Hope and Healing / March 7, 2017 by Hayden Michelle

When asked to contribute work to, “CREATE: Expressions of Hope and Healing through the Arts”, I felt honored. An all-too-uncommon theme for an exhibit, healing art offers unique insight into growing through pain to reclaim our truest selves. While aware of the inherent vulnerability, I am grateful to have the opportunity to share what has often been a hidden part of my art and life.

"LOOKING WITHIN", 1987, (36 x 48 inches),  graphite, 1st self-portrait (not in current exhibit) — "LOOKING WITHIN", 1987, (36 x 48 inches), graphite, 1st self-portrait (not in current exhibit)

Art has been a life-saving path that I began using long ago, and continues to provide relief and hope like no other source. It connects me more deeply to myself, providing perspective and reflecting my own often unconscious process of change.

Like most, I feel ill at ease when sharing my wounds. Yet, I truly believe that art made from these protected places bridges the artist and the viewer, connecting our mutual experience of being human, and emphasizing the overlap we share, despite our differences. Art that engages the healing process may tap deep pain, eliciting despair, feeling confrontive. Yet, I know this connection is worth the price, and it is a privilege when I am part of the circuit that is made. It is my hope that restorative energy is felt by the viewer, and absorbed into those parts of themselves that need to be seen, that need to be heard.

"Tear Bottle", 2015, (11 x 22 x 24 inches) (with detail images, below)

The first piece is entitled, “Tear Bottle”, and was originally created for an exhibit at the end of 2015, “Another Way of Keeping a Diary”. I wrote about the journey of this sculpture here, and am grateful to show this piece again. After 3 reconstructions-- the first necessitated after a fire in our home, the second after severe damage sustained in cross-country shipment, I faced a third time, after damage in return transit . To say that I have been feeling resistance about this would be an understatement, as it is a complex sculpture, and a daunting task to repeatedly undertake.

Not exactly feeling the “third time is the charm” energy, I allowed myself to resist beginning the repair for one whole year before reopening the box and surveying the damage. It made me feel the multiple losses (inherent in the meaning of the piece, as well as in the damage to the sculpture) as I saw the extent of the destruction, and made me realize how resistance can protect us from strong feelings/tasks that are difficult to face. This putting aside allowed me some time to be with other parts of my life and creating that were not about brokenness, all the while knowing I would need to come back and repair yet again.

I realize now, that this acceptance fortified me. Rather than judging myself for feeling agitated, overwhelmed, angry, and sad, I let those feelings be, reflecting on them and re-examining them until they were ready to move on and I was ready to work—respite which actually gave me a fresh burst of energy. I was now able to view it as an opportunity to make the piece physically stronger, more detailed, and more integrated than before, and realized what a parallel this is to how we often experience repeat patterns that are painful in our lives.

It occurred to me that although I have many times in my life thought, “I can’t do this… not again… I don’t know where to begin… this is the pits… etc., etc.,” that each time, I mustered courage and at least a bit of determination to try again, and found in doing so, that I returned with new perspective and tools learned from experience, with increased awareness and learning about who I am and how I cope. Finding some insight in the midst of the challenge further energized the repair process. A wise friend of mine tenderly offered that perhaps part of the meaning might be that I continue to hold the ability to repair myself in ways still needing attention. Gulp. How we all need that reminder of our inner strength to keep meeting what comes our way, in big and small ways, and to grow beyond what we previously imagined…

“Tear Bottle” got its name when i discovered how tear bottles have been used throughout history as vessels to hold the sorrow of those in mourning, often placed in tombs to show respect for those who died. Creating this piece moved me to my core, opening to my deepest truth of the sexual violation I suffered. By accepting the depth of how this trauma has affected all parts of me, it enables me to feel and express my outrage and grief at that which lives in my bones still, and tragically, in the bones of countless others. As tears are often believed to hold healing properties, allowing my own to flow enables me to find release, and honors life energy that has been taken, as well as widens my view to acknowledge the new life which has been created in this same pelvis... the miracles of my children. Intentionally making this bovine pelvis a safe and reverent space helped me to widen my view to see that not just trauma, but joy and liberation, are within my body and spirit, emanating out when I feel connected to my center, surrendering to what is.

My second piece, “Reclaiming the Sacred”, was made during the first healing art workshop I co-led 5 years ago, and is a compilation of images originally created by many artists, curated from magazines and collaged together into a triptych that gives a glimpse into the ongoing process of healing my spirit. It is an arduous journey examining how my spirituality and trust in the Universe was deeply damaged by the betrayal, lack of safety, and loss of self the trauma left. I summon courage daily to face this loss, while holding gratitude for remaining connected to the Sacred that is ever-present.

"Reclaiming the Sacred", 2010, (60 x 32 x 12 inches), (detail images below, reworked with colored pigment and encaustic)

And my last piece in the show, “Emerging”, is a ceramic piece I made long ago, 1992. Created in early adulthood while beginning to confront the depths of fall-out that childhood sexual abuse left on my mind/body/spirit… my inner parts responded-- the fatigue of grief, pulling inward for self-protection while confronting inwardly and then outwardly telling the truth, and desire for healing and release from what had been held silent for so long. This piece is one of a series of five sculptures, all depicting different parts of reclaiming myself.

"Emerging", 1992, (5.5 x 9 x 6 inches), (detail images, below)

I am grateful for the gift of making art which so deeply and freely offers healing. I am aware of the privilege of having the safety which enables me to speak up about suffering and healing… not just my own, but what is experienced by every human being. I am indebted to those in my life who support and love me on this imperfect path. It is such a gift not to be alone. As I wrote on the end page of my compilation of healing art book made for WITNESS, my wish for you, as you view this art, is to “release anything which is deadening to your spirit”, an anonymous quote discovered scrawled onto a wall in college that has become a personal mantra. Certainly, we all have something that would benefit from release, and perhaps we can lighten the load by sharing it with each other…

"Release", 2010, photograph, mixed media, WITNESS Project

[“CREATE: Expressions of Hope and Healing through the Arts”, opens on March 17, 5-8 p.m., at ArtsPlace, 161 N. Mill Street, Lexington, KY, and runs through Saturday, March 25. The evening will include the exhibit, as well as healing art demonstrations, discussion of music as therapy, and a dance performance, portraying the power of movement. There will be a panel discussion the following morning, Saturday, March 18, from 10:30—12:30 p.m., to discuss further how we can all heal from accessing the power of art. I hope to see you there, even if I am shaking in my boots!}]

New Year, New Work! / February 17, 2017 by Hayden Michelle

The beginning of this year has brought much fullness and intensity, on so many levels. As our country and world have been adjusting to the new transition of power, I, like many, have felt overwhelmed by the enormity of issues at hand. One way I have been channeling my feelings has been through my art, always a safe outlet and source of healing. It has been good to balance the outward energy of confronting change with being alone, working at my own pace, needing only to listen to the rhythm of my hands and heart.

It is important for all of us to feel some sense of control over our lives, and although making art may seem like a small bit of choice, it is vital for me. Perhaps because there is so much oppression and pain in the world, do I need to create things that bring me peace and comfort, and at times, express my own challenges of this journey.

All of these pieces were started months ago, in many different stages. I seem to keep returning to creatures oceanic in nature, and wonder if that is not because of the expansiveness and mystery that the sea offers... offering some respite, escape, and connection to a greater whole.

I am really enjoying playing with color, and making things more wild than they might even be in real life (at least around the hills where we live). That certainly is a very freeing part of making art! I am teaching kids sculpture at our homeschooling co-op again this semester, and keep telling them the same thing-- there is no way to be wrong in creating... all of it is part of the whole of who we are. It is such permission and freedom to just allow the expression of what wants to come out. My hope is that everyone can allow themselves this opportunity in as many ways as they can.

Art glass, resplendent with imaginable form, was altered and printed on kozo, layered with fused wax, cut into intricate separate forms, rebuilt into one piece, adorned with mulberry paper and inclusion of hand-made paper clay, its protrusions coated in wax, all hand-colored in powdered pigment. This creature appears able to propel itself across the ocean floor, perhaps never seen by human eyes, yet divine because it exists, leaving me pondering what serves to propel us forward in our lives.

It has been very exciting to delve into incorporating paper clay into my encaustic work, something I have been slowly experimenting with in the last year. Making it by hand was an experience in and of itself, and photos that documented the terribly messy and long process would have provided some comic relief. But alas, I will stay focused here, and share some of the end result :). I can say that my fingers were exceedingly happy to plunge into wet clay again, as it has been a long-time favorite material, as primal as they come...

This other piece was a furthering in exploration, as I returned to printing onto textile rather than paper. It has a very solid feel, and more work will be made this way. I am sharing accompanying artist statements with the sculptures, as they speak succinctly for the pieces...

"Otherworldly", 2017, (4.25 x 12. 25 x 4 inches)

Otherworldly sprung up from a photo of hand-made art glass, its vibrant color and energy awaiting interpretation. The altered pattern was printed on fabric, layered with fused wax, cut into new shape, sculpted, hand-sewn, embedded with wire tentacles, and hand-colored with powdered mineral pigment. The newly embodied creature could have emerged from the sea, or perhaps the depths of my unconscious, reminding me of the beauty that resides both within and around me when I truly look.

The last 4 pieces were done in a series for a submission, and I enjoyed the challenge of needing to contain my work to 12 x 12 cradled panels. I have previously incorporated my sculptural work onto panels, but this was more fully expressed. Like the ocean, there is much symbolism in butterflies and moths, and I have collected found wings for some time. Intentionally bringing them together brought some comfort, and made me realize what a past year of change this has been for me and my family...

