A Death in Our Family

Tradition. It’s how we celebrate the happy times. It’s how we get through the hard times.

Gustav Mahler told us—” Tradition is not the worship of ashes. It is the preservation of fire.”

Bella Sarver counts herself lucky to be surrounded and supported by all three components of tradition: Family. Friends. Community. What else really matters? Even so, life can still be less than perfect and family secrets can roil a community, especially when the end result is murder. So when a respected lawyer, a member of the local synagogue, is killed, his murder sends out ripples throughout Bella’s world – the local art league, the synagogue and overlapping families. Always families. Ancient tales take on new life in every generation, don’t they? Isn’t that why we still tell them? From generation to generation. Tradition.

Chanukah Joy (collage, 7 x 5)

Sometimes we tell our ancient stories through art, as Bella understands very well. It’s how she makes connections and figures out the truth.

The latest of my Bella Sarver series, A Death in Our Family, is nearly ready to be released. I’ve been playing around with it for more than two years now, after having a provocative email landed in my in-box, and it’s finally evolved into a coherent novel. As an artist, I love to experiment with different mediums, and I find collage particularly interesting. With bits and pieces of various types of papers and fiber and found objects, a collage artist, like a painter, can create meaningful and expressive works, and have a lot of fun doing it. Sort of like playing.

In a way, A Death in Our Family is like a collage, in that it takes pieces of Old Testament stories, and Jewish traditions, and community events and combines them all into a whole, a sort of patchwork. I enjoyed researching it and pulling the whole thing together, and I hope my readers enjoy diving into it.

Winter

While walking through the woods near home the other day, I got to thinking about how freezing cold it was, and about the trees. Have you ever wondered about trees? What they’re thinking? What they’re feeling? Here’s my take on it. I’m including one of my pastel paintings to help illustrate it.

Winter

Empty, gray sky. And cold. Very cold. I know the sun is out there someplace, but it gives no warmth. I’m standing alone, unprotected, yet … the sap shivers in my veins and tells me I’m still alive. Comforting. I miss the birds, though.

Still, my friends are standing nearby, tall and strong, if also bare and defenseless like myself.  Many of them are not as strong as they used to be. The winters have taken their toll. None of us has much to say, but we can feel each other and know we are still together.

Most of us, anyway. A few have fallen in the past year. I heard the dull thuds as they toppled, felt the earth shake. For a while, they lay randomly, some leaning drunkenly against old friends, some stretched out along the ground, among the fallen leaves and broken branches. The deer nibbled at their bark, the squirrels scrambled over their twisted limbs, not yet crumbled into the earth. Sad, certainly, but to be expected. It was a tough year—aren’t they all?—so some of them were bound to have succumbed to the storms. And some simply got too old and tired to stand. They’re not  entirely lost to the world, though. No. Their spirits, their memories are with me still.

As is the empty nest that clings to my top branches. The little ones are gone, of course. Off to live their own lives, as is proper. They never glance back once they leave me. I wonder if they even remember me at all. Well, that’s life, I guess. In the spring, the hawks will return, to freshen up the old nest for a new family. And so it goes.

The forest is quiet and still, but not abandoned. There is movement now and then, defying the cold. I wonder what it must be like, to propel oneself along on one’s own branches, as those moving along the path are doing. Free and confident. Maybe scary, too. After all, there’s a lot to be said for the stability of occupying one’s own space, surrounded by others who are doing the same, for as long as we can. The beings who matter to us the most stay put. They don’t leave us, not until they disappear, slowly, to become united with the earth from which they emerged so long ago. Safer that way.

Winter’s End, Pastel, 20 x 16

Loyalty

Integrity

Strength

Honesty

Winter

Winter is not my favorite season. The cold, the early dark–make me want to pull the covers over my head and stay in bed until Spring. But that way lies madness–right? So get up and paint, I tell myself. Remember the warmth and color of the sun. It’s still out there, even though it’s doing its best to hide from us right now. So I reminded myself of the Caribbean–the lush islands, the beach, the sea. And I got out my paints, squeezed out a pile of yellow, grabbed a brush, and started smearing paint on a couple of canvases. And guess what? Today, after a couple of weeks of intense cold, the sun did come out and the earth warmed up a bit. So I guess my ploy worked, for today, at least.

First, I did a little vignette.

Sand and Sea, acrylic, 12 x 12

Next, encouraged, I branched out into something a bit more substantial, focusing on the light, the sun filling the sky. So that’s how this landscape came by its name.

