Reigniting the passion

Being a creative, whether you do it full time, part time or as a hobby, you can easily be stripped of inspiration and wanting to create.  That is fine and happens to all of us.  But to get that spark back, for the most part it is up to you to find out how to get excited to create again.  Here are a few of the ways that I keep myself inspired.

1. Take yourself on at artist date 

Borrowed from the book The Artist’s Way, I have found these to be very helpful.  An artist date is making time for yourself, on your own to do something captivating.  To play, have fun, or do something that nourishes you.  An artist date shouldn’t be something you think you should do, or even something practical.  You should be excited or curious about what you decide to do.  This activity that you pick doesn’t have to make sense to your art practice, it just has to be something that you are excited or curious about.  You never know what it might spark.  The possibilities are endless, so use your imagination.  And if you don’t get it right the first time and it didn’t spark something in you, don’t give up.  I have had a few artist dates that were duds.  But I have had plenty that have gotten me thinking differently, sparked a small idea, or at minimum, gotten me out of my studio for a morning to take a break from the to do list.  My recent artist date, I took myself to the Bloedel Conservatory in Vancouver with my skethbook, some watercolor paints, and I painted some of the flowers and birds with no intention for the drawings.  Many of my favourite artist dates have been wandering nature alone with a sketchbook or notebook.  It’s a nice escape from the business of life.  

*Some of my favourite artist dates*

-The public library.  Reading about different subjects that interest me and that I don’t know much about.

-Wandering nature alone with my sketchbook or notebook.

-Beaty Biodiversity Museum.  Drawing taxidermy animals, fish in jars, bugs, plants and more.


2. Fuck around Friday’s

Either on my own or with a studio mate.  I like to spend 30 minutes to a few hours, fucking around!  Grab some paper, paint, and other random tools, media and just fuck around with it.  Don’t try to make anything you will ever keep.  Taking that out of the situation will help you loosen up and be less precious.  You might find something that you like, such as a colour combination, a texture or something else that you may have never done before.  Or in the least, you will have loosened up.  I also like to treat myself on these days, buy myself a nice coffee and dessert treat, blast the music.  It can help get you into the right mindset to play around.


3. Clean your studio or art working space

This will help clear the old air out. Get rid of unused things, rearrange your space and make your space feel new and welcoming again.  I try to do at least a minimal clean out after each huge deadline has passed and a big clean/sort once a year.  I find my space can become chaos when I have a lot on the go.  I like to reset it before diving into the next project so I can go in fresh and new. 


4. Create studio rituals

This ties in with cleaning your space.  You really want your space to be a welcoming space that you are excited to go to.  It doesn’t matter if it is a corner in your living room, or an actual studio space, make it a welcoming and creative area.  Light some candles, turn on cozy lights, have a diffuser going, put up inspiring images anything to make it a place that you want to be in.  I personally like to get my diffuser going and light candles when I get to work in the morning.  A nice relaxing moody start to the day.


5. Find or create your community

Many artists work alone.  I really enjoy working alone most of the time.  But I do feel the need to connect to other creatives when I can.  This helps to get me out of my own head and think differently.  If there are ways to join a creative community in your area, then do!  Even try a few different circles so that you aren’t reliant on just one.  

*Some of the ways that I have a creative community*

-My studio mates.  Even though we have our own spaces, and work separately, we still have each other when needed.  It is nice having another creative eye that you could ask an opinion on, collaborate with, or even just feed off each others energy working in the same space.  I worked from home for years before I finally buckled and rented a studio space.  It was the best decision I ever made.  

-Creative Mornings/Likemind.  Two different events that happen once a month. They get you up early in the morning, feed you coffee and surround you with other creatives.  Creative Mornings is a breakfast lecture series for the creative community, with different speakers and themes each month.  Likemind is an informal monthly coffee and conversation gathering, with like-minded people. It’s a casual gathering where you talk with other creatives about what you love, rather than what you do.  

