Live An Artful Life Magazine issue 8

Artful Live An

速 Life Magazine

8

Linda Conti An Education In Art Jan Russell

Weaving Her Way Through Charlottesville

Becky Parrish - Mastering The Still Life Dr. Monica Neel - Mindful Living

Kim Tapper - Life Coach

"The Artful You Series" LIGHTING THE CREATIVE SPARK with Dr.Celia Im February 25, 6:30 - 8:30 Create the life you want with positive outcomes in 2016, whether it is a creative project, or to shape the next stage of your life, or just to live in the creative flow and be happy. In this workshop, you will utilize the power of music to engage your innate creativity.

MEDITATION AND THE CREATIVE with David Hazard April 21, 6:30 - 8:30 Clear Your Mind, Release More Fire Into Your Work!

Photo: Neil Stein, Photoworks

Space is Limited CLICK HERE TO REGISTER TODAY!

Do you have difficulty focusing? Finding your voice as an artist or writer? This workshop will give you basics of meditation practice, and to a type of meditation you can use - not just on a yoga mat or in retreat - but while you are at work.

You’ll find that your creativity and ability to stay with the work longer both increase. New energy will infuse your creativity.

Live An Artful Life®

Hosted by

6474 Main Street, The Plains, VA ※ 540-253-9797

to our readers As I type away here in my office with more than two feet of snow on the ground, I am bewildered at how quickly our extremely mild winter turned and bit those of us in the Mid-Atlantic region. Now a Tuesday, Linda and I have not been outside without a shovel since hunkering down last Thursday, January 21st. No matter, it has allowed us to put together this, our 8th issue and the first for 2016.

Turning this page though, will bring you the warmth it brought us, to see our friend and ultimate artful life liver, Gomer Pyles enjoying aqua blue water and seductive sand on the remote island of Anegada while we dig ourselves out. A self delivered castaway, Gomer is also quite a photographer, whose escapades and images delight his many FaceBook fans and friends and that new Live An Artful Life® tee, says it all!

In this issue you’ll meet the ever artistic Becky Parrish, the ever creative Linda Conti and the wovenly wonderful Jan Russell. A great trio of inspirational women! Needing inspiration? Have a youthful artist in the family? Love to read about creative types? Well then, you’ve come to the right place.

Of course, no issue would be complete without the great words of wisdom from our contributors Dr. Monica Neel and Life Coach, Kim Tapper. So, sit yourself down, relax and enjoy. We sooo appreciate your turning our pages and please, by all means share us with friends and family!

Live An Artful Life, Tom

inside Friend and photographer Gomer Pyles at Flash of Beauty near Loblolly Beach on Anegada Island.

Live An Artful Life Gomer!

Photo courtesy and copyright Gomer Pyles

4 | Copyright Live An Artful Life Inc

All rights reserved

8

“Art is not what you see, but what you make others see.”

Edgar Degas

7

Mindful Living with Dr. Monica Neel

20

Becky Parrish Mastering The Still Life

32

Jan Russell

Weaving Her Way Through Charlottesville

12

Linda Conti

An Education in Art

28

Life Coach

By Kim Tapper

Artful Life

Live An

™

Magazine

PUBLISHER, EDITOR Tom Neel tneel@LiveAnArtfulLifeMagazine.com PUBLISHER, ASSOCIATE EDITOR AND GRAPHIC DESIGN Linda Neel lneel@LiveAnArtfulMagazine.com ADVERTISING 540-253-9797 CONTRIBUTORS Dr. Monica L. Neel, Psy.D Tom Neel Kim Tapper, Life Coach, ACC, CPCC PHOTO CREDITS We wish to thank the following people of the wonderful photos used in this issue.

Monica Neel Tom Neel Becky Parrish Gomer Pyles

ON THE COVER

Becky Parrish is doing her best still life in white wicker, during her class at the old Unison Store where she gives classes on Thursdays.

Photograph by Tom Neel

SUBMISSIONS Live An Artful Life Magazine welcomes article submissions by email to submissions@ LiveAnArtfulLifeMagazine.com. Please include contact information.

COPYRIGHT 2016 Live An Artful Life Inc. All rights reserved. No portion of this publication may be copied or reprinted without written permission from the Editor. Live An Artful Life is a registerd trademark of Live An Artful Life Inc. Live An Artful Life Inc P.O. Box 163 6474 Main Street The Plains, VA 20198

6 | Copyright Live An Artful Life Inc

All rights reserved

MINDFUL LIVING

By Monica Neel, Psy.D When was the last time you handwrote some-

to succeed in college, career, and life, regardless

thing? How about the last time you wrote in cur-

of where they live.” To date, Common Core has

sive? I personally know that I’ve been manually

been adopted by 42 states, the District of Colum-

writing less and less over the years with more time

bia, four territories, and the Department of De-

spent keyboarding. But during a meeting, when

fense Education Activity.

