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Life is like a game of chess
I don't play chess. I sort of know the basics of the game and I love stories about chess masters, but I'm not interested in learning to play it.
Unlike me, my 17-year-old son loves to play chess. Lately, he's been sharing interesting chess facts with me. For example, he recently told me "there are more possible variations of chess games than observable atoms in the universe." Which basically blew my mind.
Coincidentally, the next day a friend shared a meme about chess. "Life is like a game of chess," the meme says. It ends with, "I don't know how to play chess." Of course, this meme is funny because it implies that the person not only doesn't know how to play chess, he also doesn't know how to live life.
The Game of Chess
Then another chess coincidence happened that week. While I was working at my sewing machine, I pushed play on Radiolab, one of my favorite podcasts. It just so happened that they were rebroadcasting an episode on games, which included a whole lot of interesting information about chess. My ears piqued.
As I listened, I learned the chess term "out of book". This term quickly caught my fancy. If you don't know this idea - as I didn't - here's the background: there exists a "book" of all the chess moves that have happened throughout the history of the game. Although it's not a real book, in Moscow there is an actual library of all these recorded moves. This library has been kept since the 16th century and, like most things, it recently has been digitized. Basically, during a game of chess, most of the moves players make have already been made before in past games. (The digital book can even tell you how many times before each particular play has occurred!) But, not all of the possible variations of chess moves have been made before. When a player come to the point in the game that isn't in the book, the play is now considered to be "out of book". The way chess analyst Fred Friedel explained it on the the Radiolab episode is my favorite. He says when your play is out of book, "you have a position which has never occurred before in the universe."
Wow. Consider that!
As I listened, I learned the chess term "out of book". This term quickly caught my fancy. If you don't know this idea - as I didn't - here's the background: there exists a "book" of all the chess moves that have happened throughout the history of the game. Although it's not a real book, in Moscow there is an actual library of all these recorded moves. This library has been kept since the 16th century and, like most things, it recently has been digitized. Basically, during a game of chess, most of the moves players make have already been made before in past games. (The digital book can even tell you how many times before each particular play has occurred!) But, not all of the possible variations of chess moves have been made before. When a player come to the point in the game that isn't in the book, the play is now considered to be "out of book". The way chess analyst Fred Friedel explained it on the the Radiolab episode is my favorite. He says when your play is out of book, "you have a position which has never occurred before in the universe."
Wow. Consider that!
The Game of Life
Traditions are the life equivalent of playing by the book. The book of life says: go to school, get a job, get married, have a family. Traditions can be great; they provide quick and easy answers to basic life decisions.
In the game of chess, it's easy to tell when players are playing by the book. Their moves are quick and decisive. These moves are easy because the players have them memorized. They've been done so many times before that no thought is necessary. It's when play reaches the point of being out of book that the game becomes a challenge and slows down. Now, players have to think about each move they might make. They have to consider all the possibilities and all the consequences of each move and can no longer rely on what's been done before.
In the game of chess, it's easy to tell when players are playing by the book. Their moves are quick and decisive. These moves are easy because the players have them memorized. They've been done so many times before that no thought is necessary. It's when play reaches the point of being out of book that the game becomes a challenge and slows down. Now, players have to think about each move they might make. They have to consider all the possibilities and all the consequences of each move and can no longer rely on what's been done before.
Traditional paths are so well-worn we can feel that
not only are they the correct way -
but the only way.
not only are they the correct way -
but the only way.
We humans can be really hard on ourselves. We beat ourselves up when we feel we did something wrong. But life isn't always predictable. If we learn anything from the game of chess - and the unfathomable number of possible plays there may be in a game - it's that not everything is in the book. Not everything has been done before. There are times when you may "have a position which has never occurred before in the universe."
For me, the pandemic created a whole slew of things that never happened before. I didn't know how to make money as an artist. My two teenagers fell into depressions. Tradition was no help, life was out of book. And just like the game of chess, everything was slow and challenging at this point. It makes sense to me now: my brain needed time to process absolutely everything. At the time though, it was awful, exhausting and terrifying. I felt incredibly guilty and constantly felt that I wasn't doing enough. The problem was, that I didn't know what I should be doing.
