The Heron image comes from a small moment from Laurel, MD. We were driving to the Greenbelt Metro Station and it was snowing, and I looked into the woods next to the road and saw a Heron coming in for a landing, its wings spread out. Mid-morning I made a note on my Journaling paper, so I wouldn't forget:
I looked up Google Images of Herons but I liked this abstracted sketch the best.
I was still saving moments that made an impression on me.
I was full of a lot of angst and anxiety while we lived there. As shown in previous posts I drew an awful lot of these types of faces:
I didn't have a good method for dealing with my anxiety until I discovered Martha Beck.
I still had a lot of art ideas that I was unwilling to let go of, even though I couldn't resolve them. Speaking of which...in the drawing below (2 photos down) I included two figures, indicating my still-lingering interest in my Female Imagery. However, I don't think I like all the scribblings and stuff in these two new pieces. After I worked on them in the initial stages, I was hesitant to keep working on them. Usually when that happens it means I don't like what's going on in the piece. But I still don't realize that's what is happening until I have let a piece sit for a few weeks.
I look at the face on Canvas #3 (on the floor by Symon) and I like it so much better.
For so long I have told myself that my drawings aren't enough on their own. It's just a drawing. So what? It needs more. But what if this insistence on MORE was just a form of Resistance, to use the term from the book The War of Art? What is most important to me is the feeling conveyed. Why all the distracting crap? Am I still getting lost in all that crap, as I did in my BFA Paintings? Maybe so.
This drawing perhaps accurately represents my feelings while in Laurel, but it's time for me to move on.