Its Been Too Long

Clearly I am not a professional blogger.  It has been over a year since my last post.  Much has changed in that year that has kept me away from my own art-making and blogging, but many good changes.

In March 2012, I took on a full time position as Exhibits & Marketing Manager for Tubac Center of the Arts.  Moving from part time to full time has been a huge commitment of my time but I am learning so much and am creating wonderful exhibits and working with so many great artists.

In December 2012, I purchased a home in Rio Rico, AZ and have since spent time moving and working on projects at the new house.  I gave up a large 800 sqft studio space to make this move and now, temporarily, have just a small space off of my kitchen to paint in.

My new commitment to myself and anyone reading this, is to create the time and space in my life to blog and paint again.

A Place to Paint

Living With It

I find that I often need to live with a painting for awhile in order to let it tell me what to do next. As an abstract intuitive painter, I don't plan out specific imagery, define the painting ahead of time or draw out a plan on the canvas in an attempt to make it "look like something". When I paint, I am totally in the moment of painting and it happens. But often times, I need to "live with it". So this painting, a 36" x 48" acrylic on canvas with collaged pattern paper is on the wall in my bedroom, unfinished so that I can experience how it feels in my home, to go to sleep with it, to wake up with it. And as each day passes, I see little things in the painting that either need to be there or don't, it speaks to me about what might be the next step in the painting process. And then . . . we go back to the studio and paint some more. Stay tuned for the next evolution of "red in the bedroom".

www.KaronLeighArtStudio.com

Creating With Intention

I'm counting down the days and am feeling overwhelmed with everything that needs to be done for my open studio event, "Building Bridges Through Art!". Its down to the wire with advertisements done, promotional material to distribute, invites still to send, the studio still to clean, art still to hang and I wonder if its all worth it.

So with a deep breath, I remember my intention: to use my art and my studio to help in my community by raising money for art scholarships for children in Nogales, Sonora, Mexico.

Living only 20 miles north of the Mexican border, I am keenly aware of the border issues and the over-exaggerated media press that our area of the country gets in regards to this issue. So when I took a trip to IMFOCULTA, an art and cultural center in Nogales, Sonora earlier this year with a local organization, Santa Cruz Community Foundation, I knew that somehow I needed to help support these kids in continuing to be able to take art classes at the center and that I wanted to be involved in cross border peace projects.

At my core, I believe in art, that it brings beauty and joy to the world, balances out the craziness of our over-scheduled lives and that Art Saves Lives! So with my belief in art and intention to help others, I breathe and know that it is all worth it.

If you are in the area of Nogales to Tucson on Saturday, November 12th, please stop by and help support this project. Please visit my website for more information and directions. exPRESSive Arts Studio Thank you!

in·ten·tion

 :

1.

an act or instance of determining mentally upon someaction or result.

2.

the end or object intended; purpose.

3.

intentions,

a.

purpose or attitude toward the effect of one's actions o rconduct

About A Stone

Many years ago in college at UNLV, I was first introduced to printmaking processes and fell in love with the stones. I loved printmaking, the feel of the paper, the sound of the ink rolling out on the glass. Stone Lithography was my favorite printmaking process. I loved the feel of the stones, the process of grinding them to a new smooth finish, the ease of drawing and painting the image onto the stone and the history! The history in the stones for me was something magical. How many works of art had been created, printed and ground away and where did these huge stones come from? It was something that the artist experiences in creating the work but not something that is transmitted to the view in the final work. It was like our own little secret.

Art image shown here is a stone lithograph titled "Billiards Player at Good Dog" by Charles Coates.

At a recent art opening that I was participating in at the Tubac Center of the Arts for the exhibit, "Working With Paper", I was impressed by the printmaking of Tucson artist, Charles Coates. I met Charles at the opening reception and had a great conversation about working on Stone Lithography and the history involved in the stones. He shared a story of picking up a crate of stones with a UA professor and finding work from the 1800's still on a stone. They printed the image before cleaning the stone for new works of art. There is something very powerful about the history and letting go of the old and bringing in the new with stone lithography.

To see more of Charles' work, click here to visit his website.

Who's Your Mentor?

As artists we are often isolated, working alone in our studios, creating the next great masterpiece, at least, that's what we think. Its important to get feedback and critique in order to know you are not just living in your head and also to be able to grow as an artist. In the past I had joined groups and taken classes and workshops to keep me connected and learning. But there was always still something more that I needed that I wasn't getting that I knew would help me expand and move into the next level with my work.

