Finishing Some Things

Last week I spent some time finishing up a number of pieces.  These are pieces that were started last fall. I felt they all had potential, but was stuck on exactly what to do.  Nothing like a six month break to bring a new perspective.

This piece was created with soy wax resist and was one in a number of studies I did on complementary colors. Here is the before version. Interesting, but no focal point.

After a few layers of dye and handpainting, here is the finished piece.

This piece was created using sugar syrup resist. Here is the before version. 

I wasn't thrilled with the composition, so I cut it up, discharged some of it, dye-painted some areas and put it back together.

This last piece is another complementary color study and was created by brushing potato dextrin through plastic hardware cloth. The before version:

Again, not a strong enough focal point. I decided to cut this down and put it on a 12" x 12" canvas and add some contrast with paint and metal leaf.

Up to My Elbows in...Tapioca

Ahhh, the lure of the resist in surface design.  I've tried all the commercial products and many of the standard kitchen-based products (flour, oatmeal, sugar).  Why do I keep trying new things?  Don't I have enough options already?  One would think so, but apparently not.  My latest favorite resist is tapioca.  Yes, you read that right. I don't think I've ever actually eaten it, so it never occurred to me to use it as a resist.  Thanks to Linda Dawson for giving me the idea!

Tapioca produces an intriguing pattern. It doesn't really crack like the paste resists (flour, oats, potato dextrin). The photo above shows a cloth with two layers of tapioca resist. You can see the wonderful marbled pattern it produces.   Peeling the dried tapioca off the cloth is a bit like unwrapping a fruit roll with texture beads.  I would be tempted to use the leavings in my art, if only there wasn't the problem of  decomposition. All the details are in the next installment in my series, Resists From the Kitchen in Quilting Arts Magazine.(August/September issue)  You can also see more photos of cloth made using tapioca by downloading the pdf file from my website.  Try it out and let me know what you think!

Fridays Downtown

On Friday mornings in the summer, I teach an independent study class at the Southwest School of Art. Everyone chooses their own projects to work on.  There are usually 3-4 "regulars" who come for the wet studio and large print tables, the comraderie and guidance on their projects. There are also usually 2-3 new people. I love this class because it is inspiring to see how the projects progress over the eight weeks.  I also love that the regulars are very welcoming to the newcomers and are generous in sharing their knowledge.

I also love the opportunity to be downtown. I usually come in early on Friday mornings to take a walk before class. As I walked along the riverwalk this morning, and through the hemisfair plaza (site of the 1968 world's fair) I realized how I take my city for granted.   San Antonio is a great city. It has a vibrant art community, a beautiful riverwalk, interesting historical areas and some hidden garden gems. It's a large city, but it has the feel of a much smaller place.

The riverwalk and hemisfair park were pretty quiet at 8 am. There were a few people walking hurriedly to their jobs.  A few smiled and nodded, but most didn't make eye contact, lost in their thoughts. I was struck by how lucky I am, not only to live in such a great place, but also to have a "job" that allows me to take the time to enjoy my city.

Here's a challenge for you all this week - allow yourself time to enjoy the unique aspects of your city. I'd love to hear about it!

Do I Really Look Like That?!

   

Yesterday I received a copy of the DVD for Quilting Arts TV Series 800. I flew to Cleveland in February to film two segments for the series that airs on some PBS stations. I have to admit, I was a little nervous to see how it came out. During filming, you only get one shot - no do-overs. I was afraid that maybe I said something really silly. It all happened so fast, but Pokey Bolton is expert at guiding the guests along.

Bottom line, I was pleased with how it came out. I did a segment on Resists From the Kitchen, showcasing oatmeal, mashed potato and baby cereal resists. That segment appears on episode 806 (scheduled to air in early September). I also did a section on adding texture with brayer printing. That segment appears on episode 809, scheduled to air in mid-September.

There are 12 episodes in the series, which features Ana Buzzalino, Faith Cleary, Vivika Hansen DeNegre, Diane Rusin Doran, Maria Elkins, Noriko Endo, Lynn Krawczyk, Jane LaFazio, Nancy Odom, Mary Pal, Susan Shie, Cheryl Sleboda, Jennifer Solon, Judith Trager, and Terry White. Pokey Bolton and Helen Gregory from Quilting Arts Magazine also filmed some segments. The episodes cover a lot of ground - surface design, machine stitching tips, collaged and fused quilts and even a little color theory.

Check to see if your local PBS station airs the show. If not, the DVDs are available through Quilting Arts TV.

