I've been a fan of Colleen M. Story and her blog, Writing and Wellness, since I came across her posts on Twitter a year or so ago.
When I learned that Colleen has a new book coming out, I jumped at the chance to read an advance copy. What writer could resist a book titled Overwhelmed Writer Rescue, with this tagline: "Stop drowning in your to-do list and start living a more joyful creative life!"?
Though the book has "Writer" in the title, the advice in it applies to creative folks of all kinds, and even those who don't consider themselves creative.
In concert with the book's launch, Colleen has agreed to answer a few questions. Read on for a taste of what you'll find in the book.
What led you to write Overwhelmed Writer Rescue, and how do you hope readers will benefit from it?
I started my motivational blog, Writing and Wellness, in the spring of 2014. After about two years of interviewing authors and interacting with readers, I began to realize there was a kind of epidemic going on in the writing world. Authors and other creative artists were drowning. There’s just so much we have to do these days.
As I heard the struggles authors were having, I recognized them. I had gone through the same things and found my way through, and I wanted to help. I was working on my next novel last fall (2016), but my muse knocked hard on my mental door, demanding I put my research and experience together in a way that authors and other artists could easily access.
My hope is that Overwhelmed Writer Rescue will help authors and other artists to create a better balance in their lives. Readers will learn more about their unique personalities and what they need to thrive as artists, and above all, how to better care for their creative selves.
Would you recommend this book for non-artists who have artists in their lives? If so, what might they gain by reading it?
In the interest of gaining early feedback and in making the book as high quality as I could, I asked several beta readers to read it. Some of them were not artists, and I was really happy to hear that they still got a lot out of it. The comment I received most often was, “This book would benefit anyone, not just artists.” People told me about changes they made in their lives after reading, and expressed how those changes helped them feel more productive.
I think in our society today, most of us are feeling rushed and overwhelmed. There many reasons for that, and I go into those in the book, but it’s not a healthy way to live. The sad thing is, we were taught nothing about time management in school, and certainly most of us have little information on how we’re supposed to deal with the influx of technology in our lives.
As for readers who have loved ones who are artists, the book may give them some insight into the creative struggle, and help them better understand how they can offer support, as well as how they can protect their own sanity in the mix!
I've recently come to realize that the patterns and disciplines that served me well when I was working full time as a writer don't feel quite right for the phase of creative life that I'm in now. Is it a good idea to re-examine our habits and attitudes from time to time and tweak our routines accordingly?
This is a great question, and something I talk about specifically in the book, especially in the chapters on “time personality” and “flexibility and persistence.” There are certain skills that once we master them, can work to help us reschedule our creative routines depending on the time of year and what’s going on in our lives.
We all experience, for example, yearly fluctuations in our creative output. I tend to really burrow under and write during the winter months. Living in the northwest, going outside during those months is often really uncomfortable, so it’s easy to keep my focus on a book. When the weather starts to warm up, however, that becomes a lot harder. I want to be out and shaking things up. These are the times when I’m more likely to enjoy teaching workshops or launching a book or going to conferences. The important thing is to figure out where your cycles are, and learn to honor them.
One thing we can count on is that things will never stay the same. Jobs come and go, family members need our help, and sometimes, our health needs our attention. How do we fit our creative work in when our lives are shifting around us? The more we know about our own creative selves, the better we become at fitting our creative time in no matter what. We are creative beings, so the work continues, regardless. It’s knowledge of the self that helps us weather the ups and downs with more ease.
Writers are often encouraged to reach out to other writers and offer support by joining writers' groups, exchanging and reviewing work, etc. These activities certainly can be beneficial, yet they can cut into writing time. Do you have any tips for maintaining connections with other writers without sabotaging your own writing?
Again, it comes down to balance, and to knowing yourself. How much interaction do you need? Creativity is a highly individual thing. (It’s why I have several quizzes throughout the book to help the reader get to know herself or himself.)
Personally, I’m extremely introverted, which means I require a lot of time alone to refuel. But I really enjoy interacting with people, too, particularly with other artists. I just have to be careful I don’t do too much of it, or I get worn out and my writing suffers.
Others may crave more interaction and may benefit by getting more frequent feedback. I think in this case, it’s more important to go by what your inner artist needs than to try to meet some sort of time or activity quota.
You may be optimally motivated by attending a writer’s group meeting just once a month, for example. That may be enough to keep you going strong on your novel. But if you find yourself sagging after a couple weeks and you’re not writing, maybe you need to join a second group so you’re getting feedback on a regular basis.
How is your writing going? How much are you getting done? Are you improving? These are the questions you should ask yourself when determining how much interaction/feedback you need. Keep to your writing schedule, but keep in contact with your motivation and energy.
Can you share a bit about your own personal path to a more productive, less overwhelmed creative life?
I’ve been a full-time writer for 20 years now, and honestly, it seems it’s taken me that long to really figure out how to balance my life. I’ve always worked really hard and for a lot of hours to fit in both my freelance writing and my fiction writing, but in my 30s, I suffered a serious back injury and had to write for two months on the floor.
That experience woke me up to what I was doing. Prior to that, I saw my body and my health as invincible, and ignored the little signs telling me that I was pushing it too hard. After that happened, I realized I was going to have to change things if I wanted to continue to enjoy a healthy life, and continue to do what I loved.
At about the same time, I got really frustrated with my lack of progress in fiction. I had penned several novels, but had yet to get a publishing contract. So I made some changes. I focused on working smarter rather than harder, and started to adopt some of the productivity techniques that I talk about in the book. I cut back on my extra-curricular activities, rearranged my schedule, recommitted to regular exercise and rest, and worked to gain a better outlook on my long-term goals.
