Feeds:
Posts
Comments

Big Mistakes

“I learn faster by making big mistakes, while paying attention.”

Michael Orwick

This week in our art session with Michael Orwick’s class on the Value of Design sponsored by the Oregon Society of Artists, we all scrambled to take notes. This is because Michael took the time to show us how design and composition are linked with many other things, such as color, temperature, brushwork and edges.

One thing that he emphasized, is the importance of feeling free to make mistakes, and to experiment. He said that when we choose our colors for our paintings, we should work to make it sing our song. The song we sing and our color choices are our own. We will decide on the mood or atmosphere we hope to achieve.

Through pre-mixing of colors, we can think about what the five or six big colors that we hope to highlight in our painting. There is no right or wrong, but there are guidelines available to help us reach our goals.

He introduced us to a number of techniques for preparing our paintings, including framing; selection of canvas or wood; how to use gesso or acrylics, or other mixes for preparing the canvas; pre-mixing techniques; glazing techniques; transitions encountered while painting, choosing under colors to top colors, starting from dark to light, or light to dark.

My head was spinning at the end of this session. It was just what my head needed. I realized the only way out of this dilemma of “too many choices” was to make some. And that would mean making some mistakes. The important thing, I hope, will be to learn from them.

Briefly, I chose two old paintings that I never hung up because I was not completely happy with them, as experimental pieces for trying out glazing techniques. The first one I chose is an oil painting of birds on the beach.

Learning How to Glaze

The birds that I started with were painted with ultramarine blue, with some various yellows mixed in to suggest beach sand colors. Through glazing, the birds were shifted to brighter, softer tones, more in line with the colors reflected off the ocean beach waters. As I worked with the same painting, I first tried glazing the birds with earth red tones. Then I wiped that down and tried glazing them with lemon yellow and manganese blue mixes added in. In each case, the entire mood of the painting changed. It startled me to see how much influence these techniques and decisions had on the painting’s mood and atmosphere. Below, is the painting that I started with.

I then switched to an old painting of our backyard that was too dark, but I couldn’t figure out what to do with it to get it to feel like spring, that time of year when light hits young plants and the garden starts to go wild. I tried the same glazing technique to this painting, then added some lighter yellows to the left chair to make my point about how the sun was filtering through.

Early Spring, oils, unglazed
Early Spring, oils, glazed with lemon orange and cad red

Is seems to me that if I continue to work on this old painting of our garden, using further glazing and some follow up on lighter colors, I am headed to where I wanted to originally go with it.

After these two experiments with old paintings, I chose one of my recent ones for some trial work on how color might affect the mood of this painting. As a reminder, I was trying to go from “Notan” to rough sketches, to underpainting of a mountain scene.

Earlier sketching and underpainting of mountain view

Now that I am at the point that I am supposed to paint this mountain view, I am still torn by what design I should be using for it, and what colors to emphasize.

Here comes my spectacular big mistake.

I tried glazing this painting before it was sufficiently dry, and ended up having most of the painting slip away. So, I used this failure as an opportunity to consider what my options are regarding color and mood for the middle part of a larger painting.

Searching for the right mood of this painting with oils, same painting, different glazes

I started with the under painting showing trees on the sides and front. The trees are now gone. At this point in the life of this mountain painting, I am working from this one:

What have I learned from these trials? For one thing, I see that I have a great deal of latitude at every step of the way. I think what I want to do is to put a soft blue glaze over these mountains, after it truly is dry, to give the middle mountains some uniformity. I think I want to return to some trees in the forefront.

Somewhere in the future, I know that there is a painting of mountains in my life, highlighted with a few carefully selected trees in the foreground. I still have design issues to work out before I can commit to painting this. Ah well, back to the drawing board.

Big mistakes, big learning environment.