The Gift of Time

Like many people, I work well to a deadline.(Most of the time.) It gets me moving - realizing I can't just sit and think about it - I have to finish it! I've been working on a piece for a charity art auction. I was moving slowly - taking my time to decide what I wanted to do. Last week I had a momentary panic when realized it was due Sunday. I kicked into high gear yesterday and worked hard all day to complete the project. By late afternoon, it was complet except for a few layers of varnish and some minor gluing.

When I looked up the information on the time and location for drop-off, imagine my surprise when it said the piece was due August 14th. I don't know why I thought it was due today, but I did. So, now I have the gift of time. If I knew the deadline was next month, I would have dragged the project out. Spending more time contemplating what to do. Now it is finished, so I have one less thing to worry about next month.
Actually, it's not quite finished. When I realized it wasn't due today, I held off on the varnish. That can wait until tomorrow!

Sue Dennis: Destination USA

Below is a "must see" link. Sue Dennis, an artist from Brisbane, Australia, has a solo exhibition opening this week. The work was begun during a 3 week residency last fall in La Grange, Texas. I met Sue at the Quilt Festival and had a chance to get to know her better when she visited Jane Dunnewold and me in San Antonio.

Sue's work was inspired by the plant life and scenery in eastern Texas. The work is beautiful. Please take a minute to visit her website and read her blog.


Sue Dennis: Destination USA

Time for Something New

I've had an interest in working with acrylic paints and mediums for the past year.  I allowed myself some play time last month. I really like using gel mediums to build up texture. Some of my interest came from using resists for so long. Oatmeal, grits, tapioca and potato dextrin all create such a wonderful dimensional surface on the cloth. When they are washed off, the resulting pattern is interesting, but I like the idea of real texture, not just visual texture.

I created a number of small studies.  In most cases, I started by building a textured surface with joint compound or gel medium.  Then I applied layer upon layer of sheer color. In a way, that is much the same as I do with my cloth. Some were really awful and are in the trash. Some are okay, and are awaiting more layers. Here a photos of a few of the pieces that I like.

A Gift

I received a beautiful gift for my birthday a few weeks ago.  A silver bracelet. I'm not much for jewelry - no rings, necklaces or bracelets adorn my body.  The pierced holes in my ears have long since closed up. Yet this was a special gift from a special person and I wanted to honor that. So I have decided to make it my "mindfulness" bracelet.  I use it as a reminder to stop, breathe, smile and appreciate my many blessings. Every time I become aware of the bracelet throughout the day, it centers me. So this really was a special gift - and much more than just a beautiful bracelet.

Let There Be Light

I've been reading up on photography lately.  I have dived into the "photograph your own artwork" waters.I know this goes against the wisdom of sticking to your area of expertise. I would prefer to use a professional, however on the occasions when I did, the photos were not much better than the ones I take. Mine are okay, but they can be improved.
 
At first I researched cameras, thinking I needed a new camera.  After doing some research, I believe the camera is not the problem - its my lack of knowledge. So I'm reading up on f stops and shutter speed, depth of field and white balance. And, of course, lighting.  That is always a challenge, especially with some of my large pieces.

Several resources suggested using two 500 watt light bulbs.  I decided to try the compact flourescents, because they use a lower wattage to achieve the same amount of light. They are supposed to be much cooler than tungsten or halogen. After seeing the $50 price tag for one such bulb, I settled on the 400 watt equivalent for half the price. They arrived yesterday, and I have never seen such a large light bulb in my life.  Here are two photos to give you some perspective on their size. I'm almost afraid to use them - they are so big, they could be dangerous! I'm not even sure they will fit into the clip-on light fixtures I have.

 

I'm planning a photography session next week, so I'll let you know how it goes.

Is It Done Yet?

Many artists ask themselves that question. How do you know when a piece is done?  There is often a tendency to keep adding... maybe a little beading, maybe a little stitching, maybe some more printing, how about some gold leaf? 

I've been thinking  a lot about what drives that reaction. We could probably talk for days about all the factors that contribute. One of the things I face is how to keep the balance between simple elegance and subtle complexity.  I've been drawn to less clutter and chaos in my work.  Maybe because I want less of it in my life. Clean lines that exude calm, peace, contentment - that is what I want to achieve.  Yet I also know that in order to achieve that, it often takes many layers to achieve depth and complexity. All those layers may not be obvious to the viewer, yet they contribute to the overall effect.