After taking two wonderful abstract painting classes at The Drawing Studio in Tucson which really helped me get out of a rut, moving from 6+ years of almost exclusively painting with encaustic, to painting large abstract paintings on cavas with acrylic, I discovered an artist's website whose work I very much admired. I was very excited to read on her website that she offered mentoring. Ding! This is just what I needed. I happened to be heading back to WA, where she lived to visit my sons and we arranged to meet. For the next 3 months we had weekly skype meetings where she encouraged and critiqued my work. I felt motivated to meet her weekly challenges and produced more work over the last few months with what I feel to be HUGE breakthroughs with my work than in the many years past.

Jeane Myers is a contemporary abstract mixed media artist and a fabulous mentor/art coach. If you need a kick in the pants and some encouraging words along the way, Jeane can take you there.

Creative Beings

I work the weekends at the Tubac Center of the Arts. I'm grateful that I get to bring my puppy, Maggie to work with me. Last weekend I was working on the computer with Maggie by my side and a man and his 11 year old daughter came in from Phoenix. The man claimed to know nothing about art but came to Tubac for his daughter as she was very interested in art. He was also a dog lover and sat on the floor next to the desk playing with Maggie while we chatted about art and our current exhibit, Summer Gallery, my work and creative expression. He designs computer systems, and shared that there were times that the joy of creating these systems, the simple magnificence of them, almost brought him to tears. We are all creative beings and whether the expression of our creativity is a painting on canvas or a complexly simple computer system, it is the process of creation that can bring us joy. This man left with a hug and a told me that he learned about art that day. A conversation I will never forget.

Inspiration or Obsession?

I recently read a book called "Molecules of Emotion" by Candace Pert, who in the 70's discovered the brain's opiate receptors. Pert tells her story of life as a woman in the science world where she eventually was tagged a feminist troublemaker. The situation made for good reading but the science somehow stuck with me and I started working on a new series of acrylic paintings titled, "Molecules of Emotion" where I imagined an inner landscape of molecules charging through my body and what they might look like, color, shape, size, depending on my emotional state of being; joyful, sad, depressed, agitated, lustful, resentful, etc. I've been painting these shapes and exploring the emotion of color ever since. At one point I was so obsessed that I panicked when I ran out of every red paint in the studio and immediately went online and overstocked on reds. At what point can inspiration become obsession?

Studio Move!

I recently moved my studio from the Amado Territory Ranch to a beautiful, well lit casita on the same property where I'm now living in a funky round (yes, ROUND) house. I've been busy moving in, getting settled and organized. Like everything else, its a work in progress.

The Studio entrance.

Front of Studio, windows facing west, front door faces north.

Easel and printing press.

A place to paint

The Encaustic Zone

Even a full kitchen.
There is also a bed & bath for visiting artists & guests.

Outside the studio.

Back door & deck of studio.

Path from studio to house.

Getting here:

My new space is located in Tumacacori, AZ, a few miles south of Tubac and about an hour's drive south of Tucson. Tubac is said to be the oldest town in Arizona. Click here for a little history. Tumacacori is known for the Tumacacori Mission, a national park that protects 3 Spanish mission ruins. The area is a beautiful combination of art towns, organic farming, cattle ranching, horse breeders, mesquite trees, golden rolling hills and mountains. The Santa Cruz River is lined with cottonwoods and its a birdwatcher's paradise.

Off of the east frontage road, a small dirt road runs east.
Here a view northwest towards the mission and the mountains.

Weather and vehicle permitting, a quick dip into and across the river.

Over the railroad tracks.

Down the dirt road.

The entrance to the house is on the left.

This keeps the neighborhood cows off the property.

The Round House

A separate entrance allows for access without having to cross the river.

Workshops will be starting at the new studio this summer.

Visit the studio website for more information.

Wax & Paper

For years I studied and worked in printmaking. I fell in love with the subtle sound of ink rolling out on the glass plate, of the feel of paper, the mystery of the two combining under the press blanket. In college the history of stone lithography thrilled me, wondering who and what had printed before me.

And then one day I discovered ENCAUSTIC! This edible sensuous medium seduced me away from ink and paper like a new lover or drug. I have been painting with hot melted wax ever since. Like a drug addict I was addicted to the luminous vibrant color and versatility of this medium, with the sweet edible

smell of beeswax and the power of holding fire in my hands. But every now and then, I missed the gentle subtle sound of ink rolling out on the glass. I would visit my old love and struggle with how to combine these two loves.