Possibility
My journal page on the concept of Out of Book
Personally, I think this might be the most exciting part! Okay, the exciting part probably doesn't come until after quite a bit of heart-ache and depression. It can be a challenge to adjust to the unknown. What usually happens first for me is that I feel like a loser and I'm extremely sad and I feel sorry for myself and I want to give up.
But after that I come out on the other side feeling excited. All of a sudden there are possibilities I didn't know existed.
"Look at that!" I say to myself, "It's okay to step off the well-worn path! You can make your own path."
It's actually more than okay! It's amazing.
But after that I come out on the other side feeling excited. All of a sudden there are possibilities I didn't know existed.
"Look at that!" I say to myself, "It's okay to step off the well-worn path! You can make your own path."
It's actually more than okay! It's amazing.
Textile Art
Here's my art interpretation of the chess concept Out of Book.
"Out of Book"
16" x 20", cut and sewn cotton fabrics, thread. Sold.
© Mary Pow. All rights reserved.
16" x 20", cut and sewn cotton fabrics, thread. Sold.
© Mary Pow. All rights reserved.
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A New Series
Hey friends, I've started a new project! It's a series called 8x8x8 Faces. Each artwork is soft pastel, they are 8x8 inches square and take about 8 hours to complete.
If you'd like to participate in my new series, it's $100 per face and you provide the photo reference.
Need ideas?
Turn that senior photo into a work of art!
Send me a favorite photo of your child and I'll turn it into something to cherish!
Turn your boring business pic into something worth sharing.
Go here for 7 Tips: How to Choose a Reference Photo
If you'd like to participate in my new series, it's $100 per face and you provide the photo reference.
Need ideas?
Turn that senior photo into a work of art!
Send me a favorite photo of your child and I'll turn it into something to cherish!
Turn your boring business pic into something worth sharing.
Go here for 7 Tips: How to Choose a Reference Photo
Face 1
Work in progress
Face 1 complete
Face 2
Work in progress
Face 2 complete
Face 3
Work in progress
Face 3 complete
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I'm working on another painting about the line between imagination and reality. This is something that has always interested me, but more and more lately I'm understanding what it's all about for me. I've come to believe that, if we practice thinking differently, we will see that the solid walls that form barriers in our lives, are actually bars that we can slip between.
As children, we're so connected to our imaginations. Magic is real, unicorns and fairies really do exist. We're filled with wonder about the world and excited because we know anything is possible. I'm reading "The Secret Garden" to my daughter and it's this idea, that there's something magical and secret lying in wait just behind the wall that I'm really interested in conveying in my art.
As we grow up, we have to learn the rules. We're taught the structure of society, the way things need to be, and we learn our place within that structure. Rules are necessary, of course, but we forget that all things are possible. The rules forms walls around us that we think are real and solid. We live with those wall surrounding us for so long that we aren't able to see any other way. They are our reality.
It takes a new kind of thinking to snap us out of our adulthood, to give us back our imaginations and to realize the rules are just rules, not walls. In fact, if we remember how to truly see the possibilities, how to follow our hearts, we'll find a key. If we listen to ourselves, deep inside, we'll find the door. We can get through the wall, to a secret place that was there all along, just waiting to be discovered.
As children, we're so connected to our imaginations. Magic is real, unicorns and fairies really do exist. We're filled with wonder about the world and excited because we know anything is possible. I'm reading "The Secret Garden" to my daughter and it's this idea, that there's something magical and secret lying in wait just behind the wall that I'm really interested in conveying in my art.
As we grow up, we have to learn the rules. We're taught the structure of society, the way things need to be, and we learn our place within that structure. Rules are necessary, of course, but we forget that all things are possible. The rules forms walls around us that we think are real and solid. We live with those wall surrounding us for so long that we aren't able to see any other way. They are our reality.