"Vulnerable", 2017, (12.25 x 12 x 4.25 inches)

A small Io Moth wing discovered on the road under a street lamp grew much larger than life, as it was printed on kozo paper, layered with encaustic medium, hand-carved over the surface, sculpted, and wired onto a layered beeswax cradled panel, where organic swirls depicting movement were carved. Painted with oils to accentuate the habitat of the moth, I was struck by the fact that this wing was all that remained by morning, reminded of our vulnerability, and of the natural cycle of life.

"Fragile", 2017, (12 x 12 x 4.25 inches)

When discovering bits of brokenness, I pause in silence, marveling at the beauty that remains. Left blowing in the early morning breeze on the grass, coming upon this Luna Moth fragment took my breath away. Photographed and printed onto kozo paper, layered with fused wax, hand-carved over its entirety, embellished by powdered pigment, it was wired onto an oil-painted waxed panel full of organic swirls of energy. This Luna remnant made me connect with the powerful sacred energy of night.

"Migration, Interrupted", 2017, (12 x 12.25 x 5 inches)

A monarch on the grill of a car-- clearly struck during its journey-- brought awareness of how our lives can be altered… either in a single moment, or by long-held process/systems. Each day there is desperate need to create goodness and gratitude amid the chaos and suffering in our world. “Migration, Interrupted” evolved by merging photo with kozo, layering with fused wax, hand-carving and sculpting, coloring with pigment, and wiring onto depths of carved beeswax waiting like the midnight sky.

"Reveal", 2017, (12 x 12.5 x 4.25 inches)

A Blue Swallowtail feasting in our blackberry garden brought life to this sculpture. Printed on textile, layered with fused wax, hand-carved, sculpted into form, and colored with powdered pigment, it was wired onto a cradled panel layered with intricately carved organic shapes in beeswax and painted with oils, providing a resting place for this memorialized bit of nature’s beauty. It illuminates the revelation of inner goodness that radiates out when provided with the sustenance we need.

Thank you for taking the time to see what I have been up to in my studio these past months... it feels good to see evidence that my work continues to evolve just by showing up at my table every day, and gives me hope for change in a more universal sense. I continue to be moved to act in solidarity with others who are working for change in the many unique individual and collective ways that are happening.

In Flawed Abundance / January 7, 2017 by Hayden Michelle

The International Encaustic Artists group recently put out a call for entry into their spring exhibition, entitled, “In Flawed Abundance”. The title was inspired by this quote by poet and philosopher, Mark Nepo.

Stripped of causes and plans and things to strive for,

I have discovered everything I could need or ask for

is right here, in flawed abundance.

from “Accepting This” by Mark Nepo

These words struck a deep chord in me, having done much contemplating on my own life’s path and that of my mother and many loved ones who have gone on before me. I have been especially thoughtful about my maternal grandmother, Ida Fuss Klee. My mother was very close to her, and I feel like I can now better understand the deep ache that remained with my mother as she missed her own. As I have reflected about my grandmother, I have deeply wondered about her life as an artist. She grew up a child of German immigrants and modest means, in a family rich with artistic abilities and full of knowledge about how to fully live. She took correspondence art courses through Chicago. She was fundamentally a self-taught artist, and had abundant talent in drawing and painting, (as well as in daily living skills like resourcefulness, inventiveness, and ingenuity, per my mama, and much like my mama!).

In the 1920’s, she rented an art studio in downtown Indianapolis—a daring thing to do as a female artist in that era. She began working professionally as an illustrator, gained recognition for her talent and hard work, and was offered full-time employment in NYC. However, she did not feel that this path was an option that she could accept, and chose to stay in Indianapolis and marry and raise a family. I can only imagine the complexity of needing to make a choice like that, and feel incredible gratitude for being able to work as an artist while raising my family, and to have the emotional and societal support to do so.

"Her Beauty Still Shone" (Ida Fuss Klee, 1904-1998), (detail)

This bit of history was recently shared with me, and it helped me to get perhaps a glimpse of understanding about my grandmother’s very limited expression of art after starting her family life. I often tried to engage her in discussion about her artwork, what inspired her, how it was to be a female artist in a male-dominated field… being met with few words and eyes that looked away. How I wish I would have known more, to have been able to talk more freely and to listen to her story, and certainly to have been able to ask to make art alongside her…

(These are photographs of her china, broken fragments I have saved for years for the right project to come along!)

So the first piece I made for this series of “In Flawed Abundance” was in homage to my grandmother, to honor her life force, and how she raised herself up out of poverty with fierce determination to live and create. It is in reverence to her tremendous hard work and talent, and the parts of her that did not feel valued, nor had the chance to be appreciated more fully by the world. It is symbolic of how these breaks in her spirit did not diminish her beauty or her artistic contributions, and to reinforce the fact that her art did, in fact, live on… both through my mother and her brothers’ artistic talents, and the passing down of this gene to her grandchildren and great-grandchildren. Although I got to know only a small part of her when she was living, I feel her spirit very much alive now in my heart and hands…

"Her Beauty Still Shone" (Ida Fuss Klee, 1904-1998), 2016,(18 x 24 x 5 inches), (kozo paper, photograph, beeswax, carved and sculpted, hand-colored with powdered pigment and resting on handmade plate rail)

In these past many months, I have been feeling the inevitable void related to the loss of my mother. Nepo’s words remind me that acceptance of the feelings of loss enables me to return to the fullness of that which she left with me-- her love, nurturing, humor, and artistic self, as well as the things she taught me in dealing with the hardship and pain that is part of life. My mama remained a compassionate and strong woman throughout her challenges, and showed much determination and stamina. She was a queen role model of embracing flawed abundance (and I mean that in the most respectful way… she could see the positive in every single thing she encountered, and taught deep mindfulness for abiding gratitude by this example). Thankfully, these gifts remain with me as I continue to grieve her absence…

"Fragments of Home" (Mama, 1933-2016), 2016, detail

The second piece I submitted for review is of my mother’s Blue Willow dishes, which held the food she so lovingly and dedicatedly prepared for her large family of eight children and spouse (always pointing out how beautiful the vegetables and fruit looked against the cobalt blue… an observation which I find myself often pointing out repeatedly with my own children as we use a few of these plates, still). In addition to the beauty of the pattern and color, there is the obvious brokenness that comes in families as difficult things are experienced. It has taken me a long time to share the pieces, and to see the beauty and healing that bringing them out into the light can bring. This piece is in homage to the integrity of my mother, and to the amazing artist that she was, as well as to her lifetime of sharing this gift with those she loved. She exemplified creating for the sheer joy of it. And mostly, my mother taught me to see…

"Fragments of Home" (Mama, 1933-2016), 2016, (18 x 24 x 5 inches), (kozo paper, photograph, beeswax, carved and sculpted, hand-colored with powdered pigment,  and resting on plate rail) — "Fragments of Home" (Mama, 1933-2016), 2016, (18 x 24 x 5 inches), (kozo paper, photograph, beeswax, carved and sculpted, hand-colored with powdered pigment, and resting on plate rail)

Nepo’s words also speak directly to me as I continue to dedicate the time and work needed to express myself as an artist while balancing the task of raising and homeschooling of my children. It has been quite a process for me to give myself permission to make art a priority, not guilting myself for nolonger actively working as a social worker. I continue to explore what it means for me to do my part in contributing to the social good of the world, a question which is there for all of us. And I have ever so slowly come to accept that I have things to say and to express through my art, as well as to accept that the amount of time I have available to make art may not be the same as if I had started younger, or in that field rather than social work. As I age, I am aware that each part of my path has its importance and lesson, and is all part of the bigger whole. There are a multitude of gratitudes every day, no matter what that day happens to bring.

"Discovering Wholeness" (Myself, 1968--), 2017, (detail, above and below)

This compilation of my own shards, new and old, reflects piecing together the many fragments of my life... tenderly exploring the sharp edges, while appreciating the depth of color, shape, glaze and history that each remnant contains... realizing that a deeper whole has emerged from this experience and the integration into my being, creating space as I continue on my path.

"Discovering Wholeness" (Myself, 1968--), 2017, (18 x 24 x 5 inches), (kozo paper, photograph, beeswax, hand-carved and sculpted, colored with powdered pigment, and resting on plate rail)

Whether or not these pieces get juried into the exhibition, I am deeply grateful for the introspection and growth that has transpired as a result of these inspiring words by Mark Nepo. The timing could not have been better, and I feel more at peace having done both the emotional and physical work involved in the making of these sculptures. Tis a gift to be able to see this thread that runs through the fabric of our lives, and the interconnectedness of us all. May we all greet ourselves and each other with more tenderness for our wholeness.

It's the Little Things / December 12, 2016 by Hayden Michelle

In the last couple of months, I have been exploring working both larger and smaller, and it has been refreshing to go into the tiny. Ever since I can remember, I was fascinated with all things small, and would make miniature goods for the creatures I imagined would need them... acorn lid bowls, rugs out of leaves, toothpaste caps for cups, berries for pretend apples. I loved "The Littles" on Captain Kangaroo, and waited with bated breath for the times they would be revealed from behind the books on Captain Kangaroo's shelf.

I realize that I am still fascinated by tiny things, often channeled and expressed through my love of macro photography, where whole worlds are opened up through pattern, color, shape, and symbolism. So it is not surprising that I would explore diving into a smaller realm with encaustic. This time, no photo is the foundation, just the wax that is molded with my fingers and perhaps adorned with droplets of melted wax. I am enjoying the sense of light that is transmitted through the wax, and think they appear as a bit ghostly in their luminescence.

