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Trust in the LORD with all thine heart; and lean not unto thine own understanding. In all thy ways acknowledge him, and he shall direct thy paths. Proverbs 3:5-6
Ok so here lately I have been pondering over so many things concerning my own health and well-being as well as those whom have shared their's with me. As I have recovered from my recent stroke and is trying hard to get myself back in the swing of things with life and going back to work, I'm trying to eat right and get the exercise in on a regular basis. I have been with my Primary Care doctor for many years and he has never steered me wrong in any of his decision concerning my health but, I do know there is a 1st time for everything and a red flag has gone up in my head at his recent decision to place me on Effexor XR to combat my hot flashes and night sweats. Now there has never been a time that I had to question his knowledge and experience as a doctor, but again there is a 1st time for everything and this is it for me with him.
I also thought about Msj and her hard efforts to bring awareness to doctors who prescribe people meds that are not good for their ailments or even used for the purpose of healing them of a specific ailment. I personally DO NOT like taking pills of any kind, but I know this is what one must do if there is a health issue or if you need to take certain supplements to help keep you healthy. For all of my soon to be 51 years I have never really took meds unless there was an issue, but for the most part I have been healthy and has not needed anything to help keep me going, as all the doctors that treated me for my recent illness has said, I am blessed to have *NOT had high blood pressure, high cholesterol levels, diabetes, or any heart conditions, due to my weight size which still had them baffled as to why I had the stroke in the 1st place, thank God for Jesus!
And this is even more so the reason why I want to lose the weight just for being more on the healthy side. I too wonder why doctors are giving out meds so freely and without restraints from the government, or maybe there are restraints but they are hidden, but what I do know, there should be some re-percussions to those who do it lawlessly. I know a few people who go to certain doctors just to get pills to get high on (ex: vicodin, high dosages of Tylenol w/ codeine, Oxycotin,) etc... it makes no sense to me why these doctor's would want to even jeapordize their licenses and their liveihood for a mere few dollars over a lifetime of being honest and wealthy by keeping their hands clean.
Well, in my mind and spirit the Holy Spirit said to get wisdom and with getting it also get an understanding in all things.
Get wisdom, get understanding: forget it not; neither decline from the words of my mouth. Forsake her not, and she shall preserve thee: love her, and she shall keep thee.
Wisdom is the principal thing; therefore get wisdom: and with all thy getting get understanding. Proverbs 4:5-7
I just don't feel comfortable taking this medication and I've yet to get the script filled and don't think that I will even though one of the so-called pros to taking it was that it will benefit you in your weight-loss goals, yeah right now you know the devil tried to magnify that point in my mind but, Not happening he has no power over me LOL. The biggest thing that got me in the cons sections was that it is a hard medication to wean one self off of, so this is definitely a huge issue for me I'm not trying to get addicted to anything, I have never used drugs for the point of needing and depending on it, and I'm not about to start now, again the devil is a liar!
So I'm going to as I always have, put all of my trust in the Lord and follow His lead on this and NOT take this medication. I will try the St. John's Wort and the Black Cohosh which are natural supplements and see what happens.
My SIL, my hubby's sister who is on this med called me today to find out if the doctor prescribed it for me and I told her yes, but will not take it she said she takes it because she didn't want to do the hormone therapy, but I'm still looking at other options.
Eva! thank you for your input and understanding I've pondered over this enough to say I'm sticking to my guns and will NOT take this med, I too think that with the right diet and exercise it just may well help combat some of the hot flashes and night sweats, but of course I'm still looking at other options to help me as well thanks again for your input.
every medication, no matter what it is, has a contraindication. Doctors don't tell us that when they prescribe them. I'm still getting hot flashes at times but I have to say they're not nearly as bad as they were last year. I tried bio identicals which worked great for several ladies I know but unfortunately, I never found the right level for me and I had to stop. I'm now taking an herbal formula and so far it may be working but it's still early to tell.
I trust me. I have been given meds over the years many of which I never even tried after doing my own research. I'm the only only one who knows how a medication will work, so it's up to me to do the research.
It got to a point where I was taking meds for side effects of meds. I finally said NO MORE!
I hear ya MzT.
Choc my problem with this particular med is that it is mostly used for people with depression and that I am NOT! on top of the said mentioned quest to wean one self off of it is a huge challenege I've never been a med junkie and I'm not about to start, I don't need any addictions in my life at this stage in my life so I'm not taking it!
My brother took Effexor for years for depression, after it no longer worked for him, he had a very rough time weaning off of it.
Hi Dianne, this is my sole reason as to why I have decided NOT to take this medication my sister inlaw (hubby's sister) is on it as well but if it works for her thats her lol, she's a bit dingy anyhow lol.
Just sending you hugs and hoping you can find something that works for you as going through menopause is not easy for some.
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Sometimes, every woman wants casual clothing. They want to feel comfortable and to look beautiful at the same time.
These pants with a romantic print and different color waistband are very comfortable. They are a good choice for your Sims 4 women for different situations. They are perfect for sleep, for relaxing and have fun too.
Here you will find 3 different waistband colors.
The download was created by Zuckerschnute20

subset: commoncrawl


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Help, looking for a good finance program.
- To: mathgroup at smc.vnet.net
- Subject: [mg5572] Help, looking for a good finance program.
- From: randis at lix.intercom.es (Randis S.L.)
- Date: Fri, 27 Dec 1996 01:58:53 -0500
- Organization: Unisource Espana NEWS SERVER
- Sender: owner-wri-mathgroup at wolfram.com
I´m looking for a good financial program in the Net. A program to calculate: loans, rates, annualities,... Do you know a good one? Thanks. Rob.


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So, my mom doesn't read this blog, which is probably the best birthday gift I could ever possibly give her, but since today is her birthday, I wanted to honor her a little bit. I think often she doesn't always get the highest of praise, but truthfully, given the things that have happened in her life, she's done a remarkable job at not just surviving, but thriving. And, if I do say so myself, she managed to raise two successful and independent women, mostly on her own.
My mom was the third child of 5, the first girl and was always given the role of the "smart" kid. She was the valedictorian of kindergarten, 8th grade, high school and graduated Summa Cum Laude in only 3 years of undergraduate work. She now holds two Master's Degrees, and three different Teaching or Administrative Credentials. She's nothing if not incredibly intelligent.
She married my father when she was 22 years old and had my sister when she was 25. I was born when she was just barely 27. She worked full time as an elementary school teacher until we came along and then she worked part time as a reading specialist for the school district nearest our house. When we both were in full time school she became the full time reading specialist, splitting her time at 2 different schools each day.
On their 17th wedding anniversary, my dad moved out of the house. I was 12, my sister was 14. On what would have been her 20th wedding anniversary, my mom sold the only home I ever knew to pay for my sister's college expenses. We moved in with my grandparents to save money until we could buy a new house. We eventually found on, and it was ours, hers and mine. We went together to pick out tile and carpet and she and I became each other's whole worlds.
She didn't parent me in the way that most parents do, but I'd like to think it's because she instilled in me good enough morals that she didn't have to. I didn't do wrong things because I knew they were wrong. I didn't test my boundaries because I knew what they were and I knew why they were there. She was literally my best friend, my confidant and my hero.
Moving away from her to go to college was one of the most difficult things I've ever done and I know it tore her to pieces as well. Everytime I came home we both were reduced to tears at the idea of me driving the whole 90 miles back to school alone. Like I said, she was my best friend. We both grew a lot that first year after I moved away. In time she found someone to fill the void and 2 years later, married my step-father.
She has stood by him through prostate cancer (surgery was performed on the same day her mother died), through economic swirls and through his general obnoxiousness (oh, did I say that?). She is no longer a teacher as she was long ago promoted to the county coordinator for all things language arts related and she's damn good at her job.
There are times when I wish she fit the mom outline that other people have. She's not the queen of advice and she's been known to coin phrases like, "you're responsible for your own guilt." But she also said that she'd pay 400 dollars to fly out here for 4 days for this surgery if I wanted her to, which doesn't seem like a big deal until you realize how much money she's loaned or given us for this wedding and how big of a financial hole she's in. She just loves me.
She has her faults, but many of my favorite and most lasting memories from my adolescence involve me and her, sitting around the coffee table eating a gourmet feast of mac and cheese and ceasar salad while watching Friends. We carved out one hour a week that was just "us" time and it will always be something I'll think back on fondly.
So, on this, her 52nd birthday, I raise a glass to the woman who helped me to be the person I am. She gave me strength, intelligence and perseverance and those lessons are ones that I know I never could've experienced and grown from without her.
Simply put, she's my mom, and I love her. Happy birthday lady.
On her 52nd birthdayPosted by Overflowing Brain at 7:18 PM Labels: The Family Monday, April 14, 2008
So, my mom doesn't read this blog, which is probably the best birthday gift I could ever possibly give her, but since today is her birthday, I wanted to honor her a little bit. I think often she doesn't always get the highest of praise, but truthfully, given the things that have happened in her life, she's done a remarkable job at not just surviving, but thriving. And, if I do say so myself, she managed to raise two successful and independent women, mostly on her own.
4 comments:
- Ness said...
What a wonderful tribute to your mom. Thanks for appreciating all she has done/will do for you. It's the greatest gift a child can give her mother. Take care.
- April 14, 2008 at 8:11 PM
- Flea said...
Hear hear! That was beautiful! You have so much to be grateful for in such a short life! What a wonderful daughter you are. :)
- April 14, 2008 at 10:13 PM
- Daisy, Just Daisy said...
Hear hear.
- April 15, 2008 at 11:26 AM
- kim-d said...
What a beautiful birthday post for your Mom, Katie. It made me miss my Mom even more than I usually do. Always remember--nobody loves you quite like your Mom does.
- April 15, 2008 at 6:46 PM


