What Being A Caregiver Taught Me About Art (The Last One For Now)

“Reflection,” 16″ x 20″ x 2.75″, mixed media on deep wood panel, ©Patricia Steele Raible 2018

Doing What Is “Right”

Even with help and support, when you are guardian for someone like my mother who has dementia with Lewy Bodies, you never feel you have done enough or even the right thing. You feel that you should always be there, always be in control. It means I travel very rarely and usually within a few hours of home. I do not want to put this burden on my daughters who have young children. Still they occasionally get the calls. Life doesn’t work on my schedule.

Just this past week there was an “episode.” I was 15 minutes from my mother’s assisted living facility and had planned to visit after my swim at the Y. With 10 laps still to go my husband hovers over the lap lane with phone in hand.  My daughter has texted, and he has called the EMTs who are ready to transport my mother to the hospital.  The aides are concerned that my mother might have had a stroke, but she is combative and doesn’t want to go to the hospital. Since only one person can be guardian, I am the one who must make the decision. They describe her symptoms, and I make the call not to transport her.

My mother decided long ago she did not want to be bed-ridden and on a feeding tube like her own mother. So I dutifully filled out a MOST form (which indicates wishes for scope of treatment). I also know from two previous experiences there is little the hospital can do. They will run four or five hours of tests and may possibly strap my mother to the bed. Making these decisions never gets any easier.

Thirty minutes after the phone call, I am at the facility, and she is napping in a chair. When I wake her, she is angry and not rational. She points at the bouquet of flowers in my hands and yells, “no…out of here.” My mother now has language difficulties and primarily indicates displeasure, not pleasure. She complains frequently about the food, the staff not responding, etc. Today she is simply not happy at all. I spend time thanking the aides and the techs who are doing their job the best they can. They are strangers, yet most of them remain patient and kind even under difficult circumstances.

I do not know what the aides, the med techs, or the facility director thinks of my choices for my mother. Some days I think I have failed. Making decisions for someone else’s life is hard.

The Opinion That Counts Is Yours.

Making decisions about art is also difficult. You not only must choose what to paint, what colors you should use, or what tools, but also you must select what shows to enter, what pieces will grab a judge’s or a collector’s attention. Others may suggest that you should enter a particular show or art fair, but right or wrong, you are the one who must decide.

Like a lot of artists I get rejections. Enough that I could wall paper a large bathroom if the rejections did not arrive by email (Yes, I can remember when they arrived by mail.). I could tell you it doesn’t hurt, but it does. It can ruin a morning. I want to be in every show I enter. Realistically, I know other people’s opinions are only that—opinions. They matter for the moment because they are judging a show or deciding whether to buy a painting. What’s left is only the disappointment. There is a whole world of judges and buyers out there.

In the end, my art must please me. It must occupy my mind, delight and heal my soul, and communicate my feelings to the world. Truthfully, I make art for myself, and if I get to share it with others it is an additional blessing.

I No Longer Ask Why

“You use a glass mirror to see your face; you use works of art to see your soul.” George Bernard Shaw

"Not Intended For Ground Contact," Mixed media on deep wood panel, "17 x 23"
“Not Intended For Ground Contact,” Mixed media on deep wood panel, “17 x 23”

You use a glass mirror to see your face; you use works of art to see your soul.” George Bernard Shaw

 A couple years ago I a wrote asking art lovers to respond with specifics about a piece of art, not just “beautiful” or “wonderful” or any other single word adjective. Part of me would still like more, but I have decided I was wrong—wrong to ask any viewer to explain their emotions or feelings about a specific piece of work. (Let’s face it sometimes I don’t want to have to explain even to a juror what my painting is “about.”)

Instead, I am now content to just “like.” I have come to understand as one blogger Ralph Ammer puts it, “art is a mirror for artists and viewers alike.” When we as artists have put all of our thoughts, feelings, and emotions into a piece, our story is told. Our view is registered. For the viewer, the reflection begins when they stand before the piece or see it online. And often their emotions and thoughts are so personal and complex, they may feel there is yet another story to tell—or not tell.

So, I no longer ask “why.” I am just grateful that they are art lovers and that I have the opportunity through my paintings to touch someone or trigger a few thoughts.

 

 

 

 

Where Am I Going?

MendingFencesinsert
“Mending Fences,” mixed media on board, 11″ x 20″

journal
Journal entry “Mending Fences”

 

Sometimes I just put paint on paper, moving it here or there, adding a bit of this or that. Sometimes it works out. Most of the time, not so much.

Of course, that’s not true for everyone. Plein air painters produce their best work onsite. And I’ve seen some other wonderful painters who seem to start with one element and just take those twists and turns in the road one at a time until bang—they are in New York or Los Angeles.

If I do that I’m in the middle of no where in Iowa (and yes, Iowa can be lovely), but it’s probably the middle of winter. And while it may be beautiful, it has no focus. I’m one of those artists who needs to have some idea of where they are going, just a bit of a road map. Otherwise, I wander off tract. I see that nice tree over there or perhaps a lovely lake and take a hike. I know that many artists do studies, and I’ve done a few. But the best method for me seems to be a middle ground.

I’ve found that working on ideas in my journal helps me solidify placement of elements, color, markings. With a few little things worked out, I can concentrate on the idea behind the painting and on the emotions and feelings. Hopefully, this produces better strokes, more complicated markings. Doing this also helps when I am in a period that I feel stuck. “I am working,” but because it is in a journal, “I am not exactly working.” Somehow this frees me.

This method has its drawbacks. I can’t be as spontaneous. And don’t think it doesn’t mean I won’t have to redo a painting—but it is a place to start and a way to keep on track.