-Creating my own community.  Inspired by likemind, I gathered many of my artist friends to meet once a month for an hour for coffee at different little cafes around the city.  As a way to get ourselves out of the studio for a short while, to share what we are working on, excited about, share information, support each other, spark new ideas and make new artist connections.


6. Take some time off

I am still working on finding this balance.  I am definitely the person that works their butt off on a project, and when it's over I tend to put of taking a break.  Many times I just jump right back in to the next thing, or start playing catch up on all the other things I put off while that deadline loomed.  Even if it is as simple as a half a day off here and there, it can be very beneficial to not burn out. 


When I am in a rut or blocked or feeling uncreative, one of these will really work to get me excited to create again.  So don’t be afraid to try different things and compile your own list.



Super Mini Travel Painting Kit

When I am traveling, it is nice to take along a little mini travel kit with me to both practice doing quick mini paintings, and have a sort of little travel journal through images.  Depending on the trip, my painting travel kit changes size.  In this blog post, I am going to go over my smallest kit I have put together that I took on my recent trip to Peru and Mexico.  

I planned this trip over six months in advance, but have been wanting to do it for well over ten years.  Ever since I knew that Machu Picchu was a thing, I have wanted to go there.  It seemed like such a beautiful mystical place perched on top of a mountain.  Discovering that you could actually bus up to it, sort of ruined the magic of it a little bit.  Luckily, I found that you could also take a four day hiking tour along the Inca trail to Machu Picchu.  If you have ever wanted to go to Machu Picchu, I 100% highly recommend doing the Inca trail tour.  When you get to that view on the final day, you really feel like you earned it.  As well, hiking along the trail to get there, is just as incredible as the place you are getting to.  It is one of those tough experiences that you do in your life that you will always look back on as one of your best travel memories.  Lacking space and needing to think about weight, I knew that I would want to bring something small and light.  I had to make my travel kit even smaller than it was before, making me create my mini travel art kit.

In my studio, I experiment with a lot of different paints.  But most of my finished pieces end up being in acrylic.  When traveling, hauling along acrylics isn’t really realistic, especially when you have limited room and limited time to do a little painting study.  When I travel, I bring watercolours or sometimes gouache.  These paints are easy to bring along, don’t take up much room, you can do quick and easy study paintings with them and cleanup is pretty easy.  So here is my little mini travel watercolour setup.

Case - Usually for my pens and pencils I use one of my own pencil cases.  Knowing that we were going to be on several flights and changing altitude, plus I had water filled pens in there, to be safe I wanted to have a plastic case.  In case any leaking, it would be contained.  I found this cute My Little Pony bag that worked perfect and was a nice little nostalgic  throwback to me being a kid.  Plus, nothing says “I’m an adult” quite like a My Little Pony pencil case.

Watercolor book - in my medium kit I am currently using a moleskin watercolour book.  For this tiny kit, I needed to find something super small.  I decided to try this Pentalic 3.5x5 inch book.  The pages are super thick so that I can paint on both sides of the page, making the amount of pages I have to paint on, double.  

Watercolor pens - I discovered these watercolour pens just in the last year.  I don’t love the way they paint quite as much as a traditional brush, and in my studio for final art pieces I would use an actual watercolour brush.  But for travelling, these are a lifesaver and actually not too bad!  It takes out having to have a cup with water that you are trying to balance while trying to just get a quick painting in.  The water flows out of them quite nicely, and if you need more water, you just squeeze them.  I have a couple sizes but find I usually mostly just use the medium sized brush.  I can get a lot of coverage with it and also do fine details with the pointed tip.

Watercolor tin- I adore this tin.  You can get these tins with paints, but I got an empty one that I then filled with my QoR watercolour paints.  This way I am able to have my professional grade paints with me on the go.  I can also fill them back up when they are getting low.  One of my favourite parts is that the little trays come out, so I can customize a colour palette depending on where I am going.  The tin also comes with two fold out palette areas, I took one side off since I knew I didn’t need it on.  I can always reattach if I want it back on.