I write a note to my kids, or send someone a card,

Interestingly, one academic standard not in-

I still defer to cursive penmanship. If you’re a fan

cluded in Common Core is cursive penmanship.

of cursive script, I hate to break it to you, but it

The result according to educators, and as I’ve

may become a lost art.

seen in the experience of my

Before diving too far in to the

own children, is that instruc-

implications of this, let me give

tion of cursive writing is no

you a bit of background on a

longer prioritized if taught at

possible reason why this is the

all. In speaking with teachers,

case. In recent years, there has

there is such a stringent time-

been the development and im-

line and bar of expectations

plementation of the Common

with Common Core that areas

Core State Standards Initiative

not assessed are not taught.

in the public school educa-

While my daughter’s 2nd and

tion system nationwide. Com-

3rd grade teachers have done

mon Core is described as “a

their best to expose students to

set of high-quality academic

cursive, it has been in the form

standards in mathematics and English language

of “busy work” to occupy students before class

arts/literacy” that “outline what a student should

begins in morning or when they’ve completed an

know and be able to do at the end of each grade”

assignment quickly and need an activity to oc-

to “ensure that all students graduate from high

cupy their time. A survey of elementary school

school with the skills and knowledge necessary

teachers indicated that 41% no longer teach cur-

sive, despite the fact that 71% felt there would be long-term negative consequences associated with discontinuing cursive writing education.

Removal of cursive from elementary curriculum has widespread consequences impacting a students’ bodies and minds, interpersonal relationships, and functioning in greater society.

I have a vivid memory of my children’s pediatrician encouraging the use of playdough and crayons when my kids were toddlers as they were known to foster fine motor control and strength in hands. For a generation who spend much of their time swiping, engaging a touch screen, and keyboarding, there is less opportunity to refine these fine motor skills. Any pencil to paper task exercises fine motor control and strength, but cursive in particular develops and requires sustained and refined movements in the hands. As students are first learning cursive script in 2nd and 3rd grades, they’re also becoming more sophisticated in their artwork. There is added value in learning that a letter can be represented in print and script form yet mean the same thing. I also found that, for my son in particular, cursive hones visual motor coordination. Early on, he could read a cursive letter, but had tremendous difficulty replicating one. Fortunately, he attended a parochial school that devoted time and priority to instruction in cursive handwriting. With repeated practice, he 8 | Copyright Live An Artful Life Inc

All rights reserved

continued to enhance his visual motor coordination and writing speed. While this was tremendously frustrating initially, it further provided an added opportunity to practice frustration tolerance and further internalize the important lesson that it takes practice to develop any skill.

While cursive handwriting is nurturing these physical developments, there is evidence supporting a parallel brain development. Various studies support that learning and memory encoding are better when information is written by hand as opposed to typed. Specifically, learners who write, as opposed to type, have greater activity in the part of the brain that controls language comprehension, motor-related processes and speech-associated gestures. James and Atwood conducted brain imaging studies revealing that there is co-activation of multiple areas of the brain during cursive writing, as compared to brain activation when typing.

There are also social ramifications to the absence

impact of cursive handwriting on your relation to

of cursive in the typical student’s curriculum. As

self and others. I have vivid memories of prac-

an example, I’ll tell you the story of a friend’s

ticing my signature, deciding if I wanted it loopy

son. He graduated from a parochial elementary

or sleek. There was a powerful experience of cre-

school where cursive was taught and transitioned

ating a personal style and level of ownership of

to a private middle school. As is often the case, he

my written pieces. And what of the writing of

swapped classwork with a peer so they could cor-

those nearest and dearest to your heart? Some

rect and mark each other’s assignments. When

of my most cherished possessions are handwrit-

his work was returned and graded by the teach-

ten cards from my husband, my kids, and my de-

er, multiple responses that he (and his parents)

ceased mother and grandmother. Reading the

believed to be correct were marked as incorrect.

words of my mom in her pretty script instantly

Upon investigation by the teacher, she learned

connect me to her as if she were saying them. I

that the other student (who had come from a

can touch the pen on paper and know that she too

public school where cursive was not taught) was

had done the same. I can’t imagine that reading

unable to read the other student’s cursive hand-

her words on a printed email would create quite

writing and had thus marked the answers as in-

the same visceral response for me.

correct. While it’s being cut from public school

Our penmanship is such a fundamental and

curriculum, many parochial and private schools

unique aspect of ourselves, and one that we have

are continuing to provide instruction in cursive.

the capacity to express externally and permanent-

Are we creating a scenario in which adults will

ly. I’m not ready to part with it. So my 8-year-old

not be able to read the writing of their own peers,

daughter complains as we do “mommy home-

or the handwritten recipes from their grand-

work” to practice cursive writing, but I also see

mothers, or even historical documents like our

her pride as she signs her name – in cursive – on

own Declaration of Independence?! How will

cards to her friends and on papers for her teach-

this future generation of cursive illiterates sign

ers. All the while, I trust that her mind and body

checks and legal documents? Many say this will

are better for it.

occur with bio-metrics or electronic signatures.

