This 'n That and finishing touches

September 25, 2022

This has been a weekend of studio juggling – a few different things in various stages of completion.

Friday I enjoyed a wild and furious session of fabric painting outdoors with my art friend Karol. We are working on a collaborative project, a very different experience for me. I’m sure I’ll have more to write about it in months ahead.

For now I’m enjoying looking at some of our painted yardage. We started with light in the back and just kept adding deeper color and textures, each of us contributing to each piece. Working outdoors we had the freedom to splash and spatter if so inspired. (We’re using acrylics on cotton muslin, in varying degrees of wet and dry as we worked.) Here’s a bit of our handiwork.

Meanwhile I’m working my way through the content section of this piece, which is aimed at social commentary. I’ll just share a face-in-progress and let you guess where this might be going.

Then it was time for serious work. I’m thrilled that my 2-panel work, “Discerning What is Real” was accepted into the Q=A=Q exhibit at the Schweinfurth Art Center in Auburn, New York. It’s a competitive show and I am excited to be a part of it.

BUT… part of the work of exhibiting is packing and shipping. (Ugh.) I created this 72”W piece in two panels, both for the composition interest, and to help with the logistics of shipping.

(For those who wonder about hanging an art quilt on the wall, take a look at this picture in the lower right. It shows the back of the other panel. I stitch a pocket across the top, created with a bit of ease so the hanging rod doesn’t show from the front side. The finished hole in the pocket at the top allows a D-ring to be attached to the hanging dowel. This will hang easily on a regular nail or picture hook.)

My works do not roll up small and tight as many quilters’ works do. Constructing with collage and painting surfaces with acrylics creates a stiffer final artwork. But, I can soft-fold safely to keep the shipping box size down.

After it’s soft-folded, I insert the quilt into a plastic bag for protection.

Now for the box. I buy a single size box to use for a variety of different sized items to ship. It is never exactly the right dimension, almost always requiring cutting down or building a custom box. For this work, I had to use one and a half of my standard boxes glued together. (Trade secret: wood glue is the best box-building glue, or a combination of wood glue + hot glue if you need things to set up fast.) Here it is, with the glued seams weighted, ready to fold up and assemble.

I am box woman!!!

. . . . . .

This week here in Florida, we are watching the track of the next hurricane, having watched Fiona wallop our friends in the north. I send my hopes for safety to all those in these storms’ paths. The next one may head our way or it may stay on the other side of the state. We’ll know in a few days. I hope to be safe and dry a week from now in time to post next Sunday.

For all the artmakers: Happy creating
For all the art lovers: Happy appreciating

Thank you for reading. I always enjoy questions and comments.
--Bobbi

bobbi@bobbibaughstudio.com

How I keep in touch:

BLOG POSTS - once a week: Mostly about what I am creating in the studio. If you would enjoy receiving blog posts by e-mail, please subscribe here: I post and send by e-mail each Sunday evening. BLOGS-BY-EMAIL

NEWSLETTER – about once a month: Mostly news of exhibits and my way of introducing new work. You’ll get FIRST LOOKS at new artwork and members-only discounts. You’ll hear from me about once a month. NEWSLETTER

Ideas in a small space

September 18, 2022

This week will be the second week of SAQA’s annual artwork auction.

SAQA – Studio Art Quilt Associates, Inc. – is an organization I am a member of and that I support. There are a LOT of textile artists who enjoy supporting SAQA – this year there are over 400 donated quilts! Each quilt is 12” x 12”.

At the bottom of this post I have put in the links to the auction which will take you to the site with artwork and bidding instructions.

For now, inspired by looking at the incredible variety of works donated, I’m thinking about communicating ideas in a small space. I don’t generally create small works. I like to work as large as I can handle. But the demands of small spaces are good learning experiences

“Outside Looking In” was my donation in 2019. Paring things down is a good idea for a small work. Have one big idea and develop it. In this one, the idea is the bird looking through the window. Just about all the space is dedicated to that, and the very restrained palette keeps from distracting from this central idea.

“Outside-Inside” was my 2020 donation. The idea of this one is a lot like the bird-and-window work from 2019. There is a character on the outside, and things hidden within the windows. Because the picture plane has more things going on (a character, a shadow, a sidewalk and two windows) I used very strong contrasts to keep it from being overwhelming. This divided the picture space into distinct parts. I worked to find just the right shape for the little girl. I think – even as a simple silhouette – she is expressive.

“Welcome Home” was my 2021 donation. I think I did some things right: The shadows on the building wall work well. The leaves on the left establish a strong foreground and depth. The diagonal orange in the foreground adds some energy. For me, however, I did not feel like it captured the emotion I had hoped for. This is based on a photo of a house I have visited many times belonging to a friend in Maine. It has very strong emotional connotations for me. But the piece I created did not match the emotion I attach to that place. For the work to reflect my memories, I’d need more space and the ability to develop more distance and add some softer shadows.

“Completing the Circle” is my donation for this current auction. I especially like this photo of ripples in water. (I have incorporated it into several of my larger works.) I was pleased with the way the photo blends into the non-photo portions of the composition. And I was also pleased with the sense of depth and layers – not so much of physical space, but the suggestion of time/space and a story.

If this blog post has whet your appetite to do some shopping, please visit saqa.com/auction. Section 1 quilts were auctioned last week. Section 2 quilts will be available starting tomorrow, September 19. Purchases on day 1 are for $750, and the price per quilt goes down each day. (So the shopping is a fun adventure. Do you splurge on day 1 to get the one you want most, or hold out hoping it’s not snatched up and available for a bargain day 2 or 3?)

My quilt “Completing the Circle” is in group two. I will enjoy watching to see if it finds a buyer. I’d be honored to have this work make a good contribution to SAQA.

Find the auction here https://www.saqa.com/auction

Finally, an update on the piece I wrote about last week.

This is a detail image of the finished work, “Different Light Remembered.” If you would like to see the whole collage and learn more, it’s on my website **HERE**

For all the artmakers: Happy creating
For all the art lovers: Happy appreciating

Thank you for reading. I always enjoy questions and comments.
--Bobbi

bobbi@bobbibaughstudio.com

How I keep in touch:

Building Layers toward Warm

September 11, 2022

This week I have been immersed in rich warm orange-red colors, and a piece that will use them as a layer. (This an application of the tree ideas I posted about last week)

This work is a good example of working from back-to-front in building up layers of color and pattern. I started with the very background – a piece of natural canvas, ripped to size for a natural edge and primed for paint and collage

Next, I monotype-printed some yardage of a neutral color in a subtle but warm gold. It’s printed on sheer polyester. When it’s collaged onto the canvas it disappears as a separate layer and looks like part of the canvas. It will create a parchment-like background.

