Mandala 1 [Elevate]

Hi all! Here is my first hand painted mandala entitled Elevate. For more information on my mandala exploration see the previous blogpost [here].

Stay posted for more....

Mandalas [Meditative Expressions]

Mandala coloring book (perfect for plane rides)

Painting is my favorite state of flow. It is the type of mental, physical, and spiritual space where time stands still and everything unites perfectly. Skiing sometimes is the same way (but I digress).

Sudden inspiration came to me in the vision of mandalas most recently. I don’t think that I have ever been exposed to them consciously, but images of the art form are probably stored somewhere in my subconscious. I had a strong urge several days ago to learn more about the beautiful creations.

Mandalas are gorgeous maps of the cosmos, which originated as an eastern art form around the 9^th century. With the power to evoke visceral reactions in many, mandalas are also thought to serve as elaborate representations of nirvana, the ultimate state of enlightenment and bliss.

The word mandala means circle or enclosure in Sanskrit, which is why you often find a round motif in most. The roundness and pattern is what draws me in. 

Another aspect of mandalas is that they often have symmetry incorporated within. I love the way that their symmetry creates a never ending motion. I have heard somewhere that all people you meet are your mirrors. I think that mandalas are reminders of that sentiment.

For purposes of meditation, mandalas can serve as guides for deeper self awareness and ultimate truth, whether viewing or creating. As an art form, mandalas represent both the macrocosm and microcosm of the universe, bringing individuals together with the universe. Mandalas are also thought to awaken spiritual energy within the viewer, whether consciously or subconsciously.

Whether creating or meditating on mandalas, it is all about following your intuition--getting into the flow and seeing what comes naturally to you. Surrender to whatever shapes, colors, patterns, and forms come into your mind’s eye and see where the elements elevate you.

. . . 

I took two flights on Saturday and worked on sketches during both.

When I arrived in Dallas from Salt Lake, my flight was delayed for quite some time. I took it as an opportunity to draw. I felt very inspired and was filled with love that I needed to express after a wonderful visit home. 

I put on a playlist and created these mandala-inspired drawings. Suddenly, the waiting time to get to Miami, the babies crying, the stuffy air, and the chit-chat disappeared into the background, and I made these. 

Sketches from my plane rides / delay in Texas

Close up mandala sketch 1

Close up mandala sketch 2

I hope that you like my meditations! They will serve as starting points for my next group of paintings.

View from our plane, as I began one of my mandalas

Strawberry Cake and Southern Gardens

Wayne Thiebaud is an artist whose work I have become quite fond of while working at the gallery. Thiebaud is well known for dreamy renditions of pies, cakes, sweets, landscapes, and people.

Strawberry Cake by Marsh Nelson

While browsing through artwork on Etsy, the uber popular online market place for artists and craftsmen and craftswomen, I came across (and purchased) this painting by Marsh Nelson entitled Strawberry Cake which reminded me of Thiebaud's essence. I thought I would share it with you.

Art can be acquired in all types of places: online, in galleries, at flea markets, through friends and neighbors, through street vendors, consignment stores, estate sales, artist studios, on Instagram, Pinterest, Facebook, and more.

I love finding gems in all types of places and often look for gifts and personal collectables through small businesses and craftspeople, so as to support the arts.

I am slowly building my own collection, and excited to welcome works that bring light and happiness into my home and space. The joy of color and subject matter is not to be underestimated.

During my search for art online, I also came across the work of Susan Kelley. Her paintings are amazingly uplifting, feminine, and whimsical to me. Though abstract, each work reminds me of a mood and place. Visions of people playing on the beach, thoughts of airy landscapes in the South, reminders of white curtains blowing in the wind from the Great Gatsby come to mind when viewing her works.

I was particularly taken with Crumb Snatchers which is now part of my morning routine as it hangs sweetly in my bathroom. It takes me into a beautiful garden with lovely trees blooming flowers in the springtime. It has been a wonderful addition to my space, and its lightheartedness and beauty adds a lot to my surroundings.

As we approach the holidays, I suspect that I will be browsing Etsy and other local artisan sites for my loved ones.

Support the arts!

With love,

Jess

Crumb Snatchers by Susan Kelley

Something Colorful

From "A Guide for the Advanced Soul" -- Quote by Bhagwan Shree Rajneesh

Morning Exercises [Resting Point]

Today I came to a good resting point on my canvas. I even named it "Water Marks". I will leave it be for a while, live with it in my apartment and decide how to proceed after spending some time with it in the background.