Colour swatch- One thing I like to do, is make a little colour swatch that fits nicely into my watercolour book.  When the paints are in the trays it can be hard to really tell what colour they are and the gradient that they can achieve.  It is a nice thing to be able to whip out to check your colours as you are about to paint.  I made this one specifically for this trip and the colours that I picked to come along with me.

Clamps - I find clamps super helpful.  I bring two different ones with me.  The smaller one is great for holding the pages down, especially if it is windy or the page starts to buckle with water application.  Plus if you have to leave your current location and your painting is still a little damp, these help to keep the pages apart while your painting finishes drying.  The larger clamp that I use is great for clipping my watercolour paint set onto my book so I have one less thing to hold.


Paper towel- Paper towel is always a great thing to have to clean off your brush so you can use another colour.  Especially with the water filled pens.  Since you don’t have a cup to rinse your brush in, you need to squeeze some water out and wipe it on the paper towel.

Salt - If you have never tried this before, dropping salt onto your painting while it is still wet actually creates some cool effects.  I bring along a tiny little container of salt with me in case I want to use it.

Pencil - I found a mechanical pencil best for this trip, I would only have to bring one pencil, and no sharpener.

Pen - My favourite pens to bring are the Faber-Castell pens.  I usually bring a XS and M for sizes.  The pens are waterproof so you can draw overtop of your dry watercolour, or draw with them and paint overtop without worrying about the ink bleeding.  If I ever have a bit of extra room, I also like to bring along a few extra colours too.

Molotow Grafx Masking Fluid - This little masking fluid pen is amazing.  If you have ever used masking fluid, it is great in the studio, but on the road it can be a pain to use.  Having the masking fluid in this pen makes it super easy to apply onto your page and not have to bring along a garbage brush or something to pour the masking fluid onto.  The only thing I wish is if they made a finer point version too.  I paint super small details so it would be nice to get smaller details with the masking fluid.

Gelly Roll by Sakura - I like to bring one of these along to add a few little white highlights in spots that I might have accidentally painted over.  It isn’t as great as having the white of the watercolour paper showing through, but its still a handy little tool.

View catcher- Painting landscape can sometimes be a bit hard to focus on that one area you want to paint, or decide on framing for what you want to paint.  This tool has come in handy for me to be able to look through and see good framing possibilities.  And also if it is a complicated scenery, I can hold it up while I focus on one area and do a quick sketch.  It is adjustable too so you can change the aspect ratio.  The colour is a neutral grey so any colours you are observing won’t be altered by looking through the viewfinder.  It also has a little hole that you can look through if you want to really see the true colour of what you are looking at without having the other colours around that object trick your eyes into what colour it is.  When you really get into painting and perfecting colours, this can be really useful.  Extra bonus, it also works as a mini ruler if needed.

Would you like to see my medium travel kit?  Let me know and I might put together a post with that kit, including my own custom made easel thingy!


New Orleans with GOLDEN

Lafayette Cemetery - New Orleans

So it has been over a month since I went to New Orleans for the GOLDEN Artist Educator Program and my mind is still buzzing with information and ideas.  

People always ask me if I went to art school, and I didn't.  I actually went to film school for animation.  So most of what I know and have learned with painting has been on my own, trial and error.  There are definitely some good aspects to that, but there are also some bad ones.  From teaching myself, I definitely have the specific supplies and tools that I know work for me.  I try new things, just not nearly as often as I should.  

GOLDEN Artist Educator Program - New Orleans

This program was amazing.  I finally was able to try the huge array of acrylics, mediums, gels, pastes, watercolors, etc that I always see at the art store but have never known where to start.  I learned just the beginnings of the possibilities that each product has and I can see the potential for more.  I haven't been posting too much art since I arrived back home, one of the reasons is because I have been playing around with all these products.  I love seeing what they can do, and how I might also use some of them in my own practice.  A lot of them might not be usable in my typical work, but I love experimenting and see the potential for other projects.  I am excited to play around and do work that is completely different from what I normally do, to just muck around.  