"Spring Forth", 2016, (5 x 6 x 4.5 inches)

"Out of the Blue", 2016, (3 x 6 x 2.5 inches)

I still wonder if some small being might appreciate them in their dwelling, and can imagine a forest abode made up of these tiny installations. Sometimes I wish I could be small enough to have them in my world. I think it is nice that we can escape to different landscapes when the outer world feels too much and we need some reprieve. Somehow it seems more manageable, and more protected. Certainly, being in the process of creating and going into the sculptures brings positive energy, and that makes me smile. It is in a spirit of playfulness and light-heartedness that I share them here with you. I hope they bring a sense of joy to you, as well…

CRAFT FORMS 2016 / December 6, 2016 by Hayden Michelle

As the weekend comes to a close, and we are on the road to return home, I am much more full than when we left (in more ways than one!). We arrived in Philadelphia a couple of days early to take in some of the city life and museums before moving on to the Craft Forms festivities. As we walked downtown in Philadelphia, we observed and interacted with many faces, from all walks of life, from all parts of the world. We talked with our children about what a fine line it is that exists between us all, how we are all interconnected, and of how each and every person we encountered was full of stories, family histories, and lifetimes of experience, as well as unknown gifts, talents, and treasures. It is sobering to be made so keenly aware of one’s privilege and basic good luck in life, and left us all contemplating how best to make a difference in the suffering of this world.

Amazing murals greeted us on the highway into the city...

This awareness of good fortune was so prevalent throughout the rest of the weekend, which was quite a broadening experience. We arrived in Wayne, PA, for the opening gala event for Craft Forms 2016 on Friday evening, to a warmly and festively lit contemporary art center that beckoned all inside. We were greeted by the jubilant and artistic band playing a wide variety of instruments, and musicians that stepped out and engaged with us many times over the course of the night.

There was delicious food that was served, and much excitement and anticipation in the air. I was thrilled to meet Nancy Campbell, Executive Director of the Wayne Art Center, Karen Louise Fay, Director of Exhibitions and Events, and the juror for the show, Stefano Catalani, Executive Director of Gage Academy of Art in Seattle, WA, all of whom worked very hard to organize, select, and present this exceptional exhibition in its 22nd year.

Stefano Catalani, Juror, holding the catalog for the show... wonderful surprise to see that my piece was on the cover!

Upon entering the exhibit hall, we were stunned with the depth and variety of the work, and the incredible amount of talent, workmanship, and quality seen in each and every piece of art. There was artwork that ranged in size from being held in the palm of your hand, to textiles that covered the wall, to furniture that had loomed large on the floor... 101 works from around the world.

Teresa Faris (WI), Collaboration with a Bird IV, #4, and Collaboration with a Bird V, #4 — Teresa Faris (WI), *Collaboration with a Bird IV, #4*, and *Collaboration with a Bird V, #4*

Gizella K. Warburton (England), Morphus II — Gizella K. Warburton (England), *Morphus II*

Ben T. Jordan (MT), The Cowboy and His Cow — Ben T. Jordan (MT), *The Cowboy and His Cow*

Cheryl Wilson Smith (Canada), Balance? — Cheryl Wilson Smith (Canada), *Balance?*

Seth Rolland (WA), Starfish Hanging Lamp — Seth Rolland (WA), *Starfish Hanging Lamp*

Diane Siebels (VA), Black/White Landscape (macro) — Diane Siebels (VA), *Black/White Landscape* (macro)

Cheryl Zamulinsky (MA), Cavity — Cheryl Zamulinsky (MA), *Cavity*

Dinah Sargeant (CA), Eyes in the Back of My Head — Dinah Sargeant (CA), *Eyes in the Back of My Head*

Elizabeth F. Keller (SC), Heartwood Tea #1 with Cups — Elizabeth F. Keller (SC), *Heartwood Tea #1 with Cups*

Holly Fischer (NC), Kiss — Holly Fischer (NC), *Kiss*

We slowly made our way around the exhibit, meeting other artists and supporters of the arts. It was so exciting to hear the backgrounds of others, and how they came to be involved in this exhibit. There were audible "oohs" and "aahs" as people took in the scope of the exhibit, which was great fun to hear and see.

Artist Judith Rosenthal (NJ), Poppy, with artist William R. Sulit (PA) — Artist Judith Rosenthal (NJ), *Poppy,* with artist William R. Sulit (PA)

Jill Baker Gower (NJ), Flsehgem #3 (wall), and John D. Utgaard (KY), Reaction (pedestal) — Jill Baker Gower (NJ), *Flsehgem #3* (wall), and John D. Utgaard (KY), *Reaction* (pedestal)

Peetah Tinay (WA), Ring Border Basket with Lattice in Black and Brown — Peetah Tinay (WA), *Ring Border Basket with Lattice in Black and Brown*

Catherine Winkler Rayroud (TX), Art for Peace, (21 symbols of peace within the composition, hand-cut with nail scissors from a single sheet of paper) — Catherine Winkler Rayroud (TX), *Art for Peace, (21 symbols of peace within the composition, hand-cut with nail scissors from a single sheet of paper)*

I thoroughly enjoyed getting to hear of the many layers of process involved in the work of other artists, and the history of making that spanned years of their lives before getting there. My respect for their work deepened as I listened to their stories, and I was in awe of the variety of techniques represented by the work.

Jess Jones (GA), Topoquilt: Atlanta Prison Farm — Jess Jones (GA), *Topoquilt: Atlanta Prison Farm*

Holland Houdek (IA), Extended Articular Component (Knee Replacement), and Rea Rossi (PA), Celia (ear cuff) — Holland Houdek (IA), *Extended Articular Component (Knee Replacement)*, and Rea Rossi (PA), Celia (ear cuff)

Elaine F. Kinnaird (AL), Touch — Elaine F. Kinnaird (AL), *Touch*

Kate Cusack (NY), Lace- Rust- Red/Gold — Kate Cusack (NY), *Lace- Rust- Red/Gold*

David Rozek (PA), Morphic End Tables — David Rozek (PA), *Morphic End Tables*

Kari Lonning (CT), Paint Box Colors — Kari Lonning (CT), *Paint Box Colors*

Jennifer S. Martin (PA), The White Series — Jennifer S. Martin (PA), *The White Series*

Dylan Martinez (IN), Untitled — Dylan Martinez (IN), *Untitled*

Daniel J. Widolff (PA), Runner — Daniel J. Widolff (PA), *Runner*

Mary Zicafoose (NE), Mountain for the Buddha: Wine — Mary Zicafoose (NE), *Mountain for the Buddha: Wine*

Xin Chen (IA), Squares of Circles? (macro) — Xin Chen (IA), *Squares of Circles?* (macro)

Carol V. Hall with Michael Kehs and Dan Greer (PA), Dragon Vessel: When Fire Dries a Tear, and Stephen S. Robison with Kathleen Guess (WA), Pasta Box (behind vessel) — Carol V. Hall with Michael Kehs and Dan Greer (PA), *Dragon Vessel: When Fire Dries a Tear,* and Stephen S. Robison with Kathleen Guess (WA), *Pasta Box (behind vessel)*

Ellen Dickinson (NY), Undulation — Ellen Dickinson (NY), *Undulation*

Cameron Anne Mason (WA), Quinalt — Cameron Anne Mason (WA), *Quinalt*

Catherine Winkler Rayroud (TX),  (macro) — Catherine Winkler Rayroud (TX), (macro)

Rachel E. Meginnes (NC), Floral Backing — Rachel E. Meginnes (NC), *Floral Backing*

Denise L. Roberts (WV), Mitote #8 — Denise L. Roberts (WV), *Mitote #8*

Jeffrey L. Dever (MD), Jardin Nouveau — Jeffrey L. Dever (MD), *Jardin Nouveau*

Lisa Klakulak (NC), Capped Accumulation — Lisa Klakulak (NC), *Capped Accumulation*

William R. Sulit (PA), Untitled — William R. Sulit (PA), *Untitled*

Raymond Gonazlez (KY), Click — Raymond Gonazlez (KY), *Click*

I felt appreciation for the determination in getting there, and pondered how artists were represented from all corners of the world, yet united by their love of creating. We left that night feeling enlightened by the experience, and so fortunate to be able to be part of the experience.

Bounkhong Signavong (NJ), Reves Indigo — Bounkhong Signavong (NJ), *Reves Indigo*

Bounkgohn Signavong's hand-woven jacket (above), detail (shared that it took ten years to weave and construct!)

Group photo of the artists who could attend, as well as juror, Stefano Catalani... Congratulations and best wishes to all those artists who were not able to be included in this photograph...

Artists Diane Siebels, Michelle Hayden, and  William R. Sulit (taken by my son :) — Artists Diane Siebels, Michelle Hayden, and William R. Sulit (taken by my son :)

Saturday I returned for the Juror’s talk by Stefano Catalani, followed by the artist presentations about their individual pieces. I was on the edge of my seat (as I stood), ears open wide, taking in their words and learning more about what went into their work. I was able to speak about mine, as well, and was grateful for the opportunity to share in such a receptive group, which filled the entire exhibit hall.

Leslie L. Pontz (PA), presenting on her piece, Natural Drape (woven piece, not pictured... was to her left) — Leslie L. Pontz (PA), presenting on her piece, *Natural Drape (woven piece, not pictured... was to her left)*

David L. Knopp (MD), presenting on his pieces, Body and Soul and Tides — David L. Knopp (MD), presenting on his pieces, *Body and Soul* and *Tides*

Stefano engaging with Al Canner (CO), Mesa County (A Cubist's View), (left wall)

Al Canner explaining his process of creating...