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My Story
Sandy Cleary was a medic during the Vietnam War, and now suffers with 100% post-traumatic stress disorder (PTSD). Athletic as a young girl, Sandy desired to serve her country and help people, and so in 1972 she joined the US Army and trained to be a medic.
One night, after working at the drug and alcohol ward in the Fort Dix hospital, Sandy was sexually assaulted and became pregnant. The rapist told her that he would kill her if she told anyone. Being young, she was too afraid to say anything. Unfortunately, at that time the Army was unable to have a pregnant servicemember, and Sandy had to choose between having an abortion or being discharged. Having been brought up in a religious household, Sandy didn't believe in abortion and so, choosing to keep her child, she lost her military service. Or, more appropriately, her military service was taken from her by a rapist and by justifiable fear.
Now a single mother …


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Dubai-based carrier Flydubai has donated $100,000 to Somaliland's national fundraising campaign for the nation's drought victims and to victims of the AWD (Acute watery diarrhea) outbreak in Eastern Somaliland.
Somaliland's representative to the UAE, Bashe Awil Haji Omar, announced the donation in a press conference on Thursday.
"Although the drought has subsided, there are still many issues our country is facing. Our representative office in Dubai is currently focused on raising money in order to tackle these issues," Omar said
"After meeting with Flydubai's executives, they've agreed to contribute $100,000," Omar said.
According to Omar, the funds will be split evenly. $50,000 will go to the and the other $50,00 going to hospitals in Eastern Somaliland.
Omar also announced a joint $30,000 donation from two Emirati-based companies that are currently


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Aqua Net and hairpins
My hair has been thru a lot. It's a wonder I have any left considering the things I used to do and have done to it. When I was little there were two choices for my hair. Pigtails or not. That is actually the way my mother asked the question...do you want pigtails or not? If I went with pigtails, I could add ribbons to the ends and barrettes at the sides. Sometimes the pigtails came with hair stretched so tightly away from my face I looked like a premature facelift casualty. If I chose no pigtails, I still got the barrettes or maybe a hard plastic headband that made tiny dents in my head with its vicious little teeth. Pigtails or not lasted until around 4th grade when it became ponytail or not. By then the plastic torture devices had been replaced with stretchy headbands. I had a black one with Susan written in gold cursive. I loved that headband. I wore it until the gold flaked off and it read S_sa_. By the time I got to high school, hair exploded. I teased my hair to within an inch of its life, sprayed it, then teased it again. Bangs below my eyebrows, crown of hair reaching toward the sky, with a cute little clip-on bow delineating the separation. Unlike some of my friends, I always checked the back to make sure everything was smoothed down, right before I AquaNetted the heck out of it. My best friend Barb never bothered combing the back since she claimed she never saw it, so what was the point. As I was at least 3 inches taller than her, I could have told her what the point was, but I was nothing if not a good friend. Huge hair was so out of control, articles were written in the LA Times claiming tough girls hid razor blades in their do's and, since you didn't comb out a good tease for maybe a week, sometimes black widow spiders made nests in them. At my high school, all the cool girls had wiglets. Constructed on a stiff net, a wiglet was 3-5 inches of hair that could be washed, set and styled into a froth of stiff curls, sprinkled with tiny bows on u-shaped hairpins and attached to your real hair with built in combs. Girls would bring them to school before a dance, pinned on Styrofoam heads so that we could ooh and aah over them. I didn't have one. My hair is red and there were no wiglets for redheads. What I did have was a custom blended 2 ft length of hair from the long gone Broadway Store, fastened in a huge knot at one end. It could be left loose in a free flowing pony tail, although I could never quite figure out how to attach the huge knot to my head, or braided and coiled into a sort of hair crown attached with dozens of hairpins. My freshman photo shows me wearing it plopped on the top of my head like a Davy Crocket coonskin hat, my own shoulder length hair in a cute little flip below. Around my senior year, we all got over the need to lacquer our hair, yes they really called the product lacquer, and things got a whole lot simpler. We wore it long and straight or long and curly. If you were a straight fan and your hair wasn't, you ironed it. If you wanted curls but weren't born with them, you got a perm. Eventually even guys got perms. I had a friend in college whose perm went horribly wrong, causing him to shave his head. He got a nice settlement in exchange for the promise to take the salon's name to the grave. Today the thought of teasing, or as we called it, ratting, my hair makes me laugh. So does the idea of sitting for an hour under a plastic hood, hot air burning my ears while baking my hair onto rollers. Those days of bobby pins, clippies and Dippity Do are long gone and not missed at all. I still have that long braid somewhere. And I still wish it was a wiglet.


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This is a hybrid. This is a cross bluegrass, Kentucky bluegrass, featherbed bent, and northern California sinsemilla. The amazing stuff about this is that you can play 36 holes on it in the afternoon take it home and just get stoned to the bejeezus-belt at night on this stuff. Inspired by Caddyshack.
T-Shirts are available in two high quality styles. Deluxe: made with 100% ring-spun combed cotton. Luxury: made with a super soft vintage style 52/48 blend of ring-spun cotton & polyester.


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Catalog Titles
Web Pages
Grouping Off
• Versatile A4 flatbed accessory for a variety of Panasonic document scanners
• Multi-Crop, 2 Page Separation
• Up to 600 dpi optical scanning resolution
• ISIS Certified, TWAIN compliant drivers
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Now you can consecutively scan ADF documents from the KV-S1025C or KV-S5055C and flatbed documents from the KV-SS080 in one simple operation, greatly improving your productivity.
Place various sized documents on the flatbed, such as checks, ID Cards, and business cards, and the KV-SS080 will scan them in one pass and produce multiple individually cropped images!
2-Page Separation
Use the large 8.5 x 11" flatbed to scan books, magazines or other bound documents in one pass and produce two separate images.
Panasonic Image Enhancement Technology
As with our other award-winning document scanners, the KV-SS080 supports a variety of image enhancement functions built right into it. Auto-crop, Dynamic Thresholding, Auto/Binary Distinction, Blank Paper Removal, Hole Removal and Multi-Color Dropout are just a few of the available features found on every Panasonic document scanner.
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Cirexx Certifies to the AS9100D Standard in FOUR MONTHS
Santa Clara, CA, June 23rd, 2018. Cirexx International announced today that they have acquired AS9100D Standard Certifications in only four months.
- Context of the organization
- Leadership
- Planning
- Support
- Operation
- Performance Evaluation
- Improvement
The website can be accessed at: https://www.cirexx.com.
About Cirexx International
Founded in 1980, Cirexx International, Inc. is an electronic solutions company offering PCB Layout, PCB Fabrication and PCB Assembly of high-reliability Printed Circuit Boards, RF/Microwave Circuit Boards, Flexible Printed Circuits and Rigid-Flex Circuit Boards. Recognized as a time-technology leader, the company offers a genuine Quick Turn service and provides a one stop shop and all in-house solution known as Seamless Integration. Cirexx has expertise fabricating high layer count Printed Circuit Boards using a variety of substrates including a wide array of high-frequency RF-based materials in mixed (hybrid) constructions. Cirexx delivers unsurpassed quality and support to a large array of customers in the high-reliability markets of defense/aerospace, industrial, and medical instrumentation.
Cirexx International, Inc.
Attn: Sam Biddle
Cirexx International Inc.
791 Nuttman Street
Santa Clara, CA 95054


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Contact Us
Contact us via customer service: email@example.com
-- For issues concerning orders and purchase, please send emails to email@example.com.
-- For instant help, reach us via Live Chat .
-- Reach us on Pinterest, Facebook, Twitter, or Instagram.
Attention: Please ensure your email account is right so that you will receive an order confirmation after placing an order successfully. Order details will be included, such as order number. Please check your email carefully. If not, pay attention to your spam and remove our email out of the black list.