I created this nest section by sponge-painting cotton muslin with acrylics. (I worked a little bit of stenciling into the background so it’s not just solid orange. You can see some squares and faint honeycomb shapes.) On top of that I screen printed a series of trees in a darker orange tone. (cadmium red + raw umber.)

So far, it’s pretty stark and disconnected. I look at this and see a big orange square on a blank space.

What comes next will be the process of adding different colors (I’m leaning towards greens) in the bottom third of the piece. I haven’t gotten to that part yet.

But I did get as far as working a bit more interest into the orange section so it’s not so monolithic. I like the addition of these paper honeycomb sections .

More to come on this piece.

Meanwhile, I did complete another work on canvas that I’ve been depicting in posts for a few weeks now. This is Remembering The Way.

If you would like to learn more about it and see the whole artwork, you can find it on my website HERE

. . . . .

Finally… just sharing something that’s very important to me. Here in Florida, and in many states across the US, there is a growing animosity towards teachers and public schools. (Not me. I am teachers’ biggest fan!)

It is taking the form of a political movement to ban books, under the guise of parental rights. I think this is a very wrong-headed. However this is playing out where you live, I ask you to pay attention.

And, if you think as I do on the subject, please do whatever you can in your area to make your voice heard. Letters to the editor are good. How you vote counts. How we talk to our friends and neighbors counts. I posted the picture and text below on my Instagram and Facebook feeds hoping that my little drop in the ocean of discourse might be productive. Feel free to copy it and share it in whatever way you share ideas. Thanks.

Thought for the weekend . . . Really! Do we even have to say this? Apparently so. I’ve just been reading articles about literacy projects around the world changing lives as students finally receive long-sought-after books. And, here, where books are plentiful and school is free, people actually want to BAN books? This is a truly bad idea. We should tell our elected representatives we think so. If a book offends your family’s core values, I respect that. Feel free not to read it, and ask your child not to read it. Done. Let the rest of the world learn.

For all the artmakers: Happy creating
For all the art lovers: Happy appreciating

Thank you for reading. I always enjoy questions and comments.
--Bobbi

bobbi@bobbibaughstudio.com

How I keep in touch:

Working out ideas (over and over!)

September 4, 2022

When I’m stuck in the “I’m-not-there-yet” place in an art project – as I am now – after spending a fair amount of time feeling dissatisfied with myself and the world in general; it helps me to remember the basics.

Oh yeah. Sketching. And working out ideas on paper. What a good idea!

I have created a series of small silkscreens that form a large tree. I like this tree. And I have a size that particularly interest me for a while – a vertical wall hanging about 24” x 40.” And I sense that there is a nice series here, waiting to be developed. But I’m not there yet.

Must be time to pull out the sketchbooks. I keep sketchbooks full of ideas. And, it’s mostly ideas that I record.

Quick thumbnail sketches that encapsulate an idea is what I’m I’m going for. No concern yet with technique, or even color. (I do better considering color separately, after the idea is further along.)

For this current tree series, I’m using good ol’ paper cut and paste to put together composition ideas, for several reasons:

First, I am working towards a specific size. So, printing out rectangles in that proportion will keep me thinking in the space that I will actually have to work with.

Second, the tree image I have is very detailed, and the actual image has a certain “feel” to it. If I just suggested quickie tree-like lines in my thumbnails, they would not convey the same feel that the printed tree will have.

Once I’ve cut out the tree and placed it into the rectangle in different ways, I can do quick ballpoint pen sketching on top of that to work out what other elements I’ll be using. (Mostly framing elements and positive-negative variations.)

In just a short time of experimenting , my mind is in gear. I can now see where this series can go.

I’ll look at my various mockups and envision them in different colors. (A next sketching assignment may be just creating various color combinations with oil pastels or crayons.)

So. I’m still not there yet. But I am out of being stuck and excited to jump into the next stages. Stay tuned!

. . . . .

The SAQA (Studio Art Quilt Associates) annual auction is coming SOON! I hope you will participate.

Each year members of SAQA create 12” x 12” works that are donated to SAQA. They are all available to see online, and all the bidding is online. They are grouped in flights, offered over several days, with prices highest on day one and decreasing each day. It’s fun to spend time checking them out in advance and then tracking your favorites.

Here’s where you go to see the works, participate and to find instructions:

https://events.handbid.com/auctions/2022-saqa-benefit-auction/items

And here is the quilt I created for the auction. I’d be honored to have it purchased to support. SAQA. Happy shopping!

For all the artmakers: Happy creating
For all the art lovers: Happy appreciating

Thank you for reading. I always enjoy questions and comments.
--Bobbi

bobbi@bobbibaughstudio.com

How I keep in touch:

Hello Old Friend

August 28, 2022

Today I revisited an old friend.

She is a quilt I created in 2017.

And she is the-inner-me in an earlier stage of life.

I presented an art talk to a textile art group in North Florida today and I took a number of quilts with me to share. That’s how I happened to look again at “Neither Here Nor There.”

I remember the process of creating this work. My neighbor was a teenager at the time, and she posed for me sitting in a ladderback chair. I worked from my reference photos. It is primarily a whole cloth painting with collaged layers on the form of the girl, and then the collaged addition of the tree form and the leaves and the bird.

I was very involved in the life of this girl as I created the work. I collaged the layered fabric over her face and body to build up the skin tones. I drew in the features and the outline with oil pastel. And I stitched her form both to hold it all together and to add texture.

Preparing to speak to the group today, I tried to think of what it is we strive for as artmakers. What will make us feel complete in the work we do. And what we recognize in the work of others when it speaks to us.

It’s having a strong concept of what the work is about – and then an execution that realizes that concept in the finished piece.

This work did that for me. I remember very clearly times in my own journey when I felt neither here nor there – between places – between life stages. That experience can involve dreaming and wondering, which I what I strove to depict in this quilt. It can also involve pain and indecision. That is not depicted in this work specifically, but it was part of what I thought about as I worked on the piece.

So, it was nice to visit this old friend again today.

(If you would like to learn more about “Neither Here Nor There”, it is on my website HERE)

. . . . . .