The program has also been great and it has given me a much better understanding of all the products so that I can help other artists.  What might not work in my work, could be an excellent addition to someone else's.

With all of this new knowledge, I am excited to start really diving into a lot more teaching and demos in the upcoming year.  I can't wait to show off everything I have in store!  

For information on my upcoming classes, demos and workshops, you can see them on my website or GOLDEN's website by clicking the links below.




Beautiful Monsters - Gallery Opening

I grew up in a small town in Canada, in the days of the internet just beginning to come to life as I graduated high school.  Well before things like Instagram or Facebook or other social media sharing platforms.  Being constrained to a small town with no way to see other art other than the kind of art that you usually get in a small town, it was hard to see where I could go with my work.  Luckily, I stayed true to myself and created what interested me, even though I was never exposed to the kind of work I liked.  

I think that this was one of the many reasons that for my current show, I wanted to show somewhere a little different.  Up until now, all of my shows have been in big cities like Vancouver and Los Angeles.  I know that today, people living and growing up in smaller towns do have an easy way to be exposed to art they like via the internet.  But I still wanted to bring my art directly to people that maybe wouldn't necessarily get to see it in person.  Almost a little shout out to my younger self. 


(Some amazing and gruesome fan art from Eva!)

A few years ago, I was lucky to work with Chris Millin with Crows Toes Quarterly. Crows Toes is children's literature paired with artwork by many talented artists from around the world.  Not too long ago, Chris moved to the Okanagan and took over St Germain Gallery.  He has been working tirelessly to bring unique art into Penticton and open the viewers eyes to a type of work that they wouldn't necessarily see there.  Chris gave me the opportunity to show my work in his gallery this summer.  I was a mix of excitement and nerves.  I love the Okanagan and definitely try to take any opportunity that I can to spend some time out there.  But I was also worried about what people there would think of my work?  I didn't want to change my work to what I didn't want it to be to cater to a different crowd, but I was also afraid of terrifying people with what I find to be beautiful.  In the end, I realized that I didn't want to be lead away from my own creative voice and I can't define my own creativity in terms of someone else's opinion.  So, I decided to take a risk, be true to what I wanted to make, and see what happened.  Everyone ended up loving the work that I created for this series.  And the more important thing, I ended up creating a body of work that I loved.

In my last post about The Artist's way, I talked about artist dates and how important that I think they are to opening up your imagination and trying new things.  A lot of times, you will try something different, but maybe you won't see the results right away, and that is okay.  Usually it is in retrospect that you can look back and see where a new idea started from.  Last year I treated myself and went to Science World for the Body Worlds Animal Inside Out Exhibit.  I went with sketchbook in hand, no plans for it to turn into anything other than to practice drawing something that interested me.  Months later, some of that I saw from that exhibit had warped itself around in my mind, and started to come out in my drawings.  I begun slicing animals in half.  Instead of bones and guts, I filled them with other animals, berries, nests and more.  I let my mind run wild and created surreal images from my imagination.  It is interesting looking back that I didn't see this connection at the time.  It wasn't until the body of work was complete that I realized what created that spark.  Not all new things you try will lead into something else.  But by NOT trying new things, you will never get the chance to find out what will.

A big thanks to everyone that made it out, Chris and all the staff at Saint Germain, and Kristian Adam for showing some pieces in my exhibit as well!  Also The Penticton Western News for the nice little write up which you can read HERE.


The Artist's Way - My review, views, and experience

I assume most artists are at least familiar with Julia Cameron's book The Artist's Way.  I had heard about it for years but wasn't really quite sure what it was all about.  At the beginning of this year, I decided to get a few female artist friends together to tackle this book with each others support.  Here are some of my thoughts on the book and my experiences. 