Finally I found a way to combine monotype and encaustic without reinventing the wheel when I discovered: Paula Roland of Santa Fe who specializes in encaustic monotypes. My two loves collide! The spontaneity of monotype, the feel of paper, the mystery of the result from paper on plate. I feel relieved and fulfilled. I create, both painting directly with wax and with encaustic monotypes and then . . . . that sweet little sound of ink on glass whispers in my ear again. If you love printmaking like I do, you know that sound, you understand. Or maybe you relate because your medium or process sings to you, calls your name, seduces you and you must go to it - and I do. And I find . . . . Elise Wagner in Portland, OR. Elise is not concerned about

claiming to be "an encaustic artist" because it is popular. She's been working in this medium for years, and offers a master's level workshop for serious artists. Its not about the medium, its about how that medium can allow you to create the art that expresses your vision. So combining wax and ink she has developed "Encaustic Collographs", a workshop that I am proud and excited to bring to exPRESSive Arts Studio. Back to the press, working with wax, and the sweet sound of ink on glass . . . . please join me for this exciting opportunity at the Amado Territory Ranch in January 2011.

Encaustic Collograph image by Elise Wagner

The Season Begins

I can't believe its been months since my last post. I thought the summers in AZ were supposed to be slow and quiet because all the snowbirds leave. Apparently those left behind are busy behind the scenes making all the plans and doing the work to prepare for the upcoming season.

I've been fortunate to have a wonderful position working with a fabulous group of people at the Tubac Center of the Arts and have learned so much about what goes on behind the scenes of putting together ongoing art exhibitions.

I've also been working on bringing visiting artists to the Amado Territory Ranch where my studio is located to teach workshops in all sorts of mediums. Here are just a sampling of the upcoming lineup:

Tubac artist, Kim Edwards Keast (http:www.kekart.com) opens the season with her "Mold Making Resin Lighted Assemblage" workshop scheduled for Tues/Wed Sept 21 & 22.
In October, Kim is back with "Rigid Wrapped Up" - details coming soon. October is also the Southwest Fiber Festival at the Ranch and to celebrate the festival, I'll be hosting an exhibit of Kim's fiber creations. These you have GOT to See!!!

Southwest Fiber Festival is Saturday October 30th from 10am - 4pm. The studio will be open with Kim's creations all day with a reception to follow the festival from 4-6pm.
In November, internationally renown jewelry maker/instructor, Hadar Jacobson will be teaching a 2 day intensive for intermediate and advanced jewelry makers in her workshop entitled "Caning and Mokume-gane in Metal Clay".

All of the workshops are on the beautiful grounds of the Amado Territory Ranch, about 35 miles south of Tucson and 8 miles north of the well known art town of Tubac, AZ. The facilities at the ranch include a lodge style bed & breakfast, 2 restaurants, a salon, artists studios, an art gallery and retreat type grounds that make you feel like you are in an oasis in the desert. You basically never have to leave the property, but you'll want to explore the area for shopping in Tubac and perhaps an outing to the Tumacacori Mission, a national historical park.

In December, a twist on monotype printmaking with Mitch Lyons in his workshop, "Clay Monotype". This one has intrigued me for years and I'm so excited to have Mitch visit the studio and share his unique technique for creating monotype prints with clay and clay slip. How cool is that?!

And this is just the beginning. Its going to be a fabulous season! I'm so excited.

A Trip to New Mexico

I'm on my last day of a week + road trip to New Mexico focusing on the area between Albuquerque and Santa Fe. My main reason for making the trip was to visit the
Encaustic Art Institute in Cerrillos, about 18 miles SE of Santa Fe. As a mixed media artist working mostly in encaustic, I was excited to be able to visit in person after becoming a member of this non-profit organization in January. EAI has been the dream of artist, Douglass Mehrens since he first purchased the property back in the early 90's. Douglass and his jeweler wife, Adrienne built their home and the institute's gallery/workshop space on the 12 acre property and have incorporated recycled materials into the building such as hundreds of old tires filled with rammed earth.

I was so taken with the space and long conversations with Doug and Adriene that I returned a second day.


Nearby is the artsy town of Madrid where I visited galleries and shops and enjoyed a few good meals.

At the Java Junction in Madrid, their motto is "Bad Coffee Sucks!". Yeah - Right On! I agree.

I met some great artists and friendly folks along the way. Stay tuned for more on the New Mexico Road Trip. The saga continues.