The next stage of “The Artist’s Question: Exhibit. I am proud to have a piece of work in the traveling exhibit featuring work by SAQA artists in Florida and other gulf states. Its next opening is Eastern Shore Art Center in Fairhope Alabama. Details below. If that’s close to where you are, I hope you’ll have a chance to see the exhibit. (My work is shown: “Nor Could Our Hands Catch Them.”)

For all the artmakers: Happy creating
For all the art lovers: Happy appreciating

Thank you for reading. I always enjoy questions and comments.
--Bobbi

bobbi@bobbibaughstudio.com

How I keep in touch:

About horizons and abstraction

August 21, 2022

I spent Saturday morning with my local art / surface design group in New Smyrna Beach. We meet monthly and have been spending our days together with each working on our own project.

I was drawing – using a grid and rendering a scene of three figures – working very hard to get the proportions and angles right. It was HARD!

But as I was drawing I was thinking of abstract work, and a great studio visit I had with several fellow artists this week. While they visited we looked at a number of my paper collaged works. We shared that we both love abstract work but find that creating it is hard. For me, abstract composition is HARDER that representational.

Creating collaged works has taught me a lot. One of my key takeaways is that It helps me to establish a horizon line.

To know where to begin. To know where I am.

***The Middle Ground Between*** Paper Collage

I began this abstract landscape with a sense of sky above and ground below. OK. I’m grounded now. I can begin to arrange the parts with some looseness and not-completely-representational sensibility because I have a sense of space.

This composition has a very strong horizon line. That gave me a way to think about what forms would go where. Underground is more mysterious. Above ground is knowable, more realistic.

Here are a couple in which the horizon is less defined. But it’s there, guiding the composition.

***Waiting for The Next Sky*** Paper Collage

***Within the Harboring Silence*** Paper Collage

When my studio friends departed I spent some time looking at this collage.

***The Form Exists to be Found*** Paper Collage

I have created several pieces with a similar pattern. An underlying grid. Then collaged pieces or painted forms going across the underlying structure. Then something large with a reversal to let the underneath colors show through.

Of every four of these I try, I end up throwing away two. But, when it works out, the process is very pleasing to me. I confess that I like this composition a lot. I built it out of layers of monotype-printed tissue paper. I let the colors and patterns evolve.

I enjoy the work of artists who go about building the picture plane in ways quite different from me: organic splashes of energetic color. For me, at last so far, I can wade into new or interesting patterns and layers best when I have a horizon to hold on to.

If you would like to learn more about the works in this blog post, they are all on my website (and, whaddaya know, available for purchase) here: WEDNESDAY COLLAGE GALLERY.

For all the artmakers: Happy creating
For all the art lovers: Happy appreciating

Thank you for reading. I always enjoy questions and comments.
--Bobbi
bobbi@bobbibaughstudio.com

How I keep in touch:

NEWSLETTER – about once a month: Mostly news of exhibits and my way of introducing new work. You’ll get FIRST LOOKS at new artwork and members-only discounts. You’ll hear from me about once a month. NEWSLETTER

Sticks. Twigs. Branches. I like ‘em all

August 14, 2022

I’ve been working on twig-filled images in the studio this week.

That’s interesting to me.
Sticks, twigs, branches: I like them all.

In my home in the living room, I have a beautiful ceramic vessel built by my daughter when she was in grad school.

I love this vessel. And I love the way its massive, organic form contrasts with the simple twigs we found to insert into it.

Twigs are like that. They are interesting in themselves, and also play nicely with other forms.

TWIGS ARE INTRICATE
Captured in a photograph, their overlapping shapes just draw me in. I want to look into and beyond the patterns.

TWIGS CAPTURE COLOR BEAUTIFULLY
Here is the section of the piece I am working on that I transferred to fabric then enhanced with acrylic washes.

I like the purple shadows in the background. I like the warm tones of the wood pieces.

TWIGS INSPIRE ABSTRACTIONS

Because I like to mix and match photographs with other surface design methods, I’m inspired when the images I’ve captured can translate to abstract pattern.

I respond to this fabric section. It speaks well in the work with the actual twigs and branches. But I haven’t tried to recreate the shape of twigs and branches realistically. Their overlapping patterns provided a starting point.

TWIGS CREATE STITCHING PATHWAYS

Here’s a little detail where my quilting stitches have been inspired by the shapes in the photograph.

Doing this stitching work by machine becomes a way for me to experience the complexity. As I am going back and forth along the lines of the twigs and branches, I am amazed at the complexity of the shapes. I would never think these up on my own. I then enjoy combining the twig-inspired stitches with simpler, linear patterns in nearby fabric sections.

As I was writing this post I looked back over some artwork on my website. It looks like I’ve been interested in twigs and branches in various forms for a while now. Here is a piece I created several years ago as a paper collage.

Because this composition is built from monotype printed shapes on rice paper, the images have been simplified. But I can see that I was still interested in the vitality of stick images.

More recently, I have explored branches, twigs as part of whole tree forms. Here’s a detail of “Discerning What is Real,” an art quilt inspired by trees and water near my home.

One last great characteristic of twigs and branches: you never run out of models. After virtually every rain storm our old oak tree provides me with interesting new material. Right in the driveway. Then I run for my camera!

. . . . . .

To learn more:
The first blog post I wrote about the work I am describing tonight was July 24. It describes the concept of the project. HERE

Earth Studies VII, VIII and IX is on my website HERE

“Discerning What is Real” is on my website HERE

For all the artmakers: Happy creating
For all the art lovers: Happy appreciating

Thank you for reading. I always enjoy questions and comments.
--Bobbi

bobbi@bobbibaughstudio.com

How I keep in touch:

In the studio for some screen printing

August 7, 2022

Trees came to life on my worktable this morning.

Some time spent screen printing yielded images I can use – and a successful experiment.

Here I am getting everything ready.

A few things to note in this picture:

Masking tape: I have the fabrics I am going to print taped down to a surface. You don’t want them to slip and slide once you begin.

Which side is up? It’s easy to make the mistake of printing the screen with the wrong side down. Yes – this is experience talking here.

For many images, like these trees, either side will work. (More detailed images, or images containing text that has to be right-reading have to print from only one side of the screen.) But the appearance of the image in one direction, as opposed to its mirror image, may be the one you have in mind

Clean up tray always ready: If you are printing with acrylic paints (that’s what I use) you need to be ready to clean out your screen right away. A shallow tray like the white plastic one in my picture is very handy. Right after I print, I plop the screen in the tray, then walk out my studio door to the garden hose for wash-out. It helps to keep the tray behind the screen when cleaning it out so the screen stays flat and a strong whoosh of water won’t damage it. Be nice to your screens.

