Grateful for Overflows...

There was a moment during COVID when I feared all my hard work as an artist would slip away - the learning, the making, the sharing and the selling.

But thankfully, that didn't happen and in actuality, the opposite occurred. People who were suddenly stuck at home for an unknown amount of time started taking notice that they needed art to make their homes feel comfortable and welcoming. I mean, if they had to live inside four walls, they often determined they needed something they resonated with to hang on at least one of those walls.

Life as an artist goes through ups and downs, just like any other path. It's often the victim of outside forces, including administrations that destabilize people's budgets, making them fearful of making purchases they consider to be luxuries or nice-to-haves, and that are not necessities. So, it makes sense that in this day and age, those old, nagging concerns reached me again...

But just like during COVID, I've had my fears not only quelled but literally blown away. It's not about sales for me. I make work that I want to live with and if others do, too, then so much the better. But opportunities, experiences and chances to do things through my art practice that I've never done before or never thought I could become so incredibly important to me.

Just before beginning of every new year, I think about what I want for my artistic endeavor. Some may call this making a resolution, but I've never been that formal or restrictive. I don't even really write anything down. I just ask myself where I want to go in the year ahead. And at the end of each year, I take a mental assessment of how far I got.

This year, I decided to cast my artistic net further than I have in year's past.

Simple enough.

I left it at that and didn't elaborate because I wanted to be open to whatever possibilities might fall into that that thought. I was an intentional low bar.

As I look back on the first quarter of this year, I'm so grateful and frankly amazed at what's transpired so far.

Because in all my years of making art in the greater Washington, D.C. area, I had never shown work anywhere in Washington, D.C. proper, so back in November, I applied for a yearlong creative enhancement project through the DC Art Center called the Sparkplug Collective and, to my surprise and delight, in January, I found out I had been selected for their 2026 cohort. This group is made up of all kinds of creatives working in a myriad of genres - from film to painting to interactive media - and each one is incredibly inspiring to me. This group meets monthly and does creative exercises to open our minds and see in new ways so that as a result, we may each come at our work in new ways. We are led by a professional artist mentor, and she is moving us toward what will be our final project that will culminate in November 2026 - a show of our work at the DC Art Center's lovely gallery in Adams Morgan. Then in December, we have an opportunity to meet with art critics and buyers who can help guide us after the program is completed.

As part of the Sparkplug Collective, I've also been exposed to a huge number of exhibiting opportunities in Washington, D.C. and I'm pleased to report that I've been accepted to a couple of them already. In April, I participated in the Adams Morgan Art Walk, hanging a 36" x 36" piece called Sound of Line 65 in the window of Venture X in the heart of the bustling neighborhood. And from it, I've received a number of inquiries about my work and how I make it. In June, I'll be showing my work at the D.C. restaurant called Tryst. The venue is looking to showcase a number of pieces, and I am super excited to participate there.

Also, just before the beginning of 2026, I saw an opportunity to showcase my Sound of Line pieces at a venue I've never shown in before - Glen Echo Park in Glen Echo, MD, very near the nation's capital. The park is operated by the National Park Service and holds three galleries. My solo show, called Sound of Line, Selected Works, was held at the Park View Gallery and as part of it, I was invited to be interviewed for the Embracing Arlington Arts podcast (Bryan Jernigan.mp4 - Google Drive) about it.

I'm pleased to say that I had more than 100 guests attend the opening of the show and during the course of it, it was also reviewed by art critic Mark Jenkins at the DisCerning Eye Substack. For years, he was an art critic for The Washington Post. You can read his post here: Rare Earths - by Mark Jenkins - DisCerning Eye. I was privileged to sell six pieces at the Sound of Line, Selected Works show.

As a complete coincidence, I was asked by Walter Bartman, a well-respected and longtime artist and instructor, to teach an abstract class at the Yellow Barn at Glen Echo Park this spring as well. I am very well aware of the caliber of the classes and instructors there, so the invitation again came as a surprise to me, but I accepted and turned in my class description back in February. By the time my class began in April, it was full with a waiting list! And now, we will be heading into our third class of 10, so I'm thrilled that the student reception has been so wonderful.

Somewhere along the way, I saw an announcement from the Philadelphia Sketch Club about their upcoming annual Absolutely Abstract show and on a whim, I decided to apply, sending in two of my Sound of Line pieces for consideration. I figured if I were going to put out into the world the intention to stretch myself and cast my artistic net further, I had to try this. The PSC is the oldest continually operating arts club in the country and boasts former members including Thomas Eakins and Andrew Wyeth. I was shocked when I received notification that not one, but both of my pieces were accepted into the show that runs the month of May! So, I'll soon make the drive to Philly to drop off work and attend the reception.

Well before putting my intention out there, I had connected with Studio 56 Boutique to conduct plein air pastel landscape painting workshops in various places around the world. I've taught with the organization in San Miguel de Allende, MX and in Costa Brava, Spain. This time, we decided to set our sights on Quebec City, CA, and there is always a bit of trepidation on my part when we embark on a new vacation workshop destination. What if you offer a travel workshop and no one comes? I've only just heard it has filled to capacity, and I'll be headed there in August. We can make room for a couple more artists, so if you've been on the fence about it, you can still register here: Everything urban sketching related! – Studio56Boutique

Lastly, late last year, I received outreach from Artists Rising Retreats in Glastonbury, CT that they had an opening for a pastel landscape instructor for a retreat they are having the first week in June. I decided to throw my hat in the ring, and I just heard yesterday the retreat has been greenlighted, so I'll be driving up from Arlington next month to teach there for a week! There is still space, so if you're inclined and you don't want to go all the way to Canada, you can join me here: Workshops & Retreats for 2026 — Artists Rising Workshops & Retreats They are even offering a $200 discount if you use the code "LILAC." I would love to see you there!

I guess the moral of the story is to believe in yourself and your abilities. The things you want may not always come to you, but you are nevertheless worthy! The more you are open to new opportunities, the more likely they will find a way to you.

I want to thank each and every one of you for believing in me and continuing to support me along the way. It means the world to me that you're in my corner - when things are rough and when things are roses!