Morning Painting Exercise [Three]

I am still going strong on the morning exercises. Today I woke up at 6:00am (groggy, yes, but less than I was yesterday). I showered, ate a pretty little bowl of blueberries, brewed my favorite cinnamon tea, and put on my Spotify playlist: Stratosphere [Painting Flow].

Instead of jumping right into action (which I usually do without much thought), I studied the canvas, sipping my tea. I reached for something rather different today: graphite pencils. For some reason it felt right to lay down neutral-colored, sharp yet fluid lines onto the composition. I spent a significant amount of time playing this way, bonding with my graphite, feeling as though I had made some great discovery. Even though it is the most basic of tools, there is something alluring about graphite line atop canvas and amidst paint in its undefined form.

I felt inclined to cover the orange and yellow area in the center, taken by an enveloping whim to bring out complex greys, blues, purples, and turquoises, while masking the almost-insincere oranges and yellows that seemed to be imposters this morning. In general, I rotate the composition every 15 minutes or so, to change up the look. This is both exciting and challenging for me.

One of the difficulties of abstract painting is that there are no boundaries--no guidelines and no definitive end. I think of abstraction a bit like I do life: complex, fun, open-ended, with no direction until you create it, mysterious, beautiful, thrilling, curious. 

A lot of people roll their eyes at abstract artwork saying: "my child could do that" or "a three year old could do that". Perhaps they are correct, but I don't care. Abstract painting is an expression of the soul, and no matter how it looks in the end, it is worth something. Out of all of the art forms, abstraction challenges my mind and psyche the most. Painting this way allows me to get deep into the crevices of my innermost desires, questions, and expressions. To me, abstraction is the dancing of painting.

Here is an image from my third morning of exercises. I stopped almost exactly after an hour, realizing that I had reached a good ending point for the morning. Usually, I am inclined to work in a fury until I can call something "finished." 

This painting is not yet finished. I want to take my time with it. I will know once it is done.

Day Three

Morning Painting Exercise [Two]

It was my second morning doing painting exercises. See the last blog post Soul Exercises for more information on my positive motivation. 

This morning I awoke at 5:50am. It was tough; I did it anyhow. By the time I got set up, I only had about a half hour to paint, because I had also scheduled a session at the gym to work out. Even so, that half hour was truly enjoyable and eased me into my day and my work out. 

This morning for my exercise parameter, I used only one paintbrush and one color (at first). The initial color that I reached for was yellow. After getting warmed up, I introduced the lilac tone, mixing a violet-based blue with white. I then incorporated more white and magenta tones into the mix, and finally ended up including the bright green that is visible throughout the painting.

Day two on the canvas

Even though I only had half an hour to paint, it was worth waking up for. I also came to a good stopping point for the day, and I look forward to adding to the canvas tomorrow and seeing what my dream hangover brings to the canvas.

My palette and paints

Soul Exercises

The next few blog posts will be focused on my hour-long painting exercises. I am making the time to get up in the early morning, when my mind is like a sponge after sleep--fresh, unaffected, and raw--to do one-hour canvas-to-brush sessions. The reason I say exercise is because I think that sometimes the concept of "working" on a canvas can put too much pressure on the activity and block discoveries from taking place. The less precious the work is, the more experimentation that can take place. To achieve progress, one has to be unafraid of messing up; the more fragile and perfect the work seems, the less likely one is to take the necessary risks to change it. The exercises that I am participating in are meant to be freeing, awakening, and without pressure.

My intention is to paint for an hour (giving ample time not to rush to work), to sip espresso (and not to take it like a shot), to have a breakfast, to listen to music that fills my soul, and to repeat until my canvas is finished. What beauty, emotion, or pent-up energy will come out of my mind and body after sleep--after dreams? Who or what am I thinking of during those first twenty minutes? How do I express that?

I do not believe that creating art is a mystery. All that is necessary is a blank canvas or paper, some basic paint tubes, a brush, a jug of water, and the will to let go and make mistakes. You are an innately creative being. If you are thinking of painting, maybe approach it like a little bit of exercise for your mind, body, and soul. Don't worry too much about whether or not it feels comfortable. It takes time to get in shape. Pretty soon you will be flexing your muscles and adding on an extra mile.

