Just a week ago I shared the beginnings of a giant mural. Here’s a few pictures of the process and a great time-lapse video they produced of it all.

This was the day before our 49th anniversary, when I put up the sign saying so. Here I am throwing paint. That small painting on the left is for another project coming up, brought as sample. (Click on all these pictures to enlarge.)

The first day was really one of preparation. A professional carpenter had built the stretcher bars to size, done with kiln-dried wood and dowels (no nails or screws). It was waiting for us on-site. I brought a giant bolt of canvas and, with help, stretched and stapled it onto the bars. Then Anne and I went to work putting in a background color. Some asked, “Why blue?” It was just to get rid of all that white. But as I thought about it, God’s banquet would likely be outside . . . no ceiling, no walls, with blue sky and stars.

The venue was the large Calvary Community Church in Westlake Village and the occasion, a first-ever international conference of disabled people sponsored by Joni and Friends, a well-known organization dedicated to helping these people in a myriad of ways and around the world.

Every one in the picture is a real person with a real story. The little boy in the front was recipient of Joni and Friends’ one-hundred-thousandth donated wheelchair.

After preparation, it was a four-day project. Of course they were 12 to 14-hour days. The photos here were taken on the last day, when I asked Anne to get involved again, as she had on the first day. Though very much an artist, Anne is not a painter. No matter: I needed the help. She put in the fruit on the table and a few other details. When she wasn’t painting, she was “handling traffic” as people gathered around at multiple times day and evening, between sessions and during meals.

Enlarge to see details like the photo and my famous ironing board and laptop, all very handy tools Da Vinci could have wished he had.

Planning for this project started about a year and a half ago. I was confident I could paint what they had in mind, but only if I had a photo to work from. Just two weeks before, all these people, with various disabilities, sometimes along with their caretaker, dressed in international garb were photographed. The photo session took a whole day, with some elements photoshopped in later. A print of the result is on the wheeled cart in front of Anne.

Notice that some at the table are servers, and in fact often the disabled need a full-time helper (or more) just to get on. God bless both parties.

The mural depicts a take on Jesus’s parable in Luke 14 where a man prepared a grand banquet but everyone invited was too busy to come. So he instructed his servants to go out and get people from among “the poor, the crippled, the blind, and the lame.” It’s a theme truth with Joni and Friends and the mural will hang prominently in their headquarters and speak to what they’re about.

It’s real people depicted in the mural, including one from Jamaica blinded and disfigured after being assaulted with battery acid, a scarred soldier without an ear, a little Guatemalan boy with severe cerebral palsy, a lovely young (pregnant) woman who suffered a stroke . . . and more.

Nine hundred people were at the conference, and I must say I was changed in the process. This is a real population, worldwide, often ignored, often further abused, particularly in third-world situations. Joni and Friends is a singular organization doing what they can to address it. Their website is here.

Here’s the video. (Click on the little arrows to enlarge.)

The following Sunday the pastor of the church where we’d been all week changed his whole plan to review and share with his congregations what had taken place. It gives a fuller picture. If you’d like to view it, it’s here.

I should add that Joni Erickson Tada is a quadriplegic since a teen, is also an artist (she paints with a brush in her mouth) as well as author (50 books), speaker (everywhere), and possibly the most inspiring person you’ll ever meet. I was honored to be chosen to do this project for her, and for all those she and her friends are working tirelessly to help.

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Here we are during a quick break. Sorry about Anne’s blink. Symbolic, perhaps, how fast the years have flown. (Click picture to enlarge.)

I asked a friend, recently married, how it was going. His answer, “So far, so good.” I laughed and said, same with me. Which is a good thing, since as of today we reached our 49th year.

Not bad after starting out on a five-day notice. But that’s another story.

This day we find ourselves in Westlake Village undertaking a very ambitious project for Joni and Friends, a ministry to the disabled. Today begins their first international conference, with about 900 people involved. My part is to paint a massive 17 ft. by 6 ft. mural with 20 people surrounding a banquet table.

Besides being accompanied with the likes of sophisticated wheel chairs and crutches, they’re all in international dress. AND it’s all to be completed in four days! (That’s my idea, anyway.) After that they plan to hang in their headquarters for posterity. (I just hope it turns out.)