Sometimes I'll look at a piece and feel it is finished, but then feel as if it's too "simple".  I think that others won't value it because the many hours and layers of printing, painting or dyeing that were involved may not be evident.  Yes, I know, why should I care what others think? But putting your art out there can leave you feeling somewhat vulnerable. So, my challenge for this summer is to listen to my own voice.  Honor my intuition about my work.   If my voice says I'm finished, then so be it!

Who Are You?

Sock Monkey wine glasses by Mimi Kerpoe

I'm a few chapters into Julia Cameron's book, Walking in this World, and this morning's reading really spoke to me.  Cameron talks about accepting yourself (and your art) as you are right this moment.  Many of us sometimes feel our work isn't "good enough" or not "high art".  But what does that really mean?  Are there different classes of art - some more worthy than others?  I don't think so.  Our art is all about our own self-expression. 

We often reject who we are, wanting to be more like someone or something else. Cameron feels that not only should we not fight who we are, we should celebrate it.  We should do what we love not what we feel we should do or what others think we should do.

My sister in law is a great example of one who celebrates her unique talents. Mimi is a very talented artist and teacher. The above photo shows some wine glasses she painted for a charity auction (she was one of 50 local artists participating.).  Mimi has a great sense of humor, she is playful, enthusiastic, creative, joyful and truly listens to her inner voice. These glasses are a great reflection of that.  Who could look at them and not smile?  

We all need a role model like Mimi in our lives, to remind us to be who we are and let our light shine. Who is your role model?

Inspiration . . . and Faith

Last week, when faced with my first studio time in months, I wondered, "how do I get the ideas flowing again?!"  I pulled out a few of my tricks for building creative energy, but nothing much happened.  I didn't really worry about it too much, because I have faith in the creative process.  I know that inspiration comes at the strangest times.  And once again, my faith was renewed.

I took a few days off to visit my mother and each night I awoke with ideas buzzing around in my head.  I wrote them all down, and I have enough ideas to last the next five years.  That can be a bit overwhelming.  But I'm not worried . . . I have faith that I'll be inspired to pursue just the right ones.

Living for . . . Tomorrow

That's what I've been doing for months now. Putting things off to a future date when all my deadlines are passed and I'll have time. I've been working on a book for the past 6 months and it is finally finished and off to the publisher. I've been telling myself, "If I can just get by until May, then I'll have some free time." This is a familiar story for me.  I get crazy with deadlines and look forward to a future date when I have fewer commitments.  But the funny thing is, somehow that future date never comes. New commitments appear to fill in the "free" time.

How do I let myself get caught up in this cycle?  You might say that I should say "no" more often or give up some things.  Well I have been much better about doing that.  But I've realized that I am a workaholic.  I love what I do and I thrive on deadlines (for the most part!)  Yet I also believe in living in the present. And when I'm focused on "getting by", I'm not living in the present.   I suppose it's all about balance.  Finding a way to keep that sense of presence in my daily life while still working toward my commitments.  That is what I strive for, and it's clear that I will be walking this path for awhile longer.

Irony or Synchronicity?

They say that you teach what you most need to learn.  I experienced this first-hand yesterday.  Last weekend, I spoke on creativity to a local quilt guild. My presentation focused on some of the things that can block creativity and some strategies to get ideas flowing. Only 7 days later, I was in a creative block. 

I haven't had much studio time for the past six months, between teaching commitments and book projects.  The only time spent in the studio was creating samples. With most of those deadines behind me, I decided to take a studio day. But, I had absolutely no inspiration  or enthusiasm. I followed my own advice to "do something".  I blocked off the entire morning and pulled out some cloth I had started months earlier.  I took little steps, doing one small thing, then another, then another. I really had to fight the urge to check my email (the computer is my distraction of choice.)

"So, did it work?", you ask. Yes, it did.  Not only did I accomplish a lot, I have a lot of ideas and am excited to finish what I started. Maybe I would have gotten out of my slump anyway, but I think that having spoken about creativity only a week earlier made me more aware of how to get over it. I guess even when we know something intellectually, we still need a reminder now and then.

May you experience the flow of creativity today!

Endings . . . and Beginnings

Last week was the ending of the 2 1/2 year ArtCloth Mastery Program in which I have been participating.  It is a rigorous study in surface design techniques, color theory, design principles and professionalism that meets for 6 days, twice a year.  In addition to the work done during class, participants are responsible for several assignments and for creating a body of work in between each session.

