". . . a brush with nature"

“I dream a lot. I do more painting when I’m not painting. It’s in the subconscious..” ~Andrew Wyeth

When I read this quote, after pondering it a few moments, I realized it was absolutely true for me. I cannot say how many times, when asked about where my idea or inspiration for a painting came from, my reply has been, “Oh, it came to me in a dream.”

Often when that happens, I wake up with the painting completed in my mind. That’s terribly handy, by the way. It really simplifies things and streamlines the actual painting process. The key, of course, is to remember the details from the dream until you get to your studio to start work on your piece. That’s why I try to take extensive, detailed notes when I wake up . . . while everything is still very fresh in my mind. 

My dreams are vivid and numerous on any given night. I’m not only referring to my art related dreams, but dreams of any type or subject. I see all the colors, feel the temperature of the place or experience the freezing coldness of rising water as it surrounds me in a submerged car I can’t escape. As you might imagine, such intensity can be either good or disturbing. In the case of creating art, the detailed dreams are a definite bonus.

Comprehensive notes become invaluable, too. Although I often don’t need them at all, it’s nice to know they are there . . . just in case.

Having a fully composed painting in my mind upon waking up in the morning is really quite amazing. When it happens I never take it for granted. I have always suspected that other artists have this experience, too. Now I know that even Andrew Wyeth did.

***As a side note, the painting, “Looking In, Looking Out”, is a perfect example of my blog topic today. It is a whimsical look at a woodland bunny who spies a snow globe through a window at a cabin in the woods. Pure magic! I believe it is a good example of what I like to call a storytelling piece. It is also a great example of how dreams can work for me as an artist. This painting came to me one night in late January 2026. I dreamt it in its entirety and painted it a few months later.***

What if it fails? Yes, what if it does? Is anything in art ever really a failure, or is it simply another opportunity to learn more? More about your subject, your medium of choice or even your “style” (the one you already have or the one that is still evolving.) Is the “failed” piece your chance to sort out what you might enjoy trying again or to realize that, “Well, I’m glad I’ve gotten that out of my system! Now I am dying to try fill in the blank here.”

You might even consider saving your “failed” piece to be revisited and repurposed at a later time either in its entirety or by selectively cutting it down. I have done that myself many times through the years and with great success.

Recently I decided to embrace experimentation to the max. Although I was using art tools already in my studio, I had never combined them all together and in such a visible way before. Many had been relegated as underpainting choices only for years and I loved them for that, but now was an opportunity for me to see if I could let them shine as individuals or, at least, as part of a very visible ensemble cast.

Here is “Finch Filigree,” a painting that could have gone so wrong, becoming yet another “failure”, but didn’t. I’m very happy with the detail and depth I was able to achieve. It turned out just as I envisioned it.

Although it might look deceptively like “just another pastel painting”, it’s anything but. It is actually mixed media to the nth degree, combining watercolor with graphite, colored pencils, watercolor pencils and pastel pencils, as well as soft pastels to create the overall effect I desired.

While working on this, at any point in time, it was (in my mind) either a dismal failure or raging success. I’m so thankful that I continued through the discouraging “down” times turning this potential failure into a successful learning experience AND a painting I can be proud of.