So what kind of art is it gonna be?

Many of my collectors have come to appreciate my work through the abstracts I have been working on for the last few years. I also have a base of clients who have long enjoyed the representational work I do and at the same time there are others who respond strongly to my Asian-inspired brushwork. So, what is going on here? Some have asked about my varied styles of work. Shouldn't I just pick one? Do I have a problem making a decision? I realize that from the outside it must be somewhat confusing. So, I decided I should explain a little about my art and where it comes from.

Most artists develop a style, then focus on that style, refining it, and simultaneously guiding and being guided by that particular style. The style of art that a particular artist works in, becomes their mode of expression, of documenting their relationship to a particular thought or idea. If the artist is serious about their work, their style will evolve over time, sometimes dramatically, other times very subtly.

Perhaps because I am a self-taught artist, my style developed out of an intuitive relationship to my art, rather than from any formal structure. From an early age I felt a need to express myself through art, even if at the time, I wasn't quite sure what it was (or that I was) expressing. My deep love of nature gave me a subject to focus on as I learned different tools and mediums to create my works of art. I even turned to writing for some time, when I felt my relationship to art becoming strained and forced.

To me abstract, representational, or brush painting styles are all very strongly connected. They do not appear very different to me at all. I have called myself an interstitial artist, because I never felt I could classify my art within a particular group. Lately, I have been thinking about the idea of my art being intuitive. Perhaps Intuitive-Interstitial? But, why apply any labels? Regardless of what I am creating, I strive for the piece to be authentic. I utilize a lot of meditation, either before or during my painting that helps to keep me connected to that authentic source, be it Spirit, God, Unity (again, more labels).

The art I create is challenging. It pushes me. Sometimes it is agonizing, verging on painful, but when the painting is finished and it successfully resonates with that authenticity, I experience joy. This joy grows stronger when I learn that my work reaches and affects others in a positive way. I know then, that I listened well to that inner voice and remained true to the Source that makes each of us both unique and the same.

Originally, when I posted my work on my website, I grouped it all together because, to me, it all seemed the same. However, I realize that the connection, from the outside viewer, may not be so clear. But please don't let the separate galleries keep you from seeing those relationships. If you go to my page on Fine Art America you will see that I didn't separate my work. Each piece on that site has a description about it that gives background about the development and what the painting means to me. Perhaps, from there, you too will see that each piece is both unique and the same.

Conscientious Art

At the end of 2007 I had mentioned that I would be exploring art materials that are earth-friendly. This is no small feat, as many artist materials are notoriously hazardous. It's bad enough that materials are expensive! At any rate, I think it is my responsibility, not just for my own health, but for the good of everyone to explore earth-friendly options. I have been contacting my suppliers of art materials and exploring their "greenness". The first company I heard back from was Ampersand Art Supply, who produces the watercolor boards I use.

Here is the letter that they sent to me:

Thanks so much for contacting us about our products. As we continue to grow this company, we are always looking for new environmentally sound alternatives to the materials we currently use as new information is made available. We use the most advanced and safe technology available in the world of wood painting panels today. The hardboard we use is made from renewable wood, meaning that the trees processed into the wood fibers are harvested and replaced with new ones. Also, these Aspen fir trees, that have a lower acid content than any other tree, are grown in the US, so that we are not affecting the growing problem of shrinking rain forests around the world. The wood fibers we use are made from waste from the lumbar industry, so in a way, you could say they are already made from recycled materials. [I had asked if they use recyled materials in any of their products] Also, our wood products do not contain any chemicals (VOC) that emit harmful gases that can cause cancer like formaldehyde or any others that can contribute to global warming like methane.

We use only safe water soluble raw materials in our coatings instead of solvent based materials which prevents problems locally (Austin, TX) with soil, groundwater and any other run off problems that could potentially happen with unsafe materials. The clay we use is a raw material that is mined only in the US from a more than abundant virtually endless supply (for the small world of art materials) - its not processed in a way that will affect the environment negatively. It's kaolin clay (naturally acid free and neutral pH), no color or hazardous chemicals added.

As we move toward the future, we are always testing materials that are safe for artists, will last according to museum standards and that have the least amount of impact on the environment. It could be that the wood materials we use will be replaced with a recycled product more along the lines of recycled plastic or metal - we're still looking into this and are always open to new ideas that we can test.