This is the second week of our course work held with Michael Orwick on The Value of Design offered by the Oregon Society of Artists. We are still focused on design and are now using a minimal set of oil colors. Our attention this week is on values, that is the lights and darks that will be used in our paintings. Our emphasis is not color. I used four recommended oil colors, that is Earth Red, Ultramarine Blue, Titanium White and also used some Indian Yellow in the preparations of the following “underpainting” to show my intended values.

Oil on composite board

For the first painting above, I used a small piece of composite board, 8″ x 10″. My goal was to show the moonlight and how it is reflecting on the ocean in front of our winter place. The light of the moon strikes the water in the early evening.

Ink, gesso and brush followed by oil paints, 16″ x 20″ wooden birch board

In this second painting, I used a two-part approach on a wooden birch board. First, I sketched the setting using black ink and a brush. Then I gessoed in the light. Once I thought I had what I wanted, I used oils to suggest additional values that I would like to paint in to the picture. This is closer to my more natural way of thinking of paintings.

The earlier ink and gesso looked like this.

Oil on Birch Wood Panel, 12 X 12″

The third design, shown above, is based on the Afghanistan photo and focuses on light and structure while using what is a rather complicated photograph of a settlement in Kabul for my inspiration. In this case, I started with earth red and added blues, as needed. It will be fun to consider how I will paint over this to emphasize the necessary details without overburdening the painting.

Oils, 16″x20″ birch panel

This fourth painting, based on a photo that I took while hiking Mt. Hood, Oregon, is the one that started out as an H design and is now modified in a larger U-shape to focus almost exclusively on the light and shadows of the background mountains, while still hopefully implying that the observer is tucked away into the woods and hills, looking out at the mountains.

This painting has frustrated me the most. I may still ditch it, but am following through for now since I am doing this for a class session and am supposed to be learning from it. My frustration stems from not being perfectly happy with the design. I prefer, in many ways, an earlier sketch that I made and may go back and paint it from this other perspective. Or maybe I will end up doing both?

Earlier sketch of the same place done with ink and gesso, on paper.

In all fairness, however, I would like to add that I do not think that the design that I am painting is necessarily the problem. I may have to go back and capture the light better, like I was doing when I started off. I lost some of the spirit of the painting when I moved to “adding” colors while shaping the mountains. Below shows how my underpainting started off, prior to my adding and painting in earth red. I prefer this to the final underpainting that I made. Perhaps Michael might help me figure out where I fell off the rails with this one?

Earlier design using subtraction method, supplemented with gesso for light.

To summarize, I experimented with several things while working on my underpainting and emphasizing value and structure.

  • I changed the emphasis on the oil colors chosen for the value paintings, to see whether it will help me focus on the values rather than the colors;
  • In some cases I used what Michael Orwick calls a subtraction method of taking paint away to set values; in others, I used addition by adding values to base paint, putting in darks and lights as needed. Although both ways are effective, I personally found the subtraction method more interesting;
  • In the case of the bridge painting, I experimented with using ink to sketch the drawing and gesso to define the light, then painted oils over this design, using additional oils both brushed and rubbed on to the surface, as needed. I really enjoyed working on this as a way of emphasizing light and reflection.
  • Fourth, and finally, I am doing several paintings at once to encourage me to keep looking at the design and to not get too involved in finishing the painting.

It is helping me to go slowly through these exercises and to remind myself what I am doing at this point of the painting. I am focused on structure and value. This approach is a bit like doing physical exercise, where it is usually helpful to take some time out and consider one’s physical positions while doing the exercise, rather than simply aiming to finish, come hell or high water.

In all, I am finding this to be a whole lot of fun.

End of second week.

Below are photos, sketches and paintings that I prepared for our zoom class called The Value of Design taught by Michael Orwick offered through the Oregon Society of Artists.

Note: First week of morning class beginning 6 January, 2020, a day in American History never to be forgotten.

Personal photo, Willamette River, Portland Oregon, 2020

This first week is focused on design, primarily using photography, thumb sketches and Notans. Below are four perspectives on future paintings that I propose to work on for this course using these techniques.

