Planning, Hoping, Dreaming, Wishin’ and Wantin’

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“Planning, Hoping, Dreaming” reminds me of something Beth Moore has said, “Are you wantin’ and wishin’ instead of believin’ and receivin’?”

Indeed.

Someone Important told me last August that he was looking for a muralist. He’d been talking to an artist who didn’t return calls and was frustrated by the lack of response. He told me I could have the job.

Coolio.

I went to the location, measured, photographed, and discussed the project with the person who worked at the location. Purposely vague here, but more will be revealed.

Then I got to thinking, sketching, writing up notes, designing. Oh yes, this could be very excellent!

When I had some good ideas, three, each one a different size and price because I had no idea of the budget, I called Mr. Important Someone. Nothing. Left another message. Silence, or as the current cliché goes, “crickets”.

I saw Mr. Important Someone in October, and I whapped him on the arm with the stack of papers in my hand. “Mr. Someone, you have not returned my calls, and I have good ideas to share with you.” 

He had reasons (very busy, because he is Important), and was remorseful, charming, and engaging, which has probably contributed to his being Someone Important.

The cricket fest continued, until April 6, when I got an arts newsletter with a Call to Artists to bid on the project that Mr. Someone had all but promised me.

Sigh.

I am really wishin’ and wantin’, while planning, hoping and dreaming, all ready to believe and receive.

This sort of enterprise is part of the the business of art, lots of conversation until money exchanges hands. The deadline to submit a proposal is April 26; a decision will be reached sometime in May.

Stay tuned. Photos will follow IF I am chosen for the project. (Maybe even if I am not, and then you all can tell me where I went wrong.)

1997 Coming Back to Haunt Me

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A few weeks ago, I got a real letter in the real mail from a real person. She said my phone wasn’t working (this is common), nor was my email (also common), so she resorted to old fashioned means of communicating, which I believe to be superior in many ways, but that isn’t a topic for this post. (You can read about such things here.)

She was part of something called The Green Hotel Restoration Foundation, and they ran out of the 1000 notecards of my pencil drawing of their building. (That’s a burn rate of 38 cards per year, in case you are curious). The foundation wanted more cards.

Back in 1997, I didn’t have much of a computer, nor did I have a digital camera or a scanner. The only record I kept of my work was an occasional photocopy, a slide (remember Kodachrome?), or if the customer had cards or prints made, I’d keep an extra.

The printing company I used back then is out of business, and even if they weren’t, they certainly wouldn’t still have the plates and negatives used 26 years ago (that’s how offset printing use to be accomplished).

I called her, since obviously my email isn’t speaking to her email, and asked her for the original. 

Oh-oh. No one knows where it is. We had a great visit, then she told me that her cousin would take over the project.

Her cousin and I had many phone conversations, with lots of ideas batted around to figure out how to get more cards without having the original, and more ideas about where to look for it (the foundation balked at paying me to draw the hotel again), and we reached an impasse. 

Then I had an idea. I went rooting around in my many stacks, boxes, drawers, and binders of old cards and prints, and sure enough, I found the Green Hotel.

I scanned and photoshopped it into printing shape, since printing something with an ivory background will not yield good results.

A few more phone conversations, many undeliverable emails and lots of various attempts, and finally, finally, this drawing was in the determined and capable hands of The Green Hotel Restoration Foundation.

Then I wrote a copyright release letter and an invoice for the photoshop work. This wasn’t what one could refer to as highly profitable in terms of monetary gain, but I sure did enjoy talking to these two dynamic women, devoted to history, determined to get a thing accomplished, and very quick-minded.

To top it all off, Cousin Lady lives across the street from my brother-in-law’s parents former home, so despite being in a county to the south of Tulare County, the small-world-ness of my little life is alive and well.

Sometimes I am a Non-Profit Company

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Some days it is a real struggle to find time to paint because of all the non-art-making tasks associated with being a professional artist, a one-woman show, a solo act, a Jana of all trades, and small potatoes.


This is what filled my day a few weeks ago, most work related, and none of it actually for profit. 