Happily, Anne is helping me.  Yesterday we put up a background color (time consuming itself, with so much square footage) and the charcoal sketch. That’s what we started with today. Though Anne is a fine artist, she’s not a painter. This is the test to whether our marriage will make it to 50 years. (I’M JOKING!)

So this is a quick greeting to you, with thanks for yours back, even if you don’t utter it. We’re grateful for our friends . . . also part of the strength of our marriage, which is, of course so far, so good.

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Once again, we’ve come to Toledo, Oregon for our annual art-making hiatus. And once again, on the last day, we put the art up on the walls to take a picture. This time, however, we made a video. Click to enjoy it.

Upcoming

Next Friday, February 6, I’ll be speaking and painting (combined) at an event in Poway, California. All invited. See here for details.

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Back in September Anne and I went to Jackson Hole. I gave workshop, we explored galleries, and spent a week doing art. I reported on it in an earlier blog. Here are the paintings produced before the trip (the Indians), during the time there (the equestrians), and from photos afterward (the landscapes).

Blues in Wyoming, acrylic, 44×44

Starting in the middle, here’s a piece painted in Marty Peet’s Wyoming studio. It’s from an historical black and white photo I’d come across. My colors just sort of showed up, wild and fenceless, like the landscape.

Best Friends, acrylic, 42×28

Here’s another taken from an historical black and white. I found the photo in a magazine in the Peet’s apartment (where we stayed). Sorry I didn’t note the identity of the person, an early resident of note in the area.

Red Chief, acrylic, 26×20

This and the following are pieces I painted in preparation for the trip. It’s a subject and style I’d often thought I’d like to explore, and here was reason. Their frames I made of reclaimed wood, from an old barn in Tennessee. I’m showing the pieces here hanging in our house, complete with extraneous artifacts we’ve collected from everywhere.

Daytime Dreams, acrylic, 32×24

Maybe it’s my fascination with this land’s original dwellers. Maybe it’s the the claim of my parents that I share a smidgen of Cherokee blood . . . from both sides. Maybe it’s my admiration for 19th century photographer Edward Curtis and his life work to document these people before their ways would be gone. Those photos, of course, are all black and white, or soft sepia. I add color, sometimes with dynamic departure from what would have really been. And why not, by now it’s an imaginary world we’re reconstructing.

Hopi Girl, acrylic, 32×24

Here’s another from an Edward Curtis photo. All the girls in this tribe at this period wore their hair this way. Perhaps it’s a style that will return. (Didn’t Princess Leah wear hers like this, in a galaxy far away?)

Field of Dreams, oil,16×16

It was back home in the studio where I painted a few landscapes from photos taken on location. The colors, the textures, and the grand expanse of it all are hard to capture on a small canvas . . . so one INTERPRETS.

Fence in a Field, oil, 31×39. For larger, click here, then on that picture.

Speaking of interpreting, as I was painting along on this one, and starting to get overwhelmed with the detail, I literally asked God how He would do all the wild brush in the foreground. What I got was, “Throw paint; that’s what I do.” Maybe it’s because of that it’s become one of my personal favorites. 

Lake Near Wilson, oil, 24×18

The town of Wilson is just next to Jackson Hole, both of which are nestled just beneath the Grand Tetons. Ashley Lund, the friend who purchased this one, wrote the wonderful tribute quoted in a Blank Slate, “Spiritual Homesteading.”

Land Loving Sun, oil, 12×16

Finally, one more, again in situ, placed as it was at this moment over a small library of small (relic) books. Could look good anywhere, like at your house. Same goes for all on this blog (except one), and for most on the website. Either way, we hope you enjoy these.

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Next, Oregon calls once again. For the rest of this month we’ll be in the rain and the wild of yet another part of this beautiful world. We’ll be indoors mostly, making art, living life.   Live yours, too, artfully.

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Here’s a one-minute video giving a quick scan of the “other world” you step into when you cross the threshold. Of course, every piece of art was created by the residents . . . most of which is new since the last show. Every piece of furniture has a story. Every artifact is a reminder of travels. Every book, another mind expander. To it all, add food and wine and people and it’s perfect love and beauty. All the art is for sale, but it’s not just about sales, rather a sharing of life. Come if you can. And bring a friend.

Place and time:
33752 Big Sur, Dana Point, California
December 6-7, 2014
Saturday, 3:00-9:00
Sunday, 1:00-6:00
House Show-Anne 12’14

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I mentioned our trip to Jericho and to Israel. Actually Jericho is part of Israel, to the consternation of most who live there. But that’s another matter. We went to build a playground, just for the sake of spreading some good around.