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- NHS England confirms it has commissioned 131 new CAMHS beds
- Beds expected to be open by April and will increase capacity by nearly 10 per cent
- Part of national plans to open 150-180 new CAMHS beds by 2019
More than 130 new child and adolescent mental health beds have been commissioned as part of national plans to expand capacity by 10 per cent by 2019.
HSJ understands many of the new beds were earmarked for London, the South and South East, where there are the most shortages for inpatient provision.
The new beds represent the bulk of the expansion announced by NHS England in March 2017, which it said it would fund as part of the Next Steps on the Five Year Forward View.
When completed, the promised increase of 150-180 beds will be one of the largest expansions of CAMHS in the last 10 years, increasing the existing 1,440 bed base by more than 10 per cent.
The new beds will be used to help eliminate out of area placements – when children and young people are sent miles away from home because of lack of local beds – and funded through specialised commissioning budgets.
NHS England has confirmed 131 of the new beds have now been commissioned with 56 of these in London.
Other new CAMHS beds include:
- a new 12 bed unit in Cornwall to be opened at Bodmin Hospital;
- a £13m, 22 bed unit for west Yorkshire and Harrogate to be built at St Mary's Hospital in Leeds;
- 11 new beds for the Humber region; and
- five new beds in Birmingham.
The locations of the other 25 beds has not been confirmed.
NHS England national mental health director Claire Murdoch said 81 new beds had opened in the last 12 months with 50 more to open by April.
She added: "Getting young people the care they need, as close to home and as quickly as possible, is at the heart of NHS plans to improve mental health care.
"We will continue to ensure the right beds and services are available where need is greatest, which will mean significant improvements in the South, London and Humber regions in particular."
Health secretary Jeremy Hunt told HSJ in 2016 children's mental health services were the "biggest single area of weakness in NHS provision" and vowed to make it a top priority.
Prime minister Theresa May has also made it a priority and commissioned a green paper on children's mental health, which is out to consultation.
Papers from NHS England's specialised commissioning London region management board in December said the 56 new CAMHS beds had been brought forward from quarter three of 2018-19 to quarter one.
The new beds in the capital are split as follows:
- five low secure beds with Priory and Partnerships in Care;
- 10 low secure learning disability beds, with provider to be confirmed;
- 13 general adolescent beds across four providers;
- 12 general adolescent learning disability beds with Central and North West London FT and Elysium;
- 14 psychiatric intensive care unit beds with East London FT and South London Mental Health and Community Partnership; and
- two under-13s high support beds with South London and Maudsley FT.
NHS England said it was investing £3m this year in the new London CAMHS beds and £13.7m in 2018-19. The majority of beds are expected to be opened by the end of March.
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- Theresa May
- West Midlands
- Yorkshire and the Humber


text:
- Overview
- Interfaces
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IP Office provides Computer Telephony Integration (CTI) capabilities via the Telephony API. TAPI is a Microsoft interface that enables Windows machines to apply first- and third-party call control. DevLink complements TAPI by providing a real-time event stream containing information about telephone and trunk activity.
Important note: DevLink is superseded by DevLink3 in IP Office Release 10 and higher, and is not recommended for new development. DevLink remains available in Release 10 to give developers time to transition their existing solutions. Avaya cannot guaranteed that future releases of IP Office will continue to support DevLink. Developers are advised to upgrade their integration to DevLink3 as soon as possible.
IP Office CTI Link Lite, incorporating TAPILink Lite
TAPILink Lite provides first-party CTI support for TAPI 2.1 and 3.0, enabling client applications to control one telephone line per PC. TAPILink Lite enables basic CTI, including answer, hang up, make call and transfer, and provides CLI/ANI for screen-popping. TAPILink Lite does not require license keys for use.
IP Office CTI Link Pro, incorporating TAPILink Pro and DevLink Pro
TAPILink Pro provides first and third party TAPI control of telephony devices. In addition to the functionality provided by TAPILink Lite, it also adds the ability to receive information on ACD queues, hunt groups, and provides additional advanced functionality. TAPILink Pro requires a CTI Link Pro license for each server configured to run the IP Office TAPI software.
DevLink Pro provides a programming interface that complements the Microsoft TAPI interfaces provided by TAPILink Lite and TAPILink Pro. This component provides a real-time event stream containing information on telephone and trunk activities. The Real-time event stream is enabled by installing the CTI Link Pro license key onto the system unit.
TAPI WAV driver provides software-based support for voice processing. The TAPI WAV driver is for use with TAPI 2.1 applications only; for TAPI 3.0 applications, IP Office supports the Media Service Provider (MSP) interface defined in TAPI 3.0. This functionality requires CTI Link Pro and TAPI WAV User licenses. Each license enables 4 ports of voice processing. TAPI WAV is no longer recommended for new designs and is not supported on 64-bit operating systems or on the Linux-based components of IP Office Server Edition..
Release News
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(May 2018)
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text:
From time to time, I go back and re-read specific ones I found useful, or look for some that I know I missed due to life being too busy.
With all this in mind, I thought that I would go back and share some of the older posts that were published on the 19th January over the years:
- 2017: The Hitchhikers Guide to the Plannerverse - Episode 46
- 2016: Web Finds - 19 January 2016
- 2015: Filofax Germany 2005-2006 Catalogue
- 2014: Reader Under The Spotlight - Kristy
- 2013: Video Web Finds - 19 January 2013 and Web Finds - 19 January 2013
- 2012: Dividers with a difference
- 2011: Greg's question: where do you write your notes? (no post on the 19th, but there seem to be two both dated the 18th, so close enough)
- 2010: It's the perfect way to organise your life....
- 2009: as we get to these earlier years, posts definitely weren't as regular as they are now! From here, I have either chosen January ones with the most comments or what I think are more in-depth subjects - Free for All Friday No. 25
- 2008: Well Enough Alone
- 2007: Managing Multiple Filos
- 2006: Successful Hack Deployment
- 2005: Philofaxy didn't start until October in this year, so I thought that I would share the inaugural post - In the beginning...
If you are looking for a particular topic, there is a search box in the right hand column of the page, or you can click on a label further down on the right again.
Have a great weekend.


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By Bernadette J. Brooten (eds.)
This ebook seems to be at a usa that is still pushed through racial and cultural divisions, from the disproportionately excessive variety of incarcerated African american citizens to heartfelt disagreements over the genuine nature of marriage and the right kind position of religion in public policy.
Read Online or Download Beyond Slavery: Overcoming Its Religious and Sexual Legacies PDF
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Extra resources for Beyond Slavery: Overcoming Its Religious and Sexual Legacies
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The elite crusaders emphasized chastity as the key means of throwing off the degrading sexual stereotypes they inherited from slavery. "60 With little power to influence white behavior in the era of Jim Crow, black club women and churchwomen relied on black women's moral improvement as the most feasible weapon for challenging sexual exploitation and vilification. The race and sex inequalities of the time left little opportunity for these women to defeat the myth of sexual wantonness by creating their own emancipated sexual ethics.
If Malcolm doesn't introduce me, they can't come to me as an individual and say hello. 43 Through the perpetuation of degrading sexual stereotypes, the long shadow of slavery links white slave masters' use of black women as property to Sarita's sense of being treated as property by black men. Sexual Silence and the Politics of Respectability In the face of these explicit displays of black female sexuality is an acute secrecy surrounding black women's subjective sexual experiences. Paradoxically, perhaps the most common scholarly observation about black female sexuality is the silence surrounding it.
Pdf (accessed October 4, 2009). " See Linda Green, "United Methodist Church Supports Reparations for African Americans," May 7, 2004, United Methodist News Service, http://archives. ptid=17&mid=4711 (accessed October 4, 2009). Also in 2004, the Presbyterian Church (USA) "adopted the report of the Task Force to Study Reparations," which states: "The point is not to indict any particular group of people for such atrocities. Rather, as members of the same body, the body of Christ, we must all bear equal responsibility for the sins of our past.


