A Bit of Gallery News

(Click on the image above for a larger view)

"Autumn Splendor" is currently exhibited at Gallery On The Square in Wimberley, Texas. The 11x14 metal print is mounted on a 17x20 leather matte. Prints are available in various sizes. See my website for additional information.
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Because I am lucky enough to have a fantastically generous and determined cousin in Texas, I am now represented by a gallery in the Texas Hill Country. Gallery On The Square is showing my work at two locations in Wimberley, Texas.

Wimberley is a charming little village right in the heart of the Hill Country. The village is a favorite of tourists and perfectly located for a day trip from two large cities, Austin and San Antonio. I fell in love with Wimberley many years ago and, recently, I had indulged in daydreams about representation at one of the galleries there, but never followed up on the idea. My cousin, along with his lovely and gracious wife—neither with any previous experience as art reps, took one of those day trips and lo and behold, my work is now hanging in a gallery in the Texas Hill Country. I should be listed on the website soon.

I can't tell you how grateful I am to L and E for the time they have put into this. As I mentioned, I had daydreamed about having by work in additional galleries, but daydreams without action don't get us very far. I continued to put off approaching galleries by focusing on things that were easier to do. Besides, I am quite certain that I wouldn't be nearly as good at selling myself as this dynamic duo.

Thanks again, L and E.

Sugar with Lots of Spice

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A 12x12 print on Kodak ENDURA paper of "Sugar with Lotsa Spice" will be exhibited beginning December 6, 2012. This piece will be shown in a 16x16 walnut frame.
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I have other pieces featuring this horse, but wanted to try some new techniques and started this piece purely as an exercise. That is the mindset that frees my creative spirit. And, that explains why I most often avoid commissions. Every time I am approached to take on a commission, I feel my gut twisting into a knot and know that saying "Yes" means I will have to struggle with the voices reminding me to please the buyer. More often than not, I chicken out and say, "No" to the commission.  

Too often, I have let the pressure to please the buyer shut me down. The voices in my head warn, "Be careful. Stay in your comfort zone. Go with proven techniques." No good can come of that sort of thinking.

My favorite pieces—and the ones that most successfully connect with other people—are almost inevitably images that resulted from exploration and permission to experiment with new-to-me techniques, take risks, and test ideas that, at first, seem a little crazy.

Only when I give myself that unconditional permission to fail miserably, only when I allow myself to play with an image, to spend unlimited time with the piece and abandon all expectations—do I have any hope of coming to some understanding of the elements before me—only then can I remember the dream, capture something of the feelings of the moment, and manipulate the colors, light, lines, and textures into something that makes me happy.

Furthermore, if the final product doesn't make me happy, I can't bring myself to show it to anyone. The time invested is chalked up to learning. I move on and tackle a different piece. Sometimes, I don't get back to the "learning exercise" for months. Sometimes, a fresh look offers new insight and the piece comes to life. Sometimes, the image goes back in the file and waits. I'm not very good at predicting how an experiment will end.