possible. I hope you enjoy the sunshine and warmth while it lasts and take some time to enjoy a special treat too.
Thank goodness I love plums. I have a Shiro Japanese plum tree in my backyard that gives me 2,000 plums most years. I work really hard to use as many as I can, and my refrigerator is comically filled with around 1,000 plums. If you need a plum recipe for anything you can possibly imagine, let me know—I’ve probably tried it! Better yet, stop by if you’re in the neighborhood and I’ll give you some fresh plums or some homemade jam.
I paired the plums with my favorite kind of butterfly, the Tiger Swallowtail, which is a frequent visitor to my garden. I also referenced an image of one of my favorite porcelain bowls in the Seattle Art Museum collection.
It’s surprising to me how happy it makes me to look at these plums, given the countless hours I spend peeling and pitting them. They really are delicious, but it’s also the beauty of the plums themselves. They’re just bursting with life, and the difference in color between the white, powdery bloom and my bright yellow fingerprints just dazzles me.
These little joys are more important than ever right now. Little obstacles and conflicts that used to be so easy to brush off now have a way of feeling insurmountable. Our son is five and is supposed to start Kindergarten on September 7th. We’re worried about the new Delta strain that is more likely to harm children than previous variants of COVID, and we just don’t know what to do. It’s not always possible, but I’ll give you the advice I’m trying to give myself: give yourself some slack and some time to just relax and breathe.
I hope this painting inspires you to go outside, close your eyes to all your troubles and enjoy a bite of summer.
In addition to my rabbit greeting cards, I’m now offering a new still life greeting card set. This set includes all 12 monthly miniatures from the Flights of Fancy series. Each painting in that series features birds, something from the Seattle Art Museum collection, and fruits, vegetables or flowers that were in season in the month in which it was painted.
Despite the bumpy start to 2021, I still have high hopes for where this new year will take us. I’m looking forward to saying goodbye to the “new normal.” Meanwhile I thought we could all use some warmth and comfort to cheer us along the way. Each painting of this year’s monthly miniature series will have the theme of “creature comforts”, such as food and drink that makes us feel warm and cozy.
Let’s start this year with a toast. I made you a pomegranate champagne cocktail. Pomegranates are a symbol of plenty, youthfulness, fertility and good luck. Combine that with champagne, overflowing with abundance and joy, and you have the perfect drink to welcome the new year.
Here’s my toast:
The last year has been both terrible and wonderful. Despite a calamitous year, I’ve had the rare privilege to begin painting as a full-time artist without also working a second full-time job. I could not have done it without you, so I propose a toast of thanks.
Your subscription to my newsletter cheers me along. Every time you share my work, you help me grow my audience. Every time you buy a painting, a print or a greeting card, you support me doing something I love for a living. So cheers, and thank you for your continued support. I wish you a new year that overflows with good luck, plenty, and joy!
I find a healthy dose of silly shenanigans is good for me. And after a long difficult year, we all deserve some. 🙂
I usually know what kind of mood I’m going for when I plan a painting, and I seek objects that work together to tell a story that fits. For my final painting of the series, I wanted to make something lighthearted and playful. This one makes me smile every time I look at it, and I hope you enjoy it!
Since I started making still life paintings last year, I am always on the lookout for subjects. Anything that catches my fancy is studied, posed, photographed, then added to my growing reference library. The parts of this painting fell into place by scrolling through those images and intuiting which pieces of this puzzle would fit together.
Meyer lemons are an annual treat for the exhibition crew at SAM. Each year the head Exhibit Designer, Paul Martinez, would visit his family in California and pick lemons from their abundant orchard. Last year I took dozens of photos of them, just in case I wanted to use them in a painting. The squirrel visited us during one of our lunch breaks on a park bench in Volunteer Park while reinstalling the Seattle Asian Art Museum last summer-another batch of “just in case” images. And the dish was too hard to pass up when I noticed it in the conservation studio – more photographs. As I collected each of those images, I had no idea what they would become together.
Because I’m using pieces from the Seattle Art Museum collection as my models, I can’t actually place fruit inside bowls or plates. Instead I use something of my own that’s a similar size, shape and color for my mock ups. That helps me get a good idea of the shadows and light sources. Then I merge everything together, first in my imagination, with sketches, and then digital compositions. It’s still pretty rough at this stage, but finally through the process of making the painting, the scene starts to come to life.
