I had the bright idea in the autumn to start a series of highly detailed, realistic pencil drawings of domestic scenes based around my concept of how a witch lived during colonial America. It’s sort of fantasy, sort of ancestral reality, and altogether original. My goal was to complete one in time for each of the four seasons. Loosely, they would be themed around Samhain, the winter solstice (Yule to some), Imbolc into Ostara, and Beltane into Lughnasadh.
I have completed Samhain and Yule so far. I think Samhain was fairly easy because I hadn’t yet decided to make it a full series, so I wasn’t feeling any pressure. Samhain is my favorite period of the year too. I can whip out art along the themes in that season with my eyes closed. Take a look at the one that started my bright idea.
Witch Cottage No. 1:
I’m really proud of that one. People often send me messages asking if I intentionally hid images in the fire or in the shelf. I didn’t, of course, but I adore the idea of people seeing things in my art that speak to them. It means I somehow tapped into some amazing creative energy.
Then I decided I would do it again. A story began to form in my mind because I spent so much time with the first piece and everybody loved it so much. I had to restock it three times, which has never happened in my little shop with another piece of art. The story took shape for a more formal room designed around the winter solstice, which doesn’t look very different from Christmas. The trouble was I tried to finish a major piece of art during the real holidays. I ran out of time! It was tough to balance home life with my artistic ambitions and I had to learn a tough lesson about best laid plans. Witch Cottage No. 2 wasn’t finished until after the solstice.
Witch Cottage No. 2:
But I finished it and I think the challenge was good for me. I changed up my usual way of setting up a composition for domestic scenes. Everything was done to historical specifications regarding colonial America while adding subtle hints that a witch lives in that home. I had trouble though. It was tough to keep my perspective points straight and I still think I couldn’t get those points exactly right. One point perspective I’ve mastered pretty well but two point perspective or more still wreaks havoc on my dyslexia.
Still I’m pressing onward to new challenges. At the moment, I’m working on the third piece in my Witch Cottage series centered around the rebirth and renewed light during the period of Imbolc into Ostara. I had the fabulous idea of a greenhouse scene to show where the witch in this artistic story grows her plants, flowers, and herbs.
Again, I’ve run into delays and the sacred days have already come and gone. This time it was my health. Chronic pain is a companion to my disability and I had to have an invasive procedure this spring. I might even be looking at surgery this year too. So I’m doing my best to be kinder to myself about missing my self-imposed deadline because this is not something that could have been avoided.
Let’s take a look at my work-in-progress of Witch Cottage No. 3, shall we?
I’m not sure how much you can decipher about what’s going on in this piece but you’re looking at the interior of a greenhouse. There are drying herbs strung across the top. A table and chairs are in the middle with a bench on the right. Through the open door will be a glimpse of the outside as well. I’m planning to set up an Imbolc altar on the table and maybe hide an ewe outside somewhere. We’ll see where things take me as I go. This one has been daunting because I rarely draw plants, but I’ve been practicing in other sketchbooks.
Of course, since I’ve made it this far, I can’t stop now. I don’t really want to stop either. I did not, however, believe I was going to be so challenged by this project. Once I’m done with Witch Cottage No. 4 in a few months (I haven’t yet decided how to depict summertime), I’ll be able to sit back and enjoy the fact that I succeeded at a challenge I set before myself almost six months ago.
Don’t get stagnate in your art. If you’re not feeling challenged, or you’re not slightly nervous about your work, then you’re not developing your skills. An artist needs constant growth in order to experience life at its fullest. Sometimes being nervous is a good thing because it makes your accomplishments all the more potent and special.
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