It takes a new kind of thinking to snap us out of our adulthood, to give us back our imaginations and to realize the rules are just rules, not walls. In fact, if we remember how to truly see the possibilities, how to follow our hearts, we'll find a key. If we listen to ourselves, deep inside, we'll find the door. We can get through the wall, to a secret place that was there all along, just waiting to be discovered.
A detail of my current in-progress painting, "Blackbird and The Blue Guitar"
Want more?
Here's what I'm reading and listening to as I work on my current artwork.
The Man with the Blue Guitar by Wallace Stevens
Thirteen Ways of Looking at a Blackbird by Wallace Stevens
Between the Bars by Elliot Smith
Little Fires Everywhere by Celeste Ng
Blackbird by The Beatles
Thirteen Ways of Looking at a Blackbird by Wallace Stevens
Between the Bars by Elliot Smith
Little Fires Everywhere by Celeste Ng
Blackbird by The Beatles
UPDATE!
11/4/2019
This piece is now finished! After struggling with two title ideas, I decided to go with "Between the Bars". The original is available, prints will be available at some point. Contact me for details.
"Between the Bars" • 18"x 24" • soft pastel • Available, unframed $840
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"Possibilities" • 14"x 25" • soft pastel on La Carte sanded pastel card • 2019
The idea for "Possibilities" came to me while I was on a walk. I was taking a break from another painting of this same girl, getting some exercise and reflecting on things.
I know how important it is to get outside, to free my mind while moving my body. I quite often discover a new perspective on a problem while I'm on a walk or run. So, when a vision for this painting popped into my head while I was walking, I laughed out loud, because how funny - it seemed so, almost predictable, actually.
I know how important it is to get outside, to free my mind while moving my body. I quite often discover a new perspective on a problem while I'm on a walk or run. So, when a vision for this painting popped into my head while I was walking, I laughed out loud, because how funny - it seemed so, almost predictable, actually.
"I Dare You" • 12"x 19" • soft pastel • 2019
Side note: You can probably guess, but I was also inspired for the previous painting of this girl (the piece shown here entitled "I Dare You") while on a walk.
Of course.
I was noticing the shadows the leaves cast on the ground when it suddenly occurred to me how I wanted to paint her sunlit hair.
Of course.
I was noticing the shadows the leaves cast on the ground when it suddenly occurred to me how I wanted to paint her sunlit hair.
"Possibilities" in Progress
I thought it might be interesting to show the progression of creating this piece. This is my largest pastel painting to date and it was, to be honest, a little brain-straining. I really enjoyed creating it, but I had to step back and take a lot of breaks from it so I could keep my original vision clear through to the end.
Week 1: I lay out a basic sketch.
Week 2: I refine the face and add more detail. It's a challenge to get the hair the way I imagine it should be.
I start to put in color, using intuition.
Week 3: I think I'm almost done. I set it aside for many days in order to get a fresh perspective.
For me, this painting is all about what could be possible - if we don't limit ourselves to what we think is true. In art we can easily blur the lines of "reality" and "imagination". Why not in life as well?
Imagine the possibilities. :)
And P.S. Take a walk. ;)
"Possibilities" completed.
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Material Honesty is a term I learned while studying architecture at the University of Washington, Seattle. They were very big on teaching us future architects how to be true to our building materials.
We were shown examples of exposed concrete walls with imprints of wood grain to illustrate the idea of "material honesty".
We learned that during building construction, wooden forms are built solely for the purpose of having something into which wet concrete can be poured. After the concrete has dried, the wooden forms are removed and discarded. One may never know about the type of forms used, but preserving the wood grain imprint on the concrete is a way to give a nod to the construction process. It's a way to be "honest" about your materials.
We learned that during building construction, wooden forms are built solely for the purpose of having something into which wet concrete can be poured. After the concrete has dried, the wooden forms are removed and discarded. One may never know about the type of forms used, but preserving the wood grain imprint on the concrete is a way to give a nod to the construction process. It's a way to be "honest" about your materials.
