A Case for Coming to Art Late in Life-Part 1

There are a lot of us out there who have come to art later in life. My workshops are filled with women (mostly) who are between the ages of 50 and 75 (The baby boom generation). Probably most are between 60 and 75. And what interesting people they are! They bring their life experiences with them to their art––their heartaches, joys, achievements, worries, and gratitude. And they are, for the most part, committed artists. They are embracing art like it's finally their time. It's what they've been waiting their whole lives to do. They come with their souls on fire.

"and there was a new voice
which you slowly
recognized as your own,
that kept you company
as you strode deeper and deeper
into the world,
determined to do
the only thing you could do––
determined to save
the only life you could save." The Journey by Mary Oliver

It doesn't matter how old you are if you have passion for life.

That passion can carry us a long way. And while recognition is important in the way of sales, or exhibitions, most older artists don't so much need the money, except to take workshops, buy art supplies and travel. Many are retired and have a pension. There's a freedom that's been earned.

Lunch hour conversations during my workshops are deep and rich. In one especially intense lunchtime conversation, a woman cried as she talked about her daughter who was born with a serious handicap. She mentioned that after 30 years of constant caring, she finally had time for herself and her art as her daughter was now in a care facility. She was so open, trusting and vulnerable that the rest of the group shared their life stories with the same depth. Two shared that their sons had been suicidal, another talked about how she had been scarred by being adopted into an abusive family.

These are the stories that we bring to our work as we come as mature artists. This is the depth we bring.

"I will not die an unlived life.
I will not live in fear
of falling or catching fire.
I choose to inhabit my days,
to allow my living to open me,
to make me less afraid,
more accessible;
to loosen my heart
until it becomes a wing,
a torch, a promise.........." I will not die an unlived life––Dawna Markova

It's important to acknowledge the wealth of experience we bring to our art and how important it is to remain vulnerable and open, to really show ourselves. This is not the time to hold back.

"I don't know exactly what a prayer is,
I do know how to pay attention, how to fall down
into the grass, how to kneel down in the grass,
how to be idle and blessed, how to stroll through the fields,
which is what I have been doing all day.
Tell me, what else should I have done?
Doesn't everything die at last, and too soon?
Tell me, what is it you plan to do
with your one wild and precious life?" The Summer Day by Mary Oliver

Liminal Time

The word liminal comes from the Latin, limen meaning threshold. an in-between place, a place of transition, a time of waiting and not knowing. Dawn and dusk are considered liminal places. Crepuscular animals, like foxes and coyotes are most active at this time of day, a time that is considered a magical time in Celtic spirituality and to Indigenous people which is perhaps the origin of their designation as tricksters. As I write this, the northern hemisphere has just passed the vernal equinox, where day and night are of equal length.We are in a liminal space between winter and spring right now, unsure if we will have one more storm or snowfall before spring finally settles in. We're also in a liminal place as we live through this pandemic with the anxiety and discomfort of not knowing. A time of great transition for the entire world, wondering what we've learned from this and what lessons we'll carry forward. Author and Fr...

Lessons that Stone Walls Teach

Dry stone wall in the Burren, Co. Clare, Ireland I've just returned from teaching a Workshop in Wild Places class in the Burren in County Clare, Ireland. Writing this post, I'm reminded of another post I wrote after visiting Inishmaan, the middle of the Aran Islands off the west coast of Ireland several years ago. Stone walls crisscrossed the island in tight webs like a fisherman's net. I wrote then that the web of stone walls made me think of the idea of putting limitations on our painting as a way of exploring more deeply and how walls give limits against the limitless. You can read that article here. As our group hiked in the Burren with our guide, Marie McGauran we learned that the walls are stronger because of the holes in them. The wind can pass through. The oldest stone walls, estimated to be 3500 years old are at Skara Brae, a Neolithic site in Orkney. Most walls were built in the 18th and 19th century, marking areas of private ownership and resultin...

I Can't Wait to Travel Again

I miss travelling! I’ve always loved to travel especially to wild and remote places but living on an artist’s unsteady salary, I’ve learned to find inexpensive ways to travel. Several years ago, I discovered artist residencies, which provide accommodation and small studio spaces. These are available to artists all over the world, some of which are free depending on acceptance of your application, others cost a small amount. I prefer ones that are remote but provide accommodation to a small group of artists rather than just one person. The interaction with artists from other countries is a stimulating, enlightening and enriching experience. St. John's Newfoundland 2019 After I’d been teaching painting classes for several years in various parts of Canada, the US, as well as in Sweden and Iceland, I had the idea to combine m...

Janice Mason Steeves

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