Carmel Plein Air Festival 2012 – Day One

Or is it day two? I picked up my canvasses yesterday, had them stamped, and came home and painted a quick evening painting from the deck of Nepenthe. got up this morning and walked 3 miles south with Tom, home to a poached egg, toast, and three paintings before 1pm. The fog had completely obliterated the coastline before I started painting and I started thinking along the lines of oaks in sillhouette. But by the time I had my easel set up the fog was dancing in and out of the coves that run a ragged line south to Cambria, and by noon I had the beginnings of a sunburn.

today I am painting in Big Sur, close to home, so my challenge is — what do I do (and not do) between the magic hours of 8am and 6pm? Its dangerous to tackle too much house cleaning or gardening – I began digging holes for my rosebushes then thought the better of it, and started and then stopped loading laundry into the washer. When the golden hour rolls around this afternoon I want to be ready for it.

So I did a little this a little that and then took my phone out for a walk around the property, looking at oak trees and cypress trees, lemon trees and stretches of green lawn, various gardens and garden fences. Now home I am ready for a long glass of water and a cold nap – or something like that!

Rancho La Puerta

After three weeks of driving across the country and back again selling art work, meeting clients, teaching classes, interviewing galleries, reuniting with friends and family, and generally burning up the shoe leather, we are now south bound for Rancho La Puerta, or Eden, Heaven on Earth, Shangrila, or even, for Tom and me, our own personal Nirvana.

It took us a long time – too long – to learn the value of rest to our lives and work. Perhaps it is the nature of being young parents, with the constant tugging of little ones at your knees with rent looming and crises around every corner, external pressures of life and survival dueling it out with internal pressures to connect with our native gifts and find our creative path.

Whatever it was, the idea of a vacation just never really caught on in our little family. Work was always paramount. Out of necessity or inclination, idle time simply didn’t exist and we didn’t seek it out. After a while you lose the capacity to slow down, do nothing. And you lose something else when you lose that. You lose space. You lose spaciousness. You lose the breathing room to refill your lungs, your heart, your soul. You run on empty, and believe me, you can run marathons that way, climb mountains, conquer goals. But it is like building a castle in sand. Eventually, what you have built begins to erode. You cannot take joy in your work, you are too tired, too bitter.

It was my mother who first brought me to Rancho La Puerta. I didn’t think I could afford it – the money or the time. She helped me with the first, and Tom helped me with the second. “go!” he said. “We will be fine. It’s just a week.”. Picking up the slack for me at work and at home, he gave me his blessing and sent me off feeling free to enjoy the experience with no guilt.

Within a day at the Ranch I knew I had discovered something beyond wonderful. I discovered breathing again. Walking on Mount Kuchuma in the mornings, I found myself alone with walkers ahead and behind, creating a safe bubble within which I could hear the mountain speak. At night I dreamt dreams I remember to this day. Each day I found my body relaxing more deeply, my heart opening more fully. During one cranio-sacral session, I began to cry so hard my chest hurt from the pain of sobbing. Memories – good and bad – surfaced allowing me a chance to reclaim lost joy, while understanding early traumas in a safe environment and from an adult perspective.

At the end of the week I truly felt like I had reclaimed a kind of vitality I felt I had lost long before, with faith that I could carry the healing and wisdom of the Ranch experience into my life back in the real world.

Part of what happens is physical. Good food, clean air and lots of breathing, exercise and the mountain. Part is spiritual. The mountain talks to you, if you are ready to listen. Part is interpersonal. Somehow you always meet the people you are meant to experience the Ranch with. And part is simply beyond explanation. MystIcal? Maybe. Magical, definitely.

I will always be grateful to my mother for introducing me to the Ranch, and have repaid Tom by bringing him along as a fellow teacher the last six times we’ve visited, as presenters now, teaching art and photography and cultivating community through creativity. In these past several years, our lives and work have been transformed. I credit much of the change we have undergone to our weeks at Rancho La Puerta, gaining understanding and perspective in a sublime environment which allows us to rest, relax, and restore ourselves to our innately joyful and energetic selves.

Today we will begin our seventh week of teaching at Rancho La Puerta. Next time, I hope we see you there!

Rekindling the Flame

One summer in Argentina when I was sixteen years old, living with a host family and attending a parochial Catholic high school, I went into the country for a spiritual retreat, a kind of youth camp for young Catholics or, in my case, spiritual seekers.

There was a lot of prayer, and talking, studying and singing, shared meals, shared tears, and long into the night conversations with people my age and lay ministers, exploring ideas of living a spiritual life in a material world. How did we want the world we were entering to look like? What was our role to play?

One evening there was a prayer service around a bonfire in the forest close to the lodge where we were staying. After the priest had spoken, we each lit our candles from the fire and began the long silent walk back in.

My candle went out suddenly. I remember feeling a kind of panic. We weren’t supposed to say anything, and I didn’t know what to do, or what it meant. Was it a sign? Could I go back and relight my candle from the fire, or was that a kind of cheating? What did it mean that my candle and no one else’s had gone out? how could I move forward, what would I do? All these thoughts flickered quickly, probably consuming less than a second, and in that second, a young man leaned toward me and relit my candle from his own and then continued onward. And I saw that a little further ahead another candle had flickered out and I moved forward to light it with my own. And so it went, each of us seeing the need, responding, relighting one another’s flame, no words spoken and none needed, until we were inside the house chapel and seated.

I don’t remember the sermons we heard, or the advice we were given or even the names of the others I shared that evening with. But I have never forgotten the experience of losing my light, and being restored to it, and the lessons it taught me.