This is what it looked like when it came out of the container. It’s original home was in Chicago, where is was disassembled . . . very carefully, with marks of which parts go with which, so we’d know how to get it back together.

We were with a group of fellow volunteers with Kids Around the World. Only a few had background in this kind of work, but somehow, like with the energetic diligence of a bunch of ants, we all found things we could do and did them.

Here’s how it looked as we began our fourth and final day. The swings were yet to go up (foreground poles), cement yet to be poured, and piles flattened out. After that, just add children . . . who swarmed it as soon as we were done.

I didn’t go to paint, but did bring some materials with me, just in case. As it happened, Anne and I took a Sabbath rest in the middle, in Tiberius on Lake Galilee. She read, I painted. Sometimes she read to me. A lovely day.

I painted from photos taken and downloaded to my computer. (People wonder that my laptop is so paint-spattered.)

Actual photos would do these sites more justice, but Blank Canvas is an art blog so I’m showing paintings. Here, if you’ll allow the license, is the Dead Sea.

In Palestine, where we were the first half of the trip, it’s most common to find the women with heads covered. We visited a girls school where Kids Around the World built a playground last year and we were warmly welcomed, even with tea in the principle’s office. Among the traditionally black-garbed teachers was this young PE coach with a warm smile and in stunning hot pink!

I made 25 paintings that day, quick sketches really, acrylic on canvas. I’m not sure if that’s how impressionism was invented, but those painters set the way and gave permission to the rest of us.
This is of En Gedi, where King Saul jealously pursued his servant David and David famously cut off a corner of Saul’s garment bringing peace (for awhile).

The number 25 came up when I realized I could make these as gifts for our fellow travelers. (As I think of it now, it was another way to serve.)

Sometimes the place was specific, like this from the monastery at Temptation Mountain, traditionally where Jesus was tempted of the devil. It is a sheer cliff, from which if one jumped, it really would be the end.
The photo is of the monastery.
The child on the right is an impression of a bedouin.

Here’s another of En Gedi. Imagine night is approaching. I suppose I could have tried a rendition after dark but there’d be nothing to paint but blackness. (I saw an all black painting in a gallery today, larger; it was $8000!)

Someone offered to take out picture overlooking Armageddon. The angle doesn’t do justice to this most expansive place. As for the wires and Anne’s earpiece, they were so we could hear our guide as we traveled around. We gained as much by what we heard as what we saw.

These few pictures do absolutely no justice to all we did and took in. I’ve begun and will continue more commentary on aspects of the trip along with sketchbook drawings on my writing blog, Blank Slate. You can see it on this website, or sign up here to receive notices of its posting.

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Open House and Studio Show

December 6-7

Click here for info:

House Show 12’14w

Actually, the whole house has been called a work of art.
Certainly it’s a gallery, with art hanging on every wall in every room.
Come to find the perfect piece, or come just to hang out.

33752 Big Sur, Dana Point, California
December 6-7, 2014
Saturday, 3:00-9:00
Sunday, 1:00-6:00

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Two Great Books, Perfect for Gifts!

People of the Earth

NEW! A 20-year retrospective of paintings by Hyatt Moore, all of a unique genre, 122-pages, 130 paintings. A beautiful coffee table book, very tasteful, and a tribute to the color and dignity of people around the world. $24.95, or three for the price of two. Shipping is free.
GO HERE FOR ORDERING INFORMATION.

It’s About Life

It’s About Life, a personal take on the Biblical book of Ecclesiastes, very positive, often philosophical and motivational. Full of salt. And peppered with sketchbook drawings over many years and many places. $14.95, or, three for the price of two. And free shipping.
GO HERE FOR ORDERING INFORMATION.

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When I first started painting, almost 20 years ago, it was natural that my early subject matter was dominated with “ethnic” people. At that time Anne and I were still working with an organization dedicated to serving these people. We had what you might call a full career with Wycliffe Bible Translators, 32 years, raising our family in four different countries, traveling to scores more, and working in multiple capacities. None of those was as “a painter,” however, until toward the end when that spirit took over and sent me in new directions.

Full color, 122 pages, handsome format, and at 8″x8, unpretentiously small. Order here.

