Summer Daze.

Greetings!
The end of summer has been anything but dull.A mini-road trip with Peter, my youngest son, to visit my oldest son and his wife in Birmingham, Alabama.   Birmingham has a plethora of beautiful places to engage nature.  This trip we took a picnic and the puppy to Turkey Creek.

  I fell into Turkey Creek (I was just looking for a rock to sit on and read ) and somehow managed slip head over heels into a surprisingly deep, narrow swift channel and lose my white buffalo turquoise bracelet, chip my glasses, but keep my book mostly dry.
It reminded me of Schlitterbahn water park on the river in New Braunfels, Texas.  Peter even FOUND my bracelet further where the channel bifurcated.  I found new bruises for a week.

Forrest and Julie also have a new puppy who we had yet to meet. It was a great visit and I knit 8 preemie baby beanies while watching starting season 4 of Game of Thrones. I only made it through 8 episodes. If you wanted to loan me DVDs, that would be nice.

Sunday morning, Peter and I headed west to Cleveland, Mississippi, the home of Delta State and the Fighting Okra. Peter is a freshman and apparently Okra swim team because Peter and his best friend, Alexis, are both on the swim team. 

The dorm smelled funky. The humidity was brutal. And there was no GPS signal. But other than that, the transition went well. Probably better for Peter than for ME!

Yes. Yes, I cried, but mostly when Peter was not looking. Happy tears. Sad tears. Tired tears. I don’t know what the hell is going on tears. My GPS is not working tears.

I hoped the GPS would reconnect after a few blocks. Nope. With nothing looking familiar, I pulled over and ask an older gentleman for directions to the highway.

“Go South and East and eventually you will get there.”  I was glad the sun was low enough for me to figure out which direction was South and which was East! I drove South and East and I did indeed find the highway.

The drive between Fort Worth, TX and Cleveland, MS is 8.5 hours so I stopped on my way home. (I did not want to get home after 2 a.m.)

Monday morning.

Peter’s first day of college. Jubilee’s first day of 7th grade. Forrest and Julie were in Nashville to see the eclipse. Roy (20) and Londyn were in Savannah to see the eclipse. (This was their second big road trip this summer.)

Roy and Londyn also got engaged on this trip. (ALL parents are happy as are all the siblings. Londyn has a brother named Forrest and a sister named Jubilee. CRAZY, RIGHT!)

Driving home Monday, I switched back and forth between audible and the radio and hoping to get there in time to pick up Jubilee after school. The highway signs in Louisiana warned people to turn on their headlights during the eclipse. (Louisiana was in the 70% eclipse zone. It barely was noticeable.) Roy had provided me with proper eclipse watching eyewear so I was ready to pull over and watch!

At the Texas state line Welcome Center, I caught my first glimpse of the eclipse. Just barely, but it had begun. (I am wearing the safety glasses under my prescription glasses. )

Half an hour or so later I pulled off of I-20 onto the road to Starrville to watch the eclipse. (STARrville, get it? I am watching the eclipse of a star on the road to STARrville. Well, it seemed ever so clever at the time.)

I sat on the J5 Ranch fence to watch the eclipse. Maybe 70 -80%, and I watched it reach peak coverage and then I watched for another ten minutes. (I forgot that we were only going to get a partial eclipse.)

It did not get dark, but it got eerie. I was overly jazzed by the whole process. I pulled over a few more times before it disappeared things returned to normal. I wished I was watching with Jubilee

David was working from home and he captured some beautiful images the eclipse created by the tree shadows.

I made it home in time for after first day of school Yogurtland!

Everything between then and now has been a blur.

My son Josiah, 22, is in the Texas Army National Guard and is currently deployed helping with the Hurricane Harvey fallout. The scariest part was evacuating people from the Crosby area. They were in danger from the chemical plant. Nothing had exploded, but they were told could blow any minute.

They were still rescuing people and animals after dark. Two first responders had to wade waste deep water, one soldier on each side of the road, to be able to tell where the road was. All the time wondering when the chemical plant would blow. Even though it was a mandatory evacuation, half refused to leave. It was hard for the rescuers to leave them behind, but around each corner was someone else, waiting.

Josiah and his team rescued over 70 animals.

Now the water is receding and Josiah says it smells horrible. It looks like Hurricane Irma will be devastating Florida which means he will be headed. Now another’s son, another’s daughter will be called in to drive flooded streets looking for those in need. Most of the guard are happy to serve. Well, not happy, but thankful for the opportunity to serve their fellow Texans.

The cost, emotional and financial, is high. The debate over money, who gets it, who doesn’t get it, who pays for it, will be long with a great many losers. It is impossible to contemplate the years or rebuilding ahead.