Perspective 1: “The Bridge”

Biking on the Steel Bridge of Portland looking winter north up the Willamette River, soft pink and blue pastels interrupted by soft grey circular shape of the bridge. Heavy machinery, bridges and equipment come with the natural territory of major rivers around here. I am wondering how many buildings, ships and types of equipment to include, and what their purpose might be. Reflective colors bounce across the water leaving impressions of shifting currents as light streams past. The shadows and reflections on the water are deep from the big boats and buildings.

Black and white photo rendition
Ink Pen Sketch on Paper
Softer ink tones added

Ink and gesso
Brushed ink with gesso
Three “Bridge” Notans in a collage, painted with ink, pen and brushes

Perspective II: “Unity”

Children play a game in Mumbai, India, on a busy street. Their feet touch, defining their play area. The sidewalk patterns mimic the shape of children’s feet and legs, demonstrating land ownership and unity.

Street pattern mimics the design created by the boys’ touching feet, emphasizing their coalition.

Personal photo, Mumbai, India, 2006
Notan, Ink withBrush and Pen on Paper
Notan using Ink with Brush, Pen, and Some Gesso

Perspective III “Outward”

Personal photo, Mt. Hood, Oregon, 2020

Hills present through the trees, with their soft, undulating blues. Dark evergreens make calligraphy painted with a big black brush, light piercing through the big H defining intimacy of location. It is a hiker’s perspective.

Ink and gesso perspective, some brush, some pen on paper
Three Notans in a collage, hand painted ink and brush
My Favorite Notan from this Perspective on Trees. Ink and brushes, some Gesso

Perspective IV “Upwards”

This photo taken in Kabul, Afghanistan in 2003 during a UN mission, census planning.

Settlements build up the hills as families relocate out of the rubble from heavily war-torn areas below. Homes in old area made from locally produced brick, mud and cement, walls remembering a more traditional construction. Homes above, cemented on to the hills, many without electricity or septic systems. Some sudden bursts of color on home exteriors, blue pastels.

There is a woman in traditional blue burkah, children walking alongside her, others communing on the street encircled by trees and mud puddles on major dirt road.

Hill homes simulate rock rubble, seeming like natural landscape, but not quite. Homes and land are a soft, brown, natural tone, a common overlay of communities, past and present.

Personal photo, Kabul, Afghanistan, 2003
Black and white photo, edited
Scribble Pen and Ink Sketch on Paper
Collage of 3 Notons, Ink and Brush

My favorite notan of this perspective:

Ink and brush on Paper

Other Thoughts on Perspectives for this Class

There are a couple other photos of our island home providing ideas for possible paintings and here they are, along with the Notans thus far completed using ink and brush on paper.

End of first week of class.

Home is our Island

Home is by definition the place of our hearth and shelter. It may be as simple as a tent, or as complicated as a 20 story building, but it is still home when it offers hearth and shelter.

Since the pandemic was declared, home is a larger place than just where we stock our supplies and conduct our activities of daily living. We also go to work, to play, or to school while at home, express our joys, share our sorrows and declare our dreams at home.

Home is our atmosphere, our existence, our nook for survival. It is our island of safety and hope.

Home is where we express our despair and agonize over the future. Home is all that we have, if we are lucky, until the world learns how to manage the global pandemic.

May we never lose our homes. For those who have, my heartfelt sympathies. We must work to get them back for you.

I express my appreciation for home by painting a variety of perspectives on our little bungalow to which we recently moved, while depicting the change that we have gone through as we increasingly realize that home is the center of our universe.

We are world travelers and for us to circumlocate to such a small area as home and consider it our major place of stay, is quite a change. But adapt we must, and adapt we are. One way that I am adapting to this smaller area, is through art.