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Atlas/Forms of Water 2019
As the finale of this show and thus this post, I offer a beautifully produced recording of my interview with audience Q&A by Brett Barry of Silver Hollow Audio. This discussion ranges from my decades of contemporary landscape painting to the environmental themes of this show to the gallery-artist relationship. You can listen here:
Water is ease, water is in our dreams, water kills. Water is 60% of our bodies and covers 71% of the planet. We float, swim, sink, ride on, drink, cook and grow with, own, fight over, drown in, boil, crave, gaze at, and are mesmerized by water. It bears repeating: Water is life.
Water use has also been political since the beginning of our time on earth. As thirst, water rights and fights; severe storms; droughts, fires, floods; and sea level rise become increasingly critical on much of the planet, I have been catapulted into creating an expanded rubric for water imagery in my work. This focuses in on our environment and the challenges it faces, while continuing to celebrate the beauty our planet provides.
Atlas /Forms of Water maps the environmental theme while mapping my body of work, revealing a web of meaning around and between the individual pieces that I create. The matrix that connects all of my landscape imagery is saturated with memory, both personal and collective. To make these connections, I have created a site map for the body of work on view.
Maps functions as an aid to find our way. In this context, I am mapping our bodies and states of water; the paintings in the exhibit; memory and self; and threats to our environment, among other, more elusive things.
The Site Map has small monotypes running up both sides that are interpretations of the major paintings in the show. The four other prints are a conversation about threats from global warming: bigger hurricanes in upper left; sea-level rise in upper right: and stream/river flooding in the two at bottom, before and after.
At the top, I have included topographical contours, a loose and flattened version of the Escarpment that curves around Woodstock and then runs north parallel to the Hudson River.
Mountains are the first source of our surface water, and the painting below includes that form of water visible as the Catskill Mountains rising above the back shore, as well as mists, a cloud, and the Hudson River.
Another new collaged map for the show is of the NYC watershed, water tunnels included. New York City has negotiated—and renegotiated, multiple times—a pass on national regulations that mandate the filtering of drinking water. This exemption is a huge deal, and requires constant monitoring and regulation of the watershed townships within the areas shown, and many mandates for property owners to keep the water flowing into NYC reservoirs clean. While this makes our relationship to our larger neighbor to the south a complex and co-dependent one, it also has transformed our stewardship of our land and streams.
The below same-size collage from the year before is of the Hudson Canyon, which is essentially an underwater extension of the Hudson River, extending southeast until it drops off the continental shelf.
Also in mixed media/collage, "Forms of Water: A Taxonomy". This small tintype drawer contains the following seven categories, from the top row moving down: states and phases of visible water; geographical bodies of water; wetlands; types of clouds; storms; waves; and human made forms of water.
Creating pieces in vintage boxes, drawers, muffin pans, and child's blackboards has been one of my ongoing series for some years now. It requires a listening attitude to select and then bend the imagery to work with the support that I have chosen, starting the process in a different way from a blank canvas. In the below piece, the box and the piece of wood that I painted on had elements that determined both what imagery I chose and how I painted it.
For decades now, I have been devoted to painting fog, suspended water that softens our landscapes, sometimes obscuring, sometimes defining:
Many of my paintings depict wetlands, so gorgeous and vital for controlling flooding caused by excessive rain events, storms, tidal flooding, and sea-level rise; as well as filtering sediment in water and providing habitat for wildlife. Visually, salt marshes in particular create color and shape that I return to paint over and over again.
Manmade forms of water are included in the show, as seen in the flood image near the top and in the vertical painting below, which depicts a wetland developed by humans to cultivate cranberries.
The pieces in the show include landscape imagery in oil on linen; monotypes; small works in oil on board; water imagery using vintage boxes, blackboards, and other containers/support; and map collages.
I was motivated in fall of 2016 to move towards creating shows that place my open, color-field landscapes within a complex experiential web. Three major factors came into play at just that time.
The first was anticipation of a residency in Nantucket scheduled for that winter, and this dovetailed with the second, some thoughts about turning 60 later on in 2018. Given that my background is in contemporary art and that I have always viewed my progressions in landscape painting through that lens; my question to self was—what do I want to do, now, that I haven't yet?
Among my answers to this question was learning monoprint and linocut techniques, which I now employ both for stand-alone prints and also for the Site Map. Below, some recent monotypes.
The third factor was key. Feeling profound grief over the outcome of the 2016 election, my mind returned repeatedly to the single biggest issue on the table, climate change. The conviction that time is running out here and that four years could be critical was decisive in determining the direction that my work has since taken. The acceleration of bad news in this arena since then is eye-popping—sea level rise predictions alone are much, much higher and sooner than was predicted while I was researching the topic in my February, 2017 Nantucket residency.
Snow and ice appear in my work and in the context of Atlas/Forms of Water, depict one of the main three phases of water, solid.
Water vapor, the gaseous state of water, is invisible. The closest thing that is visible is steam, such as the image of a geyser below.
Globally, precipitation has shifted so that many of the wet places are wetter and the dry locales are dryer. For this reason, I decided to create and include several pieces that depict water's opposite, fire.
My imagery is heavily weighted toward the Northeast of the United States, as that is where I have spent much of my life. But I could be anywhere on the planet, exploring the same themes, and I bring with me memories of living in the arid Andes and central Castile; painting in rain-soaked Western Ireland; traveling Northern California to capture the coastal golden hillsides of late summer; and returning to the Nebraska flatlands of my early childhood. It all informs the matrix. It is all water.
This show builds upon my Atlas/Hudson River Valley show in March of 2017, which you can read about here:
We are collaborating with Riverkeeper and Catskill Mountainkeeper on a fundraising benefit October 12th, 5-8. That evening, 15% of sales will go to these vital local environmental organizations, as well as the proceeds of a raffle for this 12″x12″ painting:
(Note: Raffle was drawn on 11-16. Tickets were $20. We raised almost $1,300 from the raffle alone!)
Sweetest Sales, Part Two
In 2011 I wrote a post describing some quirky and heartwarming stories that led to a sale or sales of my work:
Since then, I have accumulated a few more that I want to share.
My seven-year-old collector:
Several years ago I was approached by acquaintances who live in our little hamlet. Could their younger daughter interview me for a school project on her favorite artist?
Juliet had accompanied her father Brett to an open studio I had hosted several months prior, and so thought of me (the other kids did mostly Picasso or Van Gogh, I think!).
So we did that, and then Juliet returned to my studio for a private art class. Her mom, Rebecca–who I barely knew, at that point—read in the yard while we did our session, and at the end she came into the studio and we chatted. Juliet was still quite shy at that time, but summoned her courage to ask me how much I charged for my paintings. Her mother feared that the question was rude, but I said, no, that asking for price in an artist's studio was perfectly acceptable.
So I pointed to a 36″x36″ and said, "This painting will go out to one of my galleries shortly and is priced at $6,000", and then I pointed to a few other pieces in a stack and continued, "but those pieces in this stack" and I pulled out one that had been in the possession of my sister for years, "are much, much older and I will sell to a friend for a few hundred dollars".
Her mom and I continued chatting, and then Juliet tugged on her mothers clothing. "MOM, I want to buy a painting." Rebecca was floored and a little embarrassed, so I picked up what I thought was just a conversational ball. "Juliet, if you were going to buy a painting, which one would it be?
"That one"—she pointed to the stack, where I had stashed the earlier piece behind a few others. I pulled it out again. "I want to buy THAT one." Her mom tried to backtrack, or at least table the conversation for later, but Juliet was having none of it. "How much would you charge me for it?"
I thought quickly. I could certainly have happily gifted her the piece, it was clear that she wanted to purchase it. So I told her that I would sell that painting to her for $150. "MOM, she said, I have savings and I WANT to buy the painting." It went back and forth like that for a bit, Juliet also insisting that they take the painting NOW.
And so they did.
Her parents made the great call to have her go with them to the bank and make her first ever withdrawal and then bring me the money herself.
The angelic-looking and very strong-willed young artist:
I have since enjoyed getting to know the whole family better, as Brett and Rebecca have acquired a few pieces of their own and we have shared a glass of wine or two.
__________________ _____________________________________________ ____________________
She googled "Moody Greenscapes":
And the study for the piece:
So that was just about that for that, as she explained:
Painting from 1987:
A few months ago I received an email from a fellow asking about the inspiration for this painting:
I have to say, I was very excited to see this piece, to me a standout from my abstract figurative period in the 1980's when I was living in NYC. I remembered the sale of it to a woman who was accustomed to collecting high-end work, and I had always wondered if/how long she had held onto it. Frankly, given what else she had on her walls in her Sutton Place apartment, I was afraid that it had ended up in a dumpster.
It turned out that she does indeed really love her art–all of it, no dumpsters—even those pieces that have been switched around to different residences and in and out of storage. A few years ago, she offered to gift this piece to her sometimes personal assistant/friend and her husband. And so, it ended up in their California home…and sparked the inquiry.
I was communicating with Rich, the husband, batting info back and forth. Eventually, it was his idea to purchase two small pieces to go on either side, accommodating their budget. After studying the photo of their living room with the painting (which we started calling simply the "Sisters" painting, as is is a stylized image of me with my sister Karin behind me), I realized that monotypes would be the best bet, both for color/affect and for price. I recommended going with the pop of warm color that is in the painting, rather than trying to match the greens.
Then the couple decided that they wanted two more prints, for other spots in the room. I sent the four of them off and the next day got the email below:
"Love them! Thank you. I can't wait to get them framed!
These are the other two that they acquired:
________________ ______________________________________________ _______________
Does a gift qualify as a sale?
Some 12 or so years ago we had a holiday party and Gary Alexander, art and science writer from Woodstock, came with his girlfriend. He had been introduced to me years before by my then-gallery, the James Cox Gallery, and had gone on to, over time, write extensively about my work. (This included an 8 page article that got into Freud and brain science and required some serious focus, even for me.)
I had my studio heated and lit that night for those who wanted to take a look, and Gary, of course, did. After a bit of circulating on his part, we went out together and he pretty quickly got snagged by a 36″x36″ painting that was almost totally in black and white, big stormy sky gleam over our Catskill mountains backlit to black.
I can't find a jpeg of the piece, but it had a look very similar to this one, but with a black mountain range in front:
A bit later, when I went back out with another friend, Gary's partner was kneeing on the floor, rapt, in front of the same painting.
A few months later, this piece began to—ugh!—develop fine cracks in the surface. It was a new brand of stretched linen I had tried, quite pricey, and I think now was actually stretched too tight, a rare thing. Sadly, this painting was not going out to one of my galleries, even though these cracks were not visible from a few yards back.
I knew immediately what to do. I called Gary and left a message on his machine. Can you come by the studio, I have a surprise for you?
He was there within the hour. A gentle, laconic fellow, he did not stay around to chat after I gave him the painting, but his face said it all.
I am quite sure that it was the last time I saw him. He passed away in 2017.
I hope his girlfriend is still enjoying the painting.
________ _______________________________________________________ _________
To Madrid on the private jet:
One more, a quick one, because that is how the sale happened.
In June of 2017 a fellow was drawn into my gallery on Martha's Vineyard, the Louisa Gould Gallery, by a very large marsh painting in the window. That piece was too big, but sitting still wrapped in the gallery was my season's delivery, dropped by my husband earlier that day. The fellow, from Madrid, helped unwrap a new 44″x68″, and fell in love with the piece instantly. His wife concurred. Problem was, would it fit in their private jet?
Just then, his pilot walked by the front of the gallery and was promptly hailed. Would this piece fit? Hurried consultation in Spanish. Yes, it would!
The piece was wrapped back up and invoiced and paid for, and out the door it went.
The whole encounter took about 20 minutes.
_______________ _____________________________________________________________ ______________
I have been steadily selling my work for decades, resulting in many hundreds of pieces going out to homes, offices, and public collections around the country and the world. These stories remind me to be grateful for each and every one of those sales, but you can see that most of the ones that stick with me are not necessarily big in dollar amount, but big in heart.
Atlas Project/Hudson River Valley and Catskills
My first fully realized Atlas Project installation opens at Thompson Giroux Gallery in Chatham, NY, on March 31st, 2018. Elaborating on my artist's statement for my discussion below, I am also including photos of all of the work in the show.
Here is the gallery's press release, nicely weaving together my previous artist's statement about my paintings with my new Atlas Project statement. Thompson Giroux Gallery and I are very pleased to be pledging a donation from sales to benefit two local land conservancy organizations, a small thank-you to the earth for the beautiful vistas and open spaces that I have been painting for the past decades.
The artworks in Christie Scheele's solo exhibition Atlas/Hudson River Valley take the viewer on a walk through the Hudson River Valley's open spaces from Albany south to Manhattan.
In this exhibition Scheele brings together paintings, drawings, printmaking and mixed media and explores the personal and collective connection between our lives today and our increasingly fragile environment. Scheele continues her immersion into open spacious landscape painting. Using soft lines Scheele allows the viewer to sense and experience a particular place in our local environment; the way the light makes you feel at a specific time of day, how a place has it's own color palette reflecting memory and process. Scheele's use of color and atmosphere creates a suspended moment to experience the intangible power of nature.
With each destination on the "Site Map" we are invited to take an intimate look at how process, history and memory play a crucial role in our relationship to our natural environment.
In an effort to support our local land conservation initiatives, artist Christie Scheele and Thompson Giroux Gallery pledge 5% of any sales by the artist during Atlas/Hudson River Valley on view March 31-May 6, 2018 to benefit the Columbia Land Conservancy and the Woodstock Land Conservancy.
Please join us Saturday March 31st from 4-6pm for refreshments and live music by Josh Connors & Otto Gardnier.
For more information please visit www.thompsongirouxgallery.com or call 518-392-3336.
Thompson Giroux Gallery is located at 57 Main Street, Chatham NY 12037.
Gallery hours: Thursday – Monday 11am to 5pm, Friday 11am to 7pm.
Closed Tuesday & Wednesday
Closed Sunday April 1st
Image credit: Christie Scheele, "Forms of Water", 2016, Oil on Linen, 30″ x 36″.
Land and water use have been political since the beginning of our time on earth. As these issues become increasingly critical, I have been catapulted —but also eased, nestled— into expanding the environmental discussion that until now has been mostly implied in my work, putting into context my decades-long celebration of the powerful beauty of our planet.
My new Atlas Project maps my work while mapping the world, revealing a web of meaning around and between the individual pieces that I create. The matrix that connects all of my landscape imagery is saturated with memory, both personal and collective. To show these connections, I am working in one thematic grouping at a time, creating a legend, or site map, to each body of work. The Site Map is a key both to a given installation and to the region or theme that it explores.
The Site Map for Atlas/Hudson River Valley, the first of these exhibitions, is created with collage on a Rand McNally road map of the river valley, the Catskills, and our wider region. It contains numbered mini-monotypes of all of the oil paintings on view and corresponding map tacks showing the locale depicted on the map.
Extensions of the Site Map include Mapping Memory, lino/mono prints of regional flora and fauna with written personal observations; a collaged and monoprinted map of the source of the river in the Adirondacks; a collage of the Hudson Canyon, extending 400 miles out to sea from NY Harbor; and a fourth extension discussing climate change and local impacts.
Using drawing, printmaking, pasteling, writing, and mixed-media along with oil paintings, I am exploring the interrelationships of process, history, and memory. These are revealed not only by air, land, and water but also by my materials and personal history as an artist, family and community member, and frequent inhabitant of the outdoor world.
The Atlas Project text is therefore a blend of natural history and personal memory. For the Atlas/Hudson River Valley site map I decided to tuck the text of my stories into an envelope that I created with rice paper. You can see these along the left-hand side of the Site Map, and an open one below:
Other bits of writing get more into the life-cycle of the wildlife depicted. I chose the species included in the map based on my interactions with them but also on a long-standing fascination. We probably all have these — how amazing, to me, is the Red Eft, so bright among the fauna of the NE United States? How cool is the life-cycle? Here is my story about these creatures:
It wasn't until recently that I realized that the salamanders that I caught as a child near Oneonta, NY, are the same creatures as the Red Efts that I greet after every rain or heavy dew on the trails of the Catskills.
They have three life stages: the first after hatching in ponds; the second when they turn from brown to red and lose their gills, traveling on land for several years to find a new body of water. Finally, in their adult phase the tail widens, and they turn back into a greenish-brown color, living and breeding as aquatic animals with lungs to complete their 12-15-year life span.
At eight I was enamored of catching and releasing in a pond that we swam in during summer months. On one occasion I brought two newts home in a mayonnaise jar, stocked with moss and bits from the bottom of the pond. I changed the water every day with nearby creek water and left the jar under a big tree on our lawn, dropping in small insects from time to time.
One day I spotted eggs in the moss. Such anticipation!
A few days later we heard young voices coming from our front yard just after dark, and looked out to see two boys walking away. The next morning, I found my jar empty of water and newts, the eggs drying in the sun.
Printmaking become an integral part of Atlas/Hudson River Valley. Below are two monotype versions of the image used in "Reflected Suns", exploring the more graphic possibilities of the medium.
And the mini-monotype on the Site Map (placement of these had to do with compositional concerns, as the numbers and map tacks are what identify the precise locales):
The first energy and ideas for this project evolved in 2016. That fall, I was experiencing profound grief over election results and their potential to set policy that will accelerate climate change. I was also contemplating a scheduled residency on Nantucket in February of 2017, and my upcoming 60th birthday later on that year. The second two factors prompted a question—how do I want to expand and deepen my range as an artist? The first, my accelerating concern over the health of our planet, gave me direction.
This extension to the Site Map addresses the issue of global warming:
These two recent monotypes reflect a view of a section of the Schoharie Creek valley in summer and then during the massive storm flooding caused by Irene:
And two additional monotypes of our region:
The Nantucket residency produced a prototype Site Map where I first used the idea of making small monotype prints of the oil paintings to be included in the grouping or show. It is a very rich process, artistically, entering a new world as you are creating it, and also full of the discomfort of facing the unknown. To read about my residency, go to this link to my blog post:
I so loved the collaging-on-a-map process while working on the Site Map that I decided to create some of these as stand-alone art pieces. The first, below, leaves much of the under-map showing, and in addition to pattern and magazine papers; samaras, wasp galls, and other bits and bobs, I hand dyed some of the green papers used for the Catskill Park area.
I live in the High Peaks area of the Catskills, so many of the pieces in this show are images of the mountains, roadways, streams, and of course, the Ashokan Reservoir, seen above in blue within the Park.
Another collage, also of the River, is more tightly composed and with more contrast than the first, and includes the small river towns of Kingston, Rhinebeck, Poughkeepsie, and Newburg.
For the third, following my own lead with the Site Map extension, I hand-died rice papers in varied blues to reinterpret the Hudson Canyon, the below-water extension of the river itself.
The Hudson River originates in Lake Tear of the Clouds, in a remote area of the Adirondacks, as pinpointed in the upper extension, above. It empties out into New York Harbor:
Many images are Hudson views between NYC and Hudson, NY. The stretch between Poughkeepsie and and Saugerties is well-traveled in the summer by us in our small lake boat. Lower sections are often views from bridges and the train.
This is not a catalogue of all of the wonderful views of the HV and Catskills, but rather an organically created collection of a number of the paintings that I have done over the past 10 years or so of our region. In this way, the grouping is a bit of a retrospective.
I am frequently hiking and driving around both the East side of the Hudson, into the Berkshires, as well as the West side, reaching into of the foothills of the Catskills, providing sources for some favorite views of the river itself as well as farm fields and hillsides.
The final study done for a large piece in oil, now sold, inspired by the Maya Lin Wave Field at Storm King:
My upcoming groupings will include Atlas/Forms of Water, and Atlas/Cape Cod, the former creating overlap with the place-based themes and requiring a different solution for the map (I am thinking maps, actually).
I alternate between focusing on aspects of this work that I am currently inventing and my continued immersion in my open, spacious landscape paintings, looking to draw it all together into a cohesive whole, mirroring the wholeness of life on earth.
A link to the Violet Snow article in the WoodstockTimes:
Many thanks to those who have helped this project along: my husband, Jack, for design and paste-up help; Kate McGloughlin of the Woodstock School of Art for teaching me monotype techniques; Mary Emery for inspiring my rediscovery of printmaking; The Artists Association of Nantucket for hosting the residency that advanced this work; Polly Law for brainstorming titles (including "Atlas Project" itself) and language with me; Jenny Nelson for being my sounding board; Loel Barr for showing me some of her cool collage techniques; Thompson Giroux Gallery for planning and mounting this large and complex solo show; Geoffrey Rogers for his expert framing; and Mark Loete for the perfect photographs of the Site Map and extensions.
News, Pictures, and a big Save-the-Date as we Launch into 2018
Hello all, happy oncoming 2018! I have quite a lot to report in this year-end update, both from 2017 and about events on the schedule so far for the coming year.
Atlas Project
Many folks have asked me to send out a save-the-date for my Atlas/Hudson River Valley show opening on Match 31 at the Thompson Giroux Gallery in Chatham New York. I'll do a separate email soon so that it's easy to find in the inbox, but here on my blog I can talk about the exhibition in more detail.
This will be the first full-size installation of one of my Atlas Project-themed exhibitions. Later themes might be Atlas/Cape Cod or Atlas/Forms of Water, but I an delighted to be launching this within my own Hudson River Valley/Catskills, both as the theme and the locale of the show. Included will be monoprints, mixed media/collages, and pastels along with the oils, and the Site Map that explains it all.
The Site Map is an integral part of an Atlas Project installation, a map of the show itself which includes tiny monoprints of all of the oil paintings in the show overlaid on a collaged map of the Hudson River Valley. It includes numbered map tacks that show the locales of the scenes depicted; river towns and bridges and a key to the map and the show.
This map will have to be finished and photographed at the last minute, when I am sure of exactly which oil paintings are going into the show.
A side panel is Mapping Memory/Wildlife of Particular Interest that includes lino-monoprints and some text of my associated personal memories. Three panel extensions coming asymmetrically off the right side and top and bottom of the main map include a collage/lino/mono of the upper Hudson, the source of the river in the Adirondaks; another of Hudson Canyon, which continues out to sea from New York Harbor for 400 miles; and a third comprised of short discussion and collage/prints of three local trees endangered by climate change.
New Blog Post
In current news, I have recently published a blog post on the intersecting themes of teaching, independent studio practice, and group dynamic for the artist:
I welcome any comments on the post!
Many Things Nantucket
In January I will again be part of an exchange between artists of Woodstock and Nantucket, this time to take place at the Woodstock School of Art. We will be working together for three days in the graphics studio; doing a few studio visits and looking at the historical connection between the two arts colonies; eating and schmoozing. (What could be better?)
Part I of this exchange took place in September at the Artists Association of Nantucket with a show of the four Woodstock-area artists seen below, who had all taught and/or done a residency there:
The plan was for the four of us to show up for a closing reception and artist's talk on September 23rd, and my plan was to to do a tour of the Cape and Islands with my husband, starting in Provincetown, checking in with and delivering to or picking up from my three galleries in the area.
Just as we were coming onto the Cape Tropical Storm Jose was approaching the area, causing concern over the Cape bridges closing as well as cancelled ferries. From Provincetown we saw some amazing sights during the storm, particularly the surf from the high dunes on Longnook Beach.
We had a ferry reservation to continue on to Martha's Vineyard, and from there I had another res for the fast ferry to Nantucket a day later.
Three of the four artists did manage to get on Cape, or in my case, to Martha's Vineyard, and then reschedule ferries to arrive for our reception at the AAN. We suffered a rocky crossing and then enjoyed a lovely evening of spirited discussion and camaraderie.
I also arrived in time to pay a visit to my new gallery on Nantucket, Thomas Henry Gallery. I am looking forward to painting some large, open seascape and marsh imagery for the 2018 season there:
My residency at the Artists Association of Nantucket in February was one of the highlights of 2017 for me, beautifully intensive and key in advancing the rubric for my Atlas Project:
The below was my second prototype for a site map for a grouping of Atlas Project work. From here I was able to take what works best (the monotype thumbnails of paintings that I had done) and change things that I didn't (particularly the text) for the next map, for Atlas/Hudson River Valley. I would also love to return to Nantucket for a more fleshed-out exploration of of the theme.
Fall Studio Demonstrations
This fall I did three second-Saturday demo/open studios, starting in October. During the first I worked on small oil-on-paper pieces, like this:
The below I developed during the November demo, which had the theme of working large in oil. I had a nice group who I can only describe as riveted, watching for about two and a half hours while I painted and explained. Then the mood shifted to jolly when I called for a break and lively conversation ensued over a glass of wine.
The slightly textured surface of this piece is something I love to do every so often, allowing a little more of the underpainting to show through, creating a subtle vibration.
Here is a link to the video created by the Woodstock School of Art from a painting demonstration that I did there a few summers back:
For the last demo, in December, I worked in pastel, completing both of these during the two afternoons:
Other Highlights from 2017
I had a successful show last winter/spring with my gallery of 20 years, Albert Shahinian Fine Art in Rhinebeck. It is such a pleasure to work with Albert and Joanna, who are also friends and neighbors in our Hudson Valley arts community.
Here is a link to my post on the show, updated to label pieces that sold later in the year, as well as those that went during the show (the others are, of course, still available):
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In April I went to Florida to do a large painting for my friends Karen and Len:
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During my third year with Louisa Gould Gallery and my 18th or so showing on the Vineyard, we had the kind of year that the artist really looks for. I had some relaxing off-season visits that gave us more time to connect. The crazy Cape and Islands tour in September with Hurricane Jose was followed by several days of sun/fog/sun/fog, rolling in and out, that had even islanders exclaiming. This started as I was leaving Nantucket on the ferry, included a wild rainbow at sea, and continued into the next day while I photographed favorite and new locales on MV and Chappy with my husband. There will be paintings to follow!
This piece, which I delivered to LGG the next month, was of a moment just after the fog cleared.
In 2017 Louisa and I sold work big, medium, and small and in a range of palettes and formats. When this happens, I feel truly appreciated and at home in the gallery. The below are a few that found new homes since my last post.
Older Favorites Find New Homes
In the past several months I have been delighted to see a number of pieces that, despite generating admiration, have lingered too long in gallery or studio leave my walls for others:
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The Luminous Landscape at Albert Shahinian Fine Art continues through the month of January, closing with a last reception on January 27th. I have several pieces in the show and many more in inventory, accessible for viewing. I look forward to the reception, which is also a 20th-year anniversary party, an opportunity to enjoy the warmth of our arts community during the winter months.
En Masse, the dynamic small works show at Thompson Giroux Gallery in Chatham, NY, continues to January 7th. They have been generating anticipation for my spring show with the many small works they have of mine seeded throughout the gallery, as well as larger pieces in inventory. One of my last sales of 2017 was Blue Tidal Pool, one of my favorite paintings from the past decade:
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I have a new workshop at the Woodstock School of Art, rescheduled for March 3rd-4th. The theme, somewhat more descriptive than my workshops that emphasize formal elements, is for students to create a suite of paintings of the four seasons.
Many representational painters explore a zone on the spectrum of realism, on one end, and very abstracted imagery, on the other. I have often emphasized the abstract in my teaching, feeling that the go-to for landscape painters early on is to try to copy everything they see within a scene. So my approach is to encourage students to think instead about the needs of the painting, inventing an image that is not a copy but a new reality.
In the past year I have been closely examining my connection to place through my Atlas Project. The theme of this new workshop, more descriptive than abstract, may have emerged from these musings. That said, students will be focusing their attention, with my help, on all of those formal elements in order to create compelling, personal paintings.
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I look forward to a focused, productive year ahead. We have much work to do on the national level, and also need our creative retreats more than ever. I hope you enjoy yours, and am filled with gratitude that you have supported mine. ♥
2017 Late Spring News and Upcoming Events
This spring my mind has been on many of the seasonal imperatives, like creating new work for my galleries on the Cape and Islands and sorting through and shipping or delivering their selections. It has also, after a huge jump-start on my Atlas Project during my residency at the Nantucket Arts Association, been very much on advancing that exploration; and the spring has been spiced up by a few other new projects.
I have scheduled a talk to discuss my Atlas Project for July 15 during the Shandaken Artists Studio Tour, 4:30-6pm. I am currently developing the third sequence, Atlas/Hudson Valley segment. This means that, in addition to other work in my studio, I will hang a grouping of each of the sections that I have been working on this year: Atlas/Forms of Water/Snow; Atlas/Island (Nantucket); and the most extensive sequence to date, the Hudson River and Catskills work and mapping thereof.
In my studio work progresses on my third prototype map for this grouping, which will include mini-monotypes of the paintings involved; maps of various sorts of the area; and a number of other elements, both descriptive and visual. I am hoping that this map will be the working template that clicks for me so that I can use it for new groupings/exhibitions going forward. This involves lots of trial and error, applied problem-solving and then experimenting with the materials (maps, acrylics, printmaking, rice paper, collage, river mud, etc.).
I have found that when I pose myself a complex creative problem to be solved, following a simple process works quite well. I start by seeing how far I can think my way into it, often using moments when I am driving or walking, and when I hit an aspect or aspects that stump me, I plant those as a seed, and then let go of the conscious effort. Some time later—usually weeks—the answer will pop into my head, my subconscious having been at work on it all the while, sometimes aided by new information that comes my way in the interval.
Here is where I am so far with the latest Site Map and associated prints:
Above and below are a few of the Hudson River & Valley/Catskills paintings that are part of the new sequence:
My new series is bringing me ever closer to the many aspects of the natural world that I have in the past observed, researched and delighted in. Which of these things and how they can manifest in the work is the adventure. As is true of most meaningful new endeavors, the space this holds for me is both stimulating and disquieting.
My first gallery show of Atlas/Hudson Valley is scheduled for 2018 at Thompson Giroux Gallery in Chatham, NY.
To view more oil paintings that are currently in my studio, click here:
During spring I am always preparing to deliver or ship new work to my galleries in Martha's Vineyard, Nantucket, and/or Cape Cod. Below are some new pieces at the Louisa Gould Gallery in Vineyard Haven on Martha's Vineyard. She always has a beautifully installed grouping of my work on display throughout the year, so please stop by if you are on the island.
My residency at the Arts Association of Nantucket in February resulted in many advancements in my problem-solving curve for the Atlas Project; a number of small paintings; and some monotypes (see my blog post on the residency):
The five monotypes hanging below are a the results of printing sessions in both Woodstock and Nantucket.
And a few others:
See more of my prints and pastels here:
In April I flew to South Florida to do a large painting for friends with a new house there. I managed to pack in one big suitcase everything I needed, including the 16″x20″ version of the wave image that I had painted ahead of time. The one thing that did not fit in my suitcase was the 48″x60″ stretched linen canvas, which we had shipped from my wonderful stretcher-makers in Vermont, Brickyard Enterprises.
I had exactly one week to do this large piece and so, concerned about the possibility of things going wrong, I put in long days for the first several, working under an overhang in the pool enclosure.
Happily, nothing did go wrong, so we had a finished piece on the wall ahead of deadline and then I got to play, spending time at the Morikami Gardens and the beach (more wave paintings to come!).
My winter-spring show with Albert Shahinian Fine Art wrapped up in early April. We had a nice run of of two receptions—one at the gallery and one at my studio; a number of sales of pieces small and large, old and new; and an interview with the Poughkeepsie Journal containing questions that I quite enjoyed:
Several of the pieces that went to new homes from our show "Gallery/Studio: A Symbiosis":
I am teaching four more workshops in 2017, several of them new. In my workshops I emphasize composition as well as color, and share not only my techniques, but also an eclectic delight in many styles and aspects of contemporary and historical art.
The Woodstock School of Art:
I have plans for some new pastels in the near future—its a good time of year to approach these, with the studio windows wide open (ah, and I must mention sounds of birds and the creek behind my studio), mitigating any effects of flying dust. Below is a fairly recent one, in which I was pushing the color somewhat.
Over the years I have at times felt pressure from some of my galleries to work brighter. I am very often a moody painter, though I don't ever want to limit myself to any palette, locale, format, or mood. I do love a bright sunny day, but painting dramatic clouds and subtle, tonal color often draws me, and many of my collectors will follow me into that terrain.
With the pastel above, I set myself the intention of not going as dark along the horizon as I often do in a seascape, and in general keeping the colors more saturated or desaturated with white instead of grey. I wanted to see if I could make myself happy with a lower contrast, brighter image. And I did.
This is turning a request, essentially, into a creative problem. When people ask me how and whether being a full time, self-supporting artist affects my decision-making in the studio, that is part of the answer—that if I feel that I am being nudged in a particular direction, can I turn that into an interesting problem? And after I work that one out, what else can I do that is generated exclusively by, to use Kandinsky's term, inner necessity?
"Gallery:Studio – A Symbiosis" Solo Show with Albert Shahinian Fine Art
Additional works at the gallery:


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Creativity is a must when it comes to working. However, sometimes we may find ourselves facing lack of creativity to find more ideas to work on. When this happens, we can have a difficult time to concentrate and therefore can finish less work for the day. Hence, we need some tricks that we can use to ignite the sparks of creativity and innovation every day of the week. Here are several ways to be more creative and innovative at work which you can practice.
Let Inspiration Surround You
This vast world holds many interesting things which can catch your attention and spark inspiration. When you find one, post it near you where you can see it. Surround yourself with unique or inspirational things to continuously jolt your creativity up.
Take a Walk Around
When inspiration seems hard to come, there is nothing wrong with getting up from your work desk. Get out of the workstation and start taking a walk outside or around the office for a moment. The fresh air will help you clear your head.
Do Something Creative to Begin Your Day
Instead of checking your phone for e-mails, you can start your day by listening to your favorite song or reading one chapter of your favorite book. Make sure that the activity you choose to do will help you to be more imaginative.
Embrace Your Eccentric Side
Everyone has his or her own weird things that they do as a kind of ritual every day. This helps them to concentrate and begin their day. Find out your own thing and start to embrace it every day if you think that helps to begin your day.
Doing Small Projects
Small things will actually lead to something bigger when they are compiled. Changing small things that you do regularly can have big impacts on your creativity. The main objective is to break out from the dull routine and refresh your mind. When you do, sparks of new creativity will rise.
Bring Your Ideas Into Concrete Results
Put your ideas into words or pictures or any kind of media you see fit. When you give concrete forms into your ideas instead of just talking about them, other people will notice. They will take your ideas seriously because you give them something they can see for real.
Article sources:
Image source(s):