In 2004 the children and I lived in Glogow, Poland. It had been 80+% leveled by the Germans as they retreated at the end of WWII.

The city was STILL rebuilding in 2004. Walking to the market, we would peek through the fence to see the bombed homes, the opera house, and skeletal churches, the empty and broken foundations. The fence was there for safety purposes, but I think more so that the residents would not have to look upon the devastation every day. Two generations have grown up in Glogow and the devastation remains. These are the images I imagine the aftermath of the hurricanes. This is what I think about when I contemplate rebuilding. A long slog.

60 years later, they are still rebuilding

Those of us not living with the consequences will not mean to, but we will soon forget.

I am old enough to remember when the news came three times a day. First the newspaper, then the six o’clock new, then the ten o’clock news. (We did not get a second evening paper.) Six o’clock and ten o’clock. Mostly kids were not allowed to watch the news at 10. The news could be turned off.

Now nothing ends. We are plugged into tragedy around the world 24/7. The immediacy is overwhelming. The effect is numbing.

All this circles back to the painting I am currently working on. Red Cypress and Carpenter Ants. It began as part of my wildflower abstracts, but I had not gotten to the abstraction part. I was happily sidetracked by a wedding commission.

When I got back to it this week red ants were weighing heavily on my mind. There is a lone red ant bed up at the horse stables. I get nostalgic every time I see it. I was showing it to Jubilee and telling her about horny toads.

Red ants and horny toads used to be plentiful across Texas. Horny toads feasted on red ants. The fire ants crept north and killed off the carpenter ants and the horny toads died. No red ants, no horny toads.

Horny toads are awesome. The cousins caught horny toads and chiggers at Grammy Simpson’s house in Goldthwaite, Tx.

My children have never seen a horny toad. They have never had the chance to catch one. I find that quite sad.

“WAIT!” you say. The painting is titled Red Cypress and Carpenter Ants.

Well, yes I know. I was thinking about red ants and how industrious ants are. My mind strolls over to the rebuilding due to hurricanes, the Mexican earthquake, and the fires the western states. All the sudden thinking CARPENTER ants. It just made more sense.

I am looking at my 4-foot square canvas with my drawing of red cypress flowers and thinking Carpenter ants. I research carpenter ants, but it is no good. Instead, I am thinking tiny, little bitty human carpenters. (Carpenter ants. CARPENTERS! Get it? Yes, well, it seemed clever at the time.)

Then I add spider webs. Spider webs because I had walked through several with Wesley. He walked beneath them, I walked into and through them on my way up the hill. One industrious spider rebuilt his/her web across the road so quickly that I walked through it again on my way back down the hill!

Somewhere along the way, I learned that spider webbing is quite strong. (It might have been in a comic book.) Spider webs, when not stuck to one’s face, can be quite beautiful.

Spider webs and carpenter ants.

My canvas was too big to work with inside my studio so I headed to the front lawn. On my way out the door, I grabbed a box of coins and another box of washers and nuts. I tossed these into the wet paint and allowed it to dry. Oh! And dice. I tossed in 40 small dice from a game we never played. (Here is a 45-minute video of the.  The first of it is sorta interesting. RIght away you can see I am in trouble!)

The washers, nuts, and coins represent the cost of time and materials that go into a rebuilding. The dice representing the gamble of waking up each day with less control than we like to believe.

Along the way, I learned that while watercolor and acrylics often behave similarly, there are vast differences. I did some Facebook Live videos of me making and discovering the differences. OOPS!  This hyperlinks to the beginning of the process including the moment I realize IT IS NOT WORKING as I planned and how I improvise.  It is fun to skip around in it.  You don’t need to watch 45 minutes.  

This is the hyperlink for a six-minute video at the end of the process .
(here is the link to the VERY long video where I go back after the paint dries and realize acrylic paint makes for a powerful GLUE!!!   This is the hyperlink of me taking the coins, dice, washers, nuts and rice papers off of the dried painting.  It took 68 minutes to pry them loose! 

But it is all good and this hyper- links to a 2-minute video of the details up close and personal. IF things had worked the way I intended then the painting would be done. As it is there are many hours ahead of me.

Maybe I will remember these lessons for the next painting. I would say there is an 80% chance that I will not have to relearn this lesson. Okay, 75% tops, but I will definitely remember for the near future.

Rebuilding.
Dice.
Money.
Gambling!

Do you know a gambler? Someone who likes to take chances and expects to win?

This size painting finishes out at $3800. ( this hyperlinks to a 2 minute video of the details – so far.)
BUT for someone passionate about rebuilding,
passionate about hope,
willing to take a risk on an unfinished painting, there is an $800 discount waiting for them!
The person who claims it Red Cypress and Carpenter Ants before it is complete gets a hefty discount. (Payment plans are doable.)