Not only did I make paintings of these people early, I’ve continued to, at least sporadically, right through the present. It’s for this I’ve created a book specifically dedicated to my paintings of this genre. The following are some examples of page spreads.

Click on any of these images for an enlarged view.

My first idea was to create a catalogue of work still available, but it soon became something of a retrospective, including the likes of the two above, the one on the left now in a collection in Seattle, and the one on the right, at Biola University in La Mirada, California.

The book lists which pieces are no longer available. Approximately half still are, like the two shown above. (All in the book are available in custom print form, as described here.)

For these I always use photo reference, sometimes those I’ve taken, or found, or sometimes sent to me by friends . . . like the two above.

These from Guatemala were from photos I took. We lived there in the early 70s (our second child was born there) and have been back a couple of times since.

I’ve not been to India but I love their fearlessness of color. Throughout the book the captions include the date painted and the size. Both of these were in 2008; the one on the left is five feet tall, the one on the right, 12 inches.

These are from photos I took on Mfangano Island, Lake Victoria, Kenya. I was there in 2005 making paintings for an AIDS orphanage, for which the paintings raised some funds.

These are from more from photos of my own taking, in Masai Mara, Kenya. I still have a shield and spear from these guys, here watching their cattle.

Over the years I’ve done a lot of these life-size “standing portraits,” both women and men. Many are now in various collections, either in groups or as singles. Eighteen of them are in the book.

In all, 128 paintings are displayed. That’s not the total number I’ve done of this subject, but those that would fit without crowding on the 122 pages.

My days as a graphic designer (Art Director at Surfer Magazine, etc., many years ago) instilled sensitivities for handsome book design . . . color harmonies across spreads, subject matter arranged to makes sense and the liberal use of white space. It all matters.

The book’s text is minimal; it’s intended as an art book. The pictures tell the story. The purpose from the beginning is to honor these people. Though they’re fairly hidden and generally forgotten, they’re our neighbors on the earth. They are gems. Usually very poor, they can dress like they’re rich. They live right down in the dirt of the earth. But that’s where gems are found.

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Buy the book, and let your eyes rest long on every page.

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People of the Earth

Click here for ordering information

$24.95
Shipping free within the USA and Canada
(others please inquire)

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Ongoing and Upcoming Events

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Fall Studio Show Coming Up

Save the dates, December 6 and 7, 2014

For more info, click here: House Show 12’14-web

Next Trip

As of next week we will be in Jericho and Israel for two weeks. The last week is a tour, for the first we’ll be with a group building a playground for a Palestinian boys school. They want me to paint pictures. Time will tell of what.

Semi-Private Coaching for Painters

Offering two-hour sessions on Mondays and on Saturday mornings
In the Hyatt Moore Studio, Dana Point
Call  949-240-4642

Printmaking Classes

Two-hour sessions in the Anne Moore studio, Dana Point
Call or email for more information or to schedule a class
anne@hyattmoore.com
949-240-4642

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Historic Sandstone Gallery in Laguna Beach is having an opening this Thursday evening and will feature artists Hyatt and Anne Moore. If you come, you’ll see not only our work but that of seven others who show at Sandstone. It being “Art Walk” evening, you’ll also have access to as many galleries, right there on the same street–Gallery Row. It’s a fun evening to be out, and the weather promises to be spectacular. Just like the art.

Click on each of these images for larger view. For the art, click Tibet.

Being the featured artist, I have the front window space. I opted for one of my wonderfully oversized faces. Above is my little Tibetan Boy as the sun was going down, looking out in wonder at all the cars going by. Ours is another world than he would know, and vice versa.

For views click:
Day Dreaming
Friday Afternoon

Inside, it won’t be like this on Thursday evening. Rather it’ll be full of people, all admiring the art. That, and tasting and sipping what the various galleries have to offer, and just enjoying being out with friends.

Posing as Possible
Continuing Conversation
Building Rapport (link not available)

Anne’s work is in another room. I had to ask her, are all the walls at Sandstone the same color? She said they are. Then why do they come out as different colors here? Different lighting? Different cameras? Reminds of the cataract surgery I experienced lately. Before I went in I didn’t even know everything had a sepia cast; when I came out it was pure white.

Beauty and Shoe
Gesture 21
Saucy Lass
Beauty Standing 2
Beauty Standing 1

Sandstone is a gallery dedicated to art that leans toward the abstract. Thus, that’s what I show here. Different galleries carry different genres of my work. Since I like to do these, I’m glad for a place to show them. And make them available for anyone who will also find them wonderful.