That’s an obvious possibility in our digital era.

But might something more important be lost with the extinction of cursive? Think about the

Live An Artful Life ® Click

⇒ Here

Tee Shirts in 4 great colors!

OWN ONE TODAY!

Tee Shirt back 10 | Copyright Live An Artful Life Inc

All rights reserved

THOMAS NEEL F I N E A RT

The Piedmont’s Premier Landscape Painter

“Fog In The Foorhills", oil on canvas, 30” X 48”

One of the most collected and commissioned fine artists of the Piedmont region of Virginia, with paintings throughout America and abroad. All works are beautifully framed and locally delivered or shipped. We invite you to visit our website or call for more information.

ThomasNeel.com • Studio 540-364-4401

LINDA CONTI An Education in Art

By Tom Neel

12 | Copyright Live An Artful Life Inc

All rights reserved

Just west of Washington D.C., nestled in the

tion in the state overall. This through profession-

rolling hills of Virginia’s Piedmont region, you’ll

al development, leadership, research and service.

find a very special school. In fact, it is called The

Conti is not sitting on her hands!

Hill School, an independent school delivering an

Deep down though, Conti is not only an art and

educational experience which they offer up as

cultural educator, she is a deeply passionate artist

being defined by the core values of Community,

in her own right. One with an incurable appe-

Character and Competence. Those three power-

tite for anything and everything creative. There

By Tom Neel

ful words could also describe Hill’s Art Department Chair, Linda Conti. But one must also include the word Creative!

Born in Chicago, Illinois, then spending her youthful years in Maryland, Linda Conti came to Virginia at 13, later earning a B.F.A. Temple University – Tyler School of Art and a M.I.S. Virginia Commonwealth University. In 1996 she came to The Hill School and so she is about to celebrate 20 artful years. Known for lighting that creative fire within her students, Conti is very much part of what gives The Hill School its inspirational edge. She smiles and says, “I have always loved teaching.” In a world where art curriculums are suffering, Hill and Conti couldn’t imagine such a thing, and you can bet their students are better for it.

seems almost no form of artistic expression that

But Linda Conti doesn’t stop by simply better-

escapes her immensely active, creative brain. She

ing The Hill School and its students. She has long

began with clay and ceramics, but photography,

served and is now active President of the Virginia

sculpture, painting, mixed media, book making,

Art Education Association, whose mission is to

sewing, jewelry, knitting, felting and even singing

promote, support and advance visual arts educa-

are constantly on her mind. Seemingly what isn’t

created in her own time, is only inspirational fuel

and talking. It’s like the sound effects of being a

for the young minds she teaches all the time any-

young person. It’s part of how they engage with

way!

the world. So some will work quietly, but many

Like dry little sponges, Conti offers her students

will be chatting with their friends and I let a lot

a deluge of projects to fill them. Not just childlike

of that happen because I want the engagement. I

projects, but those spanning art history, cultural

want them to feel this is their place, their world

influences and ones which explore and push their

and they will find their way around in it.” One of

creative boundaries.

the luxuries of Hill is that Linda has known these

Visiting Conti’s class room, it is filled with en-

kids since kindergarden and being a mother of

ergy and project chatter. [she teaches 4th through

three herself, she has all of the trust and discipline

8th grade] She shares, “So this is a 6th grade

bases covered.

class and they’re in process. I’m okay with some

Linda tells me of teaching, “I always think of it

noise, because they’re working, they’re thinking

as taking the children from something they know

14 | Copyright Live An Artful Life Inc

All rights reserved

to something they don’t know. You have to start

Children can be good critics. Certainly honest

them somewhere that they know and then lead

ones!

them through steps that are appropriate for their age, to something they don’t know.” In the end she wants her students to know, “That there’s a joy for them in art, that art is for them, art is in them and they have things to say through their art.”

When we touch on some of the differences between public and private, or independent schools, at least with respect to art, she points out that public school teachers are given a big idea and have to find away of fitting their passion within a framework and really good public school teachers do that. Linda has far more flexibility at Hill and goes on to say, “I love that independent schools hire scientists to teach science, writers to teach English and artists to teach art.”

One interesting spin of Linda being an artist herself, is the interplay of what it gives to them and what they give to her. She shares her art with her students and not just the pieces she’s happy with. “And so my work informs my teaching because of my own struggles. So if I’m trying to create this sculpture form and I’ve worked on this for days and it’s a nightmare disaster … I’ll bring it in and show the kids and I’ll say, I have to show you this, it’s just awful. I learn so much and I talk about what I learned and why I thought it was going to work and where we ended up, and it creates a mindset where people aren’t afraid of failure.”