Influenced By:

I wanted to share and give credit to some of the artists that have influenced me in my life and my art. I'll start this series with Wolf Kahn, an artist that greatly influenced my palette and encouraged my ongoing love of painting landscapes.

"The unique blend of Realism and the formal discipline of Color Field painting sets the work of Wolf Kahn apart. Kahn is an artist who embodies the synthesis of his modern abstract training with Hans Hofmann, with the palette of Matisse, Rothko's sweeping bands of color, and the atmospheric qualities of American Impressionism. It is precisely this fusion of color, spontaneity and representation that has produced such a rich and expressive body of work." - Wolf Kahn Website

I really fell in love with this man's art a few years back when my friend Binky Bergsman lent me her book on Kahn, filled with luscious vibrant images of his work. It was difficult but I eventually returned the book and now just occassionally visit his website for new inspirations. I had been working in encaustics then for about a year and created these 2 paintings "A Walk in the Woods with Kahn" based on the inspiration of his work, the colors, the trees, a place I wanted to be. I've since sold one of the 2 paintings and the other hangs in my studio.

"A Walk In The Woods With Kahn"
12" x 36" each - encaustic on panel
Karon Leigh

Who are you inspired by?

Check out this video interview with Wolf Kahn at age 80 - still painting!

Evolution of a Painting

I love seeing other artist's works in process and how they complete them so I thought I would share my process as well. I often start with one thing and end up with something completely different as I usually let the painting dictate to me how to paint it. I am not one to draw out and stick to a plan, being methodical and tight with what I hope to accomplish. I have an idea in regards to a theme or a vision or even a color pallet - but that is usually the starting place. The ending place, well, you never know with me.

These two 20" x 24" cradled panels are the largest size encaustic paintings I've ever done. I decided for the new year I was going to push my boundaries, in size and type of work (o you should see what is in process after I completed these paintings! That's another post.) I accepted a personal challenge to participate in an abstract show where every piece entered has to be 36" x 36". So waiting in the wings in my studio is a custom built cradled panel board at 36" x 36". I'm working my way up with the pieces posted here.

I started with a few layers of medium, some purples and red. I then collaged in some grass paper and while fusing the next layer of medium over the grass paper, parts of the paper kept catching on fire. (well ventilated studio is important!) I hadn't planned on burning the paper or leaving burn marks in the piece but it worked and it was fun.

Although I was on the edge of abstract, my subconcious love of landscape found its way into the painting with my next brush strokes of orange across the width of the painting, suggesting a mountain range of sorts.

I've done photo transfers in a lot of my encaustic paintings recently but had never done Joss Paper transfer so - the next step was working the bottom of the painting with Joss Paper transfer. I had gold foil Joss paper and when transferred, it looks pink. Did this transfer process with the water method of eliminating the paper backing by dissolving it with water.

I decided to follow the suggestive landscape and incised some shapes into the top of the painting which I then filled in with graphite to define the line work. I also painted the graphite over areas at the bottom of the painting including over some of the foil Joss paper transfer. More layers of medium. I then painted the shapes at the top of the paintings with titanium white oil paint allowing some of the underlying encaustic and graphite to show thru in areas.

Knowing when to stop has often been an issue for me. Is this painting done? Perhaps, for now at least, as I've learned to step back and live with it for awhile. It will speak to me, but now - it says leave me alone, I'm ok, walk away.

Update Jan 26, 2010:
Apparently the paintings weren't done after all. Couldn't connect the top to the bottom and too much open space in between. So the patterns in the background again dictated landscape and these rolling hills and tiny little buildings appeared. A little bit of a Taos Pueblo feeling perhaps. The places I visit in my dreams.


"Alchemy Between Dream & Awake #1"
Karon Leigh



"Alchemy Between Dream & Awake #2"
Karon Leigh

2010: What "ism" are we in?

During a recent discussion with an artist friend, a question was asked that neither of us were able to satisfactorily answer. My friend, Kim asked "What "ism" are we in? I thought as we start a new decade in 2010, it was an appropriate question to ask and answer. I found this particularly interesting as I am often struggling to narrow down the topics of my almost A.D.D. interests in order to create a cohesive body of work while also expressing a personal yet relevant statement.

Throughout history there have been art movements that are often spawned by a rebellion to current events and defined in a new "ism". Impressionism, Expressionism, Fauvism, Modernism, etc.