It has been sometimes delightful, sometimes frustrating, sometimes difficult, but always worthwhile.  I have learned so much, not only from Jane Dunnewold, the instructor, but also from each of my classmates. The class culminated in an exhibition in San Antonio.  Details on the exhibit are below for those who are interested in stopping by.

As with any ending, there is the question, "what now?"  Most of my "free" time has been spent on class assignments. During the past five months I have also been busy writing a surface design book, to be published next spring. That schedule has meant that I have had no time in the studio since last September. Now I have the rest of the year stretching before me with the promise of lots of studio time. While this ending is bittersweet, I am looking forward to beginning a new body of work. 

 Nine other artists are also represented in the exhibition: Edie Brown, Gay Kemmis, Catherine Kirsch, Joy Lavrencik, Lynn Luukinen, Liz Napier, Jeanne Sisson, Priscilla Smith and Barbara Schneider. Radius Center is located at 106 Auditorium Circle, San Antonio, TX.  A book with artist statements and a representative photo of each artist's work can be viewed at http://www.blurb.com/books/1982335 .

Spring

When I lived in Chicago, the first robin was the sign that spring was coming.  In south Florida, spring wasn't much different than winter. I always dreaded late spring, because the weather would soon turn from glorious to hot and steamy. In Texas, it is the bluebonnets that herald in spring. In a good year, the beautiful blue-violet flowers blanket the sides of the roadway.   The local shops that cater to tourists are filled with photos and paintings of bluebonnets, so it is easy to take them for granted.  But all it takes to remember their beauty is one perfect bluebonnet and one moment to enjoy it. Last week, the first lone bluebonnet emerged from our new wildflower garden. I guess that means spring is officially here.

What is your "bluebonnet"?

Design Transformation

I've been doing a lot of brayer printing lately and have a wonderful piece of lacy fabric that makes a great pattern.  I've heard a lot about PhotoEZ for screen printing and wanted to try it, so I decided to transform this image into a screen.

Lace fabric

The first step was to paint the lace with black craft paint so it would show up when I scanned it into the computer.  The resulting image came out with a lot of gray tones, so I manipulated it in my photo software so it was only black and white.



Then I decided to try the negative image to see what that was like.

I liked that better, so that is what I used to create the PhotoEZ screen. PhotoEZ is essentially a piece of mesh covered with photo emulsion.  The website makes it sound so easy, but I was skeptical. It actually was very easy and came out perfectly the first time.  Basically, you place a photocopy of the image on top of the emulsion covered mesh and let it sit in the sun for 5 minutes. (There is more to it than that, but it comes with complete directions.)

After washing out the softened emulsion, I had a screen ready to go.

Here is what the print looks like:



 I love the idea of creating screens with some of the unique patterns I get with brayer printing.  I think I'll be making a lot more of these.  I hope it is a sunny spring!

Boring to Beautiful



I taught a class on brayer printing last weekend at the Southwest School of Art.  The brayer is my new favorite tool.  Although I have used it for years, I've only recently come to fully appreciate what a versatile tool it is. It is a great way to transform fabric. It can be used with just about any medium, including paint, thickened dye, discharge agents and resists. You can achieve a variety of effects with a brayer all by itself. Then add some textured items into the mix and the possibilities are endless!

We started by comparing the marks made with a rubber brayer, a foam brayer and a napped brayer.  Then we add texture by placing items under the fabric and brayering over them.



This fabric was scrunched, then brayer printed with a rug gripper and a piece of lacy fabric underneath.




This fabric was brayer printed with rubber bands and egg noodles underneath.




Detail view







A rubber brayer created the yellow background pattern and the fabric was scrunched before being brayered with purple.

A lot of these pieces looked different by the time class was finished, because we kept adding layers of printing and dye.

Cathy adds some background color with dye.





Here is how this piece looked Saturday morning.





And here is what it looked like on Sunday afternoon.

We also spent some time working with flour paste and gel glue resist.  The resists were brayer printed , then dye was either brayered or painted on.

Sarah applies flour paste resist with a foam wall roller.

I'll be teaching a one day version of Boring to Beautiful at the Quilt Festival in Houston this year.  Hope to see you there!



Selling Out or Selling Smart?

Are visual artists "type-cast" like actors?  I wonder.  If we become successful at something or known for working in a certain style, is that all people want to see from us?  What if we want to try something new - will it be accepted?

