August 31, 2007
The sound board is nearing completion. The harpsichord itself, all 2 meters of it, is on my long worktable and the reference material is spread out all over the room. Most of my materials are on a rolling table. I am enjoying the work but I’ll be glad to get my studio space back when it is done. Also, the instrument builder is waiting for it in order to continue construction. It has meant putting on a final push this week, and there were days where it seemed like the work needing to be done was never-ending. There are 40 hours invested in it so far.
At the end of a project like this there is an extra burst of energy that carries you through to completion. I do find, though, that being in the grip of it eclipses everything else. It is a mixed feeling giving in to the drive to finish something; on one hand you are carried by the momentum built up over the weeks of concentration, on the other hand there is very little room for anything else (for instance, the rest of life…husband, puppy, other commissions, social life…. etc.).
It is a great feeling though, after focusing on minute details for all those hours, to look out over the decorated board and see it as a whole. The painting process has been sensually pleasurable as well, I love working on the warm, live surface of wood, I can use drybrush technique to finish and blend colour layers subtly, and for instance, the peacock feather works particularly well using this method.
August 28, 2007
Today while painting the harpsichord, I put on a favorite CD of classical piano music. Immediately the atmosphere in my studio became high and clear and I felt the presence of the women on my mother’s side of the family. There is a story here.
My mother’s sister trained as a concert pianist but after a promising early career in London, stopped for various reasons, among them a terrible case of performance anxiety and pressing family responsibilities. Luckily she kept up with her playing, and 30 years later was persuaded to produce her first CD, ’10 composers, each in two contrasting moods’.
It is this glowing waterfall of music that I paint to. Pieces by Chopin, Haydn, Bach, Schubert, Scriabin, Grieg and others remind me of the days when my mother played, as well as the privilege of hearing my aunt perform live in their living room. At the end of the CD is a piece composed by Jane Kasriel which she used to play me when I was a child. Jane was my French grandmother.
So I paint flowers contentedly, listening to my aunt’s playing, thinking fondly of her and feeling surrounded by the artistic inspiration of the women in my family.
The thing is, ‘I’m too old to accomplish this’ can never be an excuse in our family. My mom was playing piano beautifully before she died of cancer at 76. My aunt recorded this first brilliant CD when she was 76 and is now working on her second one. And there is a recent CD of my Grandmère playing her own compositions when she was 86!
August 26, 2007
August 22, 2007
The simplest things can be the most rewarding. A friend gave me an atelier route booklet in which all the photos were printed in black and white. It came with a pack of coloured photographs with self-adhesive backing that you could match up with the correct black & white photos in the book and stick in yourself.
I made this booklet into an activity on 3 different levels with 3 different residents today.
1 With Mr. M. who doesn’t understand the content at all, we simply matched two colour photos to the right black and white ones. He needed assistance with that, but he helped me peel the backings away, and after I placed them, he patted the corners down.
2 With Mrs. R. we talked about the various artworks pictured and easily matched up the coloured to the black and white photos.
3 With Mrs. B. who has excellent understanding, we discussed the route, the art and the artists, and sticking the photos in was simply a side issue. However, since she can’t use her hands well, we peeled off the backings together and stuck them down together.
I loved this activity, it was so elegant and simple and satisfying. I will have to design more similar projects where simple images can be matched up and stuck on, without scissors, glue or anything really!
August 21, 2007
photo Rende Zoutewelle
According to some historians, Flemish harpsichords of the 17 th century were painted exclusively in water-based pigments. This made the songboard exceedingly fragile, but when it comes to water, the whole instrument is vulnerable anyway.
I worked with gouache for the first 2 instruments I painted. Then one night, when I had a songboard in process, it rained and there was a leak in my studio. Fortunately, water only splattered near the board, but that was the deciding point for me. The next intrument I did was painted in egg-based tempera. It looks like gouache, but it dries hard and mostly waterproof. Luckily it is available ready-made in tubes here in Holland.
So the painting has begun, it is very enjoyable work. My sable brushes are sharp and flexible, the colors used are vibrant, and flowers are such accommodating subjects.
Pictured is the underpainting of the rosette wreath around the sound hole of the instrument. The flowers and leaves are first painted quickly in approximate colours. Then when I’ve worked sketchily across the whole board, I’ll start to pull the colours together and work on details.
August 19, 2007
In Lynne Twist’s book, ‘The Soul of Money’, she poses the question, ‘What if what we have is already enough?’.
She calls this ‘sufficiency’:
‘Sufficiency is not a message about simplicity or about cutting back and lowering expectation. Sufficiency doesn’t mean we shouldn’t strive or aspire. Sufficiency is an act of generating, distinguishing, making known to ourselves the power and presence of our existing resources, and our inner resources.’
‘Sufficiency is a context we bring forth from within that reminds us that if we look around us and within ourselves, we will find what we need. There is always enough’.
What would it mean to my own life to let go of the ingrained idea of scarcity most of us have, and to accept fully that I already have what I need. Wouldn’t that be a form of resignation, sort of like saying, ‘This is as good as it gets’?
The irony, according to Twist, is that as soon as one recognizes and appreciates the ‘this is as good as it gets’ in any situation, it gets better.
It is subtle shift from, working to ‘get somewhere that will be better than where I am now’, to discovering the treasures I already have and applying them to my highest commitments. Then my goals shift from ‘making a success’ of my authentic business and ‘increasing my income’, to ‘creating wealth’ but in a context of sufficiency.
‘Wealth shows up in the action of sharing and giving, allocating and distributing, nourishing and watering the projects, people, and purpose that we believe in and care about with the resources that flow to us and through us’.
Then you stop living in fear of losing your money; instead, money becomes an expression of gratitude and purpose.
August 19, 2007
A friend sent me, ‘Secrets of the Millionaire Mind’ by T.Harv Eker. And while it had some handy tips I felt it was still rooted in old ways of manipulating and exploiting with money. It didn’t move me to a new place in my own thinking. Also noteworthy was that I was left with a feeling of scarcity after reading it rather than abundance and possibility.
But Lynne Twist’s, ‘The Soul of Money’, was an entirely different experience. She addresses the fact that the money-culture drives us away from our more conscious soul-filled values. She asks what would happen if we began to turn our resources, our time, money, energy, the accumulation of material wealth toward our longing to make a difference with our lives.
I suggest that if you are willing to let go…of the chase to acquire or accumulate always more and let go of that way of perceiving the world, then you can take all that energy and attention and invest it in what you have. When you do that you will find unimagined treasures, and wealth of surprising depth and diversity’.