  1. Someone sent me an email wondering if an artist’s proof from a reproduction run of Farewell Gap prints was worth anything. Yeppers, it is worth whatever anyone is willing to pay for it. This required a bit of rooting around to see how many prints I made, some guesswork about when I did it, and a lot of thought in a couple of emails. (And I had to blog about it, because it was both mildly interesting and informative.)
  2. I got a handwritten letter in the real mail about a place called the Green Hotel in a small town in Kern County. This is because neither my email nor my phone would give me my messages from the correspondent. The letter turned into a series of phone calls and emails, with me instructing the folks what would be necessary to reproduce notecards when the original has vanished. (This might warrant its own blog post.)
  3. The gallery/museum where I teach drawing lessons (CACHE) has applied for a grant. Because it will be a possible source of money for murals inside the museum, and because I am a Typo Psycho, I helped with editing and proofreading. Our highly esteemed president of CACHE put zillions of hours into this, with an understanding of how to write appealing content for grants, and I concluded that if CACHE doesn’t receive the grant, the judges are stupid, biased, or there is just a great deal of tomfoolery involved. (What, me biased??)
  4. My colored pencil artist friend Carrie Lewis puts out a weekly newsletter, a free publication with helpful information for colored pencil artists. Because no one can proof her own writing and because she is overloaded with many other tasks, I proofread this weekly for her.
  5. The upcoming big murals at the largest Catholic church in North America have been on hold. Finally, the project manager said I might be able to begin soon. This meant rewriting the contract, checking prices that have risen since we began the process in October, updating terms based on new information. 
  6. Finally, on a day that much of this was happening, we had an electrical problem. When the electricity went out, I had to go to the neighbor’s house to wait for the electrician to call me on the cell phone. We don’t have cell service at home; use of the cell requires using wifi, which requires electricity. So, with all this work to do, I took my knitting over to my friend’s house and sat in the sunshine.That was a busy day, lots of work, all of it not-for-profit. But sometimes an artist has got to do what she’s got to do.

 

Following up on Earlier Subjects

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Does “following up” mean finishing? Concluding? Completing? Then why don’t we say that instead?

Sorry. Sometimes I get caught up in words.

  1. Remember in the Learned in March post that I showed you chocolate navels? This is how they look on the inside.
  2. Remember seeing this table in progress?This is how it turned out.
  3. Did I mention anything about going around the neighborhood with clippers and buckets to pick wildflowers? This is how they were used.
  4. Still nothing to report on the two murals in the courtyards at St. Charles, the largest Catholic church in North America, in Visalia, where I was asked to paint some murals back in October. I redid the contract to reflect the increase in mural paint prices and the customer’s request that I train someone to paint a third mural, someone who doesn’t speak English or have experience. The saga continues. . .

Decisions to Get Ready for a Show

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“Locals“, is hung now at Exeter’s Courthouse Gallery, now called CACHE. I hadn’t planned to enter, because I have never lived in Exeter. But then I learned that having my studio in Exeter for 9 years was qualification enough.

Because I had a solo show at the end of 2021 and then participated in a group show in 2022, I chose pieces that the likely audience won’t have seen yet.

Two of the five pieces are pencil, only shown to you and to my drawing students. I dug around through existing unsold pencil pieces to find mats and frames that might work and found two, so I unframed the old drawings. One of the new drawings needed to have its boundaries extended to better fit in the mat. Then, I put the newer drawings in those mats and frames, a tedious task.

In thinking about three oil paintings to enter, I decided to use one of the new orange grove paintings, one of Sawtooth (the view that was so very popular in my 2021 solo show), and a new painting of a new subject (shown to you in an earlier post). 

This photo (2 taped together) was taken through my windshield on one of those fabulous clear days. It is shown here at an angle because otherwise it is too shiny to see here.

This got painted on a 6×18″ in spite of being proportioned differently from the photo, because I just cropped off the bulk of the sky. It was easy to paint, because the mountains are the same as on most of those orange grove scenes.

I considered the title “Heading East on 198”.

Then I reconsidered.

Locals is at 125 So. B Street in Exeter, Saturdays and Sundays, 11-4, until April 23, 2023. OPENING RECEPTION—MARCH 26, 2-4 PM (Yes, I know it opens prior to the reception.)

Sold in January and February

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Sales were slow in those two months.

 I expected to have had completed several murals by now. Instead, there are endless delays on the big Catholic church murals, my proposal on another mural was not chosen, yet another mural sounded all urgent back in August but the “customer” doesn’t return calls, and a public office which chose my art for its new building had a change in management so everything is on stand-by.

I also expected to have sold a piece or two in a show called Tulare County: Varied Impressions. Only one piece sold in the entire show, and it wasn’t mine. Bummer. Maybe I should have gone to the reception. . . nah.