The results were well worth it. I’ve published two novels and I’m working on a third, I’m loving the work I’m doing with Writing and Wellness, and my freelance business is still going strong. But there is rarely a day that goes by that I don’t exercise, and do 30 minutes of yoga, and eat healthy foods. I take a two-week vacation every year no matter what, and use that time to reconnect to my creative self and find out what’s next. I teach music lessons and play in the local symphony, and get out in nature as often as I can.
I think the most important thing I’ve learned is that physical and mental health have to come first. Without those two things, we can’t live up to the great potential each of us has. It’s not hard. It’s just a matter of learning the skills we need to create a healthy, productive and creative routine.
Personally, I think it’s fun, this creating one’s own life. We have more control than we think. We just have to grasp it.
Boost productivity, improve time management, and restore your sanity while gaining insight into your unique creative nature and what it needs to thrive. Find practical, personalized solutions to help you escape self-doubt and nurture the genius within in Overwhelmed Writer Rescue, available today at Amazon and all major book retailers. Enjoy your FREE chapter here!
Colleen M. Story has worked in the creative writing industry for over twenty years. Her latest release, Overwhelmed Writer Rescue, helps writers and other creative artists escape the tyranny of the to-do list and nurture the genius within. Her novels include Loreena’s Gift, a Foreword Reviews’ INDIES Book of the Year Awards winner. She has authored thousands of articles for publications like Healthline and Women’s Health and ghostwritten books on back pain, nutrition, and cancer. She is the founder of Writing and Wellness, and works as a motivational speaker and workshop leader. Find more information on her author website, or follow her on Twitter.
As a kid, summer was one long stretch of opportunity. More time to play—yay!—but even better, more chances to make stuff. Popsicle stick baskets at Girl Scout day camp, Plaster of Paris plaques at vacation Bible school, clay doodads and woven plastic lanyards at my school's summer recreation program. Plus an imaginative assortment of creations my neighborhood playmates and I dreamed up, like costumes for our backyard circuses and hula hoop shows.
Back then, none of us needed tips on how to boost our creativity. It just came naturally in those early years, before we felt the need to justify time spent on such pleasant pursuits. Before we learned to fear criticism and failure.
I still see summer as an ideal time to pursue creative projects, and I guess I'm not the only one. The cover of the latest issue of Writer's Digest, billed as "The Creativity Issue," hooks readers with such headlines as "Train to Be Creative on Demand: 7 Ways," "Turn Your Inner Critic Into Your Greatest Ally," and "3 Artist's Techniques Every Writer Should Try."
Inspired by the magazine—and those summer breezes wafting through my open windows—I went on my own quest for ways to kick start creativity. Here are seven suggestions that appealed to me. (Sources are at the end of this post.)
Be a hunter-gatherer
Collect ideas, images, random thoughts, quotations—anything that catches your attention—and stash them where you can peruse them at your leisure. That place might be a pocket notebook, a file folder (physical or virtual), a drawer filled with paper scraps, a box on your desk or a bulletin board in your studio. Resist the urge to organize your collection. Random associations that emerge from the jumble just might trigger original ideas.
Speaking of random associations, you don't have to wait for them to appear, you can prod the process. On a blank sheet of paper, write down whatever words come to mind. The words can represent ideas, categories, topics or objects, or they may just be interesting in their own right. Randomly draw arrows between pairs (or groups) of words. Use the results to inspire a poem, a story, a collage or a painting.
I know—you got in trouble for doing this in school, but now doodling is in vogue. Witness the recent book, The Doodle Revolution: Unlock the Power to Think Differently, which posits that doodling is no mindless waste of time; it's a focusing technique that helped Einstein, Edison, Henry Ford, Marie Curie and other brainiacs innovate and problem-solve. Last year I got hooked on Zentangle and found it relaxed and cleared my mind, making room for new ideas. And by the way, daydreaming is also allowed—it's a pathway to insights, a 2012 study suggests, because it helps us tap into memory, even in the face of distractions.
If you're a writer, try your hand at painting. If you're a musician, write a story. Push beyond your comfort zone, and you'll exercise new creative muscles. In the process, you're bound to encounter other creative types and benefit from cross-fertilization. (For more on crossover creativity, see this blog post from last summer.)
Establish a routine, then break it
A regular warm-up routine—say, sharpening pencils, doing a few stretches, reading something inspiring—can be a wake-up call to your muse. But be sure your routine fits your rhythms. Maybe you're at your creative best first thing in the morning; maybe you don't get fired up until after midnight. Find your personal golden hours and make the best of them. That said, don't be afraid to shake things up from time to time. While routine can get you in the zone, monotony can turn you into a drone.
For years, my morning routine has been some combination of meditation, yoga, reading over breakfast, then buckling down on whatever writing project I have in the works. But lately I've been altering the pattern—sometimes taking my camera out on the back porch for an hour or so before breakfast, sometimes doing my yoga just before lunch, sometimes writing in the evening. It's amazing how refreshing those small changes have been!
Decisions, decisions—every creative project seems to require a slew of them. Should I start my novel at the beginning of the heroine's ordeal or midway through? Should I add one more image to this collage or take one away? The urge to make a choice and move on is powerful, but sometimes it's best to sit with the uncertainty as long as you can. As one of my writing mentors advised, "Don't be afraid to get in there and make a mess." Eventually, clarity will come.