Red Cypress and Carpenter Ants is changing by the hour. I will post images as things develop.

I really hope you are safe.
I hope that you know when to stay and when to go.
I hope that all our sons and daughters make it home tonight.
I hope our mothers and fathers, sisters and brothers, know they are loved, regardless.

I hope YOU know that I am glad you are journeying with me.
Sincerely, Gwen

PS. I am toying with a discount for all works in process. It is so labor and time intensive to market a painting. The discount will save me time and you money. Win/win! I love the infinite game. The one that keeps rolling along.

THEY SAY Opposites Attract

They say oppositesarising-prophetic-art-painting attract.

My husband is a truly excellent human being.

What “they” say does not bode well for me.

David is quiet and soft spoken.

David is tall and thin.

David looks before he leaps.open-broken-hearts-prophetic-art-painting

David follows recipes.

David remembers details.

I think “THEY” should mind their own business.

Grammie Could Spit, or A Family Legacy

Grammie Hannan, Abbie not Monette, could spit.  I am not saying that Grammie Monette lacks an impressive spit just that this memory is about Grammie Hannan (Abbie).

Grammmie Hannan is my father’s mother and she was born in early nineteen aught something.  1902 or 1904.  All my grandparents were born in the early nineteen aughts and I just can’t remember which was when.

Jubilee, my bonus baby, was born one hundred years later in two thousand aught four.  Wow.  I had not thought about that before – 100 years.  Wow.  Grammie Hannan died over a quarter of a century ago.  My heart aches that none of my children know her.  There were long seasons when Grammie Abigail Stevenson Hannan was my best friend.   She was tough but I knew she had my back.  David’s, too.

Sometimes GrammieDSC_0333 used words like aught.  Aught can be used as an auxiliary verb, a pronoun, and a noun.  Aught is one of those words that is hard to work into ordinary conversation, but we all know what it means when we hear it.

To be certain that I truly did know what it means, I looked it.   I learned that it is considered archaic and identified, in three out of four sources, as Old English.  One source credited ancient Scottish roots.   If I had found ancient Irish roots, too, it would be a word akin to my own heritage which leans more Scottish and Irish than English, but I have not done the DNA testing so who knows.

Grammie Hannan sometimes used terms and phrasing that was new to my young Texas ears.   I don’t consciously recall many of them, but they will occasionally pop into my head and I remember her using them.   Or, like today, I am telling a story and there they are.  “Pooh” was integral in several color phrases.  Don’t stir it with a stick.  He thinks his doesn’t stink.  I feel like hammered doggie… you get the picture.

DSC_0330My favorite poetic memory from Grammie Hannan ended with, “I don’t know how in hell ‘e can.” It is a great poem.  You ought to look it up.  (Ought is derived from “to owe.”  And, yes, I did spend too much time looking at definitions this morning, but it was genuinely entertaining and mentioned nothing of politics or the downfall of civilization.)

Oh, never mind.  I looked it up for you.  It appears to be by Dixon Lanier Merritt.

“A wonderful bird is the Pelican.
His beak can hold more than his belly can.
He can hold in his beak
Enough food for a week!
But I’ll be darned if I know how the hellican?”

DSC_0331Don’t you hate it when writers take too long to get to the point.  I know I do.  Apologies!

So, we loved to go walking with Grammie Hannan in the woods, my sister and I.  At least I loved it.  I think Brenda did, too.  If she did not love it, she was at least game to join us.   There were THICK woods behind Grammie Hannan’s house in Liberty, Maine.  At least they seemed thick at the time. We did not go back there often, but sometimes with Grammie.   Often we would walk the dirt road in front of the house or up the hill to the garden.  Grammie was always on the move.   AND SHE COULD SPIT.  Impressively.

When I tried, if I were sitting, the spittle ended up on my lap.  If I were standing the spittle ended up on my shoes.

I was a spitting failure.

The opposite of a flaming success.

Fast forward forty something, maybe fifty years and…

I GOT IT DOWN!   Grammie would be proud.

Wesley-2015Revelation dawned during an early morning walk with my boxer/ ridgeback mix, Wesley.  It was cold.  No tissues.  Only one option:  spit.

Turns out the key to success is seasonal allergies!

Happy memories of walking with Grammie Hannan flooded my heart and mind.
Grammie’s legacy has come full circle.
I hope one day to have grandchildren carry forward the legacy, but without the allergies.

 

Abstracting Hope

Today we are going to look at abstract paintings that dabble in social justice and resound with hope.

  Adoption is 4 x 3 feet acrylic painting on birch panel.