Self-employment as an artist is easier after a few years of seeing patterns of sales and understanding that conversation is simply conversation until money exchanges hands.

These sold*:

(This one is in acrylic, on a large wooden panel.)

*Sold includes one given as a gift, and 3 on layaway at Kaweah Arts.

Things Artists Have to Figure Out

I recently agreed to submit 5 pieces to an upcoming show in the Exeter Courthouse Gallery, now called CACHE. (Can’t remember what it stands for). The show is called “Locals Only”, and although I have never lived in Exeter, my studio was there for 9 years, so I qualify as a local.

This means I have to figure out what to submit. There are many things to take into consideration:

  1. Who will the audience be?
  2. Shall I submit oil, pencil, or both?
  3. Do I have any new oil paintings that I haven’t already shown at this gallery?
  4. Are they scanned or photographed, titled, and varnished?
  5. Do I have any new pencil pieces?
  6. How many are new? Oops, that means unframed.
  7. Do I have any frames and mats that will fit the new pencil pieces?
  8. Shall I unframe older pieces that haven’t sold and use those frames and mats for the new pieces?
  9. What shall I say about these pieces for the QR code that will allow a viewer to learn about them?
  10. Can I make the voice recording work?
  11. How will I sound like a knowledgeable confident artist rather than a silly newbie?
  12. How does one send a voice recording?
  13. How many of my current obsession (orange groves with foothills and the Sierra) is too many in the same show?
  14. What shall I title these pieces that all look similar? (Did Monet or Van Gogh or whoever it was just say “Haystack # Forty-eleven” or “Water Lilies # umpty-umpt”?)

These are drying in the sun; sure hope nothing natural befalls them. I’d better move them inside.

An artist could need a nap after all these difficult decisions.

 

Various and Sundry Calendar Thoughts

Matilija Poppies, 5×7″, NFS*

What does “sundry” mean? Various, miscellaneous, separate, diverse. Its use is redundant in the title of this post, but a longer title seems to please the search engines. Maybe I should use all four words. . . but maybe I should just get on with it here.

  1. I took a calendar to a friend in a convalescent hospital, along with a wrapped book. She received the book, but the unscrupulous front desk did not deliver the calendar. When I called to ask about it, my inquiry was met with surly and suspicious defensiveness. Ugh. My friend was scheduled for release last week, so I saved the final calendar for her return home.
  2. A customer in North Carolina ordered a calendar, and it was never received. First Class Large Envelopes don’t have tracking through the USPS.
  3. Since the calendars are sold out, I looked into reordering. The smallest quantity is 10 calendars, which would cost me $23 each. Nope. I told the North Carolina customer that I’d send her a refund check.
  4. Something told me to verify the North Carolina address before sending the check. Sure enough, she had given me the wrong one, and she told me to forget the refund.
  5. If the calendar makes its way back to me, I will mail to her at the right address.
  6. The List of Calendar Ideas now contains nine different suggestions. Maybe I can design for nine years ahead. 

 

*NFS means Not For Sale

 

New Cards

If you subscribe to my newsletter, you learned that I have some new cards for sale, and this post will be a refresher for you.

What do you do when it rains day after day?

Besides being a looky-loo at all the flowing water around Three Rivers, apparently I sit around designing and ordering new cards. Then I fold and package them, in three different assortments.

Bigger than my normal little notecards, these glossy cards are 4-3/4 x 7-1/2″, a package of 4 cards with envelopes for $20.

Three assortments:

  1. Tulare County: Citrus Cove, Citrus & the Sierra, Farewell Gap at Dusk, Honeymoon Cabin (1 each of 4 pictures, with envelopes)
  2. Citrus Groves: Citrus Cove, Citrus & the Sierra (2 each of 2 pictures, with envelopes)
  3. Mineral King: Farewell Gap at Dusk, Honeymoon cabin (2 each of 2 pictures, with envelopes)

If you order, I will pay the postage.

BUT WAIT! THERE’S MORE!

I also put together packages that have four cards with envelopes, all the same design. This is NOT on the website, so if you have a particular favorite and would like a package of just that design, let me know via email or phone or old fashioned mail or catch me somewhere in Three Rivers. Same price.

Solds in November and December

Today’s post is a visual list of pencil, colored pencil, and oil paintings, some commissioned, some sold through galleries, some to people getting in touch via email, and from the one show that I didn’t do. You have probably seen all of these, but not in one big whack that makes me feel all puff-headed and successful.