In reflecting about the three major parts of her life as a teacher, an artist and as President of VAEA, “The real story is that they are not different. My art and my approach to my art, is who am I as an artist, where am I coming from, and what do I want to say about the world. My teaching is helping [her students] do that same thing and grow their possibilities as artists. [trying to give them their artistic voice] ...and so what I’m trying to do with the art teachers across the state, is keep them connected to their joy in art and joy in teaching about art. Because I think they get bound up. They get isolated at their schools. So as the only art teacher at their school, people are coming to them to make a poster, [or asking] will you do this or that? Will you do all our sets? So

they feel like the creativity department and yet,

come from somewhere, and the only place they

you need to be engaged with other creative think-

are going to come from in the current state struc-

ers to feed yourself.” In a sense, with VAEA there

ture, is Music or Art.”

is not just the engagement side of things, but in-

Linda goes on to say, “So one of the things I want

formational and resources side of things too. The

to work on in my Presidency, is informing legis-

teachers need not feel isolated.

lators about how those programs are linked and

I ask Linda, what is the health of the state of Vir-

that perhaps how those programs should func-

ginia where it relates to art? She replies, “Tricky.

tion.” This is a very deep topic, but Linda doesn’t

Generally pretty good. The biggest issue in public

ever look at it in terms of minimums. Being at

funding is that Music, Art and Physical Educa-

Hill has allowed her to see how art can be inter-

tion [called specials] are linked in the budget. So

graded into history, assemblies and other areas.

if you have a program to increase Phys-Ed time

She sees opportunity for artistic abundance.

for children, your time and your dollars have to

16 | Copyright Live An Artful Life Inc

All rights reserved

Linda Conti is after all, an artist too. As an art-

ist Conti is firm, “I don’t want anything to be off

You certainly get a sense that any found object

limits. My work is always defined by the idea, not

may one day become a piece of art. That piece of

the process.” Linda doesn’t follow any real rules

art may be of her own making or even collabo-

of processes anyway if she doesn’t want to. She

rative. She leans towards a series, but she is nev-

is more like an artistic scientist in her quest to

er working on one thing or even one series at a

creatively achieve what

time. She’s motivated in

she desires. Where clay

many directions, but I

would be glazed, she

felt dimension was a lan-

might spray paint it. She

guage she loves to speak

is completely free in that

in, especially 3-D. Her

regard. Her studio is a

themes can virtually be

wonderful

and

anything, but emotions

while I caught it at a cha-

such as fear, happiness,

otic time, in a sense I felt

love, loneliness show up

like I was given permis-

often.

space

sion to look inside her

Crows have been a

mind and see the artistic

theme found in Conti’s

recipe of a creative cook.

work over the past few

Using a massive blender,

years. In case one might

take every idea you have,

think there’s a dark side

4 cups of inspiration, add

here, she waists no time

in heaping amounts of

in sharing her thoughts.

art supplies and place on mix for enough time

“Crows are a symbol of the everyday, but they

that all ingredients have netting desired results or

are also a symbol of community, because they

more inspiration. In all seriousness, Conti is a

are always paying attention to what’s going on

very organized person, with a lot of responsibility

and what is safe.” Linda passionately expands

and so her studio is the one place she doesn’t have

on her knowledge of crows, but in short says,

to be. I get the feeling she would be very different

“They’re so smart.” and backs her words up with

without it and as she puts it, “My studio is messy,

surprising examples, ending with, “I think they

but I’m unrepentant about it, I’m having fun!”

are beautiful, beautiful creatures.” To be honest,

I never thought about crows this way, but this is how Linda Conti sees the world. “A lot of my work is about the ordinary. The things that are right around you and that maybe aren’t valued. I see value in that everyday moment.”

One of the best things about my tour of Linda Conti’s studio is being up to my ears in her enthusiasm. She is truly a happy person, filled with a laughter driven seriousness, and a student playfulness all her own. It’s so easy to see how she inspires her students and even fellow teachers. Finding the best in them creatively and then sharing and showing them all who they can potentially be. All the while basking in that which they give her in return. It’s not just a two way street, it’s a community avenue to growth.