Positive or negative? I had this same image made as a positive (I print the shape of the limbs) and as a negative (I print the background around the trees and the limbs appear as the fabric color.) The two screens look very much alike. I mark mine positive and negative so I don’t get mixed up. Yes – more voice of experience here.

Here is some hand-painted fabric printed with both the positive and the negative image. I like the way they work together and will probably use these side-by-side in the finished project.

Here is a small piece I created with a specific placement in mind. It will go into a collage-in-progress. I wanted the tree limbs to cross over different fabrics, as a way to unify those fabric backgrounds. And, on the right where the limbs are printed on the grey sheet, I will be cutting out those limbs manually and collaging them into position. So, one hit of the screen will now go across three different backgrounds.

And here is my experiment:

I am going to be working on a series of wall pieces in which I want to create variations-on-a-theme with a larger tree image. This one is about 18”H. But that height exceeds the image area of the screen. So, I created my image in sections and broke it into 5 different screens. To print one tree, I print with the 5 screens, one at a time, lining them up by eye.

You can see a dividing line through the limbs where sections met. In many works, this would just add a little interest to the tree. (I might even line them up a bit “off” sometimes just for interest.) But, If I want a more realistic look without gaps, I can touch up the gaps by hand with paint.

And now to meet an old friend.

Here is my new printed image next to a hand-cut card stock stencil from my stencil collection. I have used it many times. The character of the tree shape is quite different from the new tree. But I’m anxious to experiment with using them together. I can envision the stencil tree used as a resist, with a loose sponge painting in muted grey tones as a background to the new tree creating a foreground.

One more note: For artmakers who want to experiment, there are a number of places to purchase silkscreens with stock images on them, or commercially produced stencils. (Just do some googling.) But, I only use my own original images. The screens I use are from my original photos, and my stencils I design and cut by hand.

I’m looking forward to incorporating these pieces into some new projects.

For all the artmakers: Happy creating
For all the art lovers: Happy appreciating

Thank you for reading. I always enjoy questions and comments.
--Bobbi

bobbi@bobbibaughstudio.com

How I keep in touch:

Where Do Ideas Come From?

July 31, 2022

I am learning to be more observant.

I want to be more observant.

I choose to be more observant.

*(Detail, “Looking Below the Surface,” Art quilt. )*

Returning from a morning swim, during my drive home I keep windows open and radio off. And I remember what I’ve seen. Thin young girls with small triangles over parts of their bodies. Moving together in groups – like birds – testing their newfound powers. Colorful floats. Light going down into the water.

The very beautiful woman I observed. Mid-fifties. Big round body. A black tank suit. Not inappropriately skimpy, not modest like she was ashamed of her shape. Sitting by the side of the pool. Feeling sun on her back. Wiggling her toes. Confident in her body.

The songbirds in our yard. Only sometimes visible. Sometimes hidden in the branches. To walk by the tree is to wonder if the tree itself is singing.

The hibiscus by our front porch. Knocking me out this morning with an exuberant red somewhere between cadmium red and coral. Amazing. Four big blooms. Opening even during my time there on the porch.

Observing. Then making note of what you see.

Sometimes what I see finds its way into a sketch. Sometimes I more drawn to words.

Ways to make sense of what you observe.

So. This week I had the chance to make a presentation to a quilt-making group here in Central Florida. Great group. Great experience. And one question was, “Do you just have all these ideas in your head and they pop out? Where do ideas come from?”

Yes my head is filled with ideas. All the time. No, they don’t just pop out. But I am learning to cultivate them. More each day. I hope.

. . . . .

A new poem for you, from my swimming observations. Enjoy.

The Polka Dot Flotilla

The polka dot flotilla
bobs in the springs every morning.
In the water wearing wide hats
and sunglasses.
They are draped over orange – pink – lime
pool floats each forming a wide U.
Looped beneath their ample arms.
They kick and float and talk their way
around the swimming area.

I have named them.
Winona. Florence. Eleanor.
Their voices weave harmonies of words
that float across the water.
Oh yes. Mmmm-hmmm. I’ve tried that.
Did you know? Well I’ve heard.
A textured hymn I have listened to before
in Baptist kitchens
when the floaters are on dry land
serving the Lord.

Winona, one morning, leaves her hat
by the poolside.
With one long breath she begins
a strong crawl stroke
straight across the pool.
And back. They watch her.
I didn’t know she could do that.

Till that morning, neither did she.

. . . . . . . . . .

For all the artmakers: Happy creating
For all the art lovers: Happy appreciating

Thank you for reading. I always enjoy questions and comments.
--Bobbi
bobbi@bobbibaughstudio.com

How I keep in touch:

NEWSLETTER – about once a month: Mostly news of exhibits and my way of introducing new work. You’ll get FIRST LOOKS at new artwork and members-only discounts. You’ll hear from me about once a month. NEWSLETTER

"Home" as visual prose. "Home" as visual poem

July 24, 2022

If you looked at my studio at the end of today, you’d be able to tell.

I’m in the middle of something.

It’s not all worked out. There are lots of components. There are some interesting images. Some things don’t seem to belong next to other things. Some fabrics are drying. Some are laying in stacks.

*This original photo, transferred to fabric, will be part of my new textile piece.*

It is, so far, a pile of parts.

What’s going on involves content I have dealt with before (home, and the journey from home) and a transformation in how I want to portray the ideas.

It feels like the difference between prose and poetry.

For me, a prose-like approach to the idea of home will involve storytelling. There will be a character and a setting and some suggestion of plot. It will be a way to deal with memories and personal story.

A poetry-like approach will be less directed. I hope to include a number of sensory images, and a mix of recognizable objects with pattern and shape, to allow the viewer just to imagine, or wonder, or put the elements together in his own way.

That’s about as far as I have progressed with this new project for now. Not too much to show.

So, for contrast, I invite you to see this little 3-minute video I made a few years ago that shows a storytelling approach to the concept of home. Enjoy! (Click on the picture to view)

If you would like to learn more about the quilt from the video (“So It Will Not Break in Two”) as well as other home-inspired art quilts, I hope you will visit the Gallery called “Home is What You Remember” on my website, HERE.