Below is an image of my first hour-long exercise for this canvas. More to follow this week.

The Artist Series: Luke Jervis

Marley, my Portuguese Waterdog sitting on his couch next to his portrait

Dogs: best friends of humankind. How can one put love for their animals into words? Maybe it can't be done, but perhaps it can be painted.

During my quest to find the perfect dog portraits for a special birthday present, I encountered quite a few artists. It was not easy finding the right one. One day, my coworker recommended Luke Jervis. I saw his website and immediately knew that he was the artist: charming paintings with a dash of humor.

I contacted Luke, excited to commission my first work of art (ever!) Within a day, we were emailing back and forth about how to dress the Italian Spinonis, Leo and George. What Luke delivered in the end surpassed my expectations.

I hope that you enjoy reading about the process and the biographical sketch of a talented, predominantly self-taught artist. 

Working with Luke

From the beginning of the process, Luke directed me as to what he would need from me and how we would proceed. 

Step 1: Talk about the overall vision of the portraits and give him a time-frame. 

Step 2: Gather research and email photos of the dogs.

How does one dress dogs? I knew that I wanted them to be indisputably English. I started looking at photographs of English royalty, and it was not long until I came upon some ideas. I sent the images to Luke along with photos of the dogs.

George, the Italian Spinoni from England 

Leo, the Italian Spinoni from England

The Spinoni brothers hanging out in the garden

Step 3: Discuss the proposed research. Look at Luke's ideas. 

Luke sent back his own research: images of classical paintings, to get my opinion. I loved his ideas. We chose outfits together, based on classic portraits.

Step 4: Mockups. 

Within a short amount of time, Luke created mockups and sent them to me through email, using his research and the images that I had sent him of the dogs. After this step, he started working his magic on the actual paintings. 

Step Four: Luke paints. 

Luke sent several updates while I waited for the paintings to arrive, which I thought was courteous and exciting. The following images arrived to my inbox shortly after the process began: 

Leo (in the works)

George (in the works)

Step Five: Sending and arrival of the paintings.

The paintings arrived and were beautifully packaged, as if they had come from the 1800s. I made my coworkers open them with me, so I could share my excitement with others. The gift was incredibly well received!

Below are images of the final portraits:

Finished painting of Leo, the Italian Spinoni

Finished painting of George, the Italian Spinoni

Framed and installed

The entire experience was enjoyable! I commissioned a third portrait of my own dog, Marley (who lives in Utah), for Rab's Father's Day gift. 

Marley, my Portuguese Waterdog

Please enjoy the Q & A with Luke below. I would like to say thank you to the artist for his superb work and for taking time to participate in this blog post.

Q & A With Luke Jervis

Jessica: Where and when were you born? What did you study growing up? Have you always been drawn to art?  How did you start painting?

Luke:  I was born in a tiny village in North Wales, UK. I moved away for 5 years, but now I'm back here for a while. 

I was always the kid who would draw Pokemon for people in Primary school. I used to draw comics and superheroes all the time when I was little, but in Secondary school it was between Art and Computers and since we had really limited choices, I chose computers. I didn't actually study art until I was forced to, because I got kicked out of history class when I was 18, but failed it since it was way too late into the year.

Then I went to college when I was 19 to study art properly. I got a Foundation degree and went on to Demontfort University (in England) to study Graphic Design & Illustration. I got two years into the course without actually painting at all. I was just drawing animals all the time. It was only in the final year, when were given the option to create our own project, that I picked up a paintbrush properly and painted the cover for this Beatrix Potter inspired book I made.

Jessica: What sort of training have you had as a painter? Which artistic styles are your favorite / least favorite to do?

Luke: To be honest, I've had no actual painting training. You'd think studying art for four years, I'd have been taught something, but the classes we're so big, and since it was general 'art' it was mainly life drawing if we were lucky, leaving us to get on with it. It was more about picking things up off other people in the course than being taught by a teacher. But since I started painting so late (three years ago) I've pretty much taught myself everything. I like anything traditional, and I'm really into patterns and detail, so whenever I get to do things like that I'm happy.

Jessica: Please tell us about your business?

Luke: I paint pet portraits for people, but with a bit of a unique twist. Instead of painting the pet as their naked self, I dress them up in Victorian/Vintage style clothing and paint them into a portrait, as if they we're a person back in those times, using high quality acrylic paints on canvas board.