Painting Your Life

photo by Tom Birmingham

Log Cabin Still LIfe, photo by Tom Birmingham

Painting today, still lifes in oil from a grouping of ginger jars, fruit, and flowers I set up on my piano a few days ago . . . I think of Bruce Weber’s suggestion that I paint my life. I think about the strength of this advice being that it connects you artistically with the core of your being.  That when you paint the things and the contexts of your daily existence, or photograph or write about those things, the images you create are more likely to be infused with emotion and connection.

Looking at the still lifes that are evolving today I am struck with how familiar they seem.  Of course, these are all things I look at all the time – they are my things, my grandmother’s things, things people have given me, things from the kitchen (apples, tangerines) and from the curio cupboard.  But the way they are all living together, as they do in my real life, is what is striking to me, and enjoyable.  Flowers in vase, a shawl thrown over the back of the chair of draped on the piano – the black and white photo of my great great grandmother, the little candy dish in teal green: these are all lifted from my morning straightening-the-house rituals, and my evening sprucing.

It is 5:20.  I’m 6 hours into painting and it’s really time to clean my brushes and set aside the work in progress.  So I sit and look, wondering where it will go tomorrow.

 

 

Painting Plein Air this Sunday – in Big Sur

Patron and friend David Henson standing with Erin in front of her painting, Oaks at Nepenthe, Winter. This is the time of year I start thinking about painting out-of-doors again.  After a winter of indoor painting (lemons, camellias, still lifes overflowing with fruits and flowers) I begin to itch for packing up a picnic and hitting the road.

My classes are one day in length, from 10-4, and my better half cooks up lunch for us.  Coffee and chocolate are part of the program too – you need the extra fortification when you are braving the elements.

And if it is raining?  We will meet at my studio at Nepenthe (the old log house directly above the terrace, and paint “alla prima” indoors and then, if it clears, out of doors.

We talk about getting organized, getting set up for success, and quick and fun ways to get your canvas covered with paint.

Can’t draw?  That’s ok.  Drawing is a wonderful practice and I will teach you a bit about using it for observation and structure.

But I will also show you how to get started WITHOUT a lot of drawing skills – or even any at all.

Check out my calendar at www.bigsurarts.com if you’d like more information – or to register.
March 25 and April 1, 2012.Hope to see you this weekend!

Erin

Making Room for Joy

 

When one of my kids was in the hospital a few years ago I remember sitting bedside writing words in the back of a book of crossword puzzles, words that were more about finding a place to put my fear than about telling a story.

Emergence c) Erin Lee Gafill
Emergence c)2012 Erin Lee Gafill

 

Yet later, reading the notes I’d jotted there and in the margins of magazines and in the backs of envelopes in my purse, I found words that brings me, now, right back to the pain, fragility, and fear of that moment.

 

The words did a certain job as narrative, as description, and as memory keeper – keeping a memory alive that I otherwise wanted to push away and forget because it was almost too much to bear.  And the writing served another purpose.  Not the actual text itself, but the process of rendering it onto the page.

 

The process put me into an energetic loop, a place I know from years of writing, meditation, and exercise practices. A breathing room in a space with no air.  As though you are under water for long periods of time  and someone  (you) is bringing oxygen to you for a long enough breath that you can hold on until the next breath.

 

And it does seem as though we hold our breath when we are hurting.

When you start to breathe again, to physically open your lungs and allow oxygen in, you literally feel the fear exit the body.

 

Your limbs loosen. You have been holding yourself so tight. You shake your head, move out of rigidity, find a way to stretch – as though holding yourself tight was going to keep you from harm.

 

Staying with your practice through pain is a way to alleviate pain, to bring you away from the threshold of panic, of too much, of overwhelm.

Oak Tree at Nepenthe, Winter c)2012
Erin Lee Gafill

You can almost feel attached to how bad you feel – as though you sense that if you take the time to sit and write you will change, the pain will lessen, and you will have lost something.
How do we become attached to bitterness?  To resentment?  Somehow it seems to define us, in certain moments.  Letting go of it we lose some sense of who we are.  We resist the new space we could enter because we don’t know who we are in it.

 

Emotional pain can make us feel like running away.  Breaking glass.  Screaming.  Causing pain to someone else.  Causing physical pain to ourselves so that we can have this hurt out in the open for others to see and acknowledge.  Something visible, external, to distract ourselves from what is invisible, internal, and perhaps untouchable.

 

But change can happen in an instant.

 

Change can happen in  a breath.

 

A single moment can become the pivot for a complete change in your life, your attitude, your direction.

 

Tom tells a story of hitchhiking south in the Florida Keys.  Eight hours into a long day with no ride he crossed the highway and caught a ride the other way.

Moon c)2012

 Erin Lee Gafill

That day he changed his mind, changed his direction, found himself heading west, ended up in California, got a job at Nepenthe, and the rest is, as they say, history.

 

Life can crowd that space out of our daily life.  But we can hold that space, even the space of a breath, to keep a place for joy, pleasure, beauty, in our daily life.

Another way to think of this is making room for joy.

Circling

Moon Over Coast

Moon Over Coast 48"x48"

Staying at the easel today means circling.  I put down one stroke of paint and then walk away.  Find another canvas that needs work and work on that.  Go back to the first painting and lay down another stroke.  Walk away, look at it from the sofa, turn the lights on and off and on again, put the painting on the mantel, walk away, look back, lay down another stroke.

Go back to the second painting.  Wipe out everything I added, and then some, until the painting has gone back three generations.  Another painting seems improved by my attention, but now, as I write this, seems too dark, too dense.

I put the water on for tea. I make the bread, do the laundry, glance at paintings as I walk in and out of the room.

Not a day of huge progress.  More a sense that today is a good day to paint the edges of canvases, something I can’t mess up.

There a lot of days like this.  It’s the work of showing up.

Moon Over Coast

Moon Over Coast 48"x48"