For all the artmakers: Happy creating
For all the art lovers: Happy appreciating

Thank you for reading.
I always enjoy questions and comments.
--Bobbi

bobbi@bobbibaughstudio.com

How I keep in touch:

BLOG POSTS - once a week: Mostly about what I am creating in the studio. If you would enjoy receiving blog posts by e-mail, please subscribe here: I post and send by e-mail each Sunday evening. BLOGS-BY-EMAIL

NEWSLETTER – about once a month: Mostly news of exhibits and my way of introducing new work. You’ll get FIRST LOOKS at new artwork and members-only discounts. You’ll hear from me about once a month. NEWSLETTER

All in green: Leaves and shapes

July 17, 2022

Leaves. Trees. Green. Shapes. Leaves again. All side-by-side.

This week I’m in the beginning stages of a new quilt project.

I will be building this artwork around some original photos featuring sunlight through vines and trees. I will hope to create a feeling of being immersed in the foliage.

Construction is still a few weeks off. For now, it’s a day for creating parts. Mostly green parts.

MIXING: I try to work with a very limited palette and then mix my colors. I don’t buy green paint. Here’s an example of the rich variations available in creating green. Yellow + Burnt Umber + Cerulean blue. Mixed in one proportion, a golden-olive green hue is created. Mixed in another proportion (more blue) the kelly green hue is created

I’m getting these colors down on some yardage of cotton muslin, to provide a base for the work to come.

PRINTING PATTERNS: I pulled out this large linoleum block that I cut several years ago. It’s intricate and creates really nice patterns. I was hoping for good things from this.

I mixed up a celery green color – adding just enough white to my olive green hue to make it opaque. (To print over the darker kelly green.) I think it looks great.

Then I laid down the fabric and rubbed hard to make the print. Drat! Almost nothing showed up on my fabric at all. What a disappointment.

Acrylic paints are not actually the perfect relief printing medium. Block printing inks are formulated to do this better. (I stick with acrylics, however, so I can collage the printed pieces without the image running.) And I have printed with acrylic paints from this lino-cut many times, usually successfully. As soon as the print did not work I realized that the painted green fabric was a little too stiff to get a good print. It would have been different if I’d been printing on thinner fabric or a thin paper.

Alas. Time for plan B.

ROLLING ON COLOR I took a section of the Kelly green base fabric and marked it off into a haphazard grid with masking tape. Then I rolled the paint over it. The same color that did not show up on the lino-cut worked just fine painting directly.

Small sections of simple shapes will complement the organic leaf shapes in the composition-to-come.

TIME FOR LEAVES

Working on the olive-gold base colored fabric, I used a positive shape leaf stencil for a background pattern. The pale blue-green shows up around the outside of the stencil. Now, for the top layer, I’ll do the opposite.

The darker leaves were sponge printed from a negative leaf shape. (Like the inside of the donut hole.) This creates the shape of the leaf itself. I moved the stencil randomly around the fabric for an all-over pattern.

AND SOME CRACKLE

I always enjoy creating a batik-like crackle patterns with wheat paste. It takes a few steps and some time, but always worth it.

The wheat paste is just flour and water. I pour it on, spread it out in a very thin layer over the whole fabric. Once it dries, I’ll crack it to produce fine irregular lines. The I sponge paint down into the fine lines.

Wheat paste can also be used with stencils.

Here I’m rolling on the wheat paste, then removing the stencil to reveal the shapes. Nice clean edges.

I ended the day out in the sun, leaving the fabric with wheat paste to dry.

While that happens… afternoon nap time.

(The final result: leaves plus crackle is shown below)

. . . . . . . .

Mission accomplished: I completed the collaged work with trees that I’ve been posting about for the last several weeks. Here it is. And I’m thrilled that a patron has purchased it. Off it goes to Wisconsin in its UPS box tomorrow.

For all the artmakers: Happy creating
For all the art lovers: Happy appreciating

Thank you for reading.
I always enjoy questions and comments.
--Bobbi

bobbi@bobbibaughstudio.com

How I keep in touch:

NEWSLETTER – about once a month: Mostly news of exhibits and my way of introducing new work. You’ll get FIRST LOOKS at new artwork and members-only discounts. You’ll hear from me about once a month. NEWSLETTER

Collage Transitions and Connections

July 10, 2022

At the beginning of the weekend, this work was a lot of individual pieces and sections that I like glued down to a natural-edge canvas. Good start. (Note: How I got to this point is described in last week’s post.)

More to do.

This weekend my goal has been to make it an integrated whole. That means I want to pay attention to some transitions and connections.

First, a TRANSITION

This edge between the section that suggests sky and the section that suggests water is pretty harsh. A straight line. Sometimes, I like that. Here the abrupt line doesn’t have a purpose. I want to soften it up a bit.

I had some nice scraps of monotype printed tissue paper from another project. The colors will blend well with the new piece. And thin paper has that wonderful characteristic of ripping with unpredictable ragged edges. That’s what I was looking for.

I collaged the tissue paper in place. It will be complete encased in acrylic: medium above it and on top of it and through it. It will become a part of the fabric. But it can be scary at this stage to look at one’s work-in-progress and see all the ugly streaky matte medium. Fear not. It dries clear.

Now Some CONNECTIONS.

I’m unifying the top sections with the bottom third with some screen printed trees. These will have the same character as the screen-printed limbs that fill the bottom section.

I’ve determined the placement for my images and made masking tape corner marks to mark where they go. Now I’ll pour out acrylic paint onto the screen to print.

1-2-3 print.

It goes FAST! (And – an important reminder – working with acrylic paints means the screen cleanup has to happen really fast too. The paint dries in the screens and would clog them up in just a matter of a minute or so. I use my white plastic tray to walk the screen outside to the garden hose to get them rinsed out just as soon as I’ve pulled the print.)

More CONNECTIONS – with stitch.

The stitching on this collage is more a design element than a construction element. I’ve used three stitch patterns to unify the elements within each section. Long straight intersecting lines on the bottom third. Curving intersecting line in the middle. Meandering curved lines that follow the image of the sky elements in the top third.

One more CONNECTION – spatter

I can’t help myself. I love spatter. It just about always accomplishes what I want it to do. A subtle all-over bit of energy, going across the different sections, connecting all the parts.

Doing the spatter outdoors, I experienced one more delightful and spontaneous connection as I used a dish of rainwater to dip my spatter brush. This has happened before. I recorded my thought about it in a poem.

So, just for fun, I’ll close out this blog post with that poem. Cheers.