Currently I feel that I personally can relate to "Stuckism" as I feel "stuck, stuck, stuck" with my art at times. And who decides what is unremarkable or boring in art anyways?

Stuckism:

A neo-conservative movement in the United Kingdom formed in 1999 by the leading founder artists Billy Childish calling themselves 'the first remondernist art group - the stucists.'
They are to be seen as 'opposed to the current pretensions of so-called performance art, pop art, BritArt, minimalism, conceptualism, installation art, video art and anything claiming to be art which incorporates dead animals, tents or beds - mainly because they are unremarkable and boring'.

'The name of the group was derived, in the best art historical tradition, from an insult, in this case from current Turner Prize Nominee Tracey Emin's evaluation of ex-boyfriend Billy Childish's 1,500 paintings over a 15-year period which was:
"Your paintings are stuck, you are stuck!
Stuck! Stuck! Stuck!" - taken from Wildbrush's Art.To.Day



Terry Marks "The Hazmat Question"
Proclaimed "Stuckist Painter"

If our current "ism" is in any way a response to our current social and political climate then surely we would be seeing more angry art, more political art, more in your face wake up call art.
The most relevant comment I found in my search for the new "ism" was on

The Middle Class Art Movement:

Constructed Perfection

"The new art movement will be born out of the most devastating idea to hit America in ages - a retrograde motion in status and opportunity for the middle class. This art will based on the perceived attitudes about what the middle class was supposed to be and represent, its expectations and opportunities either lost or placed askew - temporarily or permanently. It will be unique in expressing the middle class perspective and the current struggle set amid a backdrop of commodities that have either slipped out of grasp or have lost meaning. And most importantly it will be set amid a backdrop of a cultural wasteland centered around consumption, excess, and discontinuity. Eschewing the most meaningless archetypes one should expect these artistic manifestations to be straightforward and simple in their presentation but carrying with them a poignant and loaded message. Born out of frustration and the desire for efficiency and meaning this art movement from the middle-class will be some of the most clear and focused art that we have seen in recent years."


Alternatively, people are more focused on a spiritual awareness moving away from materialism and perhaps the "Energism Art Style" is the new "ISM".


"First Dream" by Julia Watkins - Founder of Energism Art

About Energism Art - from "Free Press Release"

"Ms. Watkins has pioneered perhaps the most innovative new form of art, Energism. Based on Tai Chi, these paintings use large colorful swirls representing energy to demonstrate how man, animal and landscape are all interconnected through a natural flow we can sense, but not see. To see the collection go to: http://www.platris.com/energismpaintings.html

Energist art is meditative. Its goal goes beyond simply creating a representation of spiritual energy. The artist seeks to draw the viewer in so he or she actually experiences the energy. The epitome of Energism Art would be a piece that when simply viewed would give the viewer a profound spiritual experience, a vision of pure energy, love and joy beyond expression."

Perhaps we can be in multiple "isms" at the same time or perhaps we don't have to be defined at all as long as we are still creating, that's what's important.

What are your thoughts on this? What "ISM" do you think you are in?

Creating Prosperity in the New Year

2009 has been a difficult year financially for many people, myself included. The US economy is in a strange place and what we have counted on previously we can no longer take for granted. (Perhaps a reminder to never take things or people in our lives for granted.)

As the year comes to an end I find myself not reflecting on the past year as a continuation of things to come but as a jumping off place with gratitude for all that I do have, not focusing on what I don't have. In this same thought, creating a New Year through focused thought and positive action.

My girlfriends and I plan to celebrate together with a project to start the New Year with intentions to create prosperity and abundance in our lives. Below are the steps to this simple project if you wish to join us on this path.

The New Year is upon us! Make 2010 your Prosperity Year! What a fun, focused way to start off 2010 with great intentions to create prosperity, abundance, affluence and influence in your life.

From Michael's or your other favorite craft store:

1 - Red Box (be creative, buy or make one and decorate it)
1 - Square of red felt
1 - Mirror (Square, round, heart shaped)


From your local bank:

9 - Quarters
18 - New One Dollar Bills (consecutive, but not required)
9 - Twenty dollar Bands (Purple & White)
9 - Quarter Rolls, flat kind
9 - More One Dollar Bills to exchange (see below)

From Chinese Cultural Center or Amazon

2 - Red Envelopes also known as Feng Shui Envelopes

Directions

Place 9 One Dollar Bills in Red Envelop exchange with a friend, family or business associate. He or she will do the same. After exchanging the envelopes filled with the 9 One Dollar Bills, both individuals will put their intentions in the exchanged envelop. Each will place this important envelop in their own 2010 Prosperity Box which includes all the other items in it!