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Winner: Oliver Laurence - OV629
Nominated by Amarick Gill LLC :
Please allow me to introduce myself. My name is Amarick Gill and I am a Barrister—At-
Law of the Middle Temple (UK and Wales) and am an Advocate and Solicitor of
Singapore. 1 am primarily a criminal defence lawyer in Singapore and have been now
for over 21 years. I specialise in many areas, but regular find myself dealing with
Capital Punishment Offences, offences which sadly still carry the death penalty.
I write to you to nominate one of your members for an award this year at your annual
association gathering.
From the research I have done it appears to be the Zena-Scott Archer Investigator of the
Year Award which would be most appropriate.
Allow me to elaborate. In March of 2018, my firm, Amarick Gill LLC, was briefed with
a capital matters. An Australian family made up of two daughters of the client (the
Accused) contacted me as their father had been arrested for bringing in approximately
87.00 grams of cocaine which was hidden in the lining of his suitcase. The drugs were
analysed and found to contain a purity level of 39.4 grams at a confidence level of
99,999 %. This was well over the capital threshold of 30 grams. If found guilty, my
client would be sentenced to death and duly executed and by way of hanging.
Afier I met with my client, I was quickly and extremely concerned about the level of
guilt that was being attributed to my client by the Prosecution even though my client
was adamant the drugs (although discovered on his person) were not his and had been
have been planted in his bag either by person(s) unknown to him or even worse by
person(s) known to him in Australia.
I immediately advised the daughters that this matter would need the assistance of a
Private Investigator in Australia who could assist with carrying out an investigation to
prove my client's innocence. They agreed and subsequently hired the services of Oliver
Laurence from OJT Investigations Group, a member of your organisation, a former
police officer and government investigator of some thirteen years.
Oliver from the start of engagement immediately understood the gravity of this
investigation and also immediately appreciated the fact that failure for us was not an
option, as the consequences would be both dire and irreversible. Over the next twelve
months, I witnessed from Singapore one of the greatest investigations and gathering of
evidence to support the release of our client, the like I have never seen before.
Oliver, after an initial meeting with our client's family raised a serious and quite
confronting concern with me and one that I did not disagree with and thought of myself
but I did not Want to sway his views or judgments. Oliver and his team collated vast
information and statements which were both factually accurate, supportive of our case
and covered the key elements of a conspiracy against our client. An extremely troubling
set of circumstances was revealed which shocked all on the defence team.
What made this matter even more sensitive in nature was the discovery that the
suspects believed to be involved in this matter were ultimately shown to have both
motive and opportunity to commit this offence against our client.
Oliver travelled all over Australia collating statements with his team and briefed me the
entire way throughout his investigation. He respected my position as lead counsel and
ran all his decision-making processes by me. Ever so often, one will find investigators
who behave irrationally without consultation and more often than not do more damage
than good. This was certainly not the case here. Oliver's ability to manage such a large,
sensitive and protracted investigation was both impressive and remarkable which led to
our client being released without a trial on 22nd February 2019. He was granted a
discharge and is now back home. He had spent 353 days in prison.
Oliver had taken all measures to ensure a comprehensive police investigation with his
material which would lead to the detentions and arrests of the two persons known to our
client. A matter, which at the time of writing this, is with the NSW Police Force.
Upon being appraised of the imminent release of our client, Oliver then switched to
providing total safety and security for our client by boarding the first flight to
Singapore and escorting our client home after his release from custody back into the
arms of his daughters, free again and more importantly alive.
If there was ever an example of commitment, professionalism and dedication in finding
out the truth behind a matter, this is it in my mind. To solve any investigation is a real
credit to any investigator, to solve one where a person's life has been saved is quite
I look forward to working with Oliver again in the future on other matters. He is a
credit and an asset to your profession and organisation.
I hope that your esteemed panel would give this case due consideration and consider
Oliver as a potential recipient for this esteemed award.
317 Outram Road, #01-36
Holiday Inn Atrium, Singapore 169075
Tel: (65) 6532 4737
click here to view past recipients