Your creations may not be all sunbeams and rainbows—how boring that would be! But whatever you're creating, I hope the process brings you satisfaction and a sense of joy. For me—and I'm guessing I'm not alone—joy is the juice that keeps the muse amused.
What are you creating this summer? What are your favorite ways of summoning your muse?
"A Few Short Rules on Being Creative," by Thierry Dufay, HuffPost, August 14, 2014.
"18 Habits of Highly Creative People," by Carolyn Gregoire, HuffPost, November 15, 2015.
"How to Be More Creative," A.J. Jacobs, Real Simple.
"9 Ways to Become More Creative in the Next 10 Minutes," by Larry Kim, Inc.com, August 11, 2014.
"7 UP: These 7 simple exercises will build core strength in your creative muscles," by Gabriela Pereria, Writer's Digest, September 2017.
"The Benefits of Daydreaming: A new study indicates that daydreamers are better at remembering information in the face of distraction," by Joseph Stromberg, Smithsonian.com, April 3, 2012.
"30 Tips to Rejuvenate Your Creativity," by Joel Falconer, Lifehack.
All but the first two images on this page are free-use, stock images.
I've been to reunions. I've been to festivals. I've even, in my day, been to a fair number of hippie love-ins, be-ins and other gatherings of the tribes. But nothing quite compares to Creekfest, an annual event hosted by our friends Paul and Valerie.
Now in its 25th year, Creekfest is a reunion of "kin," who may or may not be related in a strict genetic sense, but who all share genes for enjoyment of good music, good food and good times.
Held on Paul and Valerie's wooded property on Coolbough Creek, the event goes on for a full weekend, with many of the 150-200 or so attendees camping on the premises.
Things get rolling Friday evening, when local chef Tracy Murrell offers Thai specialties. Music and merriment typically follow.
Saturday is activity-packed, with a kids' craft and painting party, tie-dye for anyone who wants to get colorful, and a rubber ducky race on the creek. This year, Ray and I arrived just in time for the tail-end of the pre-dinner talent show, an impressive display of musicality by youngsters and not-so-youngsters.
Part of the fun is just taking in the setting. The "cabin," its additions and outbuildings have been constructed over the years with the help of friends. And everywhere you look are Paul and Valerie's creative touches, from Paul's metal sculptures to Valerie's moss gardens, to various intriguing objets d'art placed here and there. You could wander around for days and still not see everything.
After Saturday's talent show came a potluck to top all potlucks. I swear the spread was half a block long. Well, maybe not quite, but it just kept on going. All the dishes got rave reviews, especially one beet salad with goat cheese and walnuts. (Did you make that, Erin? We all want the recipe!)
Still more music followed, and went on until the early morning hours, long after we'd gone home to bed. We would've stayed longer, but Ray had another festive event to attend the next day—a car show in New Hudson—and he wanted to be up by 4 a.m., about the time things wound down at Creekfest.
Once the weekend was over, I asked Valerie (who twenty years ago declared herself Creekfest Queen) for her thoughts about this year and all the years leading up to it.
"For one reason or another, each Creekfest is the best ever," she says. "Sometimes I've had to stretch a bit to say that, but each year has its best-ever moments, this year included."
Every year also has its share of "oh, s**t" moments, this year included. Like when Valerie lost her birthday kazoo at the ducky race and dropped her iPad into the creek. But by last Tuesday, when I touched base with her, The Queen was chipper as ever and recalling the best-ever moments as well.
"The music, the kids, our kinship and love, the camaraderie. Even the dogs keep things fun and lively."
Another highlight: Creekfest's first-ever silent auction, which helped defray expenses—higher this year due to some necessary repairs and replacements. "We were ravaged by rodents last year," says Valerie. "They took down our inverter for the solar, the generator that pumps our water, the golf cart. They got into the wiring and trashed things."
All things considered, though, this year was the best ever. And next year? Better still.
Do you have an annual event with its share of best-ever moments? What makes you look forward to it?
More scenes from Creekfest . . .
Sunshine smiled on the Enchanted Forest, AKA Camp Newaygo, for at least part of last Saturday, but Sunday's downpours had fairy-folk scrambling to take shelter under toadstools. No worries, though. Quick-thinking Camp Newaygo staffers whisked gnome homes and pixie palaces out of the wet woods and into drier hiding places, where twinkly lights made fairy-house hunting just as enchanting.
The occasion was the two-day Enchanted Forest walk, a fundraiser for the independent not-for-profit camp located on 104 acres along a chain of lakes in the Manistee National Forest region of mid-western Michigan.
Last year's Enchanted Forest event was a great success, and this year's appeal to artists and craftspeople to create and donate fairy houses again yielded a fanciful assortment of tiny abodes—forty-seven in all.
It's always fun to see what imaginative people use to craft these dwellings: tree stumps, gourds, clay, copper wire, twigs, feathers, tin cans. One of this year's creations was made from a cowgirl's boot. Another had a hornet's nest worked into the design.
Ray and I got a close look at many of them when we helped hide the homes in the woods and along the Wetland Trail early Saturday morning. Then, as visitors began arriving and heading out with trail maps, we made the rounds again to watch them discover the little houses.
We had fun watching visitors' reactions to our own creations, too, both the fairy house and the story that went along with it.
"We were so excited to see families outside and enjoying the houses that were hidden on the trails," said Christa Smalligan, the camp's Events and Facilities Director. "Camp Newaygo is a great place for families to enjoy activities together. I heard many kids found some fairies in the woods."