Playing the Game
Agreeing to Differ
Trespassing Time

And wonderful is what Anne’s work never fails to be. Full of wonder . . . of how she made it, what it means, her titles, and the intrigue of how her mind must work. That’s the classy Rivera Magazine furled on the desk, open to a page displaying her Trespassing Time, a piece they apparently liked too.

Dancing Glow
Him and Her 4
Spring Reflections
Red Collar
Red Top
Annabel Repose
Red Ditty

Though the gallery is roomy enough, I ran out of conventional space and resorted almost to the floor. So be that. In good light, paintings can show well anywhere (whether that light is yellow or white).

The show will run all month, so come whenever. But the most fun is during Art Walk. That’s this coming Thursday evening, 6:00-9:00. See address below.

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Ongoing and Upcoming Events

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Sandstone Gallery Laguna: Featuring Hyatt and Anne Moore

October 2–November 2, 12:00-5:00 (closed Tuesdays)

Artist reception Thursday, October 2, 6:00-9:00 pm.
384-A North Coast Highway
Laguna Beach, California 92651

Coming Soon: New Book, People of the Earth

A 20-year retrospective of paintings by Hyatt Moore, all of a unique genre: Tribal People. This is a 122-page book, featuring 130 paintings, many now located in places far and wide, and some still available. It’s a small coffee table book, very tasteful, and a match in format with the popular It’s About Life. (That book is available here.) Watch the website under “Store” for availability of People of the Earth.

Semi-Private Coaching for Painters

Offering two-hour sessions on Mondays and on Saturday mornings
In the Hyatt Moore Studio, Dana Point
Call  949-240-4642

Printmaking Classes

Two-hour sessions in the Anne Moore studio, Dana Point
Call or email for more information or to schedule a class
anne@hyattmoore.com
949-240-4642

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“The artist, being a dreamer basically, is one of the few people in this world who has the unique ability to create for himself his very own world, to make things just as he would like them.” So said artist William F. Reese in a book I came across in the studio we used for a week outside of Jackson Hole, Wyoming. Actually, I believe the same could be said for many besides artists. It was exemplified in the lives of our hosts for the week, Charlie and Marty Peet.

Besides the gracious accommodations of private guest quarters (not shown) we had the use of this large studio, the full second floor of Charlie’s workshop (above). Also not shown is the array of various classic cars, a classic wood boat, and a home-made airplane, stored and worked on in the shop. It was apparent that there were artful expressions of life going on on both floors.

Of the Wyoming landscape one could not take enough pictures. This is the view out the back of the studio. Out the front was just as grand, and all sides.

For two days I led a workshop for eight friends who paint together in yet another shared studio. Anne only joined us during the final critique and took these pictures.

We’d done four paintings in the two days, a floral, a landscape, a face and a figure. For some it was pushing them into the pool at the deep end. But they were all good sports, had a good time, and learned from each other.

In the meantime, Anne stayed at the Peet studio and kept making art. For her, getting away and working like this, with no interruptions or the ever-present “should-do” list, is a gift. And it’s obvious that she is gifted at it.

The studio was plenty expansive. Anne worked at one end and I at the other. We used the place for eight days running, but for occasional excursions into town (half hour away) and, of course, my two days off-site giving the workshop.

Here’s a sample of some of Anne’s  productivity. Her press is barely visible on the far end of the table (in blue). That’s her smaller, “portable” version (though still very heavy) that we take on such trips.

Down at my end, I too was busy, making a couple of large acrylics . . . western themed for the occasion . . . and a number of small oils. Some, like the floral and the dancer, were done as demos in the workshop, the others, just because.

Here’s another view, and another time of day, looking around the Peets’ 70-acre spread. Completely peaceful, but with sometimes hourly changes in weather and light. In winter it’s covered with snow, and maybe a herd of elk.

Our hostess, Marty Peet, enjoying the end-of-day air with Anne, down by their stretch of the river. Note, “Maggie” lounging just behind, their 3/4 wolf, very docile with humans, but a threat to any dogs venturing her claimed property.

The same evening, with camera in other hands. I’m relaxed, not knowing I was at that moment being bitten by some invisible insect in the grass and ended up on antibiotics for a week. Who said this country was altogether tamed?