If you enjoy poetry, you might like to take a look at my collection of visual artwork and poems, “It was There I Believed.” It’s on my website HERE.

For all the artmakers: Happy creating
For all the art lovers: Happy appreciating

Thank you for reading.
I always enjoy questions and comments.
--Bobbi

bobbi@bobbibaughstudio.com

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Natural edge collage: Work-in-Progress

July 3, 2022

I think my love of a natural-edge ripped fabric comes from my love of the natural deckle edge of paper.

I haven’t tried a natural fabric hanging in my work yet. But I’ve been thinking about it for a long time.

So, here we are. Long holiday weekend. Lots of heat and lots of rain. Lots of reasons to go into the studio and try something new.

Here’s my vision: I want to create a wall-hanging on natural canvas. Unlike a quilt: No binding. No batting. Collage construction. Stitching? Probably.

I invested in some heavy cotton canvas and ripped it to a size I thought I would enjoy working. This will finish out to be about 24” x 42”. I prepped with a wash of white latex housepaint, watered down and applied with a natural sponge.

When I ripped the canvas, it had a mind of its own and ripped in the opposite direction in a few places. OK. Now I’ll let that be part of the piece.

I’m designing this work mostly from fabrics I already have on-hand. I’m not sure how the actual construction and presentation will work. I might need to tweak the plan if I decide to create more of these. So, using up pieces I have takes some pressure off. I haven’t created a lot of yardage that I’m in love with and will really regret using if I don’t like the final result.

I started by trying out some fabrics in different configurations.

Then I decided to unify a section with a screen-printed pattern. Same pattern on fabrics near one another. I picked a tree limb screen and printed with dark blue-black.

The top sections are loose and organic, suggesting sky and water. Now I’m creating a shape-filled bottom section, using a dividing line in complementary color and then the limb-printed sections.

Tip for collaging; Working on either paper or fabric, it really helps to tape your substrate down to a working board. Tape all sides securely. Both paper and fabric wrinkle when they are wet, and the acrylic medium I use for glue will be wet. You’ll notice the wrinkling-bubbling problem the most when you are collaging on only one part of the substrate with another section un-glued. The varying surface tensions of your piece will start fighting with each other.

So far, this heavy canvas is acting like a champ. Nice and smooth!

Here is where I left it at the end of the day.

Things I like: the variety of forms. The color palette. The looseness.

Things that still need to happen: Tying it all together once the parts are collaged. From my experience creating a lot of paper collages, I have come to define this stage as “oh-no-it-doesn’t-look-good-be-calm-don’t-panic” stage. There’s still plenty of opportunity to work on the surface with paint, stitch and other mark-making. It doesn’t have to look done yet.

Stay tuned. I’ll share how this develops and how it turns out in coming weeks.

I also enjoy creating paper collaged works. If you’d like to take a look at some of these collaged works, please visit my website here:

https://www.bobbibaughstudio.com/wednesday-collage/

For all the artmakers: Happy creating
For all the art lovers: Happy appreciating

Thank you for reading. I always enjoy questions and comments.
--Bobbi

bobbi@bobbibaughstudio.com

How I keep in touch:

Art that’s ABOUT something

June 26, 2022

What’s it mean? Why am I spending time doing this?

I’ve had two different opportunities this week to talk to other artmakers on the subject of art being ABOUT something.

Last Thursday I gave a gallery talk at Ormond Beach Memorial Museum for the textile art exhibit currently on display. (I just have to say what a thrill it was to be in a room with five of my large quilts beautifully lit, beautifully hung, and the room packed with about forty people who were interested enough to show up and listen. Wow!)

Introducing my way of working, I listed my studio choices. One is that I want to make work that’s ABOUT something.

This might seem obvious. But my earliest experiences with surface design were experiences in process. I was thrilled to create images on fabric. I loved monoprinting. I delighted in mixing geometric shapes with organic. I dove into explorations of colors and layering. For a while, this was enough.

I completely understand how fascinating and absorbing it can be to put images on fabric and then to bask in the pleasure of looking at those images. “Wow! Look at the fabulous detail I got in that leaf!”

I have discovered, however, even more meaning in using those surface design methods to communicate ideas and emotions. I do this mostly through visual storytelling.

It can be about memories.
It can be about dreams.
It can be about things you fear.
it can be about thinks you imagine.
It can be about things you don’t understand.
It can be about things you are coming to understand.

Ideas prompt images. Then images spark more ideas. Then concepts develop and deepen.

This is the process that draws me into the studio for hours at a time.

My second opportunity to talk to another artist about artwork being ABOUT something was a conversation sharing grief and outrage over the recent overturning of Roe v Wade. My artist friend wondered if there would be exhibition opportunities on this subject.

I don’t know the answer to that question. (Although, generally, there are many exhibits that welcome political commentary artwork.)

But I told my art friend that she should make work that expresses her emotions anyway. I encouraged her to dig deep and find ways to let the things she cares about find voice in her artwork.

Artwork should come from the heart. When an artist is moved, concerned, scared, outraged, or heartbroken about an issue, it just makes sense that those emotions should be incorporated into her artwork in some way.

It’s hard to do.

But it’s worth doing.

(To find relevant images to include in this blog post, I visited my current working pile of scraps. These varied pieces will – I hope – find their way into finished works and contribute to communicating an idea or emotion.)

For all the artmakers: Happy creating
For all the art lovers: Happy appreciating

Thank you for reading. I always enjoy questions and comments.
--Bobbi

bobbi@bobbibaughstudio.com

How I keep in touch:

Proving that I am Me

June 19, 2022

How do you know who you are?

And how can you prove that to somebody else?

I think about identity a lot. I am interested in understanding my own past and my own self, and I am interested in other people’s experiences as well.

This week I gained some new perspective on identity; an unlikely source of inspiration - the drivers license office. There, because it was time for an in-person-take-the-vision-test-bring-a-bunch-of-documents renewal experience, I found myself on a plastic chair, one of a number of people on plastic chairs, each holding on to our folders full of gathered identification papers, waiting to be called by number to one of ten numbered work stations.

I passed. I had all the required documents. (No small task!) With my new cataract-free eyes I passed the vision test without glasses. And now I have new updated proof of who I am.

It was actually an odd and thought-provoking experience.

Irony #1 . . . Being herded from standing in line to the plastic chair to the cubicle and finally out the door was – though professional and efficient – a dehumanizing experience. All to prove one’s unique identity.