It’s been such a privilege have a “day job” that has put me into direct contact with so much beautiful art. The museum has been closed for almost all of 2020, and it feels so fitting that I’ve made this series of paintings as a tribute to its collection, and to my experiences with the people there who have become very dear to me.
This body of work is my “thank you” to all of the past artists that worked to perfect their craft and push the limits of their artistic pursuits, to all of the countless people that have cared for these objects for hundreds of years after they were created; and to those that continue to care for these objects, ensuring that they will be treasured and viewed by countless people to come. I found the passion museum workers have for the preservation of objects for all of us to enjoy is contagious. I hope I’ve been able to pass a little of it on to you.
DISH WITH PHOENIX AND FLOWER MOTIFS, Collection of the Seattle Art Museum
Chinese, early 14th century Porcelain with underglaze cobalt-blue decoration , Diameter: 18 3/4 in. (47.6cm), Purchased in memory of Elizabeth M. Fuller with funds from the Elizabeth M. Fuller Memorial Fund and from the Edwin W. and Catherine M. Davis Foundation, St. Paul, Minnesota, 76.7 Provenance:Purchased for Seattle Art Museum with funds from the Elizabeth M. Fuller Memorial Fund and from the Edwin W. and Catherine M. Davis Foundation, St. Paul, Minnesota, January 6, 1976 Photo: Paul Macapia
From the Seattle Art Museum website:
“Brilliant cobalt pigment and a refined porcelain body are essential to the striking beauty of blue-and-white wares, which rose in Chinese ceramic production in the fourteenth century largely as a result of huge demand in the central and western Asian markets. This large dish manifests the taste for elaborate designs derived from Islamic art, and its massive size was intended to accommodate communal meals customary among Muslims.”
Lots of people had been asking if I would release prints from recent paitnings. I found a local printer I love and am now offering some for sale in my store. I just received several beautiful images from my lovely client Theresa, showing how she framed hers. The backdrop of her beautiful farmhouse in Indiana decorated for the holidays is just magical. I loved seeing these images and I hope you do to!
She very kindly offered to share where she purchased her frames and mats. Contact me if you’d like information on where they came from and I will pass it on! Everything was ordered online and she was able to easily fit them together herself.
I’m thoroughly conditioned to associate November with food. Though we had an unusual Thanksgiving, we did our best to maintain tradition. This year, for me, it felt more like a necessity than ever. I also felt the need to make a painting about not just what I’m thankful for, but also my hopes for the future. So this month’s painting is full of bright colors, food and reminders of family.
I’m originally from Ohio, and my family still reside there, apart from a nephew in California. I was excited to bring a little of Ohio into this month’s painting a male and female Cardinal, which is the state bird. Although they are common, I would never call them commonplace. Their color is extraordinary, especially when you find them on a snowy-white day, sitting on a bare branch.
My mom has a huge garden and chyrsanthemums are one of the few flowers still blooming at the beginning of November, though they disappear by the end of the month with the first snow of the season. I thought of mom especially when I added these ‘mums. Though I haven’t been back for Thanksgiving for many years, I have seen my mom and step-dad at least once a year since I moved out here around twenty years ago. Until this year. I am hoping for a future when we can visit again, and where the world my son grows up in is a little closer to the one where I grew up. I think one thing that people across the globe will all soon have in common (at least for a little while) is not taking the time we have with friends and family for granted.
The plate pictured from the Seattle Art Museum is one of my favorite pieces in the Porcelain room, and I’ve been hoping to figure out a composition I could fit it into. It is so cheerful and bright and makes me smile to look at it. When I was thinking of it, I had it in my mind that it was Japanese, but it’s actually a perfect example of chinoiserie. Chinoiserie is the European interoperation and imitation of Chinese and other East Asian artistic traditions. The porcelain is English and was made in the late 18th century.
I hope you made the most of your Thanksgiving holiday! Although we put off our feast a day to make cooking easier, we made up for it with waffles for breakfast (they’re a favorite around here, but you probably noticed that already). We had an intimate Thanksgiving dinner celebration with just my husband, four year old son and myself. We made far too much food and got all dressed up. Isaac had a blast. We did end up cooking a turkey, despite shortages of the smaller birds, but I don’t know how much longer my son will partake; we might have a budding vegetarian on our hands:
Isaac: “Where’s the turkeys head?” Me: “Well they cut it off when they killed it.” Isaac: “They killed the turkey?! Did they go to jail?!”
Thanks so much for continuing to follow my work! All my best to you and yours for the holiday season.
