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CSA- looking back

When I updated my website to include all of the paintings that I've made for the CSA exhibits, I was surprised at how different the body of work was from what I was painting just prior to the project.  And I was also surprised at how much work I had made!  Here's a screenshot of the CSA paintings (those last three were done for the Tiny show at Spindleworks, made at the same time):

Updated work from the CSA exhibits + - fills a whole page!
 Here's a screenshot of the body of work the was produced just before the CSA project (minus the first one which didn't fit on the first page!):
The paintings from before the CSA project (minus that first one)
I'm really struck by the difference in palette; the older work was about dealing with migraines and chronic illness, so they were pretty dark and a bit angry.  The CSA project allowed me to focus on something bigger than my own issues and something more cheerful-- even though I always find a way to bring something haunting into my work!

One of the most intriguing results of this CSA experience, for me, has been evolving my perception of what my influences were-- What I went in with and what I came out with. And other's perceptions, too. The artists, the farmers, and the viewers. It's not always about the food itself. For me, it barely was. As one of the other artists, Maina Handmaker said in this Forecaster article, "I learned a lot from them: not just about raising animals or picking vegetables, but really about raising a family and being connected to a place in the community."

"The Hub" Monotype
One of the best interactions with a viewer of the original exhibit was with a woman who turned into a buyer-- she fell so in love with a monotype that I had done of a barn on the farm because it brought back a memory from her childhood of visiting her grandparent's farm. It was a place that her cousins and herself went to each year to reunite and have a grand time being kids. She was in tears as she told me this story and when I turned around - red dot! Even if she hadn't purchased it, the story was so touching to me as was the knowledge that my piece had brought her back the emotions from that time in her life. And the conversation came from asking me why I titled it "The Hub" -- I did so because the barn seemed to have a magnetic pull to me. Each time I visited the farm I was drawn to it. As her and her cousins were drawn to their grandparent's barn.

Looking back at the entire experience, I'm so glad that I've been a part of it for so many different reasons.  I'm sure I'll keep thinking about it and talking about it here. 

After the art has left the nest...

Today I received the most wonderful email from Samatha in Toronto.  She had purchased a watercolor painting of mine some time ago and was holding onto it until she could figure out the right home for it.  As she wrote to me, 


"I finally have your piece framed and hung. I took me forever. Last spring I carried it around in my diaper bag for 3 months and went to 3 different frame shops. Then I was looking through a closet and found an old vintage frame and print and I had long ago stored away. It's perfect! The frame has a great old-fashioned feel to it that compliments the classic style of the nude. It's a deep brown wood with very sublte gold leafing. I have it hung in my dining room, where it looks great and has received many compliments. I bought your painting as a gift to myself shortly after the birth of my son."

I love to hear stories of where my art goes to live after it leaves my studio and it's very refreshing to learn that this piece has ended up in such a nice loving home where it will be cared for and enjoyed!  Thank you so much, Samantha, and thank you for letting me share your story!  Best wishes to your family!!

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