My favourite thing about this whole process was the great group of girls that I did this alongside.  We met up once a week to share our experiences and help push each other along.  I loved seeing many tasks done so completely different as each of us saw it in a unique way.  If anyone out there is considering trying out this book, I highly recommend finding a small group of other enthusiastic artists to do it with.  Not even in the same field of art.  I did it with two mixed media abstract painters, and two writer/actresses.  We were likeminded in terms of very artistically driven and wanting to put our all into this, but creatively very different.  This way we were able to share very contrasted perspectives, opening up new creative ideas to all of us.

In the book, it is a self guided twelve week course.  There is a chapter to read and weekly tasks to complete.  She doesn't expect you to complete all the tasks, but I liked her way of picking which ones to do if you don't have time.  She says to pick those that appeal to you, and those you strongly resist.  Leave the ones you feel neutral about to last.  This way, you are doing tasks you are excited about, and also trying things that you would never try by doing the tasks that you would normally push hard against.  Through the whole book, I did almost every task.  Mostly for my own curiosity of what each task would bring.  I was surprised by some that I thought I was excited about, but didn't have as much fun on them as I thought I would.  But other tasks that I didn't have many feelings towards, brought some inspiring new things to light that I never would have experienced.  


My first and most apparent hurdle that I found I had with this book, was her mention of god and praying and the other cheese in the book.  Those things turned me right off.  Absolutely no offence to anyone who has those beliefs.  I think everyone should believe what you want, so long as your beliefs aren't hurting others and you aren't forcing other people to believe in your ideas.  But for me personally, when she would talk about those things it would throw me right out of it and actually irritate me a little.  She says though that she doesn't expect you to believe in the same things, and to change those words if you need.  So whenever I saw them, I changed them to what was right for me, and that helped get past it.  


(Getting back to nature)

There are a lot of things that I took from this book.  Before this, I struggled to put my thoughts, emotions and ideas into words.  I still struggle with that a lot.  But with help of really writing EVERYTHING down and after filling an entire book in a couple months of writing morning pages, I guess I am now less afraid to at least try writing things out.  I don't care as much anymore about perfection with writing.  That is probably why I don't write much, and most of my art is visual.  For those of you who aren't familiar with the book and don't know what morning pages are, they are basically a bit of a brain drain.  Three pages that you write first thing in the morning about anything.  It is just a way to clear your mind in the beginning of the day.  I found it as a great tool to get rid of things on my mind that were bothering me.  As a way to record it, lock it away, and get on with the rest of my day, rather than carrying it around with me.  I haven't kept up with them so much since finishing, but I bring them back into my life here and there when I feel I really need them.  


One of the other main core parts of the book is the Artist Date.  The Artist Date is a block of time (a couple hours if you can, once a week) to do an excursion.  The main rules, you must do it alone, and not to do what you THINK you should do.  Do what intrigues and interests you.  A sense of duty will numb you.  Follow the sense of the mysterious, not your sense of what you should know more about.  Change your usual route, try something different, let yourself play.  Artist dates fill the well, your artistic reservoir.  You have to replenish your creative resources as you draw on them, otherwise they will dry up.  Since finishing the course, I am also not as strict with these as I was.  I don't do them once a week, but I do make sure to still make time for them and continue to take time for myself whenever I can to explore or try something new.


(Trying new things)

I learned quite a lot about myself from this book.  She talks a lot about negativity, jealousy, grief, artist blocks, criticism and failure and how to get over those hurdles.  I learned more about my habits, where I need to be more strict with myself, where I really need to ease up on myself.  Also things that I need in my life to continue to grow as an artist.  Things that I put off and probably many other artists do.  Needing to make sure I am taking time out of my day or at least week to try new things, or do activities that keep me happy and inspired.  Drawing, painting, researching or even exploring subjects that aren't for a specific show or commission.  This can open up new ideas or artistic paths that I would have never thought to wander down. 


There were a lot of inspiring quotes and ideas through the whole book.  I have pages and pages written out that I have saved to go back to when I need them.  Here are a few!