Irony #2 . . .That all of this verification is to create the enhanced security for travel and having a gold star on one’s identification. Did anybody actually think through the historical meaning of identifying people with gold stars?

Further, it made me think of those who are unable to gather all the documentation required, for whatever reason, and how frightening and unbalancing that must be.

And I thought of how hard people work, especially artists, to find their unique voice. And then to express it.

How amazing that a good poet can be identified by a few short lines of verse, if their artistic voice infuses those lines. Every voice is not the same.

How amazing that visual artists can be identified by their unique style. Given the same sets of tools and materials, two artists will produce completely different works.

The differences, I believe, will come from developing your own sensitivity, your own set of interests and passions, your own representational vocabulary. Unique work is much less often a matter of technique or material.

There are only so many colors.
There are only so many fabrics.
There are only so may things to do with the fabric.

The challenge – the joy – the work – the hope of an artmaker is to develop ways of working that comprise a unique and interesting voice.

I’ve been showing bits of my quilt “Growing Unseen” in this post. It’s a work that explores the concept of identity and uniqueness. And, because it’s one of the works I am exhibiting at the textile show at the Ormond Memorial Museum, I have been thinking about it, along with my drivers-license-inspired thoughts about identity. If you’re interested you can learn more about this work on my website HERE.

Finally, for readers who are in Central Florida, please accept this invitation to my gallery talk at the Ormond Museum this week. (With apologies, it’s an in-person event only. No online options) I would love to see some friendly faces there.

For all the artmakers: Happy creating
For all the art lovers: Happy appreciating

Thank you for reading. I always enjoy questions and comments.
--Bobbi

bobbi@bobbibaughstudio.com

How I keep in touch:

What am I to make of that?

June 12, 2022

I have just come this morning from our porch, where it is cool. I have watched birds, while reading some very fine poetry that speaks to my inner being. What am I to make of that?

The poet traces her journeys. The places she has lived. Sometimes she fit where she was. Sometimes she shifted her body in the place like adjusting to ill-fitting clothes. I have been there. What am I to make of that?

In my studio today there is unfinished chaos. It looks like the work of someone who believes our nation has just barely survived a coup, that it is being revealed in detail, and that all the forces and players who put in motion are still very much a danger. Which I do. What am I to make of that?

My eyes are an annoyance now. The miracle of cataract surgery is completed and successful. Now I do not need glasses, except for reading. I am walking around feeling naked, like part of my face is missing. I am not used to putting them on and taking them off and then forgetting where they are. Until the final prescription is done, my eyes and my seeing just don’t feel like I am quite myself. What am I to make of that?

And right beyond the peace of my quiet porch, the coolness of this morning-after-rain, down the street are houses posting signs and displaying flags that speak to me of ugliness, the underlying causes of the attempted coup. It is not far away. It is right here. What am I to make of that?

*Photos of my neighbor’s signs, transferred to muslin*

All of these things – the gentle cool air. The discomfort. The fear. The searching. They will all turn into something. I will make them into something.

And it will be ongoing. Processing and creating. Not just a one-shot deal.

Meanwhile, I had the affirmation last Friday night of a genuinely fine opening of the textile art show at Ormond Memorial Museum and Gardens. Great visiting and camaraderie with artists I know. The take-a-deep-breath-and-just-look-at-that! experience of seeing my own work beautifully displayed and filling the wall of one room.

I look forward to presenting a gallery talk: at the Ormond Museum on Thursday June 23 at 11am. I welcome you to join me if you can.

In ways I know are real but don’t always fully understand, all these things work together.

(Note: The image in the header of this blog post – and shown below - shows a portion of a work-in-progress that is a reaction to our ugly civic divide. I just wrote some “What…” sentences and let them form an underlying pattern. This section, and others in which I want the fabric surface design to speak to my thoughts and emotions, is part of the answer: What am I to make of this?)

For all the artmakers: Happy creating
For all the art lovers: Happy appreciating

Thank you for reading. I always enjoy questions and comments.
--Bobbi

bobbi@bobbibaughstudio.com

How I keep in touch:

Messages from the birds

June 5, 2022

Sometimes we all feel stuck.

Sometimes, we might feel trapped.

Sometimes our hearts break seeing others who are trapped.

Sometimes hope seems possible.

Sometimes the complexity of things hidden appears strong.

Sometimes we want to sing, but we can’t.

These are all possible states of being.

I’m a bit in-between things in my studio practice this week. I want to finish the two large projects I’ve been working on and writing about for the last few weeks. And, I have a new project that interests me a lot, but which I just can’t rush. I feel in varying stages all at once.

Thinking of this, I remembered a work I created several years ago to address some of these feelings. It features images of a bird and a jar. (I worked on a series of bird and jar images for a while.) I was very drawn to the concept of addressing complex ideas with simple symbols, to see if the works would communicate.

Building this work was an experience in variations on a theme. I used the same elements, rearranged them, and created a work in three panels.

This work represents some of my earliest experiments with monotype printing on varying surfaces. I hope you’ll enjoy some up close looks.

I’m looking forward to what’s next. Some satisfaction of work completed. Some surging energy in new projects tackled.

If you would like more information about “States of Being,” it’s on my website HERE.

A reminder for readers who are close to Central Florida: Friday, June 10 is the opening of an interesting textile art show at Ormond Memorial Museum and Gardens in Ormond Beach. I’m pleased to have five of my quilts in this exhibit. (I am also giving a gallery talk on June 23 at 11 AM)

I hope I’ll see you there.

For all the artmakers: Happy creating
For all the art lovers: Happy appreciating

Thank you for reading. I always enjoy questions and comments.
--Bobbi

bobbi@bobbibaughstudio.com

How I keep in touch:

In the Studio… Is it Working?

May 29, 2022

Two projects-in the-works have been the focus of my posts for a while.

I’ve been working on a large quilt featuring a wind-filled sky. And I’ve been working on a 3-panel quilt seascape: fish below and birds in the air.

Both of these projects have required a lot of attention to the surface and the patterns. Close-up work. Details.

Now I’m at a point where I need to step across the studio and take a look at the big picture to see if the parts are working together as I’d hoped. (Studio wisdom: sometimes you have to look closeup. Sometimes you have to step back.)

Here’s the windy sky project, almost completed.

I thought it was about done (except for binding and finishing) a week ago. But I looked at it again, with the help of some good critiques from my local artmaking group. (Life wisdom: It REALLY helps to have other people help you see your own work through fresh eyes.)