John Conver Lutz (PA), Turning Point Hall Table — John Conver Lutz (PA), *Turning Point Hall Table*

Stefano sharing in presentation with Peetah Tina (WA), Ring Border Basket with Lattice in Black and Brown — Stefano sharing in presentation with Peetah Tina (WA), *Ring Border Basket with Lattice in Black and Brown*

Stefano in review with Rea Rossi (PA), Reverberate, (left), necklace — Stefano in review with Rea Rossi (PA), *Reverberate,* (left), necklace

Relief after presenting my piece :), and Stephen L. Maurer (MA), Ogee Bone Bowl (behind my sculpture) — Relief after presenting my piece :), and Stephen L. Maurer (MA), *Ogee Bone Bowl* (behind my sculpture)

After this deepened understanding, I was able to attend the juror’s talk by Curator and Program Director of Craft and Material Studies at the University of the Arts, Mi-Kyoung Lee, and the artist panel for the accompanying textile and fiber exhibit, Making Marks, in the other exhibit hall. It was wonderful to be able to hear more extensive sharing by both the juror and the artists, as it was a much smaller, yet no less profound, exhibit.

Carla Fisher (PA), Renewal — Carla Fisher (PA), *Renewal*

Piper Shepard (MD), Radical 1-3 (macro) — Piper Shepard (MD), *Radical 1-3 (macro)*

Cynthia D. Friedman (PA), Lonely Traveler — Cynthia D. Friedman (PA), *Lonely Traveler*

Susie Brandt (MD), Snow Fence (Mi-Kyoung Lee, left) — Susie Brandt (MD), *Snow Fence (Mi-Kyoung Lee, left)*

Heather Ujiie (PA), Die Vier Hexen — Heather Ujiie (PA), *Die Vier Hexen*

Dot Vile (PA), Blanket from Mom — Dot Vile (PA), *Blanket from Mom*

Kristen Miller (OR), Smoke, Shared Paths, Ghost City (pieces on left and right sides of arch) — Kristen Miller (OR), *Smoke, Shared Paths, Ghost City (pieces on left and right sides of arch)*

Jeanne Jaffe (PA), TS Eliot Four Quartets East Coker (front hanging installation piece) — Jeanne Jaffe (PA), *TS Eliot Four Quartets East Coker (front hanging installation piece)*

Danielle Bodine (WA), Red Dot Galaxy — Danielle Bodine (WA), *Red Dot Galaxy*

Mi-Kyoung Lee (PA), Yellow Forest 2 (macro)

I was so happy to make connections with these artists, as well, and felt such joy at being in the company of others who perhaps look at life from a different perspective and choose to put it into form through their art. I would have loved to have met all of the artists, and to have been able to have shown each person's art, but there were over 120 pieces between both exhibits. I hope the caliber of the work and the diversity of artists is at least represented here...

Hooray for new friendships! (Peetah Tina and me)

And to complete the weekend, we attended a lovely brunch at the home of Franz Rabauer, Craft Forms 2016 Chair, and his partner and benefactor and patron of Wayne Art Center, Brian Daggett. They opened their spacious home with overflowing generosity and hospitality, and shared not only scrumptious food, but the most amazing tour of their collection of contemporary fine craft, covering the entire space of their beautiful home and grounds. It was much like being in a fine museum, only having personal tour guides that knew much about each artist, felt bonded with the art, and had stories of how they each were acquired. They engaged in much discussion with our children, which was so positive for them, as well as us. It was fascinating, and in combination with meeting those who attended, who were very deeply involved in the arts world on a global scale, I was a bit beyond words. My family took it in as a broadening experience, and enjoyed the art immensely. Artists from all over the world comprised their collections, and it was such a privilege to see them nestled into their contemporary home and nature-filled grounds.

At the end of a long and exciting evening...

We left feeling quite happy to have been part of this experience, and beyond grateful for being included in Craft Forms 2016 for this year. I will return home with much to think about, and my wheels are already turning about work that will come to be. My deepest gratitude for my family, and for all who were encouraging and supportive in making this all possible.

Building a New Relationship / November 29, 2016 by Hayden Michelle

It seems fitting that in this week following reflections on gratitude, that I am able to share an exciting new relationship with Malton Art Gallery in Cincinnati, Ohio. This month I had the opportunity to bring my work to Gallery Owner, Syliva Rombis, and Gallery Director, Brenda Campbell, for review, and was warmly welcomed into their gallery.

"Malton Art Gallery has been in business since 1974, and is renowned for high quality contemporary fine art and sculpture, representing over 100 local, regional, national and international artists in a beautiful, contemporary, light-filled gallery, covering three floors and an outside sculpture garden.

Sylvia Rombis specializes in site specific custom commissioned art installations, both in 2D and 3D concepts. Her goal is connecting the client to the art, through the artist… to create compelling art for her client’s needs.

I experienced Sylvia and Brenda’s philosophy firsthand as they examined different pieces of my work. They demonstrated a deep understanding of their clients’ preferences and visions... an understanding that grows only from close relationships with their clientele.

I am thrilled to have both my photography and encaustic sculpture represented by the Malton Art Gallery, and look forward to sharing my art in this new venue. Below are images of new sculptural work to be hung as wall installations, a recent direction which I am delighted to explore...

"Sunrise", 2016, (32 x 38 x 4 in), (and details, below...) — "**Sunrise**", 2016, (32 x 38 x 4 in), (and details, below...)

"Moonrise", 2016, (32 x 36 x 3 in), (and details, below...) — "**Moonrise**", 2016, (32 x 36 x 3 in), (and details, below...)

I am so excited to see where this new leg of the journey leads, and am thankful for the relationship with Brenda and Sylvia of the Malton Art Gallery. If you are up in Cincinnati, stop by this gallery and see the unique contemporary art for which they are known!

Counting Down... / November 21, 2016 by Hayden Michelle

There was an audible sigh of relief after shipping off my sculpture chosen for inclusion in Craft Forms 2016, as well as 5 other pieces that will be available in the Gallery Shop at the Wayne Art Center in Pennsylvania. Here is a description from Wayne Art Center’s website that highlights the energy and scope of this exciting exhibit:

CRAFT FORMS 2016

(A beautiful sculpture made by one of the 89 artists selected for this exhibit... I will share this artist's name after I discover the identity at the event!)

Craft Forms 2016, the International Juried Exhibition of Contemporary Crafts, will be on display at the Wayne Art Center from Decemeber 3, 2016- January 28, 2017

One of the most highly esteemed museum-quality craft exhibitions in the United States, Craft Forms consistently draws upward of 5,000 visitors during its two month exhibition. More than 250 guests, including art collectors, supporters of the Wayne Art Center, and artists, annually celebrate Craft Forms and its companion show at the Opening Gala. The exhibitions and special events continue to attract local, regional, nation and international visitors throughout the duration of the events.

This eagerly anticipated exhibition, celebrating its 22nd year, is dedicated to enhancing the public's awareness of fine contemporary craft while providing a venue for established and emerging artists to share their creative endeavors. Craft Forms is internationally recognized as one of the premiere contemporary craft exhibitions. The finest works of ceramics, wood, fiber, metal, glass, mixed medium and 3D printing are featured, supporting the Center's mission of expanding the public's awareness of fine contemporary crafts, and significantly benefiting all educational and outreach programs for children and adults.

2016 Juror: Stefano Catalani, Executive Director of the Gage Academy of Art and former Director of Art, Craft & Design at Bellevue Arts Museum

I feel deeply honored to be part of this exhibit, especially as the piece selected, “Ascension from the Ocean Floor”, was completed following the loss of my mother this summer, and embodied much of the energy of her illness and change over the years, as well as her final process of leaving this life. I wanted to capture the beauty that was inherent in her very bones, and which transformed outwardly as she lived her full years, impacted others through her love, and left this world a different place from having been here. I am grateful that her spirit continues to live on in all of her children and grandchildren, as well as her extended family and friends. This piece is a visual reminder of the chance we all get to transform both our own lives and those we touch on our journey.

"Ascension from the Ocean Floor", (4 x 16 x 5.5 in), 2016

These other sculptures were happy to be along for the ride, and to have a chance to be viewed in an audience of those who gravitate toward contemporary art. I appreciate the opportunity to share some of my other work in that environment, and am grateful to the Wayne Art Center for inviting the artists this additional privilege. I am incredibly excited to get to take in the work of so many new artists, and to soak up their perspectives, energy, and aesthetic. Congratulations to all the artists who entered for consideration, as well as the ones who were selected. I am sure much blood, sweat, and tears went into every piece submitted...

"In with the Tide", 2015, (and details below...)

"Flourish", 2016, (and details, below...)

"Inner Resources", (13 x 18 x 8.5 in), 2016, (and details, below...)

I am grateful that my family gets to come with me to experience this together, and am deeply aware of how much their support and love carries me in my work. We are all so looking forward to this adventure, and to being part of this eclectic art experience in a different environment. It will be great fun to come back and share a bit of what we learned and enjoyed. I so appreciate the support of all those who encourage, deepen, contribute to, and sustain the arts. Without the positive energy of each other’s creativity on all levels, these events would not be possible. Thank you especially to Wayne Art Center for promoting the contemporary arts and for hosting this event!

Art Tour 2016 / November 8, 2016 by Hayden Michelle

Stunning views of sunrise en route to Kathleen's, mystified by the ghostly fog...