18 | Copyright Live An Artful Life Inc

All rights reserved

In a downtown studio classroom off Main Street

way to the canvas, to then be scraped away and

in Warrenton,Virginia, instructor Becky Parrish

replaced as she sees fit. “Massing” in the whole

casually greets her workshop students, who under

canvas with big shapes, while applying a process

her guidance will aspire to hone their artistic skill.

of removal that shapes the things to come. All the

They respect and trust Parrish’s masterful abilities

while creating texture so inviting the paint atop it

to lead them on this creative journey. One by one,

can’t wait to mingle in the conversation.

the infantry finds its way to the many easels, arm-

I ask Becky if she has a favorite color and she

ing themselves with

lights up, saying

sword like brush-

“Periwinkle”,

es,

by

chuckles. I must

their paint ladened

admit to being de-

smocks and prepar-

lightfully caught off

ing for a painter’s

guard on that one, as

battle. Those chal-

periwinkle is such

lenges aside, Becky

a whimsical color

Parrish

embodies

and name, I didn’t

that of a fine artist,

see it coming. But

and she herself, a

I ask about Becky’s

self employed artist

inspiration and she

shielded

since 1988, has been

Composition in Blue And Orange, 24" X 18"

and

shares, “Usually it’s

conquering the battlefield of fine art for nearly

a color theme. I’ve become more monochromat-

three decades. It’s not a small undertaking and

ic I guess. I try to pick two colors and neutral

her smock, maybe showing the most scares in the

grays and then I go find the fodder [she grins],

classroom, is decorated in victory!

the subject matter to accommodate that concept.”

To visually experience paintings by Becky Par-

Through this, she masterfully applies monochro-

rish, one must read the layers. My battlefield anal-

matic tonal hues, while exquisitely delivering rich

ogy above, is said with complete artistic apprecia-

color exactly where it deserves to be.

tion of Parrish and harmoniously gives way to her

Fine artists are a product of themselves. Their

finished works of art. Hers is an exhaustive addi-

creative voice can be a whisper, a song, or a yell,

tion and subtractive process, where paint finds its

and here is where Parrish is almost a creative con-

20 | Copyright Live An Artful Life Inc

All rights reserved

Becky Parrish Mastering The Still Life

By Tom Neel

tradiction, because she is a bit of each of those

though and it works, and she admits she real-

adjectives. Her voice is quiet and her paintings

ly works at it. One must remember, all artistic

sing with the tranquil nature of her personality.

results are not a walk in the park. For some it’s

Yet her compositions are abstract and her process

more like rock climbing. Hard work, but netting

is challenging, netting a reasonable percentage of

a majestic summit.

pieces that don’t meet her desired standard. This is far from easy.

Born in Kentucky, Becky’s father was a civil engineer for the Il-

With respect to

linois Central Rail-

her process, Becky

road. They moved

says, “I think a lot

around quite a bit,

of these things are

but finally landed

lucky accidents. I

in Fairfax Virgin-

don’t really draw,

ia when Becky was

I just mass in big

13. She knew she

masses.

Then

wanted to be an art-

usually I’ll scrape

ist and after gradu-

through that and

ating with a Bach-

then

elor of Fine Arts

when

that

dries, I’ll go back in and start detailing areas.

degree from George Mason University (1982),

[bringing the whole painting forward at once] By

and a M.F.A. in Painting from The George Wash-

massing in the whole canvas you have some sense

ington University (1996), that is exactly what she

of a whole, a relationship with all of the objects in

became. Along the way she was an Assistant Pro-

the far ground, middle ground and foreground.”

fessor of Fine Art for Lord Fairfax Community

In reference to the scraping she does, she says,

College, Warrenton, VA. (1998-2003), as well as

“I wrote my thesis on edges.” She shares often

Assistant Professor, Germana Community Col-

working days on an edge. “Some of that scrap-

lege, VA. (1999), and is a very able instructor to

ping gets really cool edge effects, which even

this day. Becky currently offers workshops and

in a still life creates a sense of movement.” Her

classes in Warrenton and Unison, Virginia.

process to some degree avoids the painted edge,

I ask Becky what teaching does for her? “It kind

rather bringing forth a created edge. It is her style

of reinforces things, I say things over and over

22 | Copyright Live An Artful Life Inc

All rights reserved

End of Summer Lilacs, 24" X 36"

24 | Copyright Live An Artful Life Inc

All rights reserved

Far left and above - Becky is shown quickly sitting in for a demonstration on a student's painting.

Left - One of Becky's demonstration example boards showing highlights shadows and color.

Right - Becky setting up lighting for her classroom still life.

and over again. So it kind of reinforces things in

Parrish as her still life paintings. She balances the

my own head too. And the great thing is when

two.

you see a person come in that’s never painted

Her portraits are most often commissioned, so

before and in a year or so, they’ve made this in-

there’s just always the hope that she is ultimately

credible progress, it’s reward-

the creative lead with respect

ing.” With her students she

to its composition and feel.

admits it’s all about practice.

She admits it can be a process

“I tell the students, you get

of “Push and pull.” But ulti-

frustrated, but really painting

mately Becky says, “You want

three or four hours a week [in

something that’s going to have

the classroom only] is not go-

staying power, that’s going to

ing to hack it. You’re going to

be timeless. A piece of art.”

have to work at home.” I re-

When Becky looks to the

spond to her that it’s the old

future she tells me, “I’ve been

10,000 hour rule. She agrees.

wanting to work on larg-

Portraits are as important to

er more epic type paintings with figures, different environments and stuff like that.”