"As artists, we cannot afford to think about who is getting ahead of us and how they don't deserve it.  The desire to be better than, can choke off the simple desire to be.  As artists, we cannot afford this thinking.  It leads us away from our own voices.  It asks us to define our own creativity in terms of someone else's."


"Anger is not meant to be acted out, or acted upon.  It points the direction"


"As a creative being, you will become more productive when coaxed than when bullied"


"For an artist, withdrawal is necessary.  An artist requires the healing of time alone.  Without this period of recharging, we become depleted."


"Creative living requires the luxury of time, which we carve out for ourselves, even if it is as small as fifteen minutes."


"Art isn't about thinking something up, but getting something down."


"Perfectionism is a refusal to let yourself move ahead.  It is a closed system that causes you to get stuck in the details, and lose sight of the whole,  Instead of creating freely and allowing errors to reveal themselves later as insights, we often get stuck in getting the details right."


"Perfectionism is not a quest for the best,  It is a pursuit of the worst in ourselves, the part that tells us that nothing we do will ever be good enough." 

"We cannot escape fear.  We can only transform it into a companion that accompanies us on all our exciting adventures.  Take a risk a day.  One small or bold stroke that will make you feel great once you have done it." -Susan Jeffers


"A risk is worth taking, simply for the sake of taking it."


"As working artists, we may want to explore a new artistic area, but we don't see where it will get us.  We wonder if it will be good for our career.  Fixated on the need to have something to show for our labours, we often deny our curiosities."


"A successful creative career is always built on successful creative failures,  The trick is to survive them."

On creative drought - "In any creative life there are dry seasons.  These droughts appear from nowhere.  Life loses its sweetness, our work feels mechanical, empty, forced.  We feel we have nothing to say, and we are tempted to say nothing."  


"It is the ego's demand that our work be totally original.  All work is influenced by other work, all people influenced by other people.  Originality is the process of remaining true to ourselves."


"Many hits are sure things in retrospect.  We call many creative swans, ugly ducklings.  We abort the lives of awkward or unseemly projects that may be our finest work."


"To kill your dreams because they are irresponsible, is irresponsible to yourself."


"Creatives should remember to commit themselves not only to projects that are a sure thing, but also to those riskier projects that call to their creative souls.  You don't need to overturn a successful career in order to find creative fulfillment.  It is necessary to overturn each day's schedule slightly to allow for those small adjustments in daily trajectory that, over the long haul, alter the course and the satisfactions of our careers."

On creative growth - Climbing up the winding path of a mountain.  As we climb it, we circle back on the same views, over and over, at slightly different altitudes.  "I've been here before" we think, hitting a spell of drought.  And in a sense, we have been.  The road is never straight, doubling back on itself.  Rough terrain or storms.  A fog may obscure the way we are going and how far we have come.  The occasional vista may dazzle us.  We must proceed one step at a time, focusing on the path beneath our feet as much as the height still before us.


"As grey, as controlled, as dreamless as we may strive to be, the fire of our dreams will not stay buried.  The embers are always there, stirring in our frozen souls like winter leaves."


If you have made it this far in reading my little blog post, I would like to give you a little task.  I challenge you to take yourself on an artist date.  I would love to hear what you did and your experience with it - did you love it, did you hate it, did you become inspired?


One last thing, a little shout out to my fellow lovely art ladies that went through the artist way with me.


Julia Pileggi

Souzan Rezai

Lisa Wills

Caitlin Fysh


The Altar

This is a much long overdue post, but I still wanted to post about it.  A couple months back I released a limited edition print of my painting "The Altar".  This print is very special to me, as I have been donating half of the proceeds to VOKRA (Vancouver Orphan Kitten Rescue Association).  They are a no-kill, non-profit dedicated to the rescue of cats in Vancouver.  They don't have a shelter, instead they work with a few hundred foster homes.  