"Material honesty implies that materials should be used and selected on the bases of their properties, and that the characteristics of a material should influence the form it is used for. Thus, a material must not be used as a substitute for another material as this subverts the material's 'true' properties and it is 'cheating' the spectator."
from the Wikipedia entry for Architectural Design Values
Although I'm not designing buildings now, I do think about material honesty quite a bit while I work. I've come to love the idea of hinting at my process and using materials in the way that works best for them.
Using the idea of Material Honesty in my art
If I'm using pastels atop a colored paper, then when I'm finished I feel that one should be able to determine that I used pastels and a colored paper for the piece.
Here are some ways that I accomplish the idea of material honesty with pastels, illustrated with details from my artwork "I Dare You".
Here are some ways that I accomplish the idea of material honesty with pastels, illustrated with details from my artwork "I Dare You".
Exposing the paper
Sometimes I choose my paper based on its color. Other times, I randomly pick out a paper color and it becomes an important element in my color scheme as I work. Either way, the paper color is important to my creative process, so I allow parts of it to remain exposed on the finished artwork.
In this detail, you can see bits of the brown paper through the pastel application. The brown paper very much influenced the colors I chose for this piece.
Sometimes I choose my paper based on its color. Other times, I randomly pick out a paper color and it becomes an important element in my color scheme as I work. Either way, the paper color is important to my creative process, so I allow parts of it to remain exposed on the finished artwork.
In this detail, you can see bits of the brown paper through the pastel application. The brown paper very much influenced the colors I chose for this piece.
Retaining my mark-making
Unlike wet media, like paint, that will show the brush strokes used during application, pastels are a dry media and they leave other types of marks, as shown in this detail. I choose to retain these marks in my finished pieces, both because I like how they look and because they indicate the way the artwork was made.
A bonus for me is that the marks are like a record of who I was and how I was feeling at the moment I made them.
Unlike wet media, like paint, that will show the brush strokes used during application, pastels are a dry media and they leave other types of marks, as shown in this detail. I choose to retain these marks in my finished pieces, both because I like how they look and because they indicate the way the artwork was made.
A bonus for me is that the marks are like a record of who I was and how I was feeling at the moment I made them.
Showing Layers
I've come to really love working with my pastels on a gritty, sanded paper. This unique type of paper allows multiple layers of pastel to be applied. I can achieve an honesty in my material application by exposing the multiple layers of color I use in my work.
Applying layers of color also allows me to give a painting more depth. If you've ever noticed a painting that appears "flat", it may be due to an absence of layers of colors.
I've come to really love working with my pastels on a gritty, sanded paper. This unique type of paper allows multiple layers of pastel to be applied. I can achieve an honesty in my material application by exposing the multiple layers of color I use in my work.
Applying layers of color also allows me to give a painting more depth. If you've ever noticed a painting that appears "flat", it may be due to an absence of layers of colors.
Being expressive; not photo-realistic
For me, my art is about expressing a mood and getting at the heart of what inspired me in a subject in the first place. For the painting shown here, I had taken multiple photos of my model. In one of the photos, her eyes really drew me in. They seemed to be almost daring me, the viewer, to take her on. I absolutely love the strong, determined expression on her face. Of course, the gorgeous sunlit hair only added to my desire to paint the image.
I'm not interested in creating a photographic replica with my work. It's much more interesting to me to express myself and the media I'm using. For this piece, I used a specific set of colors and very expressive mark-making to get those original inspirations down on the paper. In the end, I do feel that I captured the ideas that prompted me to paint this image in the first place.
For me, my art is about expressing a mood and getting at the heart of what inspired me in a subject in the first place. For the painting shown here, I had taken multiple photos of my model. In one of the photos, her eyes really drew me in. They seemed to be almost daring me, the viewer, to take her on. I absolutely love the strong, determined expression on her face. Of course, the gorgeous sunlit hair only added to my desire to paint the image.
I'm not interested in creating a photographic replica with my work. It's much more interesting to me to express myself and the media I'm using. For this piece, I used a specific set of colors and very expressive mark-making to get those original inspirations down on the paper. In the end, I do feel that I captured the ideas that prompted me to paint this image in the first place.