If you missed out on the enchantment—or if you'd like a chance to relive it--here's a look at more of the fairy houses and the weekend's fun. And if you'd like a fairy house for your very own, all the houses pictured here--and more--are available for purchase on ebay through May 8. Proceeds help fund the camp's youth and family programs as well as renovations to facilities such as the Foster Arts and Crafts Lodge.
In January, Ray and I spent a delightful hour or so viewing the latest work of photographer Tim Motley at an exhibit and reception at Artsplace in Fremont. Tim, who has made a living as a commercial photographer for thirty-seven years, recently changed direction to concentrate on fine art abstract photography.
As I listened to Tim discussing his inspirations and techniques with gallery visitors, it occurred to me that HeartWood readers might also be interested in what he had to say. Though I had already peppered him with questions the night of the reception, he graciously agreed to answer still more questions for this Q&A.
I'm always fascinated when someone who's been successful following one path decides to take a chance and turn a different direction. You mentioned that your shift from commercial photography to fine art photography was something you'd been thinking about for a while. What made you decide it was the right time to make the move?
It was one of those things where you're kind of gently pushed. I started out in fashion in back in the eighties, moved into high-end weddings, and then when the economy went down, my weddings went from fifty a year to four. Because of the economy and so many other photographers out there, I decided to go into fine art world. I had done some fine art work back in the nineties, but it really didn't go anywhere. This body of abstract work that I'm doing now, I'm very motivated to get it out there, get into galleries and museums. I look at this as my legacy.
Was your previous fine art work similar in any way to the work you're doing now?
It was very different. Quite a bit of it was travel photography—a lot of images from Italy. The rest of it was just fine-art things that I'd shot off and on through the years, like Tibetan monks. I have photographed events all my life, and after a while, with the events, I started getting little fine art pieces. And in the nineties, I was in an artist's co-op. We had a gallery in South Haven and we all sold our artwork. That kind of dried up when my weddings took over.
Where did the initial idea for this new work come from?
About three years ago, I was photographing a dance rehearsal. I was starting to get really bored with it, because the dancers would get up and move around, and then they'd sit down and talk about it. You could be there for four hours without much happening. So I started shooting abstracts of the dancers in the dance studio under fluorescent lighting and getting some interesting results. That's where it really took off. I thought, if I take the concept to my own studio where I can the control lighting and background, I bet I could get some remarkable results.
How much experimentation did it take before you arrived at a process that would produce the results you're after?
Actually, I'm still in the experimenting stage. But probably about a year into it, I started feeling confident and knowing I had something here to really treasure. After that, with each shoot, I continue to learn something. It just evolves. There's really no hard-and-fast rules that I use in this, with the exception that generally I use one light and one person, and they have to move. Those are the only requirements.
I've been doing this for about three years, and as I go along my techniques shift and change a little day by day. One of the really neat things about this is, I felt like I had learned everything there was to learn as a photographer, and now all of a sudden this abstract world has opened up a whole new world for me. I'm learning much more about photography.
For photography enthusiasts, can you say a little about the techniques you use in this work?
We set up one light, and I have the model standing on the floor under the light. We put some music on. The music is very important; we try to put on music that they love to move to, dance or yoga or whatever, and then we start to shoot, using low shutter speeds. Usually the shoots last an hour only, because after that the model is exhausted and so am I. It's a real short time, but it's filled and compacted with energy like crazy.
Every model that comes in brings something different to the shoot. Some are professional models, some are dancers, and I've had a number of actresses come in. Each person brings a little something different each time, be it through their personality or through their talent. That contributes to the difference in each shoot.
How many images do you typically take to produce one of these pieces?
In one session, we will shoot anywhere from 500 to 800 images. There's a whole lot of shooting going on. Usually out of that 500 or 800, I can come up with five or six really good pieces. Then I'll narrow that down to maybe one. The rest of it is just exploration.
You mentioned that your wife, Patty Caterino, does the printing and any post-processing that's involved. Can you say a little about that process?
Oh, absolutely. Being that I shoot everything digital, there's a lot of latitude with any of the images. Basically all we do with the images is what you would do in a traditional darkroom. The lights are darkened, maybe a little contrast and saturation, but that's it. All of the abstract work is actually done in the camera. After we shoot, quite often I'll spend a few days evaluating the images, and then I'll pull maybe 20 or 30. My wife will sit down with me, and then she and I will go over them. Her knowledge in the computer is far beyond anything I could ever do. She starts making little adjustments, and she'll see things in her mind's eye, and from that all of a sudden other things start coming out of the picture.
In fact, the one picture that was like the main picture of the whole Artsplace show showed a blue body walking out of frame. That was a picture that I just breezed right over. My wife found it and said, "Oh, let me take a look at this," and she made a couple of minor adjustments and all of a sudden the picture took on a whole new life.
I'm basically a photographer. I work the camera, but I don't work the printer. I don't have experience in that field. My wife and I really make a very good team. We've been together since 1995, and we have a good cohesion, where with what I shoot, she makes my images so much more beautiful.
She's an artist in her own way. Anything she has an interest in, she can pick up some books, read them for about two weeks and then master whatever she wants to do. She's done everything from welding to glass mosaic work. She used to do a lot of oil painting on my photographs, where she'd take a black-and-white image and hand-color it. She has a phenomenal touch. She's very, very artistic. The things that we do together let her use that talent.
What do you feel you're expressing in this new work?