I was pleased with the response I received, and glad to know that the company that produces a product that I really enjoy using is conscious of minimizing their environmental impact. I am still waiting to hear back from Fredrix the company that produces the canvas I use, as well as the ink and watercolor makers. I will update you when I hear back from them.

But, you can be certain, in the meantime, more of my work will be made utilizing Ampersands clayboards!

Boann: Transformation of a Goddess

My latest piece titled Boann: transformation of a Goddess is completed. It was part of a commission that began almost a year ago. The process of completing the work was rather demanding but ultimately inspiring. The research, meditation, and painting process itself all became fuel for many more projects that are now been developed. And, yes, there are some new abstract pieces on the horizon for those who have been inquiring!

This painting depicts the transformation of Boann, of the Tuatha De Danann, into the River Boyne. The story of Boann is a fascinating one. There are several interpretations and, as is often the case with Celtic mythology, they often contradict each other. Here is the story based on my research and how it assembled itself after meditating on it:

Boann’s husband was Nechtan, who was keeper of the sacred well Segais (the Well of Wisdom). Around the well grew nine magical hazel trees, from which grew magical crimson hazelnuts. The nuts fell into the well feeding the five colorful salmon that lived inside the well. Each salmon represented wisdom obtained through the five senses and had distinctive crimson spots on their bellies from eating the hazelnuts. All, but Nectan and his assistants, were forbidden to approach the well.

This restriction irked Boann, and she decided one day to approach the well. To spite her husband, whom she believed greedily coveted the well, Boann approached the well counter clockwise. But what she didn’t know is that the well itself had specific conditions in which one could gaze into it. One must approach clockwise three times before looking straight and steadily into the well or one’s eyes would burst from the power of the wisdom contained within.

Boann peered cautiously into the well, which caused the water to rise angrily and it took one of her eyes. Because she approached the well counter clockwise, she had further angered the waters and so the well erupted with a torrent. Boann fled from the rushing waters losing an arm and a leg before the angry waters reached the sea, leaving behind a 70 mile long river, now called the Boyne River.

Having lost one eye, one arm, and one leg, Boann was transformed. She existed from that point on somewhere half in and half out of the physical world. She became the soul of the river, but also something much more powerful. For when she released the waters of Segais, she freed the salmon of knowledge into the world. Now humans had access to the wisdom reserved only for the gods. Anyone who ate the flesh of the salmon, instantly possessed the knowledge they contained.

Boann then became the patron goddess of poetic and spiritual inspiration. Her influence bridges the gap in the wisdom of mind to allow the feminine nature in each of us to stream into our being. Her sacrifice represents the transformation of the self that is required for wisdom to enter. Her essence is present in all rivers. To call upon her, one must simply invoke her name while sitting next to a river and listen with a clear mind and an open soul. Her gift of wisdom will transform you!

The original has been sold. But prints and greeting cards are now available!

DoAn
(Image "Boann: Transformation of a Goddess" by DoAn. Copyright 2008. All Rights Reserved.)

In the Heart of the Forest

The path leads into the forest. This is the first forest, the primeval forest that existed before humans. Here is where dreams lived before they found a home in the minds of slumbering humans. Myth and fairy tale call this enormous, dark and dangerous wood home...

This is not a new piece, but it has just been added to my Fine Art America page and is available for prints.

This is the edge of the first forest. What is hidden just on the other side of those trees. Unicorns, fairies, witches, nightmares? There is only one way to find out. Take a step inside and see for yourself...

You can view print options here at my Fine Art America page.

Beag: the keeper of the well of wisdom is published!

Emerging Visions, an e-zine for visionary art, edited by Laurie Corzett, has posted its LeapDay Issue on the theme of ImagiNation, and I am happy to announce that my painting, Beag; the keeper of the well of wisdom, was selected to illustrate the issue. Please take a moment to check out the poetry, essays, flash fiction and visual art by the other talented artists and writers.

The Transformation Begins

Back in 2007 I completed my first watercolor painting on watercolor canvas, which was entitled Boann: Goddess of the River.

