Sunday, November 18, 2012

What Birds Do When People Aren't Watching

 Archibald on a High Wire, collage/acrylic, 6 x 6
by Elizabeth W. Seaver

What Birds Do When People Aren't Watching is the theme of my 30 x 30 installation in W-16 at The Workhouse in Lorton, VA. I and twelve others have accepted the challenge of painting 30 paintings in 30 days on 6 x 6 Masonite panels. I chose to do mine in collage with acrylic, leaving some of the paper under painting showing on each one. They sell for $95 each. I go to hang my work tomorrow.

The show opens on the Friday after Thanksgiving, November 23rd. I will be demonstrating 4:30-6, during the opening scheduled for 5-7 in McGuire-Woods gallery upstairs in the main building, W-16. (Note: I belong to the Workhouse Associates Gallery which shows monthly in the downstairs gallery in that same building, so there is even more of my work to see!)

In addition to the show opening, The Workhouse is hosting a big blowout November 26 all across the campus 9-7. You will find wonderful artworks in all media, and each building will have activities, food and fun for the whole family. Anyone in the NoVA area, please stop by.

I plan to blog for the next 30 days, publishing one of these new pieces each day for as long as they (or I) last! They will come to you in alphabetical order.

Saturday, November 3, 2012

Dancing Turnips

Turnips, acrylic on canvas, 24 x 24
Elizabeth W. Seaver

Maybe Disco Turnips is a better name...anyway, more in my purely vegetarian series. They join Rabbit's Delight II and Dahling You Look Radishing! No telling what might pop up from under ground next.

* * * * * * * * * * * * *
I am showing up at National Institutes of Health in Bethesda as part of a program which puts arts in health care facilities. My husband and I delivered ten paintings up there early this morning, and they will remain through the first week of January, 2013.

Lillian Fitzgerald and her sister, Gretchen, are responsible for the shows at NIH and for buying art to place in area hospitals in Virginia. They purchased a work of mine for Charlottesville's new Martha Jefferson Hospital in January, 2011. Gretchen and Lillian decided to place it in a pediatric area, which was the perfect setting.

Tuesday, October 30, 2012

Fieldwork

Fieldwork, 18 x 36, mixed media
Elizabeth W. Seaver

I am so thankful that my little corner of the Mid-Atlantic region survived Hurricane Sandy relatively unscathed. My heart goes out to everyone affected by the storm.

For me and mine, what's left is cleaning up--a whole bunch of fieldwork.

Friday, October 26, 2012

Anticipation and Writing

Anticipation, 24 x 39, collage on Masonite board
Elizabeth W. Seaver

I gave Maisie a besotted mother smile, the one we have before the reality of spit-up, poop, sleepless nights and talking back truly sets in. If you have enough actual distance from those good old days, it's easy to look back on them fondly. I'd always heard that the mind is a compassionate organ, now I know what that means. The spit-up, talking back, etc., fades and is replaced with the memory glow of warm, sweet-smelling, relaxed baby weight in your arms. Maisie is in that honeymoon phase with her potential chick, taking just a moment to rest her "sitter" before she gets back to tedious process of incubation.

I'm not a nostalgic person. I have always said I live firmly in the present. I don't think the past is better, or the future. I don't spend lots of time talking about how great high school was or wonder what happened to that old boyfriend. I even listen to top 40's music, to the complete embarrassment of my children (indie music mavens), but I believe something in my world has shifted. And I'm afraid I've pinpointed what it is.

I have more past in my past than future in my future. It is so strange. I try to write a story, and it's often about someone my age or older. I try to write some sort of adventure, and an event that really happened to me stands right in the middle of what I had planned to be great modern fiction. 

My new realization was really brought home when I read a story at my writing group, recently. It was about traveling on family vacations when my brother, sister and I were small. For two of the group, I had written a funny, "universal" story--can you guess how old they are? To the two members who are 18 and 20-something, I suspect my tale was like some distant, dry, slightly out of focus account from a history book--vintage, but not in a cool way. Crickets chirped when I finished. A car with no air-conditioning? No seat belts? No dvd player in the back seat to entertain the restless? No laughing from that quarter.

So it caused me to ponder: Should I find some way to make my stories appealing to all ages with language and images? Can I do some research to see whether I'm stuck in old lady story/vintage land or whether I can somehow airlift myself into the 21st century? Or maybe, no upheavals are required just yet. I will continue finding the rhythm of my writing and see what happens.