These abstracts kind of parallel my life. In the old days, when I was out there photographing events, my life was wide open to everyone, and people knew what was going on in my life. Now I'm much more reclusive, and my work is shifting with my personal life as well. Part of the idea behind the abstracts is, the body will have no clothing, no jewelry, simply because I don't want to depict this society. I would like those images to be as timeless as they can be.
My personal feelings are, the more I see of society, the less I want to be a part of it. So the abstracts kind of play along with that, and are something different that no one else does. And this work speaks to me. It really does.
And it stimulates me. I had reached the point a while back where the work just did nothing for me. All I did was make pretty pictures, but I couldn't feel anything coming from it. When I do these abstracts now, there's a feeling I get, a sense of accomplishment, definitely a sense of mystery. Sometimes I don't even understand what I'm getting, but I love what I'm doing. So I just continue down that path and see where it takes me.
Every piece that you see of my work is a part of me. I feel that connected to it. I think for the first time in my life, I truly do feel like an artist, and I wouldn't trade that feeling for anything in the world.
Where do you find inspiration?
In the early days when I was shooting a lot of fashion, some of the fashion photographers like Helmut Newton and Richard Avedon inspired me. Nowadays my references that I use for studying are Picasso, Matisse, de Kooning. I really do see life in an abstract way now, and this is all I really see photographically, too. I study art all the time. If I'm not shooting or working on pictures, I'm studying other artists' work just trying to be inspired by it, analyze it, see how it can come into my work.
How did you first get started in photography?
Back in the 1970s, I got a camera and started photographing my sons. One day I was shooting one of my sons in the living room, and I did something different with the lighting, and it was the most different picture I'd ever made. That really inspired me. I was bitten by the bug then, and I took off with photography. I started reading everything could get my hands on about photography. I was a magazine junkie. I bought every magazine I could get on photography and devoured it.
I dabbled in it until about 1985, when I met a guy at a camera shop who had a little studio in a warehouse in Grand Rapids. He said, "I'll tell you what, you come in and help me with my rent, and I'll teach you how to use studio lighting." I was with him for two months; then he took on a couple of other photographers because he wanted to lower the rent even further, and the place was too small for all of us. So in the same building, I built my own studio. I had close to 2,000 square feet that I only paid $200/month for. I was there for fifteen years in that building, shooting fashion and weddings and portraits. Then my wife and I met in '95 and the place we live now came up for sale in '97.
Where we live now is in a little area called Tallmadge Township, about fifteen miles outside the city of Grand Rapids. We actually own an old town hall, and that's what my studio is in. In back of the town hall is our house. One benefit of shooting the abstracts in the studio is that it keeps me home more often.
What suggestions do you have for anyone who's starting out in photography or who's been dabbling in photography for a while but wants to get better at it?
The one thing I could suggest is, you have to have a very strong drive. You have to be dedicated to it and you have to be focused on it. To go the route that I've gone, you have to work at it 24 hours a day. Once I got into photography and started professionally, it was like there was nothing else that went on in this world to me except my photography.
Are there other directions you'd like to take this work in the future?
One of the ideas we're kicking around now is tying my abstracts in with cancer patients. One of the models who's been in probably three or four times to do these abstract nudes is a breast cancer survivor. She's 57 years old, and she's got scarring, and it's obvious what she's been through, and we made some very beautiful artwork of her. Further down the road, if we can find a patron to bankroll this kind of project, I'd like to make beautiful abstracts—nudes or portraits—with cancer survivors and have them displayed in a hospital.
Is there anything else you'd like to add?
The show at Artsplace led to a contact in Ludington, and I'll be putting on a show at the Ludington Area Center for the Arts in 2018.
If the news of the day has been getting you down, here's one bulletin that's guaranteed to inspire:
FAIRYLAND, Newaygo County (March 1, 2017)—In spite of last year's housing boom in the Enchanted Forest (also known as Camp Newaygo), officials report a serious shortage of sprite-sized housing.
"Thanks to the artistry of local supporters, the fairy homes that sprang up in our forest last year were so attractive, they were all immediately occupied by pixies, gnomes, sylphs and all manner of tiny creatures," says Elvira Elf, housing coordinator. "We’re expecting an influx of fairy folk soon, as they return from their winter homes down South. We're asking everyone to pitch in again to create a forest full of houses to welcome them back."
After receiving the news, fairy-house builder Wildwood Ray was spotted heading for his workshop with an armload of mysterious materials. "This is one call to action it's impossible to ignore," he said.
Bet you can't ignore it either! So start gathering twigs, moss, stones and anything else that strikes your fancy, and get busy creating. Houses are due April 15 (you can drop them off at Camp Newaygo or call 231-652-1184 to schedule a pick up). Guidelines are listed below.
The fairy houses, gnome homes, pixie palaces and elfin abodes will be hidden in the forest surrounding the camp, and during the Enchanted Forest Event, April 29 and 30, visitors can wander the woods with a trail map, searching for the houses and trying to spot their secretive inhabitants.
Cookies and punch will be supplied for house-hunting fortification, and for an additional fee, young visitors will have a chance to create their own handiwork at a craft table.
All the fairy houses will be auctioned on eBay afterward, so you can pick out a favorite to take home. (Don't forget to make a wish for a fairy to come along with it!)
Camp Newaygo is an independent, not-for-profit camp located on 104 acres along a chain of lakes in the Manistee National Forest region of mid-western Michigan. In addition to offering a girls' residential summer camp and a coed day camp, the camp provides year-round community events: dinners, girlfriend getaways, winter sleigh rides and more.
Last year, organizers hoped the first Enchanted Forest event would bring in twenty-five to thirty little dwellings. They received forty-two houses, and a total of 627 visitors toured the forest over the two days.