The painting is completed by putting it in an old-style swept gold frame and packaging it in brown paper with string. I love the idea of someone receiving the package and it looking like it's come straight from the 1800s. 

Jessica: How did you come up with the idea to start your business? What was the moment that set your business into motion?

Luke: Well I mentioned that book I did for my final year University project. It all came from that. The book was set in Victorian times in Paris, and main character was a Koala bear, and for the cover, I painted him in a portrait style in a Napoleon-esque military outfit. (one of the first paintings I did).

While doing some research for the book, I somehow stumbled upon a blog called ...LoveMaegan, where I saw she was looking for Victorian style portraits of her two dogs. The post was about six months old at this point, but I emailed her anyway, saying I'd love to do the paintings for her if she liked my work. I sent her the Koala painting and probably some rough ones I did after too. At this point I didn't expect to hear back since the blog was really popular. Then a within a day or two she emailed back, saying she'd love me to do these paintings for her. It must have taken me a couple of months to paint them, since I was still really new to it. Eventually they were finished and I posted them. I quickly created a website (my old website), and she created a blog post all about the paintings with some really nice photos, and the business was born.

Jessica: How would you describe your artistic style? Do you do other types of artwork?

Luke: Definitely traditional, but with a tiny hint of style. I want the paintings to look as charming and original as possible. I love painting landscapes, but still in this traditional style. I'm also really into Watercolours and Calligraphy.

Jessica: What and/or who are your biggest artistic inspirations?

Luke: I've always loved animals, and I love that I get to paint different ones from all around the world. It's more the reaction I get from people when they see the paintings that inspires me. 

But actual artist inspiration: I didn't discover Rembrandt's work until I was about 19, but I remember being being so amazed by it, and I still am. I was lucky enough to see his work in Amsterdam earlier this year. I love any kind of old traditional art, especially paintings of big scenes about greek mythology or ones that tell religious stories in one picture.

Jessica: What is your biggest challenge to overcome as a professional artist?

Luke: Without a doubt, and I'm sure every artist will back me up on this: it's getting your work out there. It's great having social media etc, but at the same time because all other artists use these sites, it is really hard to get your work seen. I've had some success on some websites though, through posting over and over. I'm grateful for that. I guess its just finding out how to use it. It's not as simple as it looks.

Also another challenge for me is sticking to one thing at a time. I always have multiple ideas in my head and half way through a painting, I want to go and start this new idea.

Jessica: What do you hope will be the future of Jervis Pet Portraits?

Luke: I have a lot of plans for it.  I'm thinking of going through a complete rebrand at the moment. I've recently started to sell prints, but I would love to have a bigger selection of these and also T-shirts. I've been working on a number of unique paintings (one being a Racoon Musketeer). I'm going to use for a range of T-shirts and throw Cushions. It's harder because it is just me funding it.  I want the items to be really unique and fresh (even though they are Victorian style haha).

I also love the idea of creating books based on the characters I've painted for prints. It's kind of a reverse of how the business started with the koala painting.

These are all on the side of my Pet Portrait business. I will keep painting pet portraits as long as I possibly can. I love how each one is unique, and I'm always amazed by how much people love them and the compliments I get. I hope I get to carry on with it for a long time to come.

Oh and I've recently just got an order for a painting that is 20" x 24" so I'm sure that will keep me busy for a few months.

Jessica: What is the accomplishment that you are most proud of as an artist?

Luke: Just my whole Pet Portrait company really (if you could call it that, since it is just me). As I mentioned before, it started from nothing  and it makes people happy, and knowing people would like my work hanging up on their walls makes me happy. I'm also proud and love the idea of my work being all around the world in all people's houses. It's pretty crazy.

Jessica: Please add any concluding thoughts, and thank you!

Luke: I think I've gone on enough, and you'll be happy for me to finally end it haha. Thank you so much taking the time to write these questions. They kept me entertained :)

A photo of artist, Luke Jervis

More examples of Luke's work

For more information about Luke and his artwork, see his website: www.lukejervis.com or find him on Facebook 

P.S. Apparently, George is a bit of a Tumblr celebrity now! See here.