This past weekend I had the privilege of being invited to be a guest artist at the home and studio of Kathleen O’Brien, as part of Art Tour 2016. We were first stop on the tour which included 8 other artists who opened up the spaces in which they live and create their art.

Kathleen and her spouse, Greg Orth, have the gift of warmly welcoming those into the house and studio which they designed and built, nestled into the landscape which feels like an extension of the beauty within their walls. We gathered on the porch which completely encompasses their house, offering views in all four directions, soaking up the dappled sunlight that came in through the gorgeous wall of blue morning glories, magically still blooming on these cold November mornings. A hammock awaited tired feet in the trees beyond the house, and visitors ambled along their beautiful property, soaking up these intentionally and lovingly curated grounds.

The road leading to Sunwise Farm and Sanctuary, Kathleen and Greg's home and studio...

The days unfolded with many coming out to see the stunning watercolors, mixed media and jewelry that Kathleen has so abundantly created, alongside my encaustic sculptural work and photography. We both really enjoyed the symbiotic energy that our pieces seemed to emit while sharing the same space, complimenting each other in color, connection to nature, and positive energy.

Also showcased were antique items Greg has collected, and some of his writing. Sherman Fracher of Abiding Grace Farm was there as a guest, as well, with her artisan pickles. We thoroughly enjoyed sampling them (too many times!) throughout the weekend, and loved sitting around the table with others who tasted these fine pickles and many of the treats that were provided.

Sherman feeling joy in the crisp morning air...

It was so enlivening to engage with those who came out to share in the day, discussing the process of how I work, what my inspiration is, and inquiring as to what moved them to create in their own unique ways. I enjoyed hearing about the many facets of creativity expressed by the visitors… painters, writers, illustrators, actors, musicians, photographers, cooks, seamstresses, wood carvers, and those who immerse themselve in nature as source of replenishment, awe, and quiet. It is in interactions like these that common ground is felt, and which deepens the drive to keep creating and keep sharing with others. I was left with much gratitude for the opportunity and gift of making art, and especially for being invited to share it out on Kathleen and Greg’s sacred grounds.

Shadows of the morning glories danced across the porch planks...

Front view of Kathleen and Greg's land, with fountain and hand-made bread oven...

Lovely way to end the day... with a good hug with Kathleen and a hearty laugh...

And gratitude to be backoned back home to my neck of the woods with a soft sunset to greet me...

Lost in the Details / October 20, 2016 by Hayden Michelle

As I have been settling back in to life after my trip to Eugene, I have had to do so by hitting the ground running... we are in full swing of homeschooling, co-ops, art-making, and reconnecting with friends and family. I finally was able to spend some time in the last week looking at images from my trip to Eugene, OR, and found that the closer I looked, the more I saw in each image. I found myself smiling and remembering the early morning light that filled the living room that housed the baskets holding these tiny parts of our bigger world. They called out to me like hidden treasures underneath the hearth, waiting to be discovered.

As I took them out and placed them one by one on the stone hearth, I was struck by how similar in make-up the tiny bits were, yet each possessing their own unique characteristics that made them beautiful. I let myself imagine what life they once were part of, and what their journey had been from their place in nature to the place beneath the fireplace... whose hands lifted them up off the ground or out of the water and into pockets. I wondered if they knew they were still full of life-giving energy, and that they were being immortalized through the recording of their shape in space, experienced through holding and feeling their surfaces, and attributed with new meanings that I was projecting onto them. Points to ponder...

I love this part of nature-- the endless shape, form, color, line, texture, and symbolism that is gifted to us so freely. Allowing myself to get lost in these details reminded me to do so intentionally, mindfully, in touch with my breath, especially when I forget to slow down enough to see them surrounding me naturally. I thanked these tiny sculptures for sharing their essence with me, hoping on some level it supported their being, and offered gratitude to Stephen White (light sculptor artist in previous post) for letting me play with them on my last morning in Eugene. Seeing these images will always remind me of the peace felt in the cocoon of morning light, and of allowing myself to be lost while feeling found...

Trip of a Lifetime / September 28, 2016 by Hayden Michelle

Stephen White's light sculpture... one of many masterpieces!

The first week of September, I had the privilege of flying to Eugene, OR, to work with an amazing artist. His name is Stephen White, and he has been making light sculptures for 50 years. I can’t quite recall how I came across his work, although believe it may have been through Helen Hiebert’s wonderful Sunday Paper blog, where she shares different artists working in paper (awesome blog, full of inspiration and information of all things paper).

I remember being bowled over by the initial images of Stephen’s work, and started finding everything I could on his work and journey. I wrote to him and shared my reaction to his work, and inquired as to whether he offered any workshops. He communicated back and said that although he did not offer any workshops, he would be willing to work individually with me, and said he did not know the odds of me wanting to fly across the country to do so. I immediately responded that the odds were actually quite high, and that I would be thrilled to be able to work one-on-one to learn from him. I shared my ponderings about the possibility of being able to combine encaustic with light sculpture, and Stephen said that he was open to this exploration, and curious as to what shared learning might occur. Gulp. I felt I needed to pinch my arm, as it was such a shot in the dark to reach out and have it be warmly received.

View from the plane during sunrise... fortunate to have a window!

We corresponded for most of this last year, and settled on September for my visit. After flying in and visiting some beloved and gracious long-time friends (who treated me like a queen!), I was able to begin my work with Stephen. We laid out goals for the week, and I met with his 2 apprentices, who had worked with him a combined total of 10 years, and did beautiful work. I was able to listen to their individual ways of working, and to watch the different methods they used. They all treated me so kindly, and shared freely and openly... great moral support.

Stephen supporting my first frame and helping me glue it, section by section (and making it appear very easy!)

It was fascinating to watch Stephen work, and for him to put into words what his body and mind had been creating for 50 years. I had such deep appreciation for the difficulty of what he made after getting my hands on the materials. The first day, I just experimented with applying encaustic layered photography onto small frames which he had already built. This was tricky enough, and made me realize this was not going to be easy (and maybe not possible to combine these techniques). It helped me clarify quickly that much experimenting could be done at home, and that my main focus needed to be on building the frames and applying the paper, as well as learning some basics of wiring and building the electrical part of the lamp.

Experimenting with applying encaustic photography over a frame Stephen had built...

Experimenting with more encaustic photography... leading me to realize I just needed to play more at home, and learn how to build and layer with paper, first!

This is where the “fun” began. Stephen left me alone to begin working with the reed, and forming it into shape. I quickly learned that reed is quite difficult to work with…. and my hands fumbled with the unruly reed that seemed to have a life of its own, unfurling into every conceivable direction but the one I was trying to shape it into. I have small hands, and although strong, are not nearly as trained as Stephen’s, so I had to use knees, elbows, ribs to hold the formed reed in place, and was secretly hoping none of them was watching me out of the corner of their eyes. I am quite sure that they were just being respectful not to laugh as I intermittently mumbled something under my breath, snapped the reeds several times when I found their breaking point, realized that bending reed was very painful for my thumb joints, and generally just felt overwhelmed. I admitted to Stephen that the first hour of wrestling the reed into a very basic form reminded me of those coiled spring snakes that leap out of the can when you open the lid (remember those? My brothers always got me with those darn things!).

I doubted whether I would make any shape at all, and was relieved when Stephen quietly came over and started showing me how to use clothespins and clamps in many directions to hold each reed down where it needed to be. We then began gluing each individual reed into place, and creating the composition was slow and steady. I made groupings of 4 concentric circles emanating out from a center, representing my 2 sons, husband, and me being interconnected, but growing out into our own lives as we continue to evolve. Somehow, having some meaning to the forms inspired me and calmed me, and we eventually had a completed frame. I felt like I had just run a marathon (which I have never done… only a half, and that was intense enough!). When I talked to my son that evening, he asked how many lamps I had made so far, and was incredulous that I had only built the frame for one small one… small, but mighty victory!

The next day, I began papering the lamp, which is a very detailed and meticulous process, and results in a beautiful paper surface that looks like handmade paper, diffusing light in the most glorious of ways. I learned that each surface between every reed is covered in 4 layers of fine tissue paper (and this is just the first layer!), and that this detailed work is not for the faint of heart. It gave new appreciation for the beautiful sculptures Stephen has made, and for the enormity of the task at hand, given the large size of most of his work.

Stephen demonstrating how to glue initial layers of tissue down...

Balancing the meditative quality of papering with the truth that the goal is to transmit light in the end (and not lose sight of how many layers were laid down, and will now need to be ripped out and redone for being too thick!  All part of the… — Balancing the meditative quality of papering with the truth that the goal is to transmit light in the end (and not lose sight of how many layers were laid down, and will now need to be ripped out and redone for being too thick! All part of the learning, eh?)

Stephen had just completed a 12 foot sculpture whose inspiration was a cloud formation, and it was shipped to Hawaii for a home installation. “Stunning” does not begin to do it justice… It took over 600 hours of labor, and 7 months to complete. I can only imagine the fortunate family that gets to gaze up at this remarkable work of art day after day…

"Aolani", (12 ft.), "Aolani" means cloud formation....

I spent the next few days moving on to a larger frame, with more unfurling, spirals, and open space. I felt a bit more calm in this construction, and again, was grateful for Stephen’s presence, experience, expertise, and guidance. We had many a laugh over my struggles to build something that was reminiscent of my drawing, rather than a sound physical structure. It became a joke that I clearly had never taken physics, and was a lot of work for my brain and body to wrap around these concepts. So amazing how our brains have a tendency to gravitate to particular ways of thinking. This form went into the category of origami, knitting, and other brain-fry executed art forms (which I do not do!). But it gave me hope that I can learn, and that it is good to make my brain work hard.