During the year new intentions can always be added.

Be creative, be specific with your intentions and let the Universe and Multi-verse provide the avenues to achieve your objectives and goals. Stay out of the outcome, so your income can "come in" to you!

Place the felt and the mirror under the box.

Place all the items in the box, including the red or Feng Shui envelope which contains the 9 one dollar bills and your intentions.

With your Prosperity Box ready for 2010, place it in the left prosperity corner of your home, office, cubicle or favorite room. Facing into your home, apartment, office, cubicle and/or favorite room, your prosperity corner is always in the left hand corner as you enter through the doorway.

From time to time throughout the year, check your list of intentions and see how many have come to fruition for you. Be positive, be affirming! Remember...where you place your consciousness and your heart is what powers your energy to manifest your intentions!

To Prosperity, Abundance, Affluence and Positive Influence for you in 2010!!!

Remember to have fun! (Prosperity Box Project from Quantum Pathic Center of Conciousness)

May you all have a healthy, happy, and prosperous New Year!

Coincidence and Serendipitous Paths

Serendipity: the effect by which one accidentally stumbles upon something fortunate, especially while looking for something entirely unrelated.

Coincidence: a striking occurrence of two or more events at one time apparently by mere chance.

Is it enough to acknowledge coincidence and or serendipity without taking action to benefit from this most gracious gift?

I very much enjoy reading books and have always believed that certain books are presented to us in a moment when we need to hear the message in the book, often an answer to a question we have pondered and put out into the universe. After my last post and discouragement with the marketing results I've had with my artwork, I thought my goal for the new year would be to seriously take action to put together a body of work, a professional portfolio and work to get into galleries (something that I've always found intimidating and therefore procrastinated with every excuse in the world to avoid doing).

Recently at an art group meeting my friend Rae brought the book "Starving To Successful" by Jason Horejs and although hadn't finished the book yet, recommended it to the group. When leaving the meeting, Rae had forgotten the book and although I knew I wouldn't see Rae for probably a week or more as we don't live near each other, I volunteered to take the book and return it to her. I read the book over the next 2 days and then mailed it back to Rae as she was anxious to finish it. In the book Jason provides the biography that he had written for an artist named Bob as an example of a quality biography for artists. A year prior, I was introduced to Bob when mutual friends brought him to my house for a New Year's Eve party. Bob is a quiet man of few words and I learned more from Jason's write up on Bob than I had from the past year's conversations with him directly. By reading Jason's book I now feel I know my friend Bob a little better. A few days after reading the book, my friend Lance from WA called to say he would be in Arizona soon to show his sculpture at the Tempe Festival of the Arts. I had planned to meet up with Lance prior to the festival. He mentioned that he had to meet with his gallery in Scottsdale but then we could meet for lunch after that and visit the galleries in the area. Turns out - guess what? Yes - the gallery was Xanadu Gallery in Scottsdale which is owned by Jason Horejs who's book I had just read.

When the answer to your question hits you right in the face - don't just take note - take action! Message received! I"m taking action on this message of Serendipity & Coincidence and purchasing the book, rereading it again and following all the steps to move forward with the business of art.

When All Else Fails . . . I'll Keep Making Art

Is it the economy or me? When I think I'm doing all that I can and its still not working, (referring to supporting myself via my art - or at least selling enough to purchase more art supplies) I stop and question myself, about everything. I've read the books, followed the blogs, done the work, produced the art, joined the groups, submitted to shows, etc. I feel like I'm doing everything right with my artwork and the marketing of it but after a 2 day outdoor art festival that left me covered in dirt & dust along with my artwork, business cards, tent and my car, both inside and out without a single sale, I start questioning myself. What am I doing wrong? Should I go get a real job? What do I need to change? Is it the wrong venue? Is it me? Does my art suck? Am I just not good enough? You know, all the self doubt starts bubbling up from that insecure place that seems to be in most artist, perhaps in most people at one time or another.

So my horoscope today reads:

"Instead of tying your happiness to the changing circumstances of your life, align your emotional satisfaction to your core beliefs. You can find outer peace if you are motivated by an inner awareness."

A core belief that I hold is that I am an artist and I have to make art. So when all else fails, I will keep making art.

"Make the art you love and seek its audience." Jackie Battenfeild from her book "The Artist's Guide"