"I Dare You" • 12"x 19" • soft pastel on La Carte sanded pastel card • 2019
With each new piece I paint, I'm learning more and more about pastels and their specific abilities. I hope to continue to add to my list of ways to use them honestly.
Of course, the best thing about art is there are so many different ways to approach it! What do you think? Do you think it's important for artists to be "honest" with their materials? When is it fun to fool people by being "dishonest" with materials? 😄
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I'm back at work on my Portrait Project, working on the twin boys! It's going really well and I'm having a wonderful time with them. I'm sure I've said it before, but I have to say it again - I never would have guessed that painting portraits would be something that I'd enjoy this much. But it's true; I love it!
I also finished another portrait in April! So, here's Addendum, Part 1 to my Portrait Project showing my in progress work on these final three.
I also finished another portrait in April! So, here's Addendum, Part 1 to my Portrait Project showing my in progress work on these final three.
Melanie
Noah & Jonah
I should have an Addendum, Part 2 with the finished portraits in about a week!
If you want to find out more about having a portrait commissioned, please contact me or view my commission request page. I'm always happy to chat!
If you want to find out more about having a portrait commissioned, please contact me or view my commission request page. I'm always happy to chat!
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I made it halfway through my goal of 10 pastel paintings of my neighborhood lake before Spring hit me full on - and I took to my garden. :)
Five finished pastel paintings of Lake Nokomis. March 23 - April 24.
All winter I've been planning a huge DIY landscaping project to overhaul my backyard and it was time to start! I love to design, I love to grow things, I love to be outside, and my kids are now old enough to handle themselves for long periods of time, so not much could stop me from getting to it. And after I finished my work for my art exhibition "Orient, Disorient Repeat" - I couldn't focus on anything else but my garden!
Now I've finished most of the planned landscaping and the summer heat has set in, so I'll be back to this pastel project soon. I have three more photographs of the lake in my queue, which will bring my total to eight. Two images short!
May 1
May 5
May 20
These are the next three photos of the lake I plan to paint.
I had wanted to include a sunrise and a sunset image, but now if I do there will be a big gap between the dates. I haven't even been on a walk around the lake since May 20th due to my yard work giving me plenty of exercise!
Oh well, I may just take some photos for those two a bit later than planned. Then I will have my 10 view of Lake Nokomis.
Stay tuned!
Oh well, I may just take some photos for those two a bit later than planned. Then I will have my 10 view of Lake Nokomis.
Stay tuned!
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I realize that I haven't been at all outspoken about the body of textile art I'm currently working on. Lately, I've been thinking about what I want to say in my artist statement for the upcoming exhibition of my work. It seems an almost impossible task to get down all the thoughts I have while I work into a one-page, 18-point-font statement!
Yesterday I wrote down a sentence I heard Joshua Johnson say on the radio: "How you see the world depends on where you look." It's a timely quote for me.
Yesterday I wrote down a sentence I heard Joshua Johnson say on the radio: "How you see the world depends on where you look." It's a timely quote for me.
Early this week I sewed the final seam on my artwork, "The Edge Effect".
I'm interested in viewpoints, and humanity, and creativity, and how we're interconnected, and how we each see the world. Thoughts about these ideas float through my head while I work. I take little notes about things I hear and read, and somehow, they all seem connected to a larger idea I have forming in my mind. It's hard for me to put these ideas into words, so I put them into my art.
This week I'm mounting and stretching my textile artwork for the exhibition.
Everyone sees/experiences/understands the world slightly differently. I don't know if there is a right way or a wrong way to see things. I think maybe there are just different ways. Together, all these different viewpoints add up to create the world of humanity.
Personally, I think we probably need them all. Who is to choose which ones we don't need? Everyone has a different viewpoint. Everyone has a different opinion.
Personally, I think we probably need them all. Who is to choose which ones we don't need? Everyone has a different viewpoint. Everyone has a different opinion.