Example of the overwhelm of clothespins as I awaited the gluing of each section ("Uh, which one are we on, Stephen?")

These shadows made me as happy as the form was taking shape... confirmation that it was becoming real.

Alternate view... open hole large enough to fit smaller sculpture inside in order to ship back to KY...

Other wonderful experiences happened throughout the week, such as meeting one of my favorite artists who uses much natural material and encaustic in her sculptures and work-- Shannon Weber. I was so surprised and thrilled to get to meet her, not knowing that she only lived about 25 minutes from Stephen. We had a lovely afternoon of connecting and sharing inspiration and discussing technique, and my spirits were lifted further. That afternoon was a great highlight, and I will appreciate the continued friendship with Shannon. It was interesting to see the threads of energy that were similar in each of our works-- although each expressed differently, all are fueled by a deep connection with nature.

One of Stephen's sculptures in a gallery in Eugene...

Every morning we walked through Stephen’s neighborhood, built into the side of a hill that used to be a fruit orchard. I was floored each day as I discovered yet another type of fruit tree, and could not stop talking about how much I wished I could gather up some of that ripened fruit and take it home to preserve. It was like being in some kind of magical land, full of many types of apples, pears, plums, and grapes. The abundance of life seen through this fruit, the amazing birds that perched in the trees, and the views that surrounded us served as continual inspiration and grounding in this magnificent experience.

Discovery by the compost pile in Stephen's back yard...

Stephen was so generous in opening his home to me, which was a gallery of beautiful art made by him and many artists he knows, and it was so comforting to be in this space, to eat such healthy and delicious food, and to listen to bits of Stephen’s life experiences that have brought him all over the world. I wrapped up my week feeling full in every dimension, and grateful beyond words. I will continue exploring this remarkable art form, and see what transpires. And I will carry with me the empowerment that comes from connecting with other kindred spirits who are creating such beauty in their lives, and continue to carry it with me in my connections to those in my life back home.

One of many baskets of gathered treasures sitting in Stephen's home...

Edible treasure from the amazing grocery down the hill...

Tiny presence... less than in inch in size, and full of light, and I love how it mirrors Stephen's light sculptures (or vice versa)...

Found piece of coral (Stephen), resting in the hands of a Buddha statue... embodiment of the peace and joy experienced on this journey...

"Microcosms" / September 20, 2016 by Hayden Michelle

"Tiny Forests in a Big World", 2016, (11 x 19 x 10 inches)

As the summer quickly came to an end, I completed some pieces started months ago… the first involving ornamentation of found bone, bleached and fossilized by the ocean. I pondered its history as I reflected on my own, in the light of losing my mother and reflecting on my own mortality. My mind reflected on these vital frames and the similarities and differences which are evident in our own biological families. I thought of the strength of bone, its integrity enabling the support of all that it carries, and how this stable foundation carries us forward on the many paths in our lives. Because their beauty and form do not become revealed until long after death, I realized I often do not remember to take time to offer gratitude for the amazing job my bones perform for me day after day, so it made me smile to add ornamentation as some bit of homage to their quiet awesomeness…

"In These  Bones", 2016, (4 x 18 x 5 inches) — "In These Bones", 2016, (4 x 18 x 5 inches)

Coming from a large family, I have the privilege of watching many nieces and nephews grow into adulthood, and sit back, amazed, as I witness their unfolding. They are traveling across worlds, near and far, to dive deeply, explore new cultures, and to go inward and know themselves more fully. They are choosing what kind of lives they want to live, empowered by a true sense of choice in who they are becoming. I not only feel floored by their courage to go into the unfamiliar, but am inspired to keep exploring my own world, inside and out, in ways that I may have not ever before have considered feasible. It is such a wonderful experience to feel inspired by their openness and hunger for broadening their perspectives. I respect my siblings as they bravely continue to encourage this freedom to deeply explore life in its myriad of ways. Such permission to just be, and let the plan evolve as it becomes more apparent. I feel fortunate to learn and be energized by their examples-- in the parenting of my young children, and in how I continue to make choices in how I create my evolving life.

"Stand in the Place You Need to Be", (2016), (8 x 14 x 5 inches)

"Stand in the Place You Need to Be", (detail)

"Stand in the Place You Need to Be", (alternate view)

As I watch them grow older and move to where they are called, I reflect on my own path, which grows roots more deeply, planted in the hills of Kentucky. I journey alongside my children as they deepen their connections to others and to the beauty that surrounds us in nature. I started a series of works that delves into these explorations of our forests, both inner and outer, as we bond with and explore the land on which we live, and deepen our sense of knowing ourselves individually, as a family, and as a community. As my children grow more into their own personhood every day, and I, my own, I feel much joy, as well as the range of all emotions that inevitably come, as we navigate these unchartered territories.

"Tiny Forests in a Big World", (alternate view)

And this brings me back full circle to “I feel it in my bones”, a phrase I heard repeatedly as I worked on embellishing the bone with tiny droplets of wax, elemental in their origin and beauty, adding a timeless essence to the bone, taking on a new life. I know I am on the right track in continuing to pursue my art, as every time I work on it either in my mind or actively through my hands, a powerful sense of validation is felt in my own bones. I offer much gratitude for the inspiration that comes from my family, friends, other artists, writers, and of course, nature… the never-ending flow of creative energy out there which brings that which lives in my own bones, alive…

In the Stillness / August 13, 2016 by Hayden Michelle

As I was walking this morning, I was reflecting on the deep need I have had for stillness these past many weeks. As I coped with the decline and death of my mother, I felt my life come to a halt as I witnessed my mother's leaving. I simultaneously experienced the force of life going on, ready or not. It has been a most intense experience, and will be an ongoing process, I am sure. But what has struck me most is that I have really craved quiet and stillness, a time to recover from the hectic pace that we have carried on for weeks (months, and this past year, especially). I have just wanted to sit and watch the indigo buntings that fly by swiftly with their turquoise flash of wings, to feel the rush of air as hummingbirds zoom past, or to register the soft landings of swallowtails on the cone flowers so abundant on the hills below. This is a big shift from my usual pace and flow of energy, where my days are full of caring for my family and surroundings, and making time to create whatever art can come forth. It is good for me to let myself have this quiet and connection with nature as often as possible, as nature brings deep solace, comfort, and healing.

As I have gotten back into my studio, I have soaked up the silence and rhythm of working with my hands, and letting them express in a way deeper than words. The first piece I finished began with a photograph of coral, taken through a glass specimen case in a biology building at Indiana University. As I carved through the crevices in the image, I thought of the many creases in our brains that hold memory, experience, feelings... all the parts that make up who we are. I reflected on my mother, and how full her life was, and how many of these memories, short-term and long ago, faded away as she declined in her disease. And just like the coral remained intact and beautiful in its' solid remains of life, so did my mama's spirit-- in how she handled her decline, and as we hold her spirit dear, still. She was so positive in how she faced the challenges in her life, and showed through example how to put your best foot forward. I titled the piece, "Ascension from the Ocean Floor", and felt some catharsis in allowing this 2D image to become full in a new entity, which I imagined would rise up from the ocean floor and experience a new way of being. Somehow, this provided comfort...

(Original photograph of coral, with relief carving into multiple layers of encaustic)

(detail, "Ascension from the Ocean Floor")

(detail, "Ascension from the Ocean Floor"... love how the light comes through the vessel)

I then began to work with the remnants edges surrounding that sculpture, transforming them into small forms. It was nice to watch them take on their own identities, and to begin to coalesce into a collective whole. There was much patience and deep breathing as I applied the minute detail on each piece, and I reflected on how these same elements are needed throughout our lives as we take on the various ups and downs that are inherent in life. I am grateful for the grounding of my breath, and the reminder that sometimes it is all we need to do to keep going. When I was photographing the sculpture, my 12 year old son remarked that they looked like passengers, which so embodied how I felt about them. We are all passengers in this life, separate in our selves, but together in the journey. More comfort...

And this last piece I also completed in July, during exploration of some health issues I have been having. I had spent the late parts of spring and early summer contemplating certainly the decline of my mother's health, but examining and appreciating my own, as well. As my mother's ability to walk changed from unsteady to wheelchair to bedbound, I thought much on the freedom that mobility allows us, especially on our own accord. Every morning as I walked in the predawn light, I offered gratitude that my legs could carry me, still. Having any changes in our health is a stark reminder that we are not guaranteed smooth sailing, making it vital to remember what we have every day. At least, that is my lesson, and one which I am trying to view in the most positive light.

(detail, "What Does it Mean to Move?", 2016)

I think of the many that lost this freedom of movement as I worked for years in nursing homes and hospice, and as I watched my Mama. I was inspired daily by how they could keep a sense of humor, perspective, gratitude, and open loving energy, despite their restrictions. Such gifts they shared. So it is this energy and awareness which went into the piece, "What Does it Mean to Move?". The original photograph is of handmade art glass which I had in my collection for the making of stained glass. I thought about how glass is made, the solid crystals becoming fluid when heated, and how they form an unknown composition, until the hand of the artist helps direct them before they cool. When the photograph was layered in much wax, I began the carving process, imagining what some of the flow lines might have been, and creating form within form. I then added color through powdered pigment to accentuate new and existing color. The piece is mounted to a cradled birch panel that is in a floating frame, which seems fitting, now that I think about it! We all need more time to float :).

I feel so fortunate to have art as a means of expression, healing, and connecting with others, and am grateful to have been able to share here, again... Thank you for taking the time to read through and join in my process, and have a day full of whatever movement you need or desire!