I have been working with them as a foster parent to kitties for just over a year now, since my cat passed away.  It has been a very rewarding experience and has helped my heart heal with the loss of my cat.  The Altar is a beautiful tribute to loss and rebirth with the blooming cherry blossoms, which happen to be blooming very early in the season outside my window as I write this.  

If you want to know more about Vokra, definitely check them out!

"The Altar" is a limited edition, signed and numbered print.  It will come complete with a certificate of authenticity with a wax seal.  These are high quality giclée prints, on coldpress matte paper. 100% cotton fiber, acid free and archival.  You can get it from my etsy shop here...

Etsy - The Altar

Or if you live in Vancouver, you can get it directly from me for $40, no shipping cost if you pick it up from my studio.  Just shoot me an email.

Once these prints are sold out, they are gone for good, so make sure you get one while I still have some.

And of course I can't talk this much about cats without showing you some!  The following images are all the cats that we were lucky enough to foster last year.  Peach & Leeloo, Meep, Squee, Tig & Leo, Emoji & Hero, Fluffington & Gus.


100 Paintings in 100 Days - FULL VIDEO

Here is the full video that was put together documenting my 100 Paintings in 100 Days show that opened March 2015.  All the way from the beginning, following me to the exhausting finish line.  And celebrating at the opening in Los Angeles at Gallery 1988.  Enjoy! 

Special thanks to HUMANS who allowed me to use their music for the video.  Check out their new album Noontide!


100 Paintings in 100 days - Teaser

Here is a short teaser for my solo show at Gallery 1988.  The show opens Friday March 6th at Gallery 1988 East in Los Angeles.  

Music for the trailer is by the band Humans, their new album "Noontide" is out now!  

For the full 100 paintings video, you will have to check back after the show.


100 Paintings in 100 Days - The aftermath

If I could have put a pause on life and painted for 100 days straight, it wouldn't have been too hard of a task. But I guess that is half of the challenge. Try to stay focused while life throws a constant stream of good and bad at you.

Just before starting my cat wasn't feeling well. eight days in to painting we found out he had cancer. It was the saddest thing I have ever had to deal with and at one of the most stressful times in my career. Every day at work trying to concentrate when all I wanted to do was be at home with him. Trying to focus on work while watching him waste away. We tried a lot of different medications to help, but in the end it was too aggressive of a cancer. Day 50 of 100, the halfway point that I thought I would be celebrating, we had to take him in to put him down. He took a fast turn and was in too much pain that he couldn't sleep or walk.  I had to take two days off of painting to recover even though I knew it would put me more behind, there is no way I could work. My first day back at work after that and my aunt passed away. By then I was emotionally empty, the worst week of my life.  I hate that I had so much work to do at this time, but looking back, maybe it was good. It kept me busy and kept me going so I didn't just fall into a big depressing rut and not leave the house. 
Luckily not all of life's curveballs were bad during these 100 days. I was selected as the winner of Nuvango's back cover of hi fructose contest (my favorite art magazine). I had an awesome time at the culture crawl, meeting up with old fans and making new ones while hanging out with my studio mates and getting a few hours break from painting. There were also birthdays, and weddings, Halloween and day of the dead, and visits from friends and family.
The first time I did 100 paintings was difficult trying to balance work and painting, this time balancing life and painting. Luckily I have an amazing support group of friends and family that kept me modivated when I was feeling empty, gave me hugs when things were falling apart, brought me food me when I was painting too many hours to take proper breaks.  This show was possibly because of all of them. 
So the next 100 paintings in 100 days??  ...maybe in another 10 years!



Hi-Fructose back cover for Nuvango

I am very happy to announce that I was picked for Nuvango's contest and won having my art on the back cover of Hi-Fructose!

Hi-fructose is definite my favorite art magazine, and Nuvango is an amazing Canadian Company that puts art onto fun products (phone cases, laptops, etc). Check them both out if you aren't familiar.

Pick up the latest issue (issue 33) to see my work on the back cover, and read my interview with Nuvango here.