Here are this year's guidelines for building your fairy house:
The Enchanted Forest tour is April 29 and 30, 11 a.m. to 4 p.m. Cost is $7 per person or $25 per family of four. The make-and-take craft table will be available from 10 a.m. to noon on the 29th, for an additional charge. No advance registration necessary; please pay at the door.
What do farming and art have in common? A lot more than you might think, say Mike and Amanda Jones of Maple Moon Farm in Shelby, Michigan. To underscore the connection, they're sponsoring a FEED THE STARVING ARTIST contest with the theme, "Local Food and Local Farms" and a prize of a $250 gift card to the farm.
"The idea was really born out of a desire to increase community connections," says Amanda. "One of the reasons we farm is, we really enjoy having that direct relationship with the people who eat our food. Another element is, we feel that we ourselves bring an artistic element to farming. We wanted to draw on that bond with other artisans, whatever their art form, to create connections and a stronger community."
Artists and artisans have until March 4 to register, either by emailing Mike and Amanda at firstname.lastname@example.org or by stopping by their booth at Sweetwater Local Foods Market in Muskegon, Saturdays from 9 a.m. to noon. Anyone planning to enter needs to let the Joneses know the type of art and the size of the piece, so they can plan for enough display space at the market on March 11, when voting will take place. If registering by email, please send a photo of the entry.
The entries themselves may be dropped off at the farm or brought to the market on the 11th, when market shoppers will cast ballots to select a winner. "We just ask that anyone bringing their art on the 11th have it there by 9 a.m., when the market opens," says Amanda.
Entries of all sorts are welcome, she adds. "When someone is practicing something from the heart and really putting an element of themselves into what they create, we view that as being an artisan. We wanted to leave the definition broad to be as inclusive as possible." The only criterion is that all works should be related in some way to the theme of local food and local farms.
The winner will be announced at the market's close on the 11th and will also be featured on Maple Moon's Facebook page.
"The winning piece, we will keep in exchange for the gift certificate," says Amanda. Other entries should be picked up at the market after results are announced on the 11th.
For budding artists and coloring enthusiasts of all ages, there's a coloring contest, too! Coloring pages are available from Mike and Amanda on market days at Sweetwater Market. Market shoppers will also vote on coloring contest entries on the 11th, and the winner will receive a generous gift basket from the farm.
The couple hopes the contests will forge new connections between local food producers, artists and other members of the community. "We're hoping this will draw in people who haven't been connected with their local farmers market and that others who identify as artisans will connect with this local resource and see the parallels in what we do. Our community thrives when people are able to do what they truly love. It makes us happier people and benefits everybody as a whole. If we are able to support each other in doing what we love, it's a win-win for everybody."
Love is a big part of Mike and Amanda's approach to farming, says Mike, who grew up in Newaygo County family that gardened and raised animals. "We believe growing plants is an art form more than a job. We treat every plant with respect to get the best-quality produce . . . Everybody talks about their grandparents' garden and how they raised the best-tasting tomatoes. There's a reason for that: the plants were getting all the love and attention they had. When you're putting that kind of attention into the food, you get the best quality."
Maple Moon has used organic growing practices from the beginning and is currently certified organic. Though the farm's output has grown in the seven years since its beginning, Mike and Amanda want to keep it small enough that they can still be hands-on, rather than hiring other people to do the work.
"If we stay small, we can have more control over how plants are loved," Mike says. "Our primary goal is to grow things that taste the best."
The Joneses grow "most vegetables you can think of," including "lots of heirloom tomatoes," but specialize in greens and herbs, both culinary and medicinal, says Amanda, who grew up in suburban Detroit, but took an interest in food and farming in her late teens. She arranged to work for six weeks on Nothing But Nature farm in Ohio and ended up staying more than three years.
Consumer interest in organic and locally-produced and foods is on the rise, but with those foods increasingly available in supermarkets, many shoppers don't visit farmers markets. Amanda wants to remind them there are still good reasons to buy directly from growers.
"You're not only getting fresher food, but you're also creating a relationship with the person," she says. "I know our food has to be good and clean, because I know the people who are going to use it. I see their children. I've watched babies grow up on the food. Sometimes when I'm out in the field, harvesting or working on a crop, I think of the people who come to the market who love it. That creates better connections and better health for everyone involved."
Sweetwater Market operates at the Mercy Health Lakes Village, 6401 Prairie St., Norton Shores, and is open Saturdays from 9 to noon.
Maple Moon Farm is located at 1224 S. 144th St., Shelby, Michigan. Phone: 231-861-2535
Photos courtesy of Mike and Amanda Jones
On the last Wednesday of every month, I serve up a potpourri of tidbits I've come across in recent weeks. This being the last post of 2016, I hope to offer a little inspiration for the year ahead.
Art is not a set of rules, but a harmony of whims.
-- Rubén Darío
No small part of sanity, I think, is accepting the distance between the discipline you think you should have and that which is actually available to you.
-- Naomi Jackson, author, in Poets & Writers, September/October 2016.
The purpose of the artist is to draw back the veil that leaves us indifferent before the universe.
-- Marcel Proust
I am not much of a believer in inspiration. Well, no, that's not true: Good writing needs a little lightning, which only strikes unbidden, coursing through it. But waiting to write until one is inspired is like waiting to have a drink of water until it rains.
-- Craig Morgan Teicher, poet, critic and freelance writer, in Poets & Writers, January/February 2017
Poetry is not a means to an end,, but a continuing engagement with being alive.