Letting Go / July 10, 2016 by Hayden Michelle

[Mary Agnes Klee McNamara Strayer, July 24, 1933- July 8, 2016][

In the early hours of Friday morning, my Mom crossed over. Living with Alzheimers for 10 years offered us opportunity to grieve the bits of her that left as her memory eroded, but what became so clear to me in the 10 days leading to her death, was that her truest self was still present. Her essence remained until the end-- full of love, grace, respect, gratitude, inner peace, beauty, humor, and compassion. Every person that came into the room shared the ways that Mom had shown love and kindness to them, from family and friends, to the nurses, aids, kitchen staff, and front desk employees where she lived. And she embodied that her entire life, always giving of herself, finding ways to help those in need, and offering nurturance through coffee, baking, art, hand-written notes, prayers, playing the piano, tending her beloved kitties, and offering her gentle touch.

Mama was a powerful role model in so many profound ways. She showed tremendous strength and courage in raising 8 of us after my dad died when she was 40, a living example that you can do what you need to do, even when it is difficult beyond words, and unchartered territory. She showed much perserverence and patience in many parts of her life, while maintaining a sense of love and optimism for those she loved. She truly was a warrior woman in her own quiet and humble (understatement!) ways.

Another gift she shared abundantly was her art. She was an amazing artist, and expressed it in so many ways. She made all of her children quilts, and drew birthday signs that she would post around the house to discover as we awoke. She painted and drew and stitched her love through all of these years, and we were blessed and delighted to receive it. Mama used her creativity in a myriad of ways, and nurtured this resourcefulness and artistic sense in all of us, a gift for which I will be eternally grateful. She had an eye for color, and always pointed out the congruence of colors in our clothing, food, and nature. Mom deeply appreciated nature, and was rejuvenated by the birds she faithfully fed, the flowers she tended, and the trees and sky she so often studied and reflected upon. And she was so aware of the details that were easily passed over, pointing out the smallest of forms and reflections that were present in the natural world. This is a shared connection that I will continue to cherish in my own life. She carved out time to make her art, showing the importance of nurturing things in ourselves that need expression.

Mama always got up before dawn to pray, listen to the birds sing the morning in, and have coffee, soaking up the precious quiet. She said it gave her fortitude to face what the day might bring. Besides being immersed in raising all of us, she was devoted to her volunteer work weekly with hospice, the prisons, soup kitchen, and nursing homes. We often went with her to the nursing homes to visit, play the piano, and be with those who needed company. She would bring fresh salad to one woman who loved her greens, and butterscotch candies to a man who would line them up across his whole tray in perfect order, before eating them one by one. Mom taught us by example that all are worthy of love and respect and compassion, and that we always have something to offer each and every person we meet. I am quite sure that it is this modeling that influenced me doing social work, my sisters being nurses, and in the many ways that we continue the care-taking that she shared with us.

I will so miss Mama's sense of humor. She had a contagious smile and full laugh, and was quite easily amused. She shared much silliness and playfullness with my boys, part of what they loved most about her-- she could be a kid right along with them, especially as the Alzheimers removed some of the layers of repression, connecting to her free-spiritedness. She was up for adventures and outings to Goodwill and garage sales, always keeping her eye out for good finds.

She appreciated the simplest of things, from watermelon on a hot night, to Yardley's lavender soap, to a sweater to keep herself warm. Mom taught us mindfulness without even knowing it. I could write on and on about the ways she influenced us all and am keenly aware of what a profound gift her life has been to all those she touched. We will carry her love forward, inspiring us to keep her spirit and goodness alive. She will be profoundly missed, but is finally free.

Rest in peace, sweet Mama...

Excited to Announce / June 1, 2016 by Hayden Michelle

This morning, I am so happy to announce that the NEW Spring 2016 Issue of Encaustic Arts is now available (For NEW subscribers, Click to Register Now! ) for online viewing. I am so honored to be featured in this magazine, alongside 7 talented prominent encaustic artists.

Encaustic Arts Magazine is published online semi-annually by The Encaustic Art Institute. The first and only international magazine about encaustic, it features the most important news about the medium. Issues are filled with articles on encaustic/wax artists, info on techniques, tools, materials & exhibitions. Best of all, the magazine is FREE!

Featured artists this issue: LARRY CALKINS, MICHELLE HAYDEN, KARL KAISER, JEFF SCHALLER, DIANNA SCHOMAKER, ELISE WAGNER and HOLLY WILSON.

With this issue, we highlight a new TECHNIQUE feature article written by JERRY MCLAUGHLIN on cold wax medium. Artist MICHELLE HAYDEN's encaustic mixed media piece, Quiet Emergence is ourSpring 2016 cover (photo, Bob Bagley).

Writing this article was a growthful and challenging experience for me, and I spent much time reflecting on what it is that inspires and drives me to make art, how I have come to love working with beeswax, and why this medium's ability to transform my work is so important. I did much soul-searching on these sharings, and realized that presenting the wider angle is integral to who I am and to my art. Living takes courage, as does sharing vulnerable parts of oneself, but I truly believe that it helps us all be more whole when we can share in this way... and it enables us to connect with each other, which surely is part of our purpose here on earth.

I immersed myself in reading the other artists' profiles and stories of how they came to be where they are, and soaked up their insight, experience, and beautiful photos of their work. I was moved by the dedication to their art, and awed by their unique ways of expressing themselves through image and word. I feel privileged to be featured with them, and thankful to have been exposed to their work.

I am especially grateful to the founders of Encaustic Art Institue, Douglas and Adrienne Mehrens, and editor, Kari Gorden, who put incredible time and effort into supporting encaustic artists worldwide, and in promoting artists through their magazine, gallery, and teaching. Doug shared in his editorial comment of the magazine that people in over 29 countries across the world have opened this magazine, showing how the interest and love of encaustic is spreading. How exciting is that?

I also wanted to share a new piece I just completed, which came together in a totally different way than I had anticipated, which is often the case. It took me many hours of trying to make it work they way I had envisioned it, only to realize that I needed to see the resistance as a sign to change the whole form... and of course, when I let that happen, it all came together into a cohesive piece. I then was able to enjoy the flow of making this vessel, and feel a sense of protectiveness about it, as if it is a rare seed pod found on the forest floor (quite a large one!).

"Propagate", (13 x 17 x 11 inches), 2016

Once again, I conclude with offering much appreciation for the love of my family, friends, and fellow artists, whose interchange of support, inspiration, and encouragement makes it possible to express our lives in so many ways. Being part of this tribe is such a privilege...

Seasons / May 19, 2016 by Hayden Michelle

"Held by the Light", photograph of pod, 2016

I have been reflecting much on the seasons of life these past several weeks… how quickly they change from one to the other, what gifts and challenges they bring, and how some are easier to embrace than others. This spring has brought a fresh round of color, fragrances, and a bursting of new growth in all forms, and it has also brought loss—of several full-of-life people in our small community and family, and of the decline of my mama. Our family brought hospice in a few days ago to ensure that she leave this world with the utmost care, quality of life, dignity, and profound tenderness and love surrounding her. I am incredibly grateful that hospice is able to assist us in keeping her comfortable, and helping her ease out of the long years that she has suffered with Alzheimers. We have been losing her a bit at a time over these years, and yet, it is so difficult to take in that we are at this point of letting go. Mama has been a tough bird, raising us all with as much love and strength as she could muster.

As I walked during sunrise the other day, I gathered several treasures off the ground. Found were a remnant of a wren eggshell, whose small bird is likely growing feathers on its newly sprouted wings, fragments of cedar wood that will hold new sculpture, tulip tree blossoms in different states of disintegration, two large feathers of birds long flown over, birch bark calling for imagery on its smooth surface, a perfectly whole robin egg that left its nest too early, and an amazing large pod that had seeds releasing from its core. My pockets and mind were full as I pondered how this wheel of life is a constant in nature and in our own existence. I felt both a sense of comfort and helplessness in this, aware that things happen in their own time, and that this does not always correspond with our being ready to let go. And I reminded myself that it is important to just breathe that in, and keep breathing, holding that acceptance gently. A second morning as I was out before dawn, a shooting star went over my head, lighting up the dark sky. I burst into tears, feeling how fleeting life can be-- and then minutes later, another streaked through the wide open sky… and reminded me to connect with the fullness and offerings that these experiences bring, as well as the day that lies before me.

"Release", photograph, encaustic carving, 2016

I know that the sadness comes out of having loved deeply, and that this in itself, is a profound blessing. Like the pod that is slowly freeing its seeds to be carried by the wind, so we must surrender, trusting that my mama will experience liberation from her earthly body and mind, and that the seeds she has planted in all those she loves will continue to bear the many gifts she has shared with us. And all of these losses, always, deep reminders to love each other more fully, including ourselves…

Back in the Flow / May 12, 2016 by Hayden Michelle

I am elated to be able to share that we wrapped up the main work from our fire, and that my in-house studio space is back up and running. This brings me incredible joy, and relief beyond words, and I am so deeply grateful to be making art again. The first piece to share is the result of a meditative exercise in which I let my mind be free of expectation of what was to emerge, and to let my hands bring the imagery into dimension. I worked in silence to let my mind be clear, and enjoyed the process of letting the colors flow from many layers of drawing and painting into new form. I really enjoyed working in this way, and will be exploring more like this in the future...