Festival House, acrylic

Perhaps it appears silly to see a tiny home drawn with Roman Columns constructed out of colorful marble, looking garish and far removed from reality. But this painting reflects for me, the home as the holiday, the celebration, the festive tradition.

Home as Safe Haven, acrylic

Home is where we hide when it is dangerous outside. It is the cool blue in the chaos of reds and yellows.

Looking through a microscope changes ones perspective on what one sees in a cell. Focusing on one’s home does something similar. It was always there for us to discover and the pandemic is increasing our attention to it.

I plan to paint many more pictures of home in these upcoming months, while looking at it anew, as through a microscope.

Evening Perspective, acrylic

Thank you home, for offering such a safe haven for so many of us during a time of panic and dread.

As a young woman and Peace Corps Volunteer, many decades ago, I became entranced with the Madhubani paintings etched on the outer home walls of the Bihari women of my village neighborhood in India. The mud wall paintings were colorful, filled with shapes and stories of local culture, using natural dyes, painted by village women using simple tools such as sticks or by placing the colors on the walls using their hands and fingers.

We lived in an area of Bihar where women were largely at home and when they did go out, they went outside with their heads and sometimes their faces, covered. Yet, even under these conditions of hidden faces and strict “purdah”, their art was not subdued but instead remained brave and colorful. It is an art based on thousands of years of experience and its bravery and beauty fascinated me.

Some time in the 1960’s, the Madhubani paintings started being sold on paper, as part of India’s cottage industry, allowing women and their households to gain some earnings from their local art activities. It also allowed tourists and interested persons like myself to take some of the Madhubani paintings home and place them on our home walls, where we continued to appreciate the art and tell others about it.

Since then, I have always thought that it would be fun to try something similar using my own experiences, but amending the art to touch more upon my own cultural interests. Recently, while joining with a group of artists organized by Ruth Armitage, I have begun a series of paintings that use this concept of the Madhubani painting, but in my own style, and my own way. Sometimes I use paint brushes, sometimes I simply put the paint on with my fingers or using a simple bamboo stick. I tend to use earth tone colors, with the simple reds, yellows, blues and browns.

The purpose of these paintings has been to express simple emotions, from frustration, to hope and happiness. Here are a couple of examples.

Beach Bar Dance acrylics

This particular painting was playfully painted on a large piece of cardboard that I chose to recycle as a canvas for painting. I outlined it with a colorful border like I have seen used on African cloths. I call it “Beach Bar Dance”.

Here is another one, called “Happy”, that depicts a similar point of view with life.

Happy, acrylics

Below, is another version of a happy couple dancing. This one was painted by putting gesso over an old painting and using my hands and a wet cloth to produce the structure.


Best Friends, gesso over acrylic paint

Not everything that I tried in this fashion was happy. Here is one depicting home, in the times of Covid and under our current political stresses.

Safe at Home, acrylic paint

During this period of work with the “Roaring 20’s” group, I have been experimenting with new styles and approaches to my art. Sometimes it meets with great success. At other times, I think that I am leaving others speechless when they look at the end result.

But in my eyes, and in my heart, I am finding this time with an organized group to be very instructive and filled with new ideas, even when these new ideas are coming from memories and the art of village women whom I met decades ago.

I hope that I honor them in the process.

Recently, I started a series of paintings of a girl and her dog walking on the beach. The first one I completed was rather illustrative, but still leaning toward impressionistic.

Girl Walking Dog on the Beach – acrylic

On my next try, I came up with this abstract painting that focuses more attention on the sun and the yellow colors beating on the beach.

Girl Walking Dog on the Beach, acrylic

With time, I worked it over again, painting it so that the girl blends in with the background, almost becoming one with the big river and beach.

Girl Walking Dog on the Beach – acrylic

My last one highlighted the variations in shapes and marks between the sky and the beach and how it might be interpreted into perspectives on the girl and her dog.