All during work on this piece, I experienced fluctuating emotions, which were sometimes very powerful and often unsettling. I would feel very sad, then very agitated. I didn't attempt to analyzye the emotions, I just figured I needed to feel what I was feeling and I would gain some insight after it was over. Once I had finished the painting, I decided I should do some more research into the goddess Boann. I was surprised to find, what I had thought was a obscure, rather minor goddess was actually quite profound and rather powerful. Since I completed that first painting, I knew I would need to create another painting featuring Boann. I set it aside for a while, working on some other gods, and some commission work. I felt like I needed to allow a little distance between me and "Boann". Then I went to FaerieCon in Philadelphia back in October. I hoped to get some more research about Faeries and the Tuatha Dé Danann for my series as well as meet other artists and talk to them about their work and marketing, etc.

After FaerieCon, I went back home with renewed energy and started working on Boann. I have been working on this painting ever since. I did an initial sketch for a composition that I thought would work, and what I found developing was a fusion of abstract and representational styles. First I drew the waves, which became the twining of river plants, then a swirling black hole, then out of those things came a face and a rocky well. I knew enough of Boann's story that she had opened a forbidden well releasing the waters of wisdom, which chased her across Ireland and eventually swallowed and drowned her.

One day, during sketching, a salmon appeared in the drawing. I thought that was odd, so I decided I needed to learn more about Boann. It seems there is a whole deeper story about what Boann did when she released the waters from the well. Surrounding the well grew nine magical hazel trees, on which grew hazel nuts. These hazel nuts fell into the well and fed a salmon that lived in the well. As the salmon ate the nuts, it became magical as well. When Boann released the waters, she also released the salmon. There are stories about people trying to catch the salmon, so that they would gain wisdom from eating its flesh. There are different stories about who actually caught the salmon. There are also stories that suggest there was more than one salmon. After this event, Boann became, not just a river goddess, but also the goddess of spiritual insight and divine wisdom. She brought mystical knowledge to humanity. Through her curiousity and refusal to accept the restrictive rules of her husband, she allowed humanity to achieve a higher state of awareness. She is, therefore, a powerful deity for poets and spiritual seekers. Knowing this gave me a much deeper understanding about why I connected so strongly to this painting.

The more I worked on it, the more I felt that my art revolved around spiritual exploration and knowledge. I think this has been happening all along, but suddenly, I was consciously aware of this process. Working on this painting has been very challenging. It is emotionally hard at times and often very draining. I believe that I need to cultivate the proper energy physically and spiritually in order to engage fully on the piece. Until then, I can only work a few hours at a time on it, then I need some space from it to recharge. I am working on improving my diet and incorporating yoga back into my life to help with building this energy. During those "resting" times, I work on new sketches and smaller pieces of work. It seems that Boann is part of a trio of goddesses, each belonging to a river in Ireland, all with a very similar story. I am developing work on these other goddesses, as well as some other pieces. I completed a drawing of the Boann painting which is posted above. Drawing the composition first helps me with understanding the values (shades of black, gray and white) that are important. It also gives me the opportunity to play around with the composition itself a little. The painting will look quite different than the drawing. Not just because the painting will be colored, but because the medium (ink and watercolor) evokes an entirely different emotional expression than drawing with pencil does. I will be posting the drawings and smaller pieces as I develop them. The larger final paintings will take some more time.

OTHER NEWS

Fine Art Prints

As I mentioned late last year, I will be doing more work which can later be made into prints. I have already gotten orders for greeting cards from my Four Seasons of Fox paintings. I print and hand assemble the cards myself in my studio. The prints for my larger paintings were another matter. I found some good quality print on demand printers that will post my work on their website. People can go to the website and order prints, mats and frames. One of the artists at FaerieCon said that the quality was quite good. I took several of my paintings to an image specialist, had them scanned and have posted them to the website. You can now begin to order prints of my work at: Fine Art America and find my webpage under DoAn Art.

Residencies

As a result of my work on the series of paintings based on the Tuatha Dé Danann, I have developed a deeper understanding of the spiritual nature of my work. Working from a spiritual center requires a huge amount of focus and energy, which is often very challenging and exhausting when juggling several other jobs. I have decided that during 2008-2009 I will be devoting a lot of time to attending artists residencies and retreats in order to produce more work without interruption. I believe, in order to grow as an artist, to really develop the work that I believe needs to be created I need a separate environment to work in for a while. I believe my art can actually be a tool in helping people to reconnect to their spiritual nature and to the natural world.

