Here we go again!

​In reference to making art, I recently heard David Hockney say that, “craftsmanship is a must.”
From the Renaissance to the Abstract Expressionists art students began their apprenticeship by learning the craft of their chosen media.

“We can teach craft, it’s the poetry you cannot teach.” Hockney goes on to say, 
“Now we teach poetry and forget craft.” 

There is enough truth in that statement to make one stop and think. 

A Chinese philosopher proclaimed art is a matter of,
“the Hand, the Eye, and the Heart”. 
Many artists new and experienced alike, seem to shift back and forth from working primarily with the hand, the eye and the heart, rarely giving equal measure to all three.

When I look at the latest paintings in watercolor society shows I am more than impressed with the polished technique exhibited: skills of the hand and the eye. 
What I most thirst for, though, is to see the reason behind all the technical skills:
more heart and soul. 

I know  how challenging this is as I fight for a balance of ideas, feeling and form in every painting I do.  I have come to realize that in making art, usually one aspect (the hand, or eye or heart) is primary and the other aspects might be  missing in the process or have minimal influence.   

I think this is well worth giving  some thought...ask yourself...
Which of these do you primarily work with; the hand, the eye or the heart?
Do you start a painting aware which is going to primarily direct the process?
Which are you most comfortable working from: the Hand, the Eye or the Heart?
Do you resist letting one or another take the lead?
When you are most satisfied with the results of your work, what is the ratio of hand/eye/heart?
If you get stuck or a piece seems to fail, does it rely too much on one aspect at the expense of the others?
What if you tried switching it up...?

I know I shift between as I am working, but I do try to find a balance. Or at least a workable combination of hand/eye/heart.
I  believe when all three aspects work in a sort of equanimity the resulting  artwork has a stronger presence.
You know when you see it: the piece of artwork engages intellectually, moves you emotionally and the craft impresses or intrigues you.
It just works.

There are many things to love about autumn,
and one of my favorites is the annual return to Bon Secours Center in Marriottsville, MD, and Skip's October Mentored Painting Workshop. 

It is hard to think that 10 years has passed since I first found Bon Secours Retreat and Conference Center. My goal was to find the perfect environment for the best art workshop experience one could have.  
I already had the best teacher lined up! Skip Lawrence, obviously!

This location would be, ideally, within commuting distance from our home in Central Maryland. This location should be all inclusive, so one could arrive and need for nothing while concentrating on the art workshop, free to stay with their process without having to leave or worry about meals or commuting. It would be nice if the place was in an attractive setting. Of course,  price and value are considerations, too...

From the first time we entered Bon Secours, we knew we found the perfect place.
It is rare that something highly anticipated actually meets your expectations. It is a 'unicorn' when it exceeds your expectations. And to do it consistently after 10 years and 18 workshops is a polka-dotted, roller-skating talking unicorn!
We added an annual March workshop in 2009, and another workshop in August
of last year.
​

 The grounds are like a private park with 330 acres, meadows with deer, woodlands, Zen peace garden, a labyrinth to walk, an ever-changing landscape, beautiful at any time of year.
The facility is a comfortable, quiet, accomodating haven in a busy world.
The staff is superlative. The fact that we see the same people, for 10 years on, smiling as they ask "what can we do for you?" speaks volumes! It is a homecoming every time we arrive the Center and set up for another workshop. The students who return time after time feel the same way.

​I know how important the space is for supporting one's best work. This is magnified exponentially when it is a workshop with two dozen people, all digging in and doing honest, soul-searching, risk-taking artwork, when Skip Lawrence is at the helm challenging one to do, to be, one's best. The workshop experience, for me, is a sacred space, and our workshops at Bon Secours are exactly that.

Thank you, Bon Secours Retreat and Conference Center for ten great years of creative synergy! We look forward to many many more!