Girls walking dog on beach – acrylic

Since then, I have done several more, but have mixed feelings about them and am not yet posting them up.

My sense is, that I have gone as abstract as I want to go for now, and that it is time to move to another subject for a while.

My Collage

Recently, I took a challenging course offered by the Oregon Society of Artists via Zoom called Mind Boggling – 2D Collage offered by Poca Kim. The strategy of the art course is to learn how to take an artist’s earlier paintings and artwork and make them into new art by cutting them up and designing a collage. Poca Kim brings excitement and humor into the room while she works with us to develop our collages.

For the class, I chose to cut up several watercolors of nature scenes that I had completed and then reshaped them into a collage of a child playing an instrument.

I chose this theme for my collage because owing to the coronavirus pandemic, children are staying home. School is often canceled, or attended only on-line. Children’s play is built around what they can find in their homes to play with, as they cannot play with others so easily owing to social-distancing. I wanted to build a collage based on this idea, using several watercolors that I had earlier painted of nature scenes.

Having prepared the collage of the dancing child, I then decided to have the child be a type of “Pied Piper”.

Sketching over the rough collage
Pandemic Home School Child
Pied Piper Child

Looking at what happened during this class, I personally prefer the painting that I have called “Pandemic Home School Child” to the final painting that I did for the course called “Pied Piper Child.” I prefer the roughness and chaos of the “Home School” painting which is more in line with the chaos and playfulness of kids. This does not mean that I needed to stop at one point in this class project rather than going to the next. Each stopping point is providing a kind of wonder of its own. Classes are supposed to make us think, and consider new options to our art goals.

Here are some of the things that I learned from this very interesting collage class.

First, the technique of using my old painting for collage pieces was very different than cutting and using other artist’s work or magazine art to make a collage. There was a personal touch to cutting up my own paintings as I remembered making the marks.

Second, while cutting up my art pieces and moving them into the collage, I also considered my previous work as it related to color, shape, brush marks and line choices, without thought to the final illustration for which they were originally used. It amused me that even after the paintings were cut up and moved around, they still looked like my personal work to me. I liked the idea that these earlier works resulted in useful images for the collage. It taught me that the lines themselves, the color choices, the movements of the brush across the paper all had subtle meanings that reached beyond the simple original illustration.

Third, using the collage as a starting point made up of pre-constructed materials encouraged me to creatively move beyond old paintings and discover new value in their colors, lines and brushwork.

Fourth, I focused very steadily on the composition for a considerable amount of time, freely moving pieces about to fashion my idea, before moving on to the painting itself. The activity of working through my compositional ideas via a collage left everything open and optional, shifting the composition again and again, as long as I did not glue anything down.

I think the concept of abstract art is starting to take shape in my mind more clearly through this collage and I want to work on it further.

Having completed this first assignment for the class, I am thinking of doing this collage-painting again, but this time even more abstractly, using acrylics.

This new goal is leaving me a bit stumped at the moment, but with time, I think that I will figure it out.

Taking this course with Poca Kim has made me ask, how does one’s mindset shift meaningfully from the art of illustration to that of abstract art, or vice versa? What role does structure and composition play in all of this?

I am finding that physically moving the composition around meaningfully via the collage is one way to consider this important question.

Recently, I participated in an excellent online art workshop designed and led by Ruth Armitage called Land Lines. It was a “three-day exploration of personal mark making inspired by the landscape”. The workshop offered an opportunity to experiment with using a variety of marks and lines in new ways. For the duration of the workshop, I decided to focus on my backyard garden as the art topic.

I brought my own piece of landscape art of my backyard garden to the workshop, figuring that I could use it for comparative purposes.

Backyard, oil painting

In the workshop, I tried to get a better grasp of Ruth’s techniques and perspective regarding the use of lines and marks in art, as she is a well-known artist of abstract paintings. When we received our workshop painting assignments, I chose to continue painting this same scene of my backyard garden, more abstractly, using as many aspects of Ruth’s workshop techniques as possible.

