I am having a tough time getting my application done. So, I thought maybe putting it online, in a format I normally write in might help. Here goes.

Voices of the Wilderness Alaskan A.I.R. Program – 2022

• Filled out my name,
• Checked off which areas I was interested in
• Listed references
• Created an artistic resume and portfolio
• Agreed to donate a painting

Statement of Purpose

Today’s wilderness managers work on a variety of fronts, educating the public, monitoring visitor trends, addressing invasive weeds, even responding to the global challenges of climate change and ocean acidification. As an artist in residence, you may work on projects connected to any of these issues. Why is this stewardship-based residency appealing to you? How do you see potential for your artwork and community extension to create dialogue about the issues facing our public lands? We are seeking artists interested in promoting and celebrating our Alaskan wilderness areas and creating dialogue about the challenges we face in a changing environment.

In my day job, I work at a tiny state agency called the Oregon Watershed Enhancement Board (OWEB). There, I process payments and discuss various fiscal issues. When I took the job, I never expected to fall in love with the program, to enjoy talking to project managers about weeds, or grantees about creating a salmon super-highway. To be excited hearing the farmers–who know exactly how profitable each acre is–agree to turn over a riparian area for restoration because they can advertise increased food safety on their product labels.

I’m continually fascinated with the balance of human interests versus natural restoration, and how the best results take a little longer. As I’ve learned more about restoration, challenges and successes continue to surprise me. “What’s good for the bird is good for the herd” is a recent sage grouse slogan. It’s so clever. And I had no idea elk enjoyed using fences as scratching posts.

One of my favorite recent projects was a cow field in the Coos River area. In order to create grazing land for the cows, the early pioneers had removed all the meanders from the stream, put in a tide gate, and created levies to control the water. OWEB funded a project that recreated the stream meander, putting “hard” rock passages so the cows could get to the many little peninsulas the meanders created. When I got a chance to tour the site, the project was nearing completion and the salmon were already coming back to the stream. I saw over 30 bird species on that little site. And the cows looked happy too.

I’m attracted to this residency because I feel like it will give me a broader scope for my understanding of restoration and the natural world. I paint a lot of animals, but I find myself wanting to talk about the challenges of habitat and landscape, too. I haven’t found just the right way to do it, but I feel like I’m edging closer with some of my recent work.

In 2020, I participated in the “For the Seventh Generation” project at the Elizabeth Jones Art Center for Social & Environmental Justice. This project requested hundreds of artists create a 48” x 24” panel. Each panel would eventually be arranged to show the coastline from Mexico to Canada. Working on the project was interesting, because it challenged me to think about what the coast really meant to me. Seeing the works of all the artists together was one of the most inspiring things I’ve ever seen.

Conversations in art and literature are one of the ways our society tries to talk to each other. For example, C.J. Box discusses the challenges of being a game warden in Wyoming, or Rita Mae Brown documents fox hunting in Virginia, art remains one of the few means of bringing people to the conversation. Both of these writers show me something I haven’t thought about before in managing nature’s resources. It’s not about right or wrong, it’s about asking the question.

I recently submitted an idea for a sculpture in the town where I live. The theme had to be four cows, to honor the former owners of the land where the roundabout now existed. I don’t work in sculpture, but the idea intrigued me. I ended up submitting an idea called “Rosalie’s Cows” which is about four hula-hooping cows. It’s meant to be silly, but it’s also a little bit about the joy cows feel just living a life not in a Concentrated Animal Feeding Operation (CAFO). I hope that the cows make people smile on their way to work, and I hope it inspires someone to think about what farming really means on the land.

As I admit in the physical description, I won’t be able to hike for miles or labor all day pulling weeds. But I think this residency will allow me time and ample inspiration to focus on my creativity and ideas, as well as a powerful reason to share this with the community.

Artwork Donation and Extension Description

The extension is to be a presentation in a community of your choice where you would share the experiences of your residency, as well as highlight the importance of public lands. You would also discuss how the wilderness and your work with wilderness specialists inspired you as an artist and share your creations, both field work and finished products. It may be a public talk/slideshow, a workshop, an art opening, etc. Collaborative projects and programs that coordinate with local schools and organizations are encouraged. The sky is the limit! In 4,000 characters or less, please provide a detailed description of your donated project and community extension; multiple ideas for both may be proposed.