The Artist Series: Elissa Dishell (aka Grandma)

A portrait of Elissa Dishell

For my Grandpa Don's 85th birthday, I flew to Detroit with my aunt, Susie, to surprise him. Oh, was he surprised! So much so, that we truly took the words out of his mouth. After his confusion wore off, we all embraced. It was a special start to a unique trip. I was able to interview both my Grandma and Grandpa about their lives--my Grandma's art and my Grandpa's family history. 

My Grandma is a talented artist. She found her passion "late" in life, which I find inspiring. 

While back in Detroit, I realized how much work she has produced over the past twenty years and joked, "Your paintings could cover every square inch of the house!" We toyed with the idea laying out all of her works on the floor for an epic photograph and ended up making it happen. Even after covering the floor with hundreds of watercolors, there were unopened boxes under her bed! She is Mrs. Prolific. My Grandma also took me to her exhibition at the Birmingham Bloomfield Art Center (BBAC). She lit up being around the artwork. It truly is her home away from home. 

My Grandma has a unique personality. I have known her my entire life, but only recently began to understand her as an artist. She is full of such energy--innate, exploding, exciting, passionate energy-- that I can only pray for on my best days, after a perfect night's sleep and an awakening workout. She is extraordinarily focused, humble, and prolific. As my Grandpa says: "When she approaches her canvas she 'swarms' it," whereas other artists might strategically approach their paintings, dabbing thoughtful strokes onto the clean white surface. My Grandma works in a fury, ever-so-determined to create something of the right emotion and expression. And she does. She is powerful and commanding, and her sheer energy is enviable. 

I look up to her. 

-Elissa Dishell

Jessica: Tell me how you became an artist.

Elissa: I never took an art class in my whole life. In high school, my friend Judie said, "C'mon! Pudgie and I are taking an art class."

I said, "I don't know how to draw. It would make me nervous. I will never take an art class."

Then I had a surgery in 1994 and you, Jessie, were five or six years old. You said, "Grandma, will you draw with me?"

You always liked to draw, and I told you, "Sorry, Jessie, I don't know how to draw." 

You said, "Just try."

Me as a child, visiting Detroit -- where my Granda and I started doing art together

Elissa: So there was a tiny cartoon in the a paper. I studied it for a few days and copied it. It was time for you and your mom to go back to Utah, after visiting me from my surgery. When I got better a few weeks later, I thought, “Something is missing from my life.” I am going to take drawing lessons and maybe paint someday. So that is how I started: drawing and drawing, and then I moved onto watercolor for some years. 

When your mom got sick, I stopped creating for five years. Then I bumped into a girl after Amy had passed away. I could do nothing from the grief. This girl said: “Why don’t you take an art class?” 

I said: “Well, where?” and she told me about this wonderful charcoal class. It saved my life. Art classes changed my life. I was able to draw again. I used to wonder why people felt stuck and could not paint anymore, when they had had some tragedy or trauma in their life, but I came to understand.

I started making art again and then got into oil painting and more charcoal. That is what I like to do now, but I am not so good. 

Then, you came to Michigan this trip and said: “I want to see your artwork.” So we pulled out hundreds and hundreds of paintings from under the bed and laid them out on the floor, which I never even thought of doing.

Elissa Dishell - artwork spread out all over living room floors

Jessica: When did you realize that painting was a positive force in your life?

Elissa: After I started drawing, I took my first class at the community house. I was always afraid of going to the BBAC, because I thought the artists were so wonderful, and I wasn’t ready. So I started painting with a teacher. It was a small class. We did watercolor. My teacher took people on painting trips, where they did art and shared rooms. 

I didn’t want to share a room, so I thought maybe your mom would go with me. Amy said she would go, so she met us in Mexico on the Mayan coast. It was so fabulous: the casita right in the sand. They loved Amy on the trip. Half of the girls didn’t even paint though; they shopped. But your mom and I did a lot of paintings, and they later had a show of the work in Lansing. 

In Mexico we ate next door at a huge palapa. The tables seated eight. There were professors, artists, other people, and the most interesting characters I have ever experienced. It was kind of like camping in Algonquin park but in Mexico. People actually camped on the coast there! They had tile showers that they took outside, and they slept in Palapas with screens. It was a wonderful experience, and I have lots of great pictures, which I should show you, Jessie.

Jessica: Where do you get your inspiration?

Elissa: I don’t have much inspiration lately. We do exercises in class that come from the head. I am anxious to paint outside and will do that this summer.