After a number of presentations and short tasks, Ruth asked us to paint, relatively quickly, several paintings using varied lines and marks. For her workshop assignment, I submitted three of the assigned paintings for review, all inspired by my garden backyard scene. The three pieces are shown below.

Painting 1, Garden Sanctuary, ink, acrylic, watercolors.
Painting 2, Winter Garden II, mixed media
Painting 3, Garden Springs, watercolor and ink

You may ask, “What happened?”

These are very different from the oil painting I carried in to the workshop depicting this same garden area. Let me explain.

The entire purpose of this exercise was to reach out into new territory. So I did.

Ruth’s focus on marks and lines at first sounded simple. But in fact, it was very challenging, and often left me wondering, what exactly is a land line? When is a mark or a line not a land line? Do lines or marks have multiple meanings in the same art project? Why do I need them at all? What if I just avoid marks and lines and work in smudges or color? What about texture? How do marks, lines, texture and color work together and when are they failures to communicate?

At times, this resulted in me being more puzzled than I was before I started. Taking a workshop can be a humbling experience. It is true of every excellent course or workshop that I have ever taken, that I leave knowing much less than when I arrived.

For her assignment, I started to describe the garden scene by using bold geometric lines using a large yellow Y shapes of sunlight to divide the chairs and table from plant life. I viewed these landscaping lines as compositional

Then I decided to add marks and lines into the painting to depict plant life, over the larger composition of light streams that I had used to shape the painting. At this point in the workshop, I started to lean on lines and marks, along with color, to express how the garden varied.

At this point, I took time out to paint a watercolor version of how the garden looked from a plant’s perspective which turned out whimsical and just plain fun. Without realizing it, I had also changed my perspective on what I was doing from the original oil landscape painting to imagining other perspectives.

This watercolor sketch that I did is painted from the perspective of looking at a plant almost from the position of the ground.

Garden Plant, watercolor

After that, I made a more complicated sketch of trees, plants, table and chair. Not particularly happy with the end result, I decided to cut it up into pieces and see how it would look in a collage. Now that was brave! But it was also a reminder to not get too serious when trying to learn something new. From that experience, I decided that I was busy making lines. However, I needed more work on the meaning of lines.


Collage made from cut up pieces of my painting

At that point, I moved to imagining my little garden as a sheltered place bordered by fences, and edged with wild flowers, tiny branches and bushes. I felt the presence of the streets surrounding our fenced in garden. I thought of the garden surrounded by city streets and at one time covered with spring snow. Hence the painting titled Winter Garden.

I moved to viewing the garden from the perspective of our bungalow home, and considered the way in which the sky and the land related to early spring. See the painting, Garden Spring.

At that point, I decided to paint the garden as an oval sanctuary, or an icon.

Pink over brush of icon

Frustrated, I brushed in a larger set of compositional lines by adding a large pink shape over the garden. It was a personal statement on my part, saying that I needed a more stable place to describe the inner sanctuary aspect of my garden.

Then, I decided, over the same painting, to bring color, texture and line into the iconic inner sanctuary of the garden using the color blue and adding marks to show the garden’s intricacy. The painting ended up being simple in line, highly textured, using acrylic, water color and ink. See the painting, Garden Sanctuary.

My conclusion is that there are many more ways to depict a little backyard garden, and many more paintings to go.

It turned out that Ruth’s assignment to paint three or four paintings simultaneously while considering lines, marks and landscapes was very helpful, reducing the need for perfection and enhancing the need for experimentation.

Art, for me, is a continual process of learning, sketching, and imagining new ways to relate to my surroundings. Having painted a place, I feel much more intimately attached and familiar with it. Seeing it through multiple perspectives via this workshop has only strengthened my attachment to it. Added to this enjoyable process of painting my backyard garden, was the additional pleasure of learning new approaches and techniques of abstract art while doing it.