-- Kim Addonizio, poet, novelist and performer
Inspiration is not divine intervention. It's figuring out a solution to a problem.
-- Editors, Poets & Writers, January/February, 2017
The purpose of art is to stop time.
-- Bob Dylan
We delight in the beauty of the butterfly, but rarely admit the changes it has gone through to achieve that beauty.
-- Maya Angelou
You cannot get through a single day without having an impact on the world around you. What you do makes a difference, and you have to decide what kind of difference you want to make.
-- Jane Goodall
What difference does a difference make?
At a recent memorial for a friend and teacher, the speaker posed that question for all of us to consider as we thought about the person whose death we were mourning and whose life we were celebrating.
The question came to mind again last weekend when we attended "Leaving a Legacy of Art: The Jansma Collection" at the Dogwood Center for the Performing Arts in Fremont, Michigan. The art show and sale commemorated the lives of longtime Fremont residents Ray and Phyllis Jansma, whose lasting influence on Newaygo County's cultural scene is incalculable. Phyllis was a cellist and music teacher, Ray an architectural designer and artist who painted, sculpted and carved wood. As a tribute to this remarkable couple, their family offered some of Ray's artwork for sale, with a portion of the proceeds to benefit Newaygo County Council for the Arts-Artsplace.
Before the sale, I spent some time with Lindsay Isenhart, program coordinator and curator of the Ray and Phyllis Jansma Gallery at Artsplace. A good friend of the Jansmas, Lindsay worked closely with Ray Jansma to produce a book, Ray Jansma: Designer (Blurb, 2011), that chronicles his career and archives many of his artistic works.
"The Jansmas were a pivotal influence on my life," Lindsay told me. "I started going out to their house for Tuesdays At Ray's—a Tuesday night drawing group—when I was fourteen years old. At that point in my life, I was a latchkey kid. I could have gone a very different way, but once I started drawing, my whole direction in life changed."
The weekly gathering wasn't a class; there were no lectures or formal critiques, just a bunch of local artists and art enthusiasts getting together to practice life drawing and share their creative energy.
"I had never seen a cluster of artists working together. Just getting together to do art," recalled Lindsay, who went on to be one of the first recipients of the Ray Jansma Scholarship for Visual Fine Arts, through the Fremont Area Community Foundation, and to study fine arts and graphic design at Kendall College of Art and Design in Grand Rapids and Accademia di Belle Arti in Perugia, Italy.
"Through the Tuesday nights, I got to know Phyllis, and on a regular basis went out to what they called Tea Time at the Jansmas," Lindsay said. "People could show up from anywhere at their house during tea time. Phyllis would regale us with stories and talk about politics, and Ray would take me out to his studio afterward."
The Jansmas' talents and personalities drew people to them, but their home was an added attraction. Located on a winding road north of Fremont, the house—which Ray designed in the early 1950s—started out as a modest 975-square-foot split level. But as Ray's career grew, so did the house, with additions reflecting the varied styles of his architectural design projects. On one end is a master bedroom suite where the centerpiece was the magnificent carved angel bed offered for sale at the recent event.
A tower rises from the middle of the house, looking like something from a storybook. Indeed, guests sometimes felt they were "visiting another world," said Lindsay. "It was like Alice in Wonderland. I got to go to this fairytale place where we were surrounded by art, music, and everything you could imagine to play with."
Like the house, Ray's studio was out-of-the-ordinary, decorated with architectural elements from some of his design projects. One side of the studio was originally used for building a sailboat—a 32-foot Tahiti ketch christened the Maid of Ramshorn, which Ray and Phyllis sailed around Lake Michigan and Lake Huron (and Ray sometimes used as a floating office for design jobs in port towns). Once the boat was finished and launched in 1975, the former boat shed became a working space for various art projects, both Ray's and other artists'.
"He'd share whatever he had going on, share his studio space, encourage others to come and work there," said Lindsay. The list of working artists who have been influenced by Ray is long and varied and includes Ann Arbor potter Autumn Aslakson; Stratford, Ontario-based illustrator and graphic designer Scott McKowen; ; New Mexico painter Jack Smith; multimedia artist James Magee of El Paso, Texas (who also paints as Annabel Livermore) and many others.
"He inspired so many artists because he was always working," said Lindsay. "His work ethic was amazing. He didn't watch TV, didn't golf. He'd be in his studio, working on a project or out sketching barns or downtown businesses or putting in time for our organization. He would come here to Artsplace at least once a week and participate, whether it was just helping paint a sign or helping teach a class, he was hands-on involved."
Meanwhile, Phyllis inspired a long line of musicians, not only as a piano and cello teacher, but also through the Chamber Music for Fun program she initiated at Blue Lake Fine Arts Camp in Twin Lake, Michigan.
The Jansma children, too, benefited from the creative environment their parents provided. Tim became a violin, viola and cello maker, Jon a chemical engineer for GE, and Jennifer a piano technician who decorated her Ray-designed home with ornamental trim she carved herself and paving stones she hand-cast.
"I've never met a family that has made such an impact," said Lindsay. "And to be found in such a tiny little community is a rare thing."
The Jansmas made a difference. And what a difference that difference made!
Who has made a difference in your life? In your community? What can you do to keep their legacy alive? As you consider these questions, take a look at more of Ray Jansma's artistry.
If I invited you to come with me to the "most attended public art event on the planet," where do you suppose we'd go? Paris, perhaps? New York? Some quaint California town?