My artwork entitled "Luster" is composed of 16 panels. It will be approximately 14 feet long by 5 feet high when installed in the gallery.
Title inspiration for my piece, "Luster".
Maybe, instead of thinking one way is right and another one is wrong - if instead we're open to the 'other' - that is the best way. Listen to other people, learn from their experiences of the world, ask them what they see, what they notice; hear their opinions, respect their viewpoints, be curious. If you can be open to the other, your world can only expand.
I invite you to see my textile art in person at the exhibition "Orient, Disorient, Repeat". The opening reception on May 23rd starts at 5:30pm with artist remarks at 6:00pm.
I hope to see you there! I'll be more than interested in hearing your viewpoint.
I hope to see you there! I'll be more than interested in hearing your viewpoint.
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What's new in my studio this spring?! While I've been a bit quiet on my blog lately, I actually have loads going on behind the scenes...
Pastel Painting Challenges
Last month I finished 6 pastel portraits in 6 weeks. When I finished that fun challenge, I immediately decided to start another! I zeroed in on one that would allow me more practice with painting landscape scenes. 10 Views of Lake Nokomis is the challenge I settled on; each week for 10 weeks, I am taking a photo of my neighborhood lake. Then, I paint the scene in my studio, using the photo as a reference.
I've completed views 1 & 2, but have gotten a few weeks behind on the paintings. Photos of views 3 & 4 are still waiting to be started! I will continue taking my weekly photos and I hope to eventually get to all 10 views. The 10 paintings will portray the transition from the beginning to the end of Spring.
I've completed views 1 & 2, but have gotten a few weeks behind on the paintings. Photos of views 3 & 4 are still waiting to be started! I will continue taking my weekly photos and I hope to eventually get to all 10 views. The 10 paintings will portray the transition from the beginning to the end of Spring.
"View 1: The Dance" • 9"x 12" • soft pastel on sanded paper, 2019.
Photographs for views 3 & 4
"View 2: The Walking Bridge" • 12"x 15" • soft pastel on sanded paper, 2019.
Textile Art - Jerome Project Grant
I've been working on my Jerome Project Grant since last summer. Now, in 4 short weeks, the exhibition of my work will be opening! This grant has been a journey: challenging, joyful, confusing, boundary pushing. I feel that it has really gotten me to grow creatively and I am grateful that I had the opportunity to do so with this grant!
The exhibition, entitled ORIENT, DISORIENT, REPEAT, opens May 23. My work, along with two other grantees, will be on display at Textile Center's Mondale Gallery through the end of July. Find more event information here.
The exhibition, entitled ORIENT, DISORIENT, REPEAT, opens May 23. My work, along with two other grantees, will be on display at Textile Center's Mondale Gallery through the end of July. Find more event information here.
Mary Pow actively investigates the creative process through her methodical cut-and-sewn color block work where she explores the multitude of viewpoints contained within the world of humanity.
work in progress
work in progress
detail view of my piece "The Edge Effect"
Mary Pow Handbags + Accessories
Good news! You'll be able to shop my collection of textile handbags + accessories at Textile Center's gift shop during the exhibition. I'm not doing many shows this year, so this is one of just a few opportunities to purchase my work!
Pastel Paintings - Recently Completed
I am continuing to love love painting with pastels! Here are some of my recently completed works. You can find more in my portfolio. I've discovered that commissions are one of my favorite things to do! Contact me if you have something in mind.
"Zen Fox Cool" • 9"x 12" • soft pastel on sanded paper, 2019. Based off the photography of Roeselien Raimond.
"Zen Fox Warm" • 9"x 12" • soft pastel on sanded paper, 2019. Based off the photography of Roeselien Raimond.
"Cheers!" • 11"x 14" • soft pastel on sanded paper, 2019.
"Maggie" • 9"x 12" • soft pastel on sanded paper, 2019. Commission.
"Flower Girl" • 11"x 14" • soft pastel on sanded paper, 2019. Commission.
"Melanie" • 11"x 14" • soft pastel on sanded paper, 2019. Commission.
Thanks for reading!
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This week I found