With respect to the workshop being conducted via the internet, I am grateful that Ruth and other artists continue to go forward with art workshops using the internet while under the current conditions of a pandemic where we are all under stay at home measures and social distancing. Under these new conditions, I found certain aspects of an online workshop very enjoyable. First, there was no commute. Second, I could walk away from the workshop and come back and continue at my own pace without interrupting anyone else. Third, there was time for thought. I was less hurried. I was also less self-conscious because if I did’t like what I was doing, I could pitch it and do it over, sight unseen.

There are some obvious disadvantages, as well to an online workshop. First, it required a quiet place in my home, without distraction, so as to not be interrupted by our regular activities of daily living. Second, I lost the opportunity to meet new artists. Third, we used text messages to speak with each other, thus losing the spontaneity of facial expressions, gestures and voice.

A Zoom meeting at the end helpfully brought us together for review of our work and allowed a more interactive discussion of each artist’s work with the instructor, while allowing other artists to observe.

Trying to use other artist’s perspective and techniques may feel awkward at first, but it leads to new understandings and broader perspectives on what is possible. I will be drawing and sketching for months to come, and no doubt will refer back to this workshop on lines, marks and landscaping, many times over.

Coincidentally, I got a Mother’s Day package in the mail a few days ago from my children and when I opened it up, it was a beautiful book, The Human Planet, Earth at the Dawn of the Anthropocene. The book highlights over 30 years of aerial photography across seven continents, completed by George Steinmetz, exploring the human imprint on climate and the natural world, with explanatory text provided by Andrew Revkin. The arrival of this book could not have been more timely. The landscape is both photographically real and artistically abstract, offering many opportunities for imagining new ways to paint landscapes from an aerial point of view, with lines.

Staying for many winters on a small and beautiful island of the Bahamas has taught me respect for water, energy and food supply lines. When the boats come in, we have groceries. When it rains, we have clean drinking water. When diesel oil arrives in ships, we generate electricity. When the sun rises, we see that it is our greatest source of energy, along with the tides and winds. Our agricultural lands are limited and our water for drinking is shallow. We view our great tradition of catching fish and crawfish to eat is a glorious luxury as our schools of fishes diminish.

We live in two places. In the spring, we return to our home where we are on another island of sorts, called North America. Although geographers would refer to it as a continent, I have come to see that we all live on islands. There are small ones, big ones, even some called continents. But they are still islands to me. They all defined by finite natural resources, limited water and food supplies. Our islands, all of them, confront the wild forces of nature, be they drought, storms, earthquakes, or pandemics.

We are students of islands.

On our little island in the Atlantic, when the wind blows, we feel our vulnerability as the waves roll wildly on to our beaches, sometimes ripping cliffs and taking them back into the ocean. When we step out at night and look up into the unlit sky, the stars and the moon literally hover over us. They are right there, smothering us with soft glow of light and opening up our world to the real possibility of imagining infinity.

Nature’s forces are abundant and everywhere, although often out of our reach.

On our huge island, or continent of North America, we do not necessarily sense this intimacy with the ocean the same way we do when we stand on a hill on our small island of the Abacos in the Bahamas and see the Atlantic Ocean in both directions, east and west. However, we feel the power and presence of the ocean as we wander along the beaches of the Pacific.

Yes, North America is in actuality, a well-defined body of shifting land surrounded by a shifting massive body of water, although its boundaries east and west cannot be seen simultaneously when standing on a hill, like we do in Abaco. If we were standing on the moon and look down on the planet Earth, however, we might see the east and waters of the Pacific and Atlantic Oceans surrounding North America. We would also see that the Pacific and Atlantic Oceans are one body of water, not two.

SONY DSC

Our islands are on a single planet. Now, that is a different matter. The planet Earth is surrounded by other things than water, holding even more possibilities of massive immensity. This whole act of thinking about who we are and what island we are on is a humbling experience.