Even dramatic figurative work is in her sights, which this mother of three has the proper inspiration for. Having some hefty mural experience in her background possibly beckons Becky’s thirst for scale, and there’s little doubt that when the time comes, she will not simply take a drink, but a deep plunge. Becky says any reinvention will not change her style though.

It is worth more than a mention of Becky Parrish’s passion for not only art, but artists and the masters of it. In almost a social media flood of information, Becky shares endless reminders of

26 | Copyright Live An Artful Life Inc

All rights reserved

those masters through her wonderful National Gallery of Art postings to her [get this] 2,235 friends! That’s one friendly lady! You may as well friend her too! She’s is a lady worth knowing!

For more information please visit BeckyParrish.com

Becky Parrish has a number of one women shows and awards to her credit. She is represented by Berkley Gallery, Warrenton, VA., Carspecken-Scott Gallery Wilmington, DE., Main Street Gallery, Annapolis, MD., and Warm Springs Gallery, Warm Springs, VA.

End Of Summer, 32" X 29"

Old Chair VI, 23" X 30 "

Life Coach

By Kim Tapper Choices and Beliefs It’s a new year and I feel obligated to give a nod to this time in our lives when we seize the oppor-

from inside ourselves. One of our most powerful choices, made countless times a day, is the choice to believe either in our own limitations or in our possibilities.

tunity to start over, wipe the slate clean and dream

It goes like this: every action we take is the re-

up new possibilities for ourselves. While I’m not

sult of our thoughts. Every thought we have is

a fan of resolution making, I am a fan of taking

a direct result of the beliefs we hold. If we are

pauses and re-assessing life at multiple intervals.

filled with limiting beliefs about ourselves then

Resolutions have seemingly the right ingredients,

our thoughts will reflect those limitations and

but most fail because they are not authentic ex-

our actions (or lack of) will seal the deal. For ex-

pressions of our soul’s wishes. Resolutions typi-

ample, if deep in our hearts we fear we are less

cally embody what we think we “should” want for

worthy or less talented than our co-worker, we

ourselves (weight loss; new romance; to be better

might spend most of our time trying to prove to

people…). Rarely do they embody what our soul

others that we are capable while unbeknownst to

yearns for us (to listen to our intuition and quit

ourselves, through actions we can’t even see that

that job that’s burning us out; to make that piece

are we doing, we are sabotaging the very success

of art just because we feel like it; to say no to din-

and acknowledgment we desire!

ner with those friends that we don’t really like…).

Let’s take an artistic example. I know someone

To have a meaningful reflection on our lives

whose dream it is to be a singer. They work hard

and the direction we are going in we must un-

at it and have had some moderate success but it

derstand the intention behind the choices we

never goes far because deep down they don’t be-

are making and take ownership of them. Life is

lieve that they are good enough or ever going to

not about what’s happening to us or what peo-

be seen as the creatively talented artist they want

ple around us are or are not doing. Life is about

to be. So what manifests? They make those lim-

the choices we are making and where they come

iting beliefs come true by shrinking and by focus-

28 | Copyright Live An Artful Life Inc

All rights reserved

ing on an end result that meets their expectations.

they weren’t. It took me a while to peel the lay-

They already believe no one will notice them, so

ers back to realize that I was the one who didn’t

no one does. They are rarely complimented for

see myself that way. I feared that I was a horrible

their performance, rarely get parts they want, and

speaker; that I sounded like a monotone robot

rarely feel good about the quality of their perfor-

getting words out but with no inspiration. I was

mance when they do actually sing. All of which

sure everyone else was thinking that about me!

they then hold up as evidence to back up the sto-

So what happened? I never gave great speech-

ry about why they will never get the chance to be

es and I never got complimented as a speaker.

seen as a great singer! On top of that they then

Which I then let be evidence of how bad I must

spend weeks feeling depressed, resentful of peo-

be! Rather than work to try and improve, I just

ple around them who are successful, and being

stewed in that space of feeling bad and incompe-

angry with themselves for what they then term as

tent, repeating wistfully my desire to be a good

being a failure. It’s a vicious cycle…and nothing

speaker, but assuming I didn’t have it in me. So

changes.

nothing ever changed. Until one day I went on

People who are living artfully (gracefully, confi-

a personal retreat to get quiet and listen to my

dently, in flow, at peace…) take the time to exam-

inner voice in order to assess where I was at that

ine their core beliefs. They peel away the layers

point in my life and what I wanted. (By the way,

of fear to get to a place of vulnerability; to get real

I highly recommend personal retreats! They can

about what they want, why, and what limiting

be just 24 hours away from your regular rou-

beliefs they may be holding that stop them from

tine…it doesn’t have to be a magnificent vacation

achieving their goals and dreams. Let me share a

- just somewhere you can be still and connect to

personal example with you. Throughout my ca-

yourself!).