Light, acrylic, 16 x 20

So How Do You Name Your Pieces?

Gothic Bazaar, Mixed Media, 11 x 14, $175.00

Sometimes people ask me how I come up with my titles. Well, I enjoy naming my pieces almost as much as I do creating them in the first place. I try to invent names that give the viewer a hint of what I was thinking while I was painting, but at the same time, something that leaves a bit of mystery, a little question in their minds. I’m calling this piece Gothic Bazaar. Why? Well, the pointed arch is a bit of Gothic architecture, isn’t it? And the colors remind me of the time I visited the bazaar in Istanbul, full of golds and secret passageways and hidden corners. Touristy? Sure, but all the same exotic and fun. Everything about this–the design, the colors, and yes – even the title, says Whimsy. A bit of whimsy to brighten up a cold winter day.

Xanadu Gallery

In Xanadu, did Kubla Khan

A stately pleasure-dome decree

So begins Samuel Coleridge’s famous poem. Xanadu Gallery in the heart of downtown Scottsdale, Arizona, might not exactly rival the ancient city of Shangdu, China, but it’s an inspiring place, nonetheless, featuring a variety of beautiful and innovative artworks created by artists all over the country. So I consider it an honor to have some of the paintings in my Red Mountain series included in their latest catalog, which will be going out to all their clients shortly.  You can check out an advance copy here. (My pieces are on page 25.)

Xanadu Catalog 2022

Xanadu Gallery, Scottsdale, Arizona

Painting in the Abstract

In my previous post, I wrote about using a 12 x 12 format to express a single idea, but sometimes, I need a bigger canvas to capture the moment. A River Runs Through It reminds me of the colorful river towns perched on the hilltops in Spain. The water rushing down the mountains, the clean, fresh air! Aah–how delightful.

A River Runs Through It, acrylic, 20 x 24

New Small Paintings

I love working in a small, 12 x 12 format. It forces me to really think about what I want my painting to say, because the small space doesn’t lend itself to a lot of miscellaneous flourishes. Here are a few pieces I’ve done in the past few months. By the way, Facebook has somehow removed my page (and no–I haven’t been posting anything horrible!), and I’ve decided to just let it go, so if you have a comment, please post it here on WordPress, or just contact me directly. The pieces here are all 12 x 12, Acrylic and mixed media, framed and ready for display.

Inspiration
Midnight Dream
Oh, Happy Days!

Now Showing–Caffe di Moda

I’m excited to announce that some of my Fruitful Relationship paintings are currently on exhibit at the Caffe di Moda, 1012 Burlington, Lisle (right across from the Lisle Train station, Main & Burlington). The cafe is beautiful, the food is delicious and as an extra bonus, you get to see some gorgeous original paintings by some of the members of Studio 630. Be sure to stop by soon.

Girlfriends, oil, 12 x 24, $190.00

Death on the Danube

This week, I began draft #5 of Death on the Danube. I finished the 4th draft about a month ago and decided to just let it sit for a while. In the meantime, I let my husband read it. He thinks it’s really good, but he had some helpful suggestions, too. I’ve been mulling things around, and now I’m ready to approach the project with a fresh eye.

The story is done. The mystery is solved. (Hint: Bella Sarver provides the key information, though she has a lot of help from the German and Romanian police.) But now it’s time to really whip this book into shape.

This is my fourth novel, and I’ve learned quite a bit about the writing process. It’s all very well to come up with a basic mystery, but fleshing out the characters, letting them tell the story in their own words, and letting the story go its own way is where the work part comes in. It’s fun, too, though, a new adventure every time. So back to work, and I’ll keep you posted on progress.

Abstract or realism? Which is it?

Image

 

                   Breakfast, Oil, 16 x 20, $425

Abstract (adj.) – to draw from, separate [L. <ab(s)-, from + trahere, to draw]
(Wesbster’s New World Dictionary, 2nd College Edition, Prentice Hall Press, 1986)

Most of my recent paintings explore the notion of abstraction.  When does a representation go from being very realistic to being abstract?  I think it has to do with the artist removing the context of the objects being depicted.  In “Breakfast,” the viewer is required to focus just on the objects, without being able to tell where the breakfast is located or who might be starting to eat it. An abstract painting can certainly consist of shapes and colors, without relating at all to reality.  An abstract painting can also adhere to the literal meaning of the word “abstract,” by separating the subject from its surroundings.  In that sense, surrealism is also abstraction.