Without intending it to happen, the strong diagonal horizon line was drawing the viewer’s eye away from the tree and the roots. Not what I wanted. So, I have worked on the underground section. There’s more dynamic interest there now. And I broke up that strong horizon line with small shape interruptions. I’m pleased with the changes.

I’m going to let that one cook on the back burner for a little bit before I bind it. Just to be sure I don’t see something new I missed.

Today I did some work on the fish-and-birds project. Here I’ve got it up on my easel.

I’ve done all the stitching in the sky portions. I think it has a nice flow and some energy. Now it’s time to plan the flying birds.

I combined several reference photos of real flying pelicans. Then I put them in Photoshop Elements placed to scale on pictures I took of the quilt panels. This gave me an idea of scale and position.

I printed them on 8.5 x 11 sheets. Then I drew the birds freehand on manila folders, which I will cut by hand to create stencils.

Now I have the drawing up on the panels to see how everything will go together.

I’m mostly happy with the shapes. I think I may move and re-size one bird. The computer mock-up helped me to get here. But I had to actually see the parts in person to see if I like the pattern.

For both of these projects, my next stage will be back to close-up. Binding and finishing on the windy sky quilt. Painting the birds into the sky of the 3-panel piece.

…………………

You are invited – I’m presenting a Gallery Talk

I’m pleased to have five works selected for an upcoming show of textile art at the Ormond Memorial Art Museum and Gardens.

The exhibit is “Stitched, Stamped and Sculpted.”
June 10 – August 14 Opening Reception Friday, June 10 at 6pm

My Gallery Talk will be about my own work and will also draw from other works in the exhibit. I hope you can join us.

Gallery Talk: Thursday, June 23 11AM

…………….

For all the artmakers: Happy creating
For all the art lovers: Happy appreciating

Thank you for reading. I always enjoy questions and comments.
--Bobbi

bobbi@bobbibaughstudio.com

How I keep in touch:

Just What I Needed to Be Doing

May 22, 2022

Ironing. Ironing little pieces as I retrieved them out of my fabric bins. Ironing for several hours.

And it was perfect.

This morning I gathered with fellow artmakers for our monthly meeting of work and conversation. I have been a member of this group for over ten years, and the longer-time members met together for years before I became a part.

The work and the conversation today were great therapy.

I have been working pretty seriously and diligently on several large projects. I have several new ones on the back burner, just cooking. And thoughts about a series that interests me is on an even-further-back burner just beginning to form.

So I ironed. It was a way to discover what fabric scraps I have accumulated that might prove useful in coming work. As I pulled little scraps from the bin, I remembered printing them, and I separated them into piles by color.

The forming of the next work began to come together as I saw actual pieces that might fit together.

Every step of artmaking is important. Sometimes sketching and planning are what needs to be done.

Sometimes reading poetry is what needs to be done.

Sometimes going out for photo shoots is what needs to be done.

Sometimes looking at the completed work created by other artists is what needs to be done.

Sometime receiving critique of work-in-progress is what needs to be done. (I am grateful that my art friends did that for me today also.)

And then – of course – hours in the studio actually doing the work — which, for me, involves hand printing fabric, collage and stitching it all together — is what needs to be done.

Today I needed to explore the fabric bins. Sort. Iron.

At the risk of seeming a bit corny in this comparison, I thought this afternoon about the flowers in our garden. On the way to the mailbox I passed by our morning glory and also a little patch of rain lilies. They need different things. They grow on different schedules.

The morning glory is up-and-at-em absolutely every single day without fail. Morning. Bloom. Stay open all day. Evening. Close up shop. Do it again tomorrow.

The rain lilies take their time. I don’t actually know what they are doing underground when they are not blooming. But something is at work. Then — generally all at the same time — they will all put out buds, and bloom for a short while. They are not attention-getters. Very delicate. But such a nice addition to the garden!

As I was ironing, I hope I was allowing ideas to unfold. To do whatever it is they do underground. The time spent will turn into work. But not today. Today was ironing day.

. . . . . . . .

As a happy reminder that going through all the steps can, in fact, lead to completed work, I am pleased to let you know about four exhibits in which I have work showing in the next month. If you are near any of these exhibiting places, I hope you will stop by to take a look.

For all the artmakers: Happy creating
For all the art lovers: Happy appreciating

Thank you for reading. I always enjoy questions and comments.
--Bobbi

bobbi@bobbibaughstudio.com

How I keep in touch:

Wading deeper into the water

May 15, 2022

This week I’m continuing the project I posted about last week.

The project is a 3-panel quilt depicting a split landscape view: fish below and birds in the sky above. Last week, I had worked through several composition options and had begun the create the monotype background for the underwater portion.

This week it’s all about fish.

I created a large stencil with all of the fish cut out and stenciled it with a glue resist. Then I over painted with wonderful watery phthalo blue, mixed with a little burnt sienna to bend it towards teal. When everything was dry I washed out the glue resist.

Now: green fish swimming in blue-teal.

I was letting this evolve, so I did not know exactly how it would look. My first reaction was disappointment. I guess I had hoped that the overprint of the blue would be enough to create the underwater mystery. But it wasn’t.

***Here is one panel after the fist blue overprint. A bit weak. Promising, but definitely not there yet***

I looked at these panels a long time and finally decided to introduce some other shapes – geometric shapes that would not actually occur in an underwater scene. That would, I hoped, transform how the images work. It will be a way to play with value and contrast and also take away the thought that this is an actual photographic reproduction of fish underwater.

I just want it to FEEL like being underwater.

This is as far as I’ve made it this weekend. There are now a lot more layers and – I think – some sense of depth.

I have one panel glued to its fabric-sandwich backer. I am hoping it will be dry enough tomorrow to start some surface stitching. I am excited to see how that functions with the painted scene.

Just a “how-to” note: I can add more surface design after stitching. That is likely to happen. So, surface design – then stitch – then more surface design is possible. I’ve just got to see where this goes.

Meanwhile, in other adventures… This week I am scheduled to have my first cataract surgery. The second one should happen in June. I can’t wait! Threading needles is turning into quite a challenge. Friends tell me that one experiences color altogether differently after the cataract surgery. Who knows, next week I may have to report that the underwater scene isn’t at all like I thought it was!

For all the artmakers: Happy creating
For all the art lovers: Happy appreciating

Thank you for reading. I always enjoy questions and comments.
--Bobbi

bobbi@bobbibaughstudio.com

How I keep in touch: