 CONTINOUS LINE DRAWING done with a brown micron 01 on copier paper. After doing my regular meditation this morning, I watched a recent "Creative Calm Circle" led by Sadelle Wiltshire of Vermont. As I've mentioned before on this blog, Sadelle specializes in meditative arts. This particular exercise was another continuous line drawing--the task was to NOT lift the pen from the page, and meditatively draw a tree. I really enjoyed it. In all, I think I lifted my pen up no more than 4 or 5 times while drawing steadily for about 25 minutes. I didn't choose a real tree; this is an imaginary one. But the lightning scar comes from my childhood--there was a wonderful huge old oak tree in my front yard and it had survived being struck by lightning twice. It had a large lightning scar down the front of its skyscraping trunk. Sadly, the tree was removed about 20 years ago, but it lives forever in my memory as "The Survivor Tree." I loved that tree and its wisdom. When I was a child and troubled, it always comforted me. The tree I drew today is not an oak. And the tree from my childhood did not have any vines on it. So without trying to recreate any particular tree, I added the lightning scar simply as a grateful memory in this drawing. Continuous line work gives me the chance to let go and not worry about something "looking right." There's plenty wrong with the look of this one, but I just don't care. It was relaxing, meditative, and poignant to draw. Thanks, Sadelle! When I went to my last local rug hooking meeting, I only expected to work on my rug and have fun. I had NO IDEA what would be waiting for all of us who attended. We were treated to an incredible show of rugs from Turkey, China, and Iran by one of the members, Elizabeth Vierling. Dr. Vierling is a Professor of Biochemistry and Molecular Biology at the University of Massachusetts at Amherst, but she is also a rug maker and clearly has a passion for textiles. I took a million photographs...unfortunately my memory of her very informative commentary on the origins and purposes of each piece is fading fast, but here are some of the photos. Enjoy! I believe this first piece was from Turkey. It is very large and I think Elizabeth uses it as a rug in her home. It is embroidered, using a couching stitch I think (see detail in last photo). Probably circa mid 20th-century. The color work is just sensational. After ogling the piece (above) for a good long while, we all decided we are not using enough orange in our own designs. Apologies in advance to Elizabeth for how much I have already forgotten of what she said about each textile. Her commentary on where she located each one, where and how each was created, and what each may have been used for, was fascinating. But in the week since I saw these works, all of her commentary has started to slide right out of my head. Darn! If memory serves me--which likely it doesn't--below are two clothing panels embroidered by the Miao people of China (one of China's long-suppressed minority groups, now finally beginning to emerge and be recognized for their rich history and cultural treasures).  (We'll get to the embroidered pillow behind this piece later in the pictures)  Although the lighting is very different (my poor photography), I believe this is a detail of the dragon on the piece above. Amazing work.   And if that weren't enough, there was more, and more still...click on each thumbnail to progress through the items, or just hit "Play." One of the most dramatic textiles was the one below. I loved these tiny aliens. The work is so beautiful, and the colors vibrant. Each thumbnail has a different view (or you can just hit "Play"). Elizabeth travels for academic conferences, and is occasionally able to extend the travel time in order to take in more of the culture of the countries she is in. This is why she has been able to explore and research textiles on some of her trips.
Aren't we fortunate--those of us who were there to see this show? With thanks to Elizabeth for letting me photograph and post the photos, for her lively talk and especially for lugging all the heavy, bulky textiles to the meeting. All of her hard work resulted in a fabulous experience for the rest of us.  Tangles: Florz and Drawings. 01 Micron Blue Pen with Staedtler colored pencil. Just a quick tangle today--still working on other projects. I've been wanting to practice this tangle, Drawings (pronounced Draw-wings). And since I combined it with Florz, it's clearly a shot of "wings on the floor."  Sigh...third night in a row of almost no sleep. I finally got up and tried out this tangle by Barbara Steyer, called Baecube. As a first attempt (and at 2.30 a.m.), it's a bit clunky but I enjoyed it and can see using it frequently. And sure enough, I was able to sleep after finishing. (Nothing cures insomnia like the realization that it's time to get up. --Anon.)  Sketched freeform mandala on a black Zendala tile with white gellyroll pen, blue prismacolor pencils, and white charcoal pencil. It's not a full moon; in fact, she is waning. But all the same the Moon woke me very early this morning, calling through my window. I felt I should pay tribute. This was the result. Hommage à la Déesse de la Lune!
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ABOUT ME I'm a textile artist (traditional rug hooking, punch needle rug hooking, and other textile arts), a long-time meditator, a certified meditation teacher and coach, and focused on learning about the interplay of art, creativity, and mindfulness every day. 
Certified, 2021
Certified Unified Mindfulness Coach
Certified Zentangle® Teacher, 2013
Certified by AmyOxford.com at The Oxford Rug Hooking School, 2016
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SITES TO WATCH:
Insight Meditation Society Oxford Rug Hooking School Zentangle: The Official Site Green Mountain Rug Hooking Massachusetts Tarot Society 
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