When I go on trips, I sit with pen and ink and bring my watercolors. Often people paint from their sketches, so I have done that. A lot of people make tiny oil paintings from their sketches.

Jessica: Why do you think that art is important?

Elissa: Well...I was always friendly with artists, but I never painted myself. My mother dragged me to the art museums growing up. My brother always had a wonderful art collection. I loved it. Susie once said to me: “Your walls! Every wall is empty.” Eventually art became part of our lives. 

But back to the question: especially as you get older, you think about what you can do alone. I play bridge, (but you need three other people to do that) and bridge is not a passion. I used to feel passionate about sports, but not so much anymore. 

Art is a passion. When I do it, it lifts my spirits. I have met so many wonderful people through art and hope to continue going to the art school: my second home.

Elissa Dishell standing in front of her artwork

Jessica: How would you define your style?

Elissa: Somewhat impressionistic. I don’t know how to draw well, because I didn’t go to art school. People that went to art school though, have such a time loosening up, because teachers in those days (before Jackson Pollack and Abstract Expressionism) wanted you to close every line and draw every leaf. That became too literal. As many teachers have said, if you want to paint like a photograph, then just buy a photograph. I’m not knocking Photorealism, because Photorealism is beautiful and has its place. But for the average painter, to sit there and try to draw every leaf is insane, and it’s not fun.

Painting should be an expression of how you feel inside. You could be literally a perfect draftsmen. But if you are painting to show passion or something within you, then you have got something. It may not even be well done, but emotion is something to look for in art.

Jessica: I think it's important that a painting makes you feel something. Some people respond to Photorealism compositions that are identical to an photograph and take them to a certain place, and others respond to the impetus of emotion -- what comes from the person’s soul through artwork like Abstract Expressionism. Not everyone enjoys abstraction though, and that is OK.

Elissa: When I was in my twenties, this artist took me around and wanted to show me a variety of art. Don and I couldn’t spend money on art when we were young and married. This artist asked me about my impressions of what I was seeing.

I said: “I don’t know anything about art. How can I talk about it?”

He said, “You don’t have to know anything about art. How does it make you feel?” And that is what he taught me.

Jessica: When you look at the paintings of others or your own work, how do you gauge whether or not that painting works?

Elissa: Just if it strikes me as beautiful in color or line. I am mad for Impressionism.

Jessica: That must be hereditary. Me too. What is it about Impressionism that you love?

Elissa: I love the Impressionists’ color, their spontaneity, their strokes, the way they blend things. Light and shadows are wonderful things. My teacher is marvelous and has me looking for things I never thought of before. Even when I drive down the street I see shapes of trees and light and certain things lit up that I never would have seen before. I have been told that being an artist, you learn how to see again.

Jessica: When do you feel most free while making art?

Elissa: This last couple weeks I couldn’t do much. Don had surgery. You kids were coming into town. Even when I went to class it was hard to lose myself, running from the doctor’s office to art studio.

I feel the most free when I can get up and paint without pressing matters interfering--when things are going smoothly. In art class you can forget about what is troubling you or what your problems of the day might be.

Elissa's Artwork

Jessica: Do you think it's possible to be a successful artist while maintaining an alternate career and social life?

Elissa: No. I was studying this in regard to an artist who was a graphic designer. He made good money. One day he said, “I want to paint and make art for myself.” He said to his wife who is now an artist: “I don’t want to do this anymore.”

They packed up with only a few dollars and went to Paris, Australia, and Ireland and traveled, maybe for five or six years, while selling paintings. He came back to The States, and with about six dollars left, he gradually started to make a living: writing books, giving lectures, you know. It became his life. Oh, he is a wonderful artist.

You have to sacrifice everything for your art. I can’t do that now. I will never be great. I do it for enjoyment. If that’s going to be your life, you really have to give up a lot. It’s wonderful to have a companion who enjoys art with you.

One of the girls in my class said, “I want to be a professional artist.” She is probably about 50. And that is possible, because her kids are no longer living with her. This other girl, who just sold three paintings at the BBAC, paints day and night and it shows. Her life is her art. She sells things because she wants to.They paint and work at it like a job. 

I don’t think you can be where you want to be, while out socializing all the time. Art has to be all consuming. You can’t lose your ability to focus.

When I read about the round table: the artists, the writers in Paris--it reminds me of the importance of exchanging ideas. Artists could be with artists and writers could be with writers. You want to know what others are doing. Art is a whole world! 