Adoption is a breakthrough painting, it was my first large scale abstract, and it was the first time I had painted on this sub-strait. This painting was my prayer while a family member was going through a painful adoption. It is a painting of perseverance and victory. Adoption explores the power of hope and the beauty of joy.

  Late Blossoms, 12 x 24 acrylic on canvas board, is a marvelous expression of happenstance. Of going with the flow and holding plans loosely! One thing leads to another and suddenly one thing is something completely different. This began as a beautiful realistic painting of lilies.

I thought it needed a touch of cadmium red. Then a touch more and before I knew it Jubilee was sitting on the floor crying, “Because you ruined it.”

Poor baby. What she saw as ruined had me doing the happy dance. I kept the title even though the original intention evaded capture! ( would insert one of those laughing smiley faces but I don’t know how.)

The texture in Late Blossoms revved up  my texture curiosity and Not By Sight was the next step.  Could I paint something that would be interesting for someone who could not see?

Yes! Mixed media and collage on canvas. Paint applied with a knife the way one applies butter to fresh bread- thick, thick, thick! Not by Sight hangs vertical or horizontal. There is a musicality in this painting that I just adore.

Overarching Considerations dabbles in questions of social justice illustrated by the variety and subtleties of the color black.

 

 

Winter Solstice continues the exploration of black as a color and as an ideal. Black paint, when watered down, reveals a plethora of surprising colors. Warm blacks against cool blacks. The purples in this painting is part of one of the black paints.

There is a richness in the black that is seldom explored. A richness worthy of exploration.

So as not to end on a heavy note…

NOPE! We are going to end on a heavy note.

Not a negative note, but a serious note. The Prophet, 25 x 35 acrylic on 140# paper deals with boundaries.

The prophet sees the boundaries, sees the blockades, sees the struggle and in spite of it all sees beyond to victory. The prophet sees the way through. The way to the other side.

There are innumerable boundaries and blockades in our society. The struggles are real and the struggles are endless. But we are not without hope. This painting reverberates with the promises of hope and the promise that we will get to the other side.

I take my position as artist seriously. Something in me drives me to create. So often I am creating out of personal experience. Other times I am creating as a response to what is happening in our world. There are times when I do not understand what I have to say until the painting is complete.

My hope is that you will find a work of art that gives voice to your heart.

Much freedom, Gwen Meharg

PS. If I can help you with any questions my number is 817 832 6952. I often know where my phone is and I make moderate efforts to keep the ringer on. Just in case, though, you can leave a message or email me at Gwen@Gwen Meharg.com

Thank you, Gwen

Life, Death, and Serendipity

Gerda, Stephanie, Joyce, Gwen once upon a time at an IAM gathering in NYC

Last night I learned of a friend’s death.
She died in September of 2015.
Joyce and I had corresponded for ten years. Not often, but once a year or so, and we spent time together each year at the International Arts Movement (IAM) gatherings. We would sit together, and share meals, friends, and stories. October 2014 was the last IAM gathering and Meaghan Ritchey did a splendid job putting it all together. That week Joyce and I wondered what would happen to the friendships of such widely dispersed people held together by this brief annual meeting. Artists and creatives from across the states and around the world. For some of us, this connection kept us going throughout the rest of the lonely year. We wondered and hoped for the best. After the glorious grand finale banquet, Joyce and I shared a cab. It was raining and icky out. I was planning on taking the subway, but my hotel was on the way to her’s so it was not an imposition. Besides, the end of something so important is hard and the cab ride extended the event a few more minutes.

 

I remember the last time I spoke with Joyce, but I do not remember when it was. Joyce called rather than write. It was so good to hear her voice. It did not seem like a goodbye.
Joyce was an important person who knew important people. People whose work I admired while it hung on the walls of my favorite museums. To me, they were abstract art gods, names on labels and in books. To Joyce they were friends. Her stories were not about celebrities, but people. Some of these people happened to be celebrities.

While she moved in big city circles, she lived in Colorado and had a western mindset and heart. Perhaps our pioneer roots connected? Or, maybe it was something more mundane and yet extraordinary that began our friendship.

Kara Walker: My Complement, My Enemy, My Oppressor, My Love

Wait a minute, I knew about the Marie Walsh Sharpe Art Foundation from International Arts Movement (IAM) gatherings in NYC. I knew Marie Sharp! (I wrongly assumed, with the passage of time, that the woman speaking, the head of the Marie Sharp Foundation, was Marie Sharp.)

Sylvia gently, and with a good sense of humor, explained to me that I did NOT know Marie Sharp as she had been dead for quite a while. Eventually, we puzzled it out. The key had been when I told Sylvia that she looks like you.
Sylvia said, “You met my sister, Joyce!”