This is on my mind after a presentation by an artist at a local art organization. The artist is very successful, has work in galleries throughout the world  and has been known for 30 years for her florals. Her work is in demand and sells for thousands of dollars.  She has been drawn to a more abstract style, yet feels some barriers in getting this work accepted into galleries.  Because her florals are so successful, that is what the galleries want.  She exhibits her abstract work under a different name.

There are so many ways I can process this information. Is she selling out by continuing to do florals?  I guess if she likes doing them she isn't selling out. But if she prefers painting abstracts, painting florals takes time that she could be spending on the abstracts.  On the other hand, if she can get $5,000-$9,000 for one floral, she doesn't have to make as many, which would free up time for working on abstracts.

And there is also the emotional issue.  How does that feel if the work you prefer to create is not valued in the marketplace? It can take a thick skin to deal with that.

I suppose there really are no answers to a lot of my questions. Each of us has to make that decision for ourselves.  This does tie in with recurring thoughts I have had about my style. I don't feel that I could work in the same style or the same theme for 30 years. This isn't a negative judgment of those who do, because others may have more focus and be able to explore a concept more deeply than I.  But I struggle with how to keep things fresh, and also maintain a recognizable style. 

I'd love to hear your thoughts on this.

Art Tour This Weekend

This weekend is the 4th Annual On & Off Fredericksburg Road Studio Tour. Organized by Bihl Haus Arts, this self-guided tour of artists' studios takes place in San Antonio’s Deco District. It features over 90 artists representing a wide variety of styles and media.

I'll be participating, along with Jane Dunnewold, Linda Charlton, Martha K. Grant and Allison Brown-Cestero at ArtCloth Studios. We will have some of our work on exhibit, and we will be doing demonstrations throughout the day. The studio is located at 1101 W. Woodlawn Avenue, at the Beacon Hill Presbyterian Church. I hope you can stop by!

ArtCloth Studios did not participate last year, so I had the opportunity to visit some of the studios. It's really fun, because you see the artist in their creative space. You have an opportunity to see their work and talk with them.

The tour weekend kicks off Friday evening, February 18, 6:00-9:00 pm, with the Reception at Bihl Haus Arts, 2803 Fredericksburg Rd. On exhibit will be works by each of the studio tour artists. Stop by for the fabulous art, hors d’oeuvres, wine and live jazz.

The tour is on Saturday, February 19 from 11-6 and Sunday, February 20 from 12-5.

Visit the website for more information.

Healing Art Challenge

I came across an art challenge on Cori Berg's Sacred Arts blog the other day. It's a challenge to create art about finding joy.  You can create in any medium and if you email a photo of your piece to Cori by Feburay 4th, she'll post them on her blog.

I sent a photo of one of my experimental acrylic pieces - because I found so much joy in creating it! I hope to see some of your work there on Friday , as well!

Trying Something New

Ever since I started playing around with acrylic mediums to create texture on the edges of my collage-on-canvas, I have felt a pull to paint with them.  Now, I have never done any acrylic painting - just a little watercolor years ago.  It's the allure of texture - using gel mediums and modeling paste to create a 3D surface.  Up to now, it's just been that idea in the back of my head.  Then, at Quilt Festival, I bought the book, The Creative Edge, by Mary Todd Beam.  I also picked up Painting Abstracts by Rolina van Vliet. Both books have a number of exercises using acrylic paints. So, last week I gathered my supplies and got to work.

 

My first step was to cover several boards with gel medium and make marks on the wet gel to create texture.  I realized this was going to be expensive, because I was using a lot!  So I pulled out the wall patch compound and used that on some of the boards. I have one that has an acrylic base, which is important.  Without that, it will crack off the surface when it is dry. At least that has been my experience using it on the edges of canvas.

Beam recommends illustration board, but I used mat board since I have a lot on hand. After the medium/wall patch dried, I applied gesso so I would have a nice surface for painting.  Below are a few of my textured boards, ready to paint.




Scratches with a bamboo skewer

The medium was squeegeed through a piece of heavy lace.  Can't really see the lace pattern, but it has an interesting texture.

Here I used a spring whisk, part of a plastic ceiling grid and a skewer.

This is pretty much like using the sgraffito technique on flour paste, so I felt right at home creating these backgrounds.  Then I laid the first wash on one of them. That takes me back to my watercolor days. I love the soft effect even more with the textured background.  And when I paint over it, those colors won't bleed into the 2nd layer.

It's a slow going process, since I only have a short amount of time to devote to this right now.  But I like working in stages like this. And I know they don't look like much, but I am having so much fun doing this. The neat thing is that I don't really care what the end result is - I'm just enjoying the process!