This will be largely possible through the support of my Patrons, and people like you who appreciate my work. I greatly appreciate your help and support--no matter if it is monetary, emotional, or otherwise. Over the next several months I will be downsizing my personal belongings, transferring them into cash for living. Obviously support through purchase of my art, both original and prints, will be helpful. Additionally, you can make donations through Fractured Atlas: DoAn Art. Ask me or check out the Fractured Atlas* site for more details. I am also in the midst of applying to some grants to assist me in funding for supplies and living expenses while I am at the residencies. I will keep you posted on the development of all these things!

As always, thank you so much for your interest and support!

DoAn

DoAn Art is a sponsored project of Fractured Atlas, a non-profit arts service organization. Contributions for the purposes of DoAn Art must be made payable to Fractured Atlas and are tax-deductible to the extent permitted by law.

New Paintings & Greeting Cards

Hello All and Happy New Year!
I hope everyone enjoyed the holidays. I took some time off, stayed in and did a lot of meditating, some yoga, and some inward reflection so that I can start the new year with renewed energy and a stronger focus on my art.

Since I have been focusing a lot of my artwork on using inks. I came up with a small series of paintings utilizing images of foxes on aquaboard and colored inks. The results are what appear to be watercolors on paper, but are much more durable and longer lasting than watercolors or a work on paper would be.

Back when I started working on these pieces, I had been chased with images of foxes. Some in my dreams, others just popping up randomly in books, or tv programs.
I had a fondness for foxes when I was younger, so I thought the fox would be a good subject to explore again.

For my research I examined different kinds of foxes and how they relate to the natural world and in mythology and spiritual lore.

The first painting I did was the Autumn Fox. This is represented by the Red Fox. Autumn in Celtic lore was considered the time when the line between the living world and the otherworld was the thinnest. People were better able to commune with those who had crossed over to the otherworld at this time. The fox because of it's illusive nature, is often associated with magic, and supernatural abilities. It's most active times are during dawn and dusk, the "in-between-times", and therefore, a natural emissary representing the borderlands between this and the otherworld.

The next painting was Winter Fox. This painting is represented by the Arctic Fox, who is the master of camouflage. In the warmer months, the Arctic fox comes in a range of colors from chocolate brown to charcoal black. As winter approaches, it sheds its dark fur for a thick white coat. The fox (no matter which species) is a master of camouflage, being able to vanish, practically right before your eyes. The Arctic fox is the master of invisibility, being able to disappear right into a snow bank.

The third painting I did was of the Spring Fox. I chose the Gray Fox to represent spring. I have always held the Gray Fox to be one of my favorites. It is a very quiet, shy creature. It is the only fox that can climb trees. Here I drew a fox in the branches of a flowering cherry tree. In spiritual lore, the fox is represented by the World card in the tarot deck. The fox represents that the world is growing and shaping itself into new beneficial patterns. Spring is the time of year where the potential for all things begins to manifest. The gray fox standing on a tree branch in spring bloom, seemed like the perfect image to represent that.

Lastly, the Summer Fox. Represented here by the swift fox. It is one of the smaller species of fox. It occupies the drier regions of North America. There is another fox called a kit fox, which some argue might be just a smaller breed of swift fox. They look nearly identical, with some slight variations in ear size and body weight. Summer is a time of heat and activity. The legs of the fox are adapted for running. It requires a great amout of stamina, and fox can trot along for a long time without appearing exhausted. The swift fox, by name, seems to embody this idea of energy very well. Also, the swift and the kit foxes have very large ears. They are designed to help rid the body of excess heat, another adaption to address the hot months of summer. This painting depicts a swift fox, trotting along in a field.

January & February is usually devoted to my meditation stroke paintings. I will be discussing the process and posting new stroke paintings in the next couple entries to keep an eye out for those. In addition to the stroke paintings I will be continuing to develop work on my series From Beyond the Ninth Wave.

It should be an exciting year!