The world is small. Be careful what you say about people. You might be talking to their big sister.

The next year at the at the IAM gathering my friend and fellow creative, Ping, and I ran into Joyce in the bathroom. Joyce was important and we were not, but bathrooms are great equalizers so I told Joyce the story of meeting her sister. I had forgotten Sylvia’s name, but Joyce knew who had the book so it was not long before we had all the details sorted out. “You met my sister, Sylvia!” Laughter ensued and we all went to dinner and were fast friends ever after.

Joyce was both an encourager and a story teller. So I am.

The next year my oldest two children, Ruth Meharg and Forrest Davidson (I will explain his last name another time), joined me at IAM and I was able to introduce them to Joyce. We shared stories about life, art, and her grandchildren. Our impromptu dinner club kept growing.

I knit a “Generative Bunny” one year for the IAM show. Her she is, too big for her box!

Ruth, Forrest, and I stayed on in NYC for a few extra days after the IAM gathering to see sights and we ran into Joyce at the Strand Bookstore. She was adding to her children’s book collection. We compared our finds and she went back in to get a book that we introduced her to. (I wish I could remember which book it was.) 

Another year, crossing a street at night, Joyce pointed out two young men crossing from the other side. She called out and they exchanged waves. She told me who they were and shared their philosophies as creatives. Rex Hausmann, artist and community builder in San Antonio, and I connected later on Joyce’s recommendation. A new artist friend. (Google Rex. He is amazing!)  So many new friends.
Beyond art and family, we connected on faith. Joyce lived out of her faith. She rubbed elbows with movers and shakers and she was not moved. She was light everywhere she went. She was also tough. I like that combination. My life is brighter for her presence.

I am not sure how we started writing letters. Maybe I sent her a thank you note? Maybe she, a master communicator, sent me a note- I do not remember, but it started and I am thankful. Sometimes we wrote notes and other times letters. I wrote because she had sewn into my life and I appreciated her. I also wanted to share my creative journey. I think Joyce wrote back out of kindness.
I was aware that I had not heard from Joyce for a while, but she was a VERY busy woman and not busy in the fussy kind of way. Joyce got things done. I had no idea how long it had been since we visited.

I am not a linear thinker. I tend to bunch similar events together in my mind. All the IAM gatherings, in my heart and head, are one enormous, glorious event! I had some postcards printed with my artwork on them. They turned out so nice that I decided I needed to get back to writing notes. I wrote to Joyce.

Yesterday came the call from Colorado Springs, CO. The connection was bad. I could not understand who was calling. I asked her to call me back on the landline. By the time the caller finally heard all ten numbers the line had cleared. It was Kathi.

Kathi is Joyce’s daughter. She told me her mom had died in September 2015. I tried not to cry, but I cried a little.
Kathi and I had a good visit. She is a painter, too. I think someday our paths will cross. I hope so. Heck, out of 400+ people in a line I met her Aunt Sylvia and the next year I met her mom in a NYC bathroom. Meeting Kathi would be the least strange connection!

Joyce became sick in July and died of cancer in September. Kathi told me that her mom made the most of the time she had left after the diagnosis. Joyce made the most of her time before the diagnosis, too. Her last months were filled with family and friends. Her youngest grandchild heard Joyce give a talk about her vision. (I wonder if this was the grandchild that she was buying the books for when we ran into her in the Strand. (We crossed paths in the Strand two different years. If you are not familiar with the Strand, it would behoove you to look it up.)
Joyce sang in her church choir for decades. Kathi shared that 70 members of the choir came to the house to sing with and for Joyce. They left and she died a half hour later with her family close. It was a good end.

Tears welled up sporadically yesterday afternoon and evening. Joyce and I were separated by generation and distance, but she was dear to my heart. This morning snippets of that last conversation are coming to mind. Seems like she was telling me about new music the choir was preparing for the 2014 Christmas season.

The moral?

Write letters. Don’t wait. Surround yourself with family, friends, and people who sing songs.
Do what you are called to do. (Calling and job do not have to be the same to be happy.)
Buy children’s books. Go to banquets. Share cabs. And talk to strangers standing with you in long lines.

I am very glad I did.

Pelican Shadows

I am sitting in a tall chair on the second-floor balcony of Gulf Shore Condominium room 208.
I am watching a dear friend, her sister, sister’s hubby, daughters, daughter’s friends, and Jubilee playing in the sand and surf.

I am waiting for the sun to be less direct before I join in.
(Waiting did not work. I waited until 4:30 and still I am burned. It was worth it.)
Today I have been watching shadows on the dunes between my balcony and the beach.
I am watching for pelicans.
I began seeing pelicans on the drive into Port Aransas.