What if I told you that the event takes place here in West Michigan? It's called ArtPrize, and it draws some 400,000 visitors to Grand Rapids over a nineteen-day period in early autumn.
Unless you've experienced ArtPrize first-hand, grasping its scope, scale and concept can be mind-warping. When I try explaining it to out-of-towners who've never attended, they grope for comparisons.
"So it's a big art fair, like Ann Arbor's," they venture.
No, it's not like that.
"So it's some kind of festival of the arts, with performances, exhibits and activities?"
No, Grand Rapids has one of those in the spring, but that's not ArtPrize.
Maybe this will help. In a recent conversation, some of my hiking friends were comparing notes on their visits to this year's ArtPrize. Peg, still euphoric over her day-long excursion, said, "There are no carnival rides, there's nothing to buy, yet it feels like a festival."
Anita added in an almost reverent tone: "And all these people come, just to look at art!"
Still not getting it? Let's try some facts and figures. ArtPrize is an international art exhibit and competition that takes place in 170 locations—from museums and galleries to bars, bridges, laundromats and auto body shops—over a three square mile downtown area. The event is free to the public, who can vote for their favorites using mobile devices and the ArtPrize web page. Cash prizes, half of which are decided by public vote and half by a jury of art experts, total $500,000.
Any artist can enter, and any space in the district can be a venue.
"It’s unorthodox, highly disruptive, and undeniably intriguing to the art world and the public alike," the ArtPrize web site asserts.
What intrigues me most are the stated objectives of celebrating artists who take risks and promoting "examination of opinions, values and beliefs, encouraging all participants to step outside of their comfort zones."
As Ray and I toured this year's ArtPrize--the eighth annual--with our friend Emily, we encountered works that made us stop and stare and others that made us stop and think. Some brought us close to tears; some were just plain fun.
One moving display featured life-sized masks made by people with brain injuries, along with each artist's personal story.
Just down that hall from that collection was "The Butterfly Effect," an installation of 1,234 handmade bronze Monarch butterflies. Artists Bryce Pettit and Allison Leigh Smith created the work to call attention to the plight of Monarchs, whose numbers have dropped dramatically over the past 20 years.
After wandering outside and crossing a bridge to the other side of the Grand River (encountering a hula-hooping guitar player on the way), we came upon an assortment of sculptures that looked whimsical at first glance. But the creatures artist Justin La Doux crafted from recycled materials peered at us from cages, making a statement about the cruelties of the illegal pet trade.
In another area, we found a crowd gathered around Loren Naji's "Emoh" sculpture/time capsule and temporary home. Constructed from debris salvaged from abandoned Michigan and Ohio homes, Emoh (Home, spelled backwards) represents wastefulness and the irony of homelessness in cities riddled with vacant houses. During ArtPrize, Naji lived in the eight-foot-diameter orb. Afterward, he planned to embark on a multi-city tour, collecting letters and discarded items from visitors at each stop. At the end of the tour, Emoh will become a time capsule, with those collected objects and writings stored inside for ten years until the capsule is opened on Earth Day 2026.
Another ambitious—but more light-hearted—undertaking was showcased down the street from Emoh. Grand Haven illustrator Aaron Zenz and his six children collected 1000 rocks in different shapes and sizes and painted faces (or facial features) on each one. The rocks were painted in matching pairs, with one member of each pair displayed outside the Grand Rapids Children's Museum, where we saw them, and the other 500 hidden around town for people to find, photograph and post on social media. (Read more about the Zenz family's project, "Rock Around" in this MLive article.)
We didn't look for rocks, but we did go on our own treasure hunt, searching for work by Newaygo-area artists we know.
Eric LeMire's "Hexagonaria Percarinata" was easy to spot in the vestibule of a downtown pub. Eric used multiple layers of acrylic and poly resin to simulate the patterns of Michigan's state rock, the Petoskey stone, on a seated figure, a piece he hopes will stimulate interest in Michigan's "unique and rather exotic geological history and our human relationship with it"
And we found Kim Froese's "Bee the Queen" holding court in First Congregational Church. Kim uses bald-faced hornets' nests in her art, and this piece celebrates the role of females (insect and human) in home and family.
Kim's not the only artist who makes use of unconventional materials. This year we saw works of art created with aluminum foil, sand, duct tape and other surprising media.
ArtPrize is over now, but we still have plenty of reminders of the place of art in our lives One upcoming event, in particular, highlights the impact artists can have on the community. "Leaving a Legacy of Art: The Jansma Collection," celebrates the lives of longtime Fremont residents Ray and Phyllis Jansma, who had a profound influence on Newaygo County's cultural scene. Phyllis was a musician and music teacher, Ray an architectural designer and artist who painted, sculpted and carved wood.
As a tribute to Ray and Phyllis, their family is offering some of Ray's artwork for sale, with a portion of the proceeds to benefit Newaygo County Council for the Arts-Artsplace. The sale takes place Saturday, October 29 from 10 am to 1 p.m. at the Dogwood Center Black Box, 4734 S. Campus Court, Fremont. Admission is free, and light refreshments will be served. Entertainment will be provided by members of the Newaygo County Piano Teachers Association, of which Phyllis was a member for years.
I'm looking forward to the event, and I'll tell you all about it in a future post.
But for now, tell me something. Where do you go to see art that inspires, elevates and even challenges you to step outside your comfort zone?
Written from the heart,
from the heart of the woods
Read the introduction to HeartWood here.
Nan Sanders Pokerwinski, a former journalist, writes memoir and personal essays, makes collages and likes to play outside. She lives in West Michigan with her husband, Ray.