"Patterns in my Mind", (13 x 18 x 4.25 inches), 2016 — "**Patterns in my Mind**", (13 x 18 x 4.25 inches), 2016

The next sculpture came about after many hours visiting a grocery that carried food from around the world (made much more fun and interesting with the company of a dear old friend). I paused frequently to marvel at cuisine so different from my own. Coming upon these large cacti leaves (spines removed), I reflected on the sustenance they held... guarded treasure stored beneath their once-spiny exteriors. Like the life-saving water contained within, we also have inner resources to call on in times of need. Connecting with these parallels that lie within the natural world makes me feel more grounded in our shared world.

**"Inner Resources", (13 x 18 x 8.5 inches), 2016**

The third piece was inspired by a stand of yellow wildflowers growing in one of my favorite nature preserves. I was struck by how the flowers seemed to reach up to touch the sky, especially when viewed from the perspective of the ground. The contrast of the yellow and blue made such a beautiful balance, and seemed to be singing out the innate drive to embrace life in whatever ways we can.

**"Touch the Sky", (12 x 26.5 x 5.5), 2016**

Once again, I feel so fortunate to have art as an outlet, and this forum as a way to share it with others. Much appreciation is felt in the power of connection that comes from this interchange.

New Light / April 2, 2016 by Hayden Michelle

View of the most breath-taking rainbow I have ever seen, taken on our land

Thursday, I received some lovely news. The International Encaustic Artists organization notified me that I have been granted a 2016 Emerging Artist Award. I am deeply honored to receive this recognition and financial support, especially as I am just in the early stages of introducing my work. I am looking forward to using the funding to explore work on a hot box, whose surface allows for monoprints and painting. These prints will become sculptures, as well as foundational backgrounds for my sculptural work. I can hardly wait to begin new exploration with this limitless medium. I am deeply grateful to the IEA for providing ongoing exposure and education on the encaustic arts, for supporting encaustic artists around the world, and for offering me this gift.

Friday, I was greeted with more positive news. I am going to be a featured artist for the upcoming biannual issue of Encaustic Arts, an online magazine produced by the national encaustic organization, Encaustic Art Institute, located in Sante Fe, NM. To my surprise, I was notified that one of my sculptures, "Quiet Emergence", was chosen for the cover of the magazine. I am proud to be featured alongside these established and talented artists, and am looking so forward to reading all of their stories and profiles. The magazine will be available June 1st. Here is a sneek peek of the cover...

It is so exciting that things are evolving as this new year unfolds, and I feel so privileged to be able to continue making and sharing my process and path. Thank you for all of your support and interest. It means the world.

Do these clouds not look like an oil painting?  I did nothing to modify the picture.   Amazing! — Do these clouds not look like an oil painting? I did nothing to modify the picture. Amazing!

I love when nature reflects what emotions I am feeling, and could not have created a more perfect transition from  cleansing storms to (double!) rainbow to some of the most beautiful skies I have ever seen... such a gift! — I love when nature reflects what emotions I am feeling, and could not have created a more perfect transition from cleansing storms to (double!) rainbow to some of the most beautiful skies I have ever seen... such a gift!

Night Out with the Arts / March 4, 2016 by Hayden Michelle

Last Saturday, February 27, I had the privilege of attending the Berea Art Council's 2016 Stepping Out for the Arts. The theme this year was, "Through the Looking Glass", and the costumes, decorations, and multitude of cupcakes depicted all kinds of wonderful Alice in Wonderland imagery... there were papier mache mushrooms and collections of teacups on the tables, crazy and eccentric hats, and much levity and excitement in the air. There was both a silent auction and a live auction, led by the talented Rev. Kent Gilbert, and he brought much laughter and momentous energy to the bidding for the beautiful art. The space was again a stunning venue, and the West family who owns this amazing space has done a fantastic job of preserving and furthering the beauty of this historic building, as well as providing flawless service throughout the evening.

And this is the thing which struck me most as I absorbed the evening, taking in the 96+ pieces of artwork (click to see gallery) donated by local artists and conversing with so many-- that I am so incredibly fortunate to be surrounded by a deep and wide community of creative, supportive, generous folk. I felt an overwhelming sense of gratitude to be part of this lively and loving group, bursting at the seams with talent of all kinds... and aware of the amount of time and resources that went in to making the evening such a success. I want to send out a huge thank you to all of the artists, volunteers, sponsors, friends and family who came out to support the Berea Arts Council, and especially to the BAC for supporting me as an artist over the past 10 years. It was palpable, the good energy that swirled around.

A final highlight of the evening for me was to be able to meet and engage with the woman who bought my piece, Lila Bellando. Although I have been in Berea for 10 years, I had not yet had the chance to meet and know Lila, her husband, Richard, and daughter, Tara, as well as their 2 lovely friends. Being the previous owners of Churchill Weavers, and Lila being an artist herself (as well as being the Director of the Berea Craft Festival for 32 years!), it was wonderful to hear about their history and impact on the arts in Berea and KY over a lifetime of dedication to the arts. I felt honored that Lila purchased my piece, "Quiet Emergence", and look forward to getting together with her again and hearing more about her inspiring life. It makes such a difference to get to meet the people who bring your art into their lives... always a gift for me, validating this connection that is at the root of making and sharing art.

Moving In with the New... / February 20, 2016 by Hayden Michelle

The other day I received word that the piece I submitted to the Kentucky Art Council's "This is Fifty" Exhibit was accepted into the show. This exhibit is part of the 50 year celebration for the KY Art Council's amazing support to artists in KY in the past 50 years, as well as looking forward to how the next 50 will evolve. I am so thrilled to be part of this show, which will showcase the many literal, figurative,and metaphorical interpretations of artists to the theme, "fifty". Here was my take on the subject, both in and image and word...

"I found this sea urchin on a specimen shelf in a university biology building. Long since removed from the ocean, its mission now is to serve as an object of study for science students. I was taken by the beauty found in the reflection in the glass on which it rested, and realized that this was as meaningful as the urchin, itself. I pondered the calcified remains of this dear creature, and how the opening in this vessel seemed to invite me in, beckoning further exploration. Likewise, I pondered about our outer bodies, the ways in which we age, and how we often become more introspective as the years of our lives go by… and if we are lucky enough to have made it to the fifty year mark, how we both reflect on what has transpired in our lives, as well as wonder how our lives will evolve in the second half of a century of living. This simple image holds powerful symbolism, reminding me to grow inwardly as intentionally as I tend to my outward physical body, and to balance energies, within and without, as part of daily mindfulness. With gratitude for all of the paths that have taken me here, I am reminded to honor both the new unfoldings as well as the losses that have been integral in the making of who I am, and to work hard to share the outgrowth in a way that will be passed on to my children and to those whom I touched in my time on earth.

The underlying photograph is covered with many layers of beeswax and resin of African trees, and then hand-colored with powdered pigment. This process of layering wax and color reflects the many layers by which we all are made, and makes me appreciate how the build-up makes a more beautiful surface than the photograph alone, and transmits a fuller depth. Each layer must be fused with heat to the layer beneath, merging into a whole that can no longer be separated. Batik dots, which mark where once stood defensive spines, remind that we, like the sea urchin, have elements which reflexively ward off all that we perceive (or misperceive) as threatening. Without needless defense, the true self emerges."

This exhibit will be showing at Kentucky Crafted: The Market, from March 4-6, held at the Lexington Convention Center. It is such a creative way of celebrating the 50th anniversary of this wonderful organization, and I look forward to seeing all the many interpretations of this word. Please stop by if you are in the area and see the exhibit while enjoying the market! Thank you for letting me share!

And a Week Until Close... / February 15, 2016 by Hayden Michelle

As rain now follows the snow that fell yesterday, I sit here wondering where this past month has gone. It is hard to believe that we are in the final week of “Turn Up the Heat” at Mary Rezny’s Gallery in Lexington, KY. It is up until Saturday… so there is still the rest of the week to see it if you have not had a chance already. And I am finally able to share about the opening, which was a wonderful event.

The evening was full of cold rain, yet many still came out to see the work, and I really enjoyed being able to talk at length with many of the artists as well as gallery hoppers. It means a great deal to have these face to face sharings about the work I do, and to hear about that of others. It adds such a different element to just seeing the work up on the wall… an extra depth, which is lovely. You really can get a sense of the underlying energy of the artists, as well as how the viewers experience the pieces. It reminds me of dots being connected, making a more complete image. Super exciting, and so grateful I was able to be there. I was very sorry that Melissa Hall, Bridgette Guerzon-Mills, and Trish O’Brien Korte were not able to attend. I would have really enjoyed hearing about your technique, inspiration, and stories… and you were there in spirit! There was much engagement with your work, and I tried to capture some of it through photos. All of the work was beautiful, and I found it to be a really cohesive, yet diverse, show. Here are many images from the evening…

The gallery below shows the work of artist Raymond Papka, and of his engaging conversations in explaining how he works...

This next gallery shares the work of artist Trish Korte. I look forward to talking to her in person about her sculptural work!

This gallery is the work of artist Melissa Hall, whom I also look forward to catching up with!

Artist Bridgette Guerzon Mills' works follows below... hoping to cross paths in person some day, Bridgette!

And last but not least, the work of artist Debbie Jackson Billips...

Thank you all for whatever part you had in supporting this amazing show... whether it was organizing and curating the show, (Mary Rezny!), making the artwork that became part of the cohesive whole, were the friends and supporters who came out to appreciate and share in the show, or our dear families, who pulled more weight and ate a lot of cereal for dinner in the months preceding this show (thanks, boys!) :). Words hardly seem adequate to express the gratitude and of being supported and encouraged as an artist, especially when the really difficult parts are the focus of the day. It makes me feel very loved and very privileged to be able to share in this experience with all of you, no matter where you fit in from that mix. Hugs to you all...