So what’s your successful method?

 

A Whisper Can Be Powerful

I’ve learned that small and quiet can be powerful.

watertimpani3whisper
“Water Timpani III: Whisper,” 10″ x 10″, mixed media on deep wood panel, https://www.artfinder.com/product/water-timpani-iii-whisper/

It has been a couple of weeks since I hiked the short trail into High Falls at Dupont State Forest. You could hear the roar long before you had any view, a view that is spectacular. But the truly powerful moment for me was a tiny whisper.

When we got to the base of the falls, we sat and I looked at the rocks and water flowing just at my feet. The crowd of people around me disappeared. That soft, playful gurgle over rocks at your feet can be just as magical and engaging as a waterfall plunging 60 vertical feet.

Small and quiet can also be powerful—because powerful is about your heart and mind.

 

Purple Deceiver

Where paintings take us

purpledeceiverside
“Purple Deceiver,” 16″ x 20″ x 3″, mixed media on deep wood panel, https://www.artsicle.com/artist/art/purple-deceiver/details

On an early morning hike just off the Blue Ridge Parkway, my husband and I noticed a purple mushroom. Several photographs later, I thought I might paint a simple abstract landscape, but alas, paintings take us “where they want to go” sometimes. And this one took me many places.

Before I started anything, I really wanted to identify the mushroom. I was so excited when I found the name purple deceiver, but a few minutes later a less amusing name appeared: purple cort or cortinarius iodes. So I stopped there because I really wanted it to be a purple deceiver and to take on the complexity that denotes a con artist. After all, this little beauty had definitely misled me. And being here in the middle of a political season that will not be discussed, but can certainly be defined as full of “deceivers,” I decided that no matter what, this painting was “Purple Deceiver.”

Nothing about it is particularly clear. Everything is suggestive.

When Words are Boundaries

settingboundariesiiweb
“Setting Boundaries II,” 11″ x 14″, mixed media on canvas paper,  https://www.artfinder.com/product/setting-boundaries-ii-3ee0/

For someone who spent a lot years working with words, I find that many,many times what I tried to say was not what was heard. Then every once in a while, I stop and say nothing, and my silence is taken as acquiesce as if I don’t care. When considering the vitriol of our current elections, I can’t help but wonder if the Saxon derivation of much of our language has somehow imparted a measure of staccato belligerence into our speech.

Words are certainly powerful. They can divide us or bring us closer together. They can draw a line in the sand that can’t be crossed—at least not without anger and resentment. Of course our world would be less civilized without some verbal and physical boundaries, but the question is whether those boundaries can be crossed to pull us together as communities. Clearly we can’t do this without the appropriate words. Learning how to communicate what you mean and what you feel is not something that happens when we reach some magic age. We must continue to learn, change, and occasionally question the wisdom of our boundaries.

Looking Ahead

LookingAheadaf
“Looking Ahead,” 8″ x 6″ x 2″, Mixed Media on deep wood panel

This small piece started with a demo of a photo transfer. I can never bear just to throw something away, so my boy with the hat began to tell his story. He’s not looking at the camera. Like most children he is looking ahead—to tomorrow, to next week, to when he is big.

Sometimes I think I put too much in a painting. Wanting to keep the focus on the image, I only put in some texture and a horizon line.

 

 

What’s Next

WhatNow
This photo illustrates the beginnings of one of my four-sided paintings— just a bit of paint, some texture with wood and cloth. We’ll see where it goes.

Ann Patchett in her essay on writing, “The Getaway Car,” admits she does not always know what is going to happen when she begins writing a novel. She carries the story around in her head for a long time before putting words to paper. She is not a novelist who works from an outline or who knows what every character will do.

I work in much the same way. I start with an idea, and I carry those shapes, colors, and emotions around in my head. Until I begin to put paint and textures to board, I am not sure where the painting will lead. I know if I put in the work, something will eventually happen. If it doesn’t work the first time, then it will by the second or third (though I may use a few naughty words).

Luckily, I enjoy the journey (or the making) as well as the promise of a satisfying and lovely destination.

Let Your Paintings Lead Another Life

On the left, a detail of my 4-sided painting “Seeing In A Different Light III,” in early 2016. On the right the same painting with a bit of “collage” paper created by an archival copy of another small painting.

What I’m doing today: using materials I already have to make an earlier painting better. I was cleaning up today, getting ready to work on another large piece when I spotted a color copy (archival) of a painting I had just completed. Looking at the colors, I realized I could use it to make another painting or when I looked across the room, another painting better. You know the feeling, that painting was one that was “finished,” but I wasn’t quite happy with it. Well, now I am because it has the perfect detail.

By using pieces of this “collage” paper, an image I had already created, I changed a painting. Of course, I added a couple other bits and pieces when I got going, but I’m finally happy with the painting months after “completing it.” The other alternative would have been to use that color copy as the “jumping off point” for a new piece.

So if you have paintings you love or portions of paintings you love, let them “dress up” and lead another life!

Pine and Palmetto

PineandPalmetto
“Pine and Palmetto,” 7″ x 5″ x 2″, mixed media on wood panel

 

My favorite place to unwind has always been the woods. From the time I was nine or ten years old and could wander on my own, I sought out the woods behind our house. I could spend hours there and never felt alone.

Whether mountains or coast, it is still no different. Among the trees is where my spirit renews. This painting represents the woods of my recent unwind in the forest of our Southern coast, filled with tall Loblolly pines and Sabal palmetto. It is a mixture of greens, with a bit of sunlight showing through, and filled with the textures of pine cones and barks.