Community Extension

1. I will write about this experience on my blog, posting photos and the art that comes from the experience on my blog (tarachoate.com).
2. Presentation at Salem Audubon Society focusing on birds, wildlife, and lands.
3. Workshop (art) at Watercolor Society of Oregon convention describing experience.
4. Submit proposals to local bird festivals, including Wild Wings (in Klamath Falls) about the experience.
5. Other suggestions welcome, including “work with agencies to develop an educational/promotional concept”

Artwork Donation
I will donate at least one painting, a minimum of 22”x15” in size. It will either be a panel piece or a framed piece.

Physical Description

A description of your physical condition, including any experience camping/traveling in a remote, harsh environment such as Alaska.

What can I tell you about a 47-year-old woman who is morbidly obese? Obviously, if I’m lucky enough to get a chance to do this program, I won’t be able to hike for miles or climb mountains; long stretches of kayaking is also probably not a good idea. I am an avid birder, and frequently go out on bird walks with my local Audubon society. I’ve spent time camping and on small motorboats. I’m not afraid of getting dirty and wet and cold, and I’m not a complainer. I’m hoping for a placement that would include observing and monitoring wildlife.

Anything Else?

Is there anything else you’d like to share? Here’s your opportunity!

The summer I turned 12, my dad took a solo trip to Alaska. He planned the adventure for a year, deciding the route he would take, the things he wanted to see, the streams he would fish. He explored the Denali National Park as well as visiting friends in Anchorage. It seemed liked such an exotic adventure to me; six weeks of traveling and exploring.

My parents came from Montana, and we would spend large portions of the summer there. Dad would drive around and call out when he would see a red-tailed hawk along the side of the highway, or when we would discover an osprey nest on top of a power pole. It took me years to appreciate this, but each time I go out birding, I think “Dad would like that.”

Dad was a junior high industrial arts teacher. In college, he took some art classes and graduated with a major in art. After college, most of his artistic energy went into teaching shop and ceramics; he was a huge creative influence on me, from not allowing coloring books to pulling out his college textbook on Frank Lloyd Wright when I took drafting classes. I still remember discussing form versus function with him.

In spite of these connections, my dad and I had a difficult relationship. He was a Vietnam vet and carried a lot of baggage. He was also a junior high school teacher, which I can only imagine was difficult, especially when I became that same age. He died eight years ago from dementia, and I still grieve the relationship that could have been.

As much as the community aspect of this residency speaks to me, I have to admit that part of my motivation trying to appreciate this place my dad was so passionate about in his later years. As I have sorted through my parents’ estate, I smile each time I come across a carefully cataloged Alaska album.

My friends tell me I should use lots of great words for this essay: passion, expression, community, vision. But honestly, I’d just like to say that this amazing opportunity that would push me to stretch as an artist. I feel excited at the chance to express the challenges of resource management and to honor the relationships that have brought me to where I am today. And if Dad were alive, he’d be even more excited than me.

Artistic Sample

Include one artistic sample of your art on this application that best highlights your work.

“Yellowstone Dancers”- watercolor, 30” x 22”

This is a painting that came from a recent trip to Yellowstone National Park. I was up one morning and came across a heard of young bison in a field. They were sparing and playing, but to me it looked like they were dancing. This was the first painting I worked on from that trip. I added the decoration on the bison to honor the Native American tribes (specifically, the Blackfeet) that used that area.

After I finished yesterday’s post, it occurred to me that there were more than a few art things that I hadn’t mentioned.

Yellowstone Dancers

After finishing Yellowstone Dancers, I entered it in the Western Federation of Watercolor Societies. I feel like that is the next “level” I should work on.

“Yellowstone Dancers” – 30″ x 22″ (2022)

It was promptly rejected. Based on the quality of what did get in, I sort of agree with the juror. I still love this piece, however, so I’ll keep looking for another place to show it.

Salem Reads

The Salem Reads event is going on through the end of February. This year they have posted the art show online, so if you are interested, follow the earlier link. There is also an interview with several of the artists (including me) that you might enjoy. Most excitingly, however, my painting SOLD!