Too dark for a good photo, but too special not to show. It was Wyoming, for me a return to ancestral home. For more on that, and how we happened to be invited here, see the two recent Blank Slate blogs I posted while there. It’s all part of the “invented world” these artists are able to create. We’re grateful.

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Ongoing and Upcoming Events

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Sandstone Gallery Laguna: Featuring Hyatt Moore

Show will feature abstract and abstract figurative work. For preview, see here.

Opening this Thursday, October 2, 6:00-9:00 pm.
At the Laguna Art Walk
384-A North Coast Highway
Laguna Beach, California 92651
October 2–November 2, 12:00-5:00 (closed Tuesdays)

Semi-Private Coaching for Painters

Offering two-hour sessions on Mondays and on Saturday mornings
In the Hyatt Moore Studio, Dana Point
Call  949-240-4642

Printmaking Classes

Two-hour sessions in the Anne Moore studio, Dana Point
Call or email for more information or to schedule a class
anne@hyattmoore.com
949-240-4642

15 Comments

I have a lecture I give to art leagues when asked that’s called “How to Start a Painting.” It’s generally well attended, as there are so many ways to start a painting. In fact, I always qualify it with, “It’s how I start a painting . . . these days . . .  sometimes.” The following two model painting sessions will give a quick look at how I do it.
These days.
Sometimes.

I started with red, this time, just because. Red is a warm color and won’t make mud when I go over it with another color. At first, it’s all about design, getting the right placement on the canvas.

These are oil paintings, all wet on wet, alla prima. There’s no preliminary drawing, just blocking in with fairly fat brushes.

The idea is to start loose and then go gradually tighter, quitting before it gets too tight. Adding the other colors over the red means putting them on pretty thick, and not mushing them around, which would change the color. Any bits of residual underpainting that remain are delights. Delights of light.

I was pretty happy with how this one turned out. Someone mentioned that I’d forgotten the mouth. And sure enough. But viewers can fill it in. It’s really more about poetry than prose.

With time left in the three-hour session, I moved in a little closer to do a head study. Same approach. Very loose, then tighter, with drawing coming into it toward the middle stages . . . not at the beginning, as people usually think (including artists).

This time I didn’t forget the mouth. The sketchiness is left intentionally, including the unpainted parts. Same with the hair blending into the background. That evening I made yet a third painting, but this gives the idea.

Here is another session, another evening, another model. What doesn’t necessarily show in these photos is the other painters in the room, eight or ten of us, at varying levels. It’s all for practice. I’m not the best, though tend to be the fastest. I’m after a loose style, which can’t happen without a certain abandon. Notice this one started with something of a “stick figure.”

Notice the complete lack of any hard edges or much concern for accuracy at the early stages. Same with a worry about skin color precision.

A few shadow areas define the shapes, those and highlights, particularly for the face. It’s all about getting paint down on the canvas in more or less the right place, then fine tuning, but never over-stressing.

I was amused that the model, on her break, came over and photographed my painting. Often models will ask for an additional $10 if you take their photo. When she pulled out her camera I said, “That’ll be ten dollars.” (Just kidding.)

Once again I wanted to paint a second, and of just the face. This one started out a bit more “gross” than most and I had little confidence at first that it was going to come together . . . but, full speed ahead.

I was using gessoed wood that evening, and it took the paint a little different than canvas. Notice the texture, drips, the strength of the strokes. Normally I do the mid-colors first, then the darks, and the lights last. For acrylic it can be any order; but for oil this works best. (For me.) (Sometimes.)

In the end the thought came to give the model a painting. They see themselves painted so often, but rarely get one for themselves. I offered her the choice. She took the first one, the full figure. I can understand that; my version of her face wasn’t exactly complimentary, but I though it was the better painting (so we were both happy).

Per usual, I packed up early and went home to watch a video with Anne. As I said, it’s all for practice.

Heading for Wyoming

Speaking of packing up and spending time with Anne, this next month will have us in Wyoming. We’ll be in Jackson Hole where I’ve been invited to give a workshop. And we’ve also been invited to spend a week in the studio of our hostess, doing art. We’ll do tourist things too, and check out the abundant galleries. No doubt I’ll be reporting on all this in a future blog.

I’ve also been working on another book. More about that to come as well.

Keep living artfully. And never stress. Your art will be better. (And more fun.)

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