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and Vanessa
Plank and Trestle, tables made with love
We moved to the Southern Highlands for the fresh air, glorious country side and change in lifestyle. On a quest to pursue our passion – design and woodwork, we took over Plank and Trestle in mid 2018, knowing it was a business born from a love of simple, yet character filled designs.
Our mission is simple, to continue to grow trestle table love through fresh and innovative design that incorporates a balance between traditional and modern style.
We meticulously craft striking, functional and bespoke trestle tables, for all occasions, from our workshop in the beautiful Southern Highlands of New South Wales.
So here goes … join us on our journey.
Wood, Metal and Stone. The three materials I absolutely love, so it's therefore no surprise I wanted to incorporate metal into our tables. I first came across Steve, from the 1910 Ironworks, when browsing through Instagram, and instantly I knew that I needed to make contact and float some ideas!
I wanted to introduce something that was raw and beautiful which would complete our wood tabletops and give it that extra edge and industrial look. Our limited-edition hand forged metal table straps, complete with handmade nails does just that!
Steve was on point with our brief and it was absolutely wonderful collaborating and working collectively with another local artisan.
The 1910 Ironworks in Wildes Meadow was established by Steve Hogwood, who's been a smith for over 35 years. The concept was to reintroduce the local smithy back into the community, after an absence of over 50 years. This of course takes time and after just 12 months the people of the Highlands are now utilising these old crafts for the restoration of their houses and furniture.