“Standing Zazen” – 16″ x 12″

ISEA

The annual International Society of Experimental Artists “Making Our Marks” members show is happening. I entered again this year. Because it’s a member show, everything gets in. But it’s still fun to look at!

“Wishes and White Horses”

WSO – Rejected!

I entered two paintings in the WSO Spring Exhibition. I’ve been doing really well at getting into WSO shows, so I was due for a failure. And I wasn’t too shocked when I got the “unfortunately” letter; I just had a feeling.

The show looks amazing. It’s always an honor just to get in, and as I said… I was due for a fail. It’s just one juror’s opinion on one day. Besides, it gives me a chance to re-read Ruth Armitage’s excellent blog on failure.

Other Shows & Events

I am still waiting on the NWWS show, but I’m not holding my breath.

I am finalizing my entries for the AAEA Spring Member Show: Horses at Leisure. It’s another member show, so I’m guaranteed to get something in. But it makes a great excuse to keep painting.

I could decide to switch out one of these with a couple other paintings I have going, but right now I think I’m set.

I’d also like to enter something in the Preakness Art of Racing show (total longshot). If I can get “Warm Spaces” (below) sorted out, I think these two would be worth a shot.

Finally, work continues (amidst the whining) on my Alaska AIR application. I only have a week left to finish it, so I better get a move on!

So, once again, I’m hoping that’s caught up. Fingers crossed!

Many of you (hopefully) got my newsletter (if not, the sign up is right over the side.) I only put it out once a month, but I enjoy the feeling of professionalism it gives me to say I have a newsletter. If you got the newsletter, you know that I finished “Yellowstone Dancers”, have the Salem Reads show coming up in February, and got the exciting news that “Rosalie’s Cows” was accepted by the city of Keizer.

So, consider yourself up to date.

Life feels unexciting right now as the stupid pandemic continues to kill all fun. While the reports are that it’s not as bad as the first iteration, just more contagious, I’m reluctant to test the theory. So, I stay huddled in my house with my paints. I’m not sure this is more productive than just trying to get paintings out in my spare time, but at least it provides something to look at.

LMOM 2022

The Love My Own Marks (LMOM) project continues.

Warm Spaces

The last sketchbook idea from above prompted me to start a new, full-sized painting.

Warm Spaces

While I used the same palette as the sketch book, it’s really different in feeling than the sketch. After looking at it for a week, I decided to risk it all with these changes today.

Warm Spaces

It’s getting there, but more work is needed.

The Ugly Swan

This swan has been lying around since my adventure into swans last month. It’s… well… really ugly. But I keep doing different weird things to it. You never know. It might “turn out” great.

The Raiders

Since finishing “Yellowstone Dancers” I’ve been making threats about wanting to do more in that style. So, I bit the bullet and sketched out this idea. It’s from a 2012 birding hike where I saw a family of river otters harass a heron out of its fishing spot.

There are several problems to work out, the same sort of problems that I struggled with in “Yellowstone Dancers”. First, size. Part of the story is the otters harassing the much bigger heron. But the otters are so cute, and have so much detail. How can I show both? Should I change the heron to a kingfisher (also there on the trip, also somewhat harassed). Second, space. I can reorganize the otters to be more “together”, but how to arrange things to show there is a “fight”? I thought I could solve the issue with color, which has potential. But it’s not the complete answer. Finally, color/value. All that water is confusing. The painting isn’t really about water, so I can simplify that. But should it be dark? Light? Gray? Blue? Green? Because of the area the water takes up, it ends up being significant, but I am not sure what to do with it.

A friend tells me it’s “not as bad” as I think. But it definitely needs more sketching.

Forage Focus

With all this work in my sketchbook, I decided it was time to take the plunge and attempt a “real” painting.

Initial sketch

“Forage Focus”

I’m pretty happy, though I told a friend I felt guilty being so happy with something that didn’t take a long time. I like the spontaneity.

Stay warm, happy, and healthy, my friends!

I have said it before, and I’ll probably say it again: Art is time-consuming. I’ve spent most of the day (and the weekend, for that matter) slogging through the various tasks that have to be done if I want to get into shows or other opportunities. But that doesn’t mean I like it. Particularly irksome is a multi-page application for the 2022 Voices of the Wilderness Artist in Resident experience. I’d love to get it, but I feel like it’s unlikely. Still, I’m spent some time with the application and intend to submit it before the deadline.