reer I have been a relatively public person wheth-

I peeled apart this issue down to its core where

er I was dancing, leading non-profits, lecturing,

I realized I held this steadfast belief that I wasn’t

giving workshops, etc. As I dancer first in life, I

a good speaker. Plain and simple, there it was.

wasn’t much of a talker. As my life transformed,

When I examined it further, I didn’t know where

I became a speaker but all along I found myself

it came from. I had been speaking and having

wishing people would see me as a passionate,

at least mild success since I was in elementary

talented, powerful speaker and I felt certain that

school where I became a class officer with my

first speech that I ever remember giving, and yet I still had this fear and limiting belief that I was

Get Yours Today!

bad at it. It didn’t matter if I was actually good or not in real life, I believed I wasn’t. Voila! Now that I had examined my beliefs, I could decide if I believed them to be true and what I wanted to do about them. I could also examine my motivation and why I cared about public speaking in the first place, what I wanted it to look like for my future and what I could do to make that a real possibility. Today I speak constantly in front of crowds; sometimes I’m good, sometimes I’m bad, but now I always approach each time as an opportunity with a belief in myself to give it my best in that moment.

As you head into 2016, take some moments to deeply examine your wishes and goals. What limiting beliefs buried in your core story are stopping you? What encouraging beliefs might exist there too? If you truly want 2016 to be your most artful year yet, get on with creating your life from a place of honest, empowering, vulnerable, authentic choice…and watch the magic unfold.

30 | Copyright Live An Artful Life Inc

All rights reserved

“Behind The Label”

By Kim Tapper

Available online at A Place to Be and Mascot Books

Individual Sessions

Lunch

Bunch Social

Groups

Immersion Program

Years of

Helping people face, navigate,

and overcome life’s challenges using the Therapeutic Arts.

Summer Camps

Same Sky

Project

(540) 687-6740

W W W. A P LA C E TO B E VA . O R G

Jan Russell

Weaving Her Way Through Charlottesville

By Tom Neel

32 | Copyright Live An Artful Life Inc

All rights reserved

A mild winter rings in the new year of 2016 by

the next. Russell’s studio shows thought, that of

allowing what seems like the whole city of Char-

wise years in time devoted placement. A place

lottesville, Virginia to be under construction. As

for everything and a thing in every place. You

we weave our way through lane expansions, end-

see, Jan also makes jewelry. Endless little good-

less orange barriers and assorted pieces of heavy

ies, fill endless little drawers, feeding several work

equipment, across town, professional weaver Jan

stations. Multiple projects in the stages of their

Russell’s studio could not be more insulated from

completion, surrounded by those completed and

all the commotion.

all supported by creative materials acting as items

Jan Russell is quite simply a delight. A talented artist

of inspiration.

Jan

Russell

attended

of craft, her half century of

Richmond

Professional

making beautiful things is

Institute in the 60’s, which

much better described as

became

50 years of passionate art-

monwealth University in

istry. Driven first by a love

1968. She started school

of color and pattern, weav-

as an interior design major,

ing is her gift to those of us

but that didn’t really take

who love handmade things.

and she “shifted to craft”.

In fact, one of Russell’s ray-

She says, “ I woke up one

on/chenille scarves against

day and thought, I’m be-

your skin on a chilly day

ing trained to be a glorified

Virginia

Com-

such as this, is a very good thing indeed. She ap-

sales person.” It turns out she really wanted to be

pears in her doorway with an infectious smile and

a crafts major anyway. Jan explains, “As a crafts

appropriately wearing one of her cowl scarves.

major, I took wood working, pottery, metal and

Nestled behind Jan and her husband Steve’s

jewelry, textile and surface design.”

home, is a studio which feels like a little cottage

This education gave Jan a broad foundation

retreat. While its two stories are brimming with

to create upon. Yet she gives some real credit to

efficiency, one step in the door instantly conveys

her interior design classes still to this day. Where

a peaceful creative space. I have the privilege vis-

through using only the primary paint colors [red,

iting so many artist’s studios, each different than

yellow and blue], plus black and white, they were

given the task of color matching fabric swatches.

She chooses saturated colors over pastel hues.