On all our islands, we are impacted by the immediate danger of pollution from other places, as well as our own, as the plastic and detritus roll in onto our beaches and creep into our water and air. We see that abrupt shortages limit what people eat, and determine the time they must spend searching for food. We may not see it so clearly, until something like a global pandemic comes along, or droughts, or other big shows of nature that bring it to our attention very clearly, that things might change in a minute and our life lines are fragile.

Knowing this makes me appreciate my life even more. I am surprised and awed by the fact that I even exist, midst all the other options available. These chemicals and cells comprising me could instead be part of an apple tree, or buried in sands, or drifting in a large body of water.

I could have died before I was a year old. I might survive as a person for twenty more years.

Right now, I am living on an island, as is everybody else.

Our challenge this week was to make a birdbath that looks completely natural, as though it evolved from wind, water, sand and rock.

Can you find our beautiful birdbath? undefined

How about now? undefined

This birdbath is made of cement, using the imprint of a leaf, and has been left unpainted so that it looks really natural. It gets its texture from the dirt upon which the leaf was placed before we put on the cement. Here is how we did it.

We started by gathering up as many things for our project as we could find on the beach or amongst our belongings. Because we are on a small island, we try not to use imported items for our local art projects. Instead, we work with items that might easily found on the beach or are readily available in local stores.

Things we used for our project:

Some rubber gloves and a teapot for carrying water

Additional items:

Bucket found on the beach used for mixing cement, sand and water
Yes! We got lucky and found a bag of unused Portland Cement sitting in someone’s shed and they kindly shared it with us.
Scissors and a garden trowel
Plastic bag found on beach that we used to cover up the cement while it cured

The recipe for making the concrete is as follows:

Recipe

  1. Portland Cement
  2. A shovelful of garden dirt
  3. A small bucket of beach sand
  4. Water
  5. Some pretty leaf or leaves of your choice

Instructions:

If you have ever made mud pies as a kid, then you are going to love this project. Mix Portland Cement and sand using a ratio of 2 to 1. In the project shown below, I used about a total of 12 trowels of Portland Cement and 6 trowels of sand for the birdbath.

Measure the cement and sand and mix well in the bucket, using the trowel to mix it. Then add small amounts of water and continue mixing the cement, sand and water with the trowel. Make a mixture that is sticky and easy to pick up in your hand and squeeze into a small, messy mud ball. You do not want the cement mixture so wet that you can pour it. The less water used, the better. Mix some more.

There, your cement is ready to go!

Making the Concrete Bird Bath

Put a shovel full of garden dirt on the bucket top and mound it upundefined

Place the leaf (or leaves) of your choice on top of the mounded dirt. When doing so, try to imagine how it might look when it leaves its imprint on the cement . undefined

Place mixed cement on top of leaf and mound of dirt, using your trowel, and then your gloved hands. Smooth the cement until it reaches the edge of the bucket top while keeping cement approximately 2 or 3 inches thick. It ends up looking a lot like a Shephards Pie, made of cement, of course. undefined

Leave it in a shaded place for 24 hours.

Splash water on a plastic bag and use it to cover the cement and leave it for another two or three days.

Gently flip the cement over, remove the leaf, hose the cement down and take a look at what you have. Surprise! It is really beautiful. undefined

Mistakes we made thus far: On our first attempt, we left the cement out in the sun to dry and it dried to quickly and cracked. The second attempt, which is the one you are looking at, we left the cement in a shaded, cool place so that it dried more slowly and it came out really well.

Things to Remember: This project is for artistic fun. Please have fun and if it doesn’t work out the first time, try again adjusting it a little bit. If you start with a small project like this, it really doesn’t take much cement to make a beautiful birdbath. Even if you make a mistake, you won’t lose much if you have to do it over. Besides, it is enjoyable to play with cement. Have fun, and innovate! Let us know how it turned out.