In the meantime, I’ve accomplished a few other to-do items. I’ve entered the Watercolor Society of Oregon (WSO) show, the Northwest Watercolor Society (NWWS) show, and the upcoming International Society of Experimental Artists (ISEA) show. I’ve marked the deadlines of a series of American Academy of Equestrian Artists shows. I’ve turned in the final image for my entry into the Salem Reads show and will do a promotional interview later today. The book this year is A Tale for the Time Being, and I really liked it, though I thought it was very difficult in a few places.

“Regarding Zazen” – watermedia on paper (created for the 2022 Salem Reads event)

So, when I tell you I “only” started one painting, please understand there is a lot you didn’t see.

I started this painting on a wood panel that’s been hanging around since the summer’s adventures. Forgive the glare.

untitled, unfinished – acrylic on panel

I’m pretty happy with it, but some adjustments need to happen. I’m also considering a pretty major revision to make him a very furry horse, but I haven’t worked out exactly how to do it.

This week I saw a barred owl, heard a pair of great horned owls, and had a white breasted nuthatch at my feeder.

I managed to get my paws on an official institution document I have been seeking for six months.

We went to the beach and survived a tsunami.

Finally, I destroyed a friend’s website (but I’m helping him get it back up again, so it’s a controlled chaos thing.)

I’ve been good. Do I still have to do the homework?

With this new COVID variant, I’m back to staying home. Not that I ever left. It’s just that for the first time I feel like I’m getting cabin fever. It didn’t help that this week DUMPED rain. Nearly four inches and that was usually with a brisk wind. Indoor, inside, at home. That was me this week. Obviously, my job kept me busy, and I’m working on a rather big project for WSO right now. That left unallocated free time, and there really is only so many episodes of The Great British Bake Off I can watch in a sitting. So, I painted. In the last couple weeks, I’ve finished several important paintings, and I’m not sure what I want to tackle next. So, I decided to jump on the new year resolution band wagon (who cares if I’m late) and work on a personal painting nemesis: my heavy hand.

When I was in high school, I took drafting courses. In my senior year, I competed in a timed competition to follow house specs and draft out the plans for the house and grounds. I got second place. The first-place winner didn’t get quite as far as me, but the judge pointed out his drawings were neater and that mine had a “heavy hand.” This was before the days of AUTOCAD (or actually, just during the early days of it) and so clean drawings were a big deal. I wouldn’t say the experience scarred me, but it’s been something I’ve been uncomfortable with ever since. Whenever I see my pencil strokes on a painting, I wince.

One of the artists I greatly admire is Benedicte Gele. I have two of her originals, and every time I look at them, I am in awe of her confidence. I recently discovered she had a YouTube channel, and I’ve been watching some of her videos in my spare time. This video really spoke to me.

Her drawing is not perfect. And she uses light line AND dark lines.

Mind blown.

So, my resolution is to doodle like Benedicte and learn to love my own marks (LMOM).

I thought the geese turned out well, but I’m not sure I’ll pursue that. But I completely fell in love with the 5th painting, particularly the horse on the right. I’m going to spend some time trying to develop that look into something I could recreate onto a bigger scale.

Finishing a Few Loose Ends

I am not sure where these paintings came from, but I worked on finishing them this week. I might even have started them this week. The details are lost in time, washed away by the many rainstorms of the last week.

“Two Swans” – probably the tail end of my recent swan adventures

“Pronghorn Antelope”

“Pelican Patterns”

We’ll see what happens with all this in the next week!

The last half of December always feels like a march through a marshmallow. I’m going along, trying to get things done, and then something sparkly or sweet comes along. Days off. Fun meals. People you don’t see often. While the time before December 25 (or so) feels like plodding part of the agenda, once the magic date hits, we’re all sort of rolling around in the sugar… cheese… bread…

So, it is not without surprise that I report that I finished some paintings. GASP! Yes, it shocked me too. But with enough time off, I eventually run out of productive ways to procrastinate.