I remember in the 1960s, how the artists were all downtown with the musicians and everyone creative. I wished I could be part of that. But I didn’t know that I even had creativity.

Elissa's Artwork

Jessica: I think that all people have creativity and that it is just a matter of harnessing that energy and focusing it in a certain direction. That’s why I believe that you are such a talented artist: you have strong energy and focus. You get consumed.

Elissa: The fact that you have a job in the art world is a great thing. To be in the art world! Wow. I find that a lot of people I am taking classes with are retired. One day after their careers, they say: “ I am going to paint something."

For you, Jessie, keep working in the art world, even though it is hard work. If you move away, you need to stay within the arts until you can do it for yourself. Stay in touch with your practice and other artists, and broaden your horizons.

Jessica: What do you hope will come of your art in the next years?

Elissa: I feel I’m at a stand still right now. By reading and doing, I hope that I can develop and better mix the colors and apply them. I hope that I will look at a still life now, and then next year I will see a difference in progress. I want more color and the right colors. I need more color. I know what I want to do and where I want to go: I want my work to be impressionistic, but I usually have to paint what I see. I wish I had more imagination.

Jessica: I think you have a lot of imagination. You’re a doer: less in your head and more action-based. You have imagination, and that is why your paintings have a unique style.

Elissa: They do have a style.

Jessica: So you know in your heart what you want to paint then?

Elissa: Yes. I hope to become a better portrait artist as well. I love the face. Faces fascinate me. Whenever I see someone with a crooked nose or a receding chin, I wish I could paint them. People with regular features though…I have trouble with.

My Grandpa says that he has been immortalized through this oil painting.

Jessica: Now that you are approaching 80, what advice would you give to aspiring artists or anyone aspiring to do what they want in life?

Elissa: I hope that you find your thing young. I thank God everyday that I was able to find this wonderful way to express myself. I hope that people can find theirs, because it is a gift to find your passion.

When you are young and doing other things, if you know what you want to do: DO IT. Develop it! Because even if you have to work at something that you don't like, your passion will compensate.

At this point, if I didn’t have the painting and drawing, I don’t know what I would do. I find myself worrying that this one has passed away and that one has passed away (and I’m talking about being my age of course). Having something to do is important. You could play golf, but then you’re done after a few hours. Then you’re worrying that this one is sick or that one is sick. You hear something everyday.

When you're younger, it’s not everyday that there is trauma. Years went by without anything. Now everyday, it's adjusting to another loss or hearing sad news. When I wake up and nothing has happened, I think “how wonderful!” But there were many days like that when I was younger.

I read in a book that if you wake up mad and tense, then everything goes wrong. Look at the bright side, and don’t look back or forward too much. Live in the moment, and at least find something that makes you happy.

After your mother passed away, it said in this book: If you’re driving, instead of letting the mind wander, concentrate on the license plates in front of you and take in the trees. Concentrate on what is around you.

Even if next week you have a ton to do, worry about it when it comes, but tell yourself to do what you are doing now. It is hard, but if you do it, you will be happier person. You will be more positive. 

Be grateful you’ve got your health. It is the most important thing in the world. It really is. 

Pursue what you love. I chose art because it is something I can enjoy alone, without another soul.

Jessica: When I think of life without art, I feel that it would be nothing.

Elissa: I agree.

Jessica: That includes all forms of art: music, dance, film, painting--you name it.

Elissa: I agree and feel that there is expression in everyone.

Jessica: Yes, Grams. Is there anything that you want to add?

Elissa: I wish I was in my 50s now. Why? Not to live longer, but so I could take life drawing. I wish I had more time to develop as an artist and as an artistic person.

Jessica: You’ve done so much in just 20 years.

Elissa: I can’t imagine my life without painting.

Jessica: You’re one of my favorite artists!

Elissa: Thank you, Jessie. It is all consuming. I think about it night and day. It wakes me up in the middle of the night. Always have a pad and pencil nearby.

Jessica Csanky and Elissa Dishell together

Three Generations together at my Grandma's art show

More examples of my grandmother's artwork:

Oil on canvas portrait by Elissa Dishell

Colorful impressionist style flower painting in oil

Colorful impressionist style flower painting in oil

Impressionist style landscape overlooking the ocean

Impressionist style landscape with palm trees and golden clouds

-Elissa Dishell