Quilting Arts TV

I received some exciting news last week - I have been invited to participate in the taping of Quilting Arts TV next month. I now get to join the ranks of some of my favorite artists. The show airs on PBS in some markets.

I have been writing a series of articles for Quilting Arts magazine on resists from the kitchen, so they asked me to do a segment on that.  I'll cover oatmeal, instant mashed potatoes and rice cereal.  I'll also tape a segment on brayer printing. Below is a sneak preview of the results from some of the techniques.  No news yet on when they will air, but I'll pass it on when I know.

Circles and Squares, mashed potato resist, hand stitching 

Kundalini , brayer printing, hand stitching

ArtCloth Network

108 Beads by Barbara Schneider

The ArtCloth Network, a group of artists dedicated to promoting the medium of cloth as an art form, is currently having a call for membership. I've been a member since 2008 and I joined to be part of a community of other artists working in this medium. Members of the network meet annually to share what they are working on and to discuss professional concerns and opportunities. Part of the group's mission is to educate people about artcloth and one of the ways in which we do that is to produce an artcloth exhibition for members each year.

I have enjoyed the opportunity to talk with others about techniques and processes, about art-related concerns and frustrations and about approaches to creating. The annual exhibition has provided deadlines that push me to create when I might not otherwise and it has also pushed me to create work outside my comfort zone.

If you are committed to creating artcloth and are interested in joining the group, you can read more about it in the membership application and requirements.

In Class

I spent last week in an Independent Study class with Jane Dunnewold.  Jane holds it every January and it has become a new year's ritual for me.  Many of us have been returning for 3-5 years. Everyone works on their own thing.  I find it a great way to jump start the new year and it is fascinating to see what everyone else is working on. I came away with a lot of finished cloth and a lot of ideas for more! Here are some photos of the week.

Leslie Jenison shows some of her Spoonflower fabric. It was like a guessing game trying to figure out what the original photo was.

A graffiti-inspired cloth by Leslie Jenison  

Linda Dawson works on her unique process for transferring color to fabric from paper.

The finished pieces

This almost-finished cloth is by Jeannette Davis.  At the beginning of the week, all she had was the original dyed fabric.  Everything else was done in class.

Diane Lopez displays her natural dyeing techniques.  This cloth has iodine (and some other unidentified substances as well!) Diane sells her beautiful scarves at Kathleen Sommers in San Antonio.

Vivian Mahlab works on layers of screenprinting

Another piece by Vivian

This is one of my layered resist pieces - 3 layers of soy wax and immersion dyeing.

This is three layers of potato dextrin resist, handpainted

Another one of my pieces - multiple layers of Jacquard resist and acrylic medium resist

What Is It I'm Really Teaching?

Another one of my wide-awake-at-four-in-the-morning ruminations. It struck me that not only does every instructor bring a different perspective to their teaching, I believe that we are really teaching something much more than is reflected in the catalog description. For example, I bet if I asked another local artist and instructor what is the essence of what she teaches, she would answer "tapping into one's creativity."  Each class may focus on a particular project or technique, but she is really sharing her enthusiasm for the creative process. Another instructor I know spends hours experimenting with new techniques and doing research on materials and techniques.  So she is not only an innovator, she has also developed a high level of knowledge and expertise that she is eager to share with students.

I began to ponder the essence of my teaching. I had a flash of knowing, but it is hard to articulate.   I guess what I really want people to come away with is the confidence to stick with it, to work through difficulties and to be open to new possibilities. It's easy to get frustrated when trying a new technique, especially if it doesn't turn out the way you think it will. There is a learning curve to everything, and some people move through the curve more quickly than others. (I know - I'm one of the slow ones!) My hope is that participants won't be discouraged by a "failure".  Failures can lead to interesting new possibilities!

Happy New Year!

Don't you just love the beginning of a new year?  So much hope, so many possibilities, a chance to wipe the slate clean and start over. I always feel fresh, energized, with renewed enthusisam for my goals.  And yet, why do I limit these feelings to the new year?  Everyday is an opportunity for a fresh start and I often forget that. One of my intentions this year (as it is every year!) is to take time each day to be in the moment, to release baggage from the past and anxiety about the future.  It is a difficult goal to achieve.  Sometimes I'll get through the whole day and realize I never stopped my mind long enough to just be. But I keep trying!

May you have many fresh starts this year, and many moments to enjoy the present!