Yellowstone Dancers

This piece turned out exactly how I imagined it and I love it. I have stopped because I can’t find anything else that I really think will improve it, but at the same time I feel the urge to tweak it. But I entered it in the Western Fed show, so I have to be done now!

Swans

December seems to have ruled by swans. While I can’t claim they are all equally successful (in fact, there is a fourth painting that I don’t want to show), it’s been a fun little series.

“Finley Flirt” – 20″ x 14″ watercolor ($100)

“Glitter” – 15″ x 11″ watercolor ($100)

untitled swan – 15″” x 11″ watercolor ($50)

And with that, I will pick up my marching gear and head into 2022.

This week was busy (I had to work five whole days! It was awful!) and I was tired at the end of it. My list of goals was small, which was a good thing because a large, wet, and windy storm hit Saturday morning (a bit unexpectedly) and even the dog wasn’t interested in venturing out. Saturday, I didn’t even leave the house.

I still am working on “Yellowstone Dancers”, but it’s at the slow stage. After looking at it for a week, I made some adjustments.

Yellowstone Dancers – end of day December 5, 2021

Yellowstone Dancers – end of day December 11, 2021

Yellowstone Dancers – end of day December 12, 2021

I still feel like, maybe, it’s not done. I’m debating with the idea of adding shadows to the bison (obviously rather stylized ones). Also with the idea of a tree in the foreground to give the impression of “hidden”. What do you think?

Yellowstone Dancers – testing

This kind of fiddling about always takes forever, so I started a new painting.

Finley Flirt

I think it needs a few tweaks, but it’s basically done. I’m pretty pleased.

“We must paint only what is important to us, must not respond to outside demands. They do not know what they want, or what we have to give.” – Robert Henri

One of the artists I follow (unfortunately, I have forgotten which one so I cannot provide credit for the inspiration) put the above quote on their newsletter. It struck me, as things sometimes do. As an artist, sometimes I feel an overwhelming pressure to paint certain things: barns, boats, portraits, still lives. These are the things that “real” artists paint.  Unfortunately, I am not interested in barns (unless they have horses), boats, portraits, or still lives.

At work, when I take time off to do painting things, I joke that I am “running amok.” The secret, though, is that when I’m doing art-y stuff, I feel like a combination of kid and fraud. I find so much joy (usually) in painting, but I never feel like I’m doing what I’m “supposed” to be doing.

The quote above got me thinking about the issue of importance. Mostly, I have moved past the urge to paint things simply because I should. But when I go into one of my weird phases (“I Feel Pretty” or “Pin-up Girl”) I wonder if I’ve lost it, especially when others don’t get what I’m trying to do.

As I mentioned last week, lately I have felt the urge to apply paint, but not necessary “to paint.” This theme continued this weekend. I refined these paintings from last weekend.

Then I added some layers to “Yellowstone Dancers.”

I’m pleased with how this painting is turning out, though I’m not sure when it will be “done.” Now? Next week? I do worry that it’s not saying what I intend.

Thus, I circle back to importance. Is it important that the viewer gets my intention? Or is it enough that I said what I wanted to say.

pareidolia: the perception of apparently significant patterns or recognizable images, especially faces, in random or accidental arrangements of shapes and lines.

pareidolia: the human tendency to find patterns in experiences or sensations

A few months ago, one of my favorite artists, Kate Dardine, did a newsletter with this title. I put it in my “to do” pile for the blog, knowing that someday I’d have the right post for it.

Yes, today is that day.

I’m writing early this week, not to make up for my lateness last week, but because Key and I are going to a nosework trial tomorrow and I’ve spent the last couple days at my easel, rather than buying stuff.

Other than “Yellowstone Dancers”, I haven’t been able to focus.

“Yellowstone Dancers” – unfinished

It isn’t that I don’t want to paint; it’s that I only want to paint. To apply paint to surface. Nothing else. So… that is what I have done.

I did these “brush smoosh” people. That was satisfying.

Morning walk intepretation

I did a rather random interpretation of my morning walk.

I got out some reference photos and played with paint (using paint leftovers).

That was so much fun, I did this.

And that was so much fun, I did this. I see a horse in that one, but I need the paint to dry before I get there.

In other words, I’m playing. It’s a good feeling.