“That is what has held me, because I love color.�

Add in her creative patterns and woven accents,

Within her many classes though, she shares her

and her finished pieces have a rich look that from

first weaving class was in 1966, thus making this

piece to piece, not only look elegant on women,

is her 50th year as a weaver. By just the second

but handsome on men.

class she knew this was it, and that life long loom-

Jan shows us color combinations or what I call

ing partnership with weaving

recipes, which have been devel-

had begun and is still going as

oped over years. Not without ar-

strong as ever.

tistic frustrations, the main one

In the corner of Jan Russell’s

is the discontinuing of a yarn

studio, a narrow staircase leads

or color. There are many colors

us up to her land of looms, with

to choose from though and she

its longest walls lined with many

is inventive and quite inspired.

cones of colorful rayon/chenille.

So, the many cones of color sur-

Chenille has a wonderful velvety

round her in a very friendly way.

hand or feel to it, which is very

Weaving is a mechanical and

comfortable against your skin.

even mathematical art form. The

34 | Copyright Live An Artful Life Inc

All rights reserved

loom itself is complex and there-

process. Weaving can be very

fore, just setting up the loom to

complex with many patterns and

begin creating can take hours.

layers depending on the set up.

Long strands or the basic set of

A working loom has a pro-

threads coming at the weaver are

ductive sound. Its many mov-

called the warp, which Jan calls

ing parts occupy the artist’s feet,

her canvas. Those warp threads

hands and digits, along with

stay under tension and are each

their arms and back, all while

separated with string

dividers.

sitting on their behind! You can

In the simplest of explanations;

tell that it could be physically

foot peddles separate, as an example half of those

taxing. It’s a bit like a piece of exercise equipment

threads, half going up, half going down, which

that can make things. But that which it makes,

then allows the shuttle carrying weft threads or

is very much up to the endless choices of color,

cross threads, to be woven in through that sep-

as well as the mathematical choices in pattern se-

aration. This is done by hand. Moving the ped-

lection too. It seems though, for the most artistic

dles again switches up the warp threads and the

and experienced, [like Jan Russell] the best comes

shuttle is sent back through again in a repetitive

with improvisation. That ability to not only think

but to experiment.

husband even had a wallpaper

Jan Russell’s ability to experi-

and paint business. But weaving

ment means no two scarves are

was always there and has been

exactly the same. It would be

been her primary work for de-

much easier to create using the

cades. Through that time Jan also

same patterns, but it’s not for her

taught weaving at The Virginia

and hence, she also refrains from

Museum for ten years, but with

commissioning. Through her

her own weaving and jewelry

experience she shares, “I would

keeping her busy, teaching today

rather have the vision, make it

is kept to a minimum.

work and then have it connect with the right person.”

Jan Russell has a nice balance between her two cre-

We chat a bit as artists about

ative voices of weaving and

if she listens to music or books

jewelry and their two per-

on tape while working, but Jan

spective floors.

so kiddingly laughs that music

studio is really two and it

just has her up dancing [she’s

seems she can easily sep-

too funny!] and in the end she

arate each, giving her a

Her one

has found that silence, short of the

dose of fresh artistic energy just be-

mechanical sound of the loom work-

tween floors. It’s seems a good life.

ing away, has been best for her con-

Jan’s mother lived to be 98 and Jan

centration. Jan says that “Weaving is

doesn’t see herself slowing down

kind of this combination of left brain

anytime soon. Chilly necks every-

right brain. “You know, because you

where - rejoice!

have to do all of this planning and measuring, but there’s a point where you can cut free.”

It’s really a pleasure to talk with such an experienced artist. In the early years there was some waiting tables and she and her 36 | Copyright Live An Artful Life Inc

All rights reserved

Jan’s work was accepted into the American Tapestry Alliance’s Small Tapestry International 4, which is a traveling exhibit. Next stop Raleigh, NC.

Top, bottom and full page right art examples of Jan's tapestry weavings. Middle, Jan's woven jewelry necklace.

Jan Russell's work can be found at the following galleries: • C'ville Arts in Charlottesville, VA • James Madison's Montpelier Museum Shop in Montpelier Station, VA • Live An Artful Life® Gallery in The Plains, VA • Noon Whistle Pottery in Standardsville, VA

H a n d Wo v e n S c a r v e s Jan Russell created by

Always a nice selection available at

Live

An Artful Life速 G A L L E R Y

6474 Main Street, The Plains, VA 20198 540-253-9797

LiveAnArtfulLife.com

38 | Copyright Live An Artful Life Inc

All rights reserved

LINDA NEEL

The passion for pattern and color

Contemporary Fine Art “Being Koi" 30" X 30"

LindaNeel.com ~ Art@LindaNeel.com ~ 540-364-4401

Live

An Artful Life® G A L L E R Y Fine Art Fine Craft Made in America Located one hour west of Washington D. C., just off I-66 at Exit 31 in the beautiful Virginia counryside.

The Plains is a quant little town with great restaurants and minutes away from over 20 wineries.

6 4 7 4 M a i n S t r e e t , T h e P l a i n s , Va 2 0 1 9 8 540-253-9797 • LiveAnArtfulLife.com