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Carleton Simulator
Reliably Creative was the System Designer of 8 channel, 2x4, Simulator for Carlton University, Ottawa, while working with Christie Digital. Full responsibility for the projection geometry, screen design and projection support structure configuration. The costs of the projectors mount structure and the staging / installation times were reduced by 1/4 & 2/3 respectively over those of the initially proposed orthogonal truss support structure concept with a significant aesthetic improvement.


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After being psyched out plenty of times…nice restaurants, weekend getaways…I had given up hope that he was going to ask. I had gotten my hopes up so many times and was convinced, and was still ringless. I had been asking him when he was going to ask and he never gave direct answers. After 2 years of dating, I was ready! We were driving to my parents house to celebrate my 21st birthday. I knew something was up when he told me to wear a nice dress and he was dressed up a little. But he didn't say anything in the car and we got through most of the party without anything happening, so I decided he just wanted to look extra special that day because it was my birthday. It had been a dramatic day, burnt hamburgers, rain, heat, and LOTS of family. It was time for the birthday cake and I was told to sit at the table like every other birthday. I looked up and saw him carrying a cake with chocolate hearts on it. When he put it down in front of me it said "Will You Marry Me?" I immediately started crying and shaking my head like crazy. I don't even think I managed a yes, but I think he knew. It was perfect and I am so glad to spend the rest of my life with him.
Married for: 3 weeks


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Harvard Visible Thinking Routines
Bring new energy, curiosity and thinking into classroom teaching and learning
with a practical one-day workshop on the power of Harvard Project Zero's Visible Thinking Routines G0 - 12.
Each Harvard Visible Thinking Routine:
•Is goal oriented in that it targets specific types of thinking
•Consists of only a few steps
•Is easy to learn and teach
•Is easy to support when students are engaged in the routine
•Can be used across a variety of context
•Can be used by the group or by the individual
16 October at Grey High School, PE from 9 am - 3 pm
Cost: R1100 (includes resources and examples for practical implementation)
Send 3 delegates and only pay for 2!
Thinking Schools SA 2020 Roadshow
The annual event that stretches our thinking about teaching and learning
This year we focus on key developments in the Neuroscience of Learning, with ICOT International Speaker Karen Tui Boyes from New Zealand, facilitating a practical 'art and science of learning' workshop on how to engage young brains in accelerated learning more of the time.
As a ONE DAY extra only in Johannesburg, Dive into Inquiry with Canadian IBL enthusiast, Trevor MacKenzie.
Brain-Friendly Strategies for Accelerated Classroom Learning with acclaimed ICOT and International Speaker Karen Tui Boyes
This TSSA Roadshow is a Masterclass by International and ICOT Speaker Karen Tui Boyes and is packed with practical ideas that you can use in your classroom the very next day! Karen will unlock the goldmine of potential sitting in your classroom with brain-friendly techniques for Accelerated Learning by all students in your class.
We now know that just because we have taught the information, it does not mean that our students have learned it. Even for those of us who are transforming the way we teach, to be even more effective we need to develop a deeper understanding of the learning process, based on the latest neuroscience. That's why this workshop is an interactive masterclass where you will learn, explore and test out ideas and strategies and leave with a clear action plan to take the learning in your classroom to the next level.
You will cover… • Setting up an effective classroom environment • student engagement strategies • the many ways the brain learns and remembers • how bridge the gap between teaching and learning • communication skills • the learning process • simple brain friendly techniques • ways to accelerate learning • techniques for struggling learners • how to deal with the fiddlers and wonderers • ways to ensure instructions are heard, understood and followed - correctly
Karen will provide links between the neuroscience and the Habits of Mind, Harvard Cultures of Thinking, and Accelerating Learning
Empower student voice and learning by Diving into Inquiry with Trevor MacKenzie, who is taking the IBL world by storm
Want to make learning more meaningful in your classroom? Looking to better prepare your students for the world of tomorrow? Keen to help learners create authentic connections to the world around them? Trevor's Dive into Inquiry approach beautifully marries the voice and choice of inquiry with the structure and support required to optimise learning for students and get the required results.
You'll gain an understanding of how to best support your learners as they shift from a traditional learning model into the inquiry classroom where student agency is fostered and celebrated each and every day. This workshop strikes a perfect balance of meaningful pedagogy, touching narrative, helpful processes, original student examples, and rich how-to lesson plans all to get you going on bringing inquiry into your classroom.
Friday, 14 February at St Peter's Boys Prep a ONE DAY extra only in Johannesburg, Dive into Inquiry with Trevor MacKenzie and Monday, 17 February at St Peter's Boys Prep Brain-friendly Strategies with Karen Tui Boyes - 9am to 3pm
Cape Town:
Tuesday, 18 February 2020 at SACS Junior School - 9am to 3pm
Wednesday, 19 February 2020 at New Forest High School - 9am - 3pm
Cost: R1650 per delegate for a one day workshop,
Friday, 14 February as a ONE DAY extra only in Johannesburg, Dive into Inquiry and Monday, 17 February, R2199 for the Johannesburg Combo 2-day Deal!
Register and Pay* before 15 October for 10% Early Bird discount
*or sign a commitment to pay
SACE Registered
Save the dates 15 - 18 June 2020 for the first ever ICOT (International Conference on Thinking) to be convened in Africa!
Bringing together global thought leaders in school, tertiary and business communities to share ground-breaking research, stimulating points of view and entrepreneurial problem-solving about Thinking to Transform Societies. There will be a full-time Teacher Zone with non-stop global best practice talks and workshops and TSSA invites all teachers to take part in this ground-breaking event.