There's one more possibility, which if a writer has enough ego, usually ends up being the last thing she'd ever consider. It's just possible that my story wasn't very good. 

And that, my friends is what writing groups are for!

Tuesday, October 9, 2012

Burford

Burford Surveys His Crops, acrylic on linen, 22 x 28
Elizabeth W. Seaver

I'm sorry to say that Farmer Burford lost his tractor in a poker game, so he must ride his old bicycle about the farm. Today, he's just making an inspection, but when he has to pull the plow, he regrets his profligate ways most deeply. 

Neither he nor Nettie Burford are sitting on their wings. Nettie, even now, bakes cookies, cakes and pies in their farmhouse kitchen to sell at church tomorrow. Burford cannot bake, but he has the best idea ever. It's such a good one, he hasn't even told Nettie yet--it's a surprise. He's setting himself up in a kissing booth, right on the church steps. 
 
Wouldn't you pay a dollar to kiss this bird on your way into church? He really needs his tractor back.

Sunday, September 16, 2012

Twinkle-Toes

Twinkle-Toes, acrylic on Masonite, 12.25 x 12.25
Elizabeth W. Seaver
Sold


Twinkle-Toes Smith

Twinkle Toes, known as Mary Smith in her everyday life, was in a pickle. The dream part had been announced at Madame Featherwell's Ballet School where Twinkle attended ballet classes three times a week. She'd worked hard on her plies, her pirouettes were top class, and her smiles sparkled even when her toes smarted. It had all been worth it. She'd landed the role as the lead dancer of the white chocolate mint drops in the Christmas production of Santa Cardinal and the Three-Toed Stocking.

But, there was a fly in the meal worms. She must dance eight more performances, and her costume was too snug. Her shoes pinched her feet. And that night during a sold out performance her tights rolled all the way to her hips when she bent gracefully at the waist. She smiled and kept dancing, just as if the front row couldn't see the bulge. The eagle-eyed stage manager noticed. 

“What are you eating, Twinkle Toes?” Mr. Flapdoodle fumed. “Lay off the chocolate-covered grubs, will you? The costume department told me they've already let out your costume once. There's no money in the budget for a new outfit for you, so I'm warning you; don't get any bigger!”

When her mother picked her up at the stage door, Twinkle sobbed out the whole story. “Mama, I'm so afraid Mr. Flapdoodle might cut me from the show and give Dilly Pinkfeather the part.”

Now, Esther Smith was a smart mama, and she knew that Twinkle Toes' expansion was a natural event. It was time for her daughter to grow, and there was nothing either could do to keep that from happening. On the other wing, she also had observed her chick's fluffy shape and doubted that she had the traditional ballerina silhouette, the long-legged stick figure of say, a flamingo or stork. But Twinkle Toes loved to dance, and her mama hated to squash those dreams. She searched for just the right words.

“You know,” Esther finally said, handing Twinkle Toes a handkerchief, “I'm a fair seamstress myself. Why don't you see about checking your costume out from the department after Sunday's matinee. I'll add material where it can't be seen. We'll buy new tights and shoes which you can break in during dance lessons this week.”

“Oh, mama, do you really think that will work?” asked Twinkle as her tears began to dry.

“Yes, I do. And more than that, I believe it is time for you to try that modern dance class you've been pestering me about for months. You're not getting too big too fast, Sweetheart; you're growing up. It's time for you to spread your wings and broaden your horizons. No too-small costume could ever contain all that is wonderful about you, Mary Smith!” 

Mama kissed her chick good night. 

Mary Twinkle Toes Smith danced joyfully about her bedroom, stopping every so often to practice her jazz wings in the mirror.

Saturday, September 15, 2012

Hello from the Edge

Like a single Who on that little speck called WhoVille, I'm here. I'm here. I'm here!

I have been very busy teaching summer camp, painting like crazy, preparing for two art shows in August, hosting a huge party to celebrate milestone birthdays and a 25th wedding anniversary (husband and me), and having plumbing replumbed. I am just beginning to take a deep breath and look around and I'm here to say, I've missed you all!

Here is some new work:

 Hanging Six, acrylic, 24 x 24, Elizabeth W. Seaver

Now, I don't know about you, but I can use a little summer all year long. No seasonal painting for me.

Gramps has primary responsibility for the kids while the middle generation sits in the beach house in the air conditioning.

Which ecosystem would you be inhabiting if you were at the beach right this minute?  House? Beach? Water?