CA. 1772-75, ENGLISH, WORCESTER
Collection of the Seattle Art Museum, on view in the Porcelain Room Gallery
Soft paste porcelain, Diam.: 8 1/4 in., Kenneth and Priscilla Klepser Porcelain Collection, 94.103.79 Provenance:[Mr T. Leonard Crow, Tewkesbury, England, 1948]; sold to Mr and Mrs Kenneth and Priscilla Klepser, 1948-1994 (cf. Mr Crow’s letter dated March 6, 1948 to Mr Klepser); gift from Mr and Mrs Kenneth and Priscilla Klepser to Seattle Art Museum, Washington, 1994
This colorful painting is made with hopes for the future. We’ve all had our share of negative transformations over this past year, and I am reminding myself and you that not only is our current situation temporary, but everything is temporary. Seeking the best of every situation will keep us strong and help us persevere.
I recently went to the Asian Art Museum at Volunteer Park and found a shocking patch of weeds where the Dahlia garden usually resides. The Puget Sound Dahlia Association, whose members have been planting the garden each year since 1984, didn’t get to plant this year due to Covid-19. I assumed the decision not to plant was to discourage people from congregating in close proximity. They were a favored feature of the park, and I have high hopes they will return next year.
Luckily for me, I also used dahlias in last October’s miniature and had taken dozens of reference photographs that I could use for this painting. I paired the blooms with a Korean vase from the Seattle Art Museum’s collection. I love the subtle colors and the design that reflects the joy of the flowers in full bloom. I want to celebrate and remember the beauty that we once so freely enjoyed and will enjoy again.
I was saddened to hear earlier this week that the Seattle Art Museum’s downtown building would need to close again due to wintertime’s rising Covid-19 numbers. It does make sense to close nonessential businesses to keep us safe. But my gosh, I’m just so happy that I decided to highlight works from the museum back in January. It reminds me how grateful I am to have these beautiful pieces on view to the public, and I hope it reminds you as well. Please think about your local art museum this holiday season. These closures make a huge financial impact, so if you can help them out, please do so.
I was invited to participate in a three person show at Antler Gallery alongside Thomas Jackson of Australia and Vasilisa Romanenko who is based in New England. It’s pretty incredible that three artists that come from all over the world have so much in common! It was great to see my work alongside such creative and beautiful pieces. The show is up from October 29th -November 22nd.
I think it’s important to see your work outside the bubble of your studio. It helps me understand my perspective better, when seen alongside other contemporary artists, especially when those artists are investigating similar topics (in this case, looking at the natural world). It’s particularly exciting to see the dazzling technical care put into the artwork. Some people may see the word “technical” and think it’s cold and uncaring, but when in context of painting, I find it to be intimate and incredibly tender.
Three New Paitnings
I’ve been working on miniature still life paitnings for almost two years now with my Monthly Miniature project. For this show, I have made three new larger pieces within the still life genre. I love making miniatures, but it’s great to be able to expand on my ideas. Both literally and figuratively! I’ve added some in-progress images at the bottom of this post so that you can get a sense of scale. Even though two of the paitnings are still quite small at 10″ x 9″, they’re just about twice the size of my miniatures! So you see how much more detail I can get into my insects and furit.
I hope you enjoy the new paitnings! Please take a look at Antler Gallery’s website. They have a great variety of beautiful and interesting work.
Did your favorite painting sell too quickly? Or are originals just out of your price range right now? I’ve been getting lots of requests and have a few specifically for a rabbit limited edition print or two. 😉 Go to my store to order yours today!
This month, I’m adding a limited edition print from the original painting, “Forest Floor with Rabbits”. This painting was part of my In Season monthly miniature series. I was studying a different master from the Dutch golden age of painting (roughly the 1600’s – 1800’s) and I came upon artists Otto Marseus van Schrieck and Rachel Ruysch. They made forest floor still life’s. I love how they combine the the detail and compositional elements found in still life paintings with the wild and unpredictable of the natural world.
My first monthly miniature series saw an entire year of rabbit paintings. I was very excited to pull rabbits into this series of still life paitnings as well. The English spot rabbit you see here (in duplicate!) is my own rabbit, Harriet. You can learn more about this painting on a previous blog post.
This rabbit limited edition print is an edition of 50. They are printed on high quality acid free paper and come with a signed Certificiate of Authenticity. I’ll be offering a new print each month for the next year so keep checking back. If you have a special request, please let me know and I’ll get it on the list!