(I love pelicans. I hear Grammie Hannan sing-songing the pelican poem every time I see a pelican.
A peculiar bird is the pelican. His beak holds more than his belly can.
He holds in his beak, enough for a week, and I don’t know how in hellican. Every. Single. Time!
Wouldn’t the pelican be a great symbol for American. Aren’t we a nation of pelicans?
Its beak holds more than its belly can…the American way: more, more, MORE! )

For the past two days, the pelicans have been flying high above the condominium. Flying in tight formation. Gliding on air currents with grace and ease. I see their shadows before I see them.
The arrival of the shadows is dramatic.
Seeing the shadow on the ground, I know when and where to look.
Swooping in like F-16 fighter jets, I sense them before I see them.
Something about the air. I sense them with my body before I am aware of them with my eyes or ears.
The shadow is my invitation to look up and see what is there.
Seeing the shadow to know what is there?

Is there something my shadow can tell me?
I don’t see myself.
I see my hands.
I see my feet.
I see my legs.

With a mirror, I see a reflection.
With a mirror, I do not see me.

I look out from inside of my body to see the world.
Where do I look to see me?

Me lives inside of myself.
Me is not 56.
Me does not have gray hair and sun damaged skin.
Me is not 10-ish pounds overweight.
Me doesn’t have trouble fitting into last year’s jeans.
Me sees the world through my eyes.
Where do I look to see me?

Watching for the pelicans has me considering my shadow.
Looking down I know when to look up to see the pelicans.
Looking down at my shadow, might I learn to look up and see me?

My shadow is tall and lean.
Sometimes my shadow leads.
Sometimes my shadow follows.

The shadow announces the presence of the pelicans.
I am wondering what my shadow reveals.
Seeing my shadow and looking up, what will I see?
I can’t touch the soaring pelicans.
My shadow can.

But, WHERE AM I IN THE BOOK?

 

Art is not created in a vacuum.   The solitary artist is influenced by living.
The line drawn between art and artist is not often a straight line, but a culmination of what has been, what is, and what might be.
Creating is a hopeful act.   The creator hopes or the creator would not create.  Some days I am bold enough to say that without hope, creation is not possible.
I paint hope.
Hope that the mess of living will ultimately resolve into beauty.
Hope is the faith component of my work. Hope is the human component of my work.   Hope qualifies my work as a contemporary artist because I paint in response to now.   Hope, while addressing what has been and what might be,  deals directly with the here and now-today.
Awareness of past mixed and with consideration for the future empowers and enables now.
The balance is delicate.
My faith tradition is one of happy endings.
To leave unacknowledged the struggle and pain of living is disingenuous.  No life is without struggle or pain, no path is without obstacle.
This summer as a church we are reading through the book of Genesis.   I find these stories painful, partly because of how they have been preached in the past.  These are ancient and difficult stories.  So what do we do with these hard stories?  We cast them aside as fodder for the children’s programs.

Unexplored since childhood there are surprises for the adult heart.

Most of us who grew up in church heard sermons by males who failed to present a full spectrum of characters in the stories.

There are always women in the stories.
Women who are seldom considered.
Women who are dismissed, glossed over or present with bias. The female characters are presented as NOT-QUITE-HUMAN.  
(Did Michaelangelo never see a nude woman? )  The image of women is not only distorted by the greats in art but by the greats in theology, today and throughout history.

One of the joys of attending Trinity Episcopal is the consideration of the women in the stories. These women are invited to come forward, to step out from behind the wall and share their stories.    Women who have been treated as aside are treated with respect.  The women’s stories are not just included, but celebrated.
Agency is returned to the women of the Bible stories.
WHAT does this have to do with art?
Is it even remotely related?
Painting is my voice.  Visual art is my avenue to be heard.  Art gives me agency.
This past Sunday Amy Haynie, one of our priests,  shone a light on an oft-maligned or even ignored character:  Hagar.   The sermon is not yet up on the podcasts and I am so sorry for that.  I don’t know when it will go up.  I will let you know.

Here is an excerpt from the Monday morning email, this one sent by Mother Amy Haynie concerning her sermon on Hagar, “In studying the two stories of Hagar we get in Genesis, we find a remarkable woman to whom God speaks to twice. She is much more than a “slave woman.” Phyllis Trible, in Texts of Terror, wrote of Hagar,

“Most especially, all sorts of rejected women find their stories in her. She is the faithful maid exploited, the black woman used by the male and abused by the female of the ruling class, the surrogate mother, the resident alien without legal recourse, the other woman, the runaway youth, the religious fleeing from affliction, the pregnant young woman alone, the expelled wife, the divorced mother with child, the shopping bag woman carrying bread and water, the homeless woman, the indigent relying upon handouts from the power structures, the welfare mother, and self-effacing female whose own identity shrinks in service to others.” “
This is a painting of the sacrament of Holy Communion. The Eucharist. Lords Supper. 45 x 75 inches acrylic on paper by Gwen Meharg
The word Gospel means “good news.”  In today’s world, what is presented as gospel is too often wielded as a weapon of destruction.
Sunday, the third Sunday in Ordinary Time, Amy offered extraordinarily good news.

Two Choices by Gwen Meharg 30 x 22″ watercolor on paper

Amy held out evidence from the Good Book that God sees women.   And not just neat and tidy women.  Women rode hard and put up wet.   Women who have thrown under and driven over by the proverbial bus.

And the proverbial bus?
It is real.
So very, very real.
The driver of that bus looks like the invented, man-made, created God revered by generations of empowered men.  Men who have failed to use their power to

Gwen Meharg in front of Transition painting.

empower, particularly failing to empower women.

The first recorded name of God is assigned by Hagar, “God Who Sees Me.”
Another commonly used name for God is God Almighty.  El Shaddai. The Breasted One.
The Breasted One is NOT driving the bus.
Giving voice to the women in the Bible takes nothing away from men.
Giving voice to women in society today takes nothing away from men.
This is my baby, Jubilee.  She is empowered by her four older brothers and big sister.  She is empowered by El Shaddai, God Almighty, the Breasted One.   Jubilee doesn’t know the bus driver and our prayer is that she never meet him.  Our prayer is that she continues as a walking, breathing, living image of God.
Hope in Bluegreen and Silver bronze
And so I paint.  I paint hope.  I paint to give voice to stories old and I paint to make old stories new.  There may be nothing new under the sun, but that does not mean there is not something new for you and me to see.
I hope you have an enlightening week.  I hope you are seen.  I hope you are heard.  I hope that your heart and mind find peace.   Sincerely, Gwen
PS  A plethora of names for God are scattered throughout the old and new testaments.  El Shaddai, the breasted one, God Almighty is in there.
NONE of the names of God is “The Penised One.”
JUST SAYING!

Blues. Greens. And a Little Gray Mouse.

Today I want to share some paintings that I had not visited for a while. What I have discovered is that my circuitous artistic journey has been less circuitous than I realized.

Looking over earlier work I can see a trajectory that began almost 30 years ago.  I plan on taking a few days at the end of each year to look back to better understand where I might be going with my art.

This post looks at paintings of greens and blues.  Heart Balance is one of my favorite paintings.   40 x 30 inches on (I think) birch panel.

Heart Balance is the first time I consciously flipped the colors:  earth and sky.

Most, maybe all, my paintings begin with the landscape. This landscape has the green on the top and the blue on the bottom. But while this is logically flipped, if you spend any time around water you are familiar with this layout. The sky, reflected in the water, lays beneath the green of the shore.

I once read that all paintings are self-portraits but I had not realized how my paintings are also landscapes.   Landscapes of the heart as often as landscapes of nature.

Heart Balance brings to mind my favorite Kandinsky mobile.  If I stand in the right place in the Amon Carter Museum of American Art and if the guards are in the next room I I use my trombone player lungs and send it spinning.

The details on Bridge Between are beautiful.  I love this painting.

I won’t identifying WHAT the bridge is between.  I have MY ideas.  What bridges are before you?   What bridges are behind you.   Are you facing any bridges in your life?  Is the bridge an obstacle or does the bridge facilitate your journey?

Maybe the bridge is between seasons of life?

Sometimes it is difficult to recognize the season we are inhabiting. Sometimes determining the season is a solo investigation and other times we are assisted by those we trust and love. (Remembering that some we love can not be trusted and some we trust we do not love.)

And on that downer note, Consideration. You can tell these paintings were accomplished during the same season. They began the same weekend after a trail ride with friends.

Cardinals are special to me. Each one is a sign of hope, a reminder to keep going.

These two are facing each other, but I do not know that they are looking at each other. I think they are looking past. They have chosen different elevations, different places to stand, but they take their stands in the vicinity of the other.

What is their attitude towards the other? Are they in competition? Is the mindset of abundance or scarcity? Will that mindset open or close possibilities? So many questions.

And the questions are often as important as the answers. Journey is a painting of questions strategically asked. Is it the horizon or a path? Is it looking ahead or looking back?

Journey doesn’t ask aggressive questions but invites the viewer to slow down and ponder. First glance it is a simple painting. Further consideration reveals an abundance of surprises to keep the eye entertained for a goodly while.

Abundance is all around us, but In a world of abundance, lack is too often our focus. Kinetic, like its companion piece, Heart Balance, invites us to consider our focus.

Everything is so interconnected and becoming more so every day. A touch here, a breath there and the world spins. (Love me some Kandinsky mobiles! I see them in my dreams.)

Here is a bold statement and one that I believe more true with each passing year.  Maybe this is wisdom?  Maybe it is a delusion.

The belief in autonomy is a false belief.

I really love this painting. It is David’s favorite. It hangs in our living room.

River Glow One is titled River Glow because I was in San Marcos talking to the owner of a new gallery and she was opening a San Marcos River show the next week and she liked these two paintings. Not remembering the titles, we named them on the spot. And, yes, River Glow One and River Glow Two do call to mind the glow and glory of the San Marcos River.

But the original inspiration was Ms. Well’s cow pastures. Ms. Wells is the real deal, an honest to goodness cowgirl. Elderly, tough as nails, and ever so elegant. She rocks her jeans and bouffant while maintaining her pasture with her big John Deere tractor.

A single road leads to and from my house and it passes Ms. Wells’ manicured pasture. The small black Angus herd is friendly. Gregarious even, for cattle. filled These are the bovine we feed grass to on our walk. The ones with the huge black tongues.

Cowbirds keep them company in a glorious inter-species dance. The lower pasture gathers runoff after rains and a seasonal pond forms surrounded by huge trees. The pond reflects the sky and the sun and the upper branches and it is magical.

Walking past Ms. Wells’ property is magical. Magic is why these paintings call to mind a spring fed river as easily as a cow pasture. Magic is the common denominator. I hope you can see the magic in these two paintings.  River Glow Two

And finally, the little gray mouse found in Perception. In an earlier curated email, I mentioned something about the stories we tell are the stories that define us. Well, this is one of those defining stories and the lead character is a little gray mouse.

But the question remains, what story is the little gray mouse telling?

When the mouse looks in the proverbial mirror is the reflection one of weakness and frailty or one of lion rescuing strength and fortitude?

Perception of self is fluid. A mix of gut and choice.

How do you perceive yourself today?

 

Framing Nature

I have been working on a grant proposal.  While I would love to be chosen, I am not even crossing my fingers.  Regardless of the outcome, I am THRILLED with the project and I will be refining my vision over the coming months.

I envision large abstract landscape inspired painting situated IN the landscape.

These will be accompanied by an empty frame inviting the viewer to see abstraction in the landscape inspired by seeing the landscape in abstraction.

Art with a side of covert art education!

I am thinking of five to ten paintings along park trails, hiking, biking, or maybe even horse trails.  If permission is slow coming then pop-up installations on Sunday afternoons at parks where families gather in the spring and fall.

Each painting will be accompanied by a frame.  A perfect place for a selfie AND and an opportunity to look through the frame and be inspired to discover the abstract qualities within nature.

If permission is slow coming then pop-up installations on Sunday afternoons at parks where families gather in the spring and fall.

Who knows what will become of my grant proposal, but I will find a way to make it happen.

The next time you take a hike or a bicycle ride or saddle up, please keep your eyes open and we will find the perfect venue for the FRAMING NATURE art installation.

Peace and freedom, Gwen!

PS I Know all these photos are of the same painting but it was hard hauling this one out to the woods.

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Living Stones. Balancing Stones. Cairns.

Christ, a living stone…. rejected… yet chosen… Yourselves… like living stones…built into
through Christ.
1 Peter 2:2-10

My strong rock… castle… crag… stronghold…
Psalm 31: 1-5, 15-16

Stephen gazed… saw… “Look!”… “I see”…but they covered their ears… and began to stone him…
Acts 7:55-60

Ebenezer  stone of help.
1 Samuel 7:12

Stones from… midst of the Jordan… bring them… a sign
… memorial forever.
Joshua 4

A white stone… a new name.
Revelation 2: 17

A new heart… I will remove… their heart of stone and give them a heart of flesh.
Ezekiel 11:19, 35:26

Cairn.  A mound of stones built as a memorial or landmark.  Found worldwide throughout history and prehistory.

Balancing rocks. Markers.
A moment.
A meditation.  A prayer.
Considered a nuisance by some.
Considered art by others.
A gift.

I am reminded of the church, “living stones,” when I discover a cairn or balancing rocks.  Built with stones, common and found, unique in shape and weight, formed by time and circumstance.  The individual qualities of the stones enable them to fit together.  Each stone is positioned to be supported and to support.  Together the common becomes uncommon.  A firm foundation provides stability necessary to release creativity.  The whole is more than the sum of its parts.

I am happy to answer any questions over the phone or better yet, meet for tea and cookies.  817-832-6952

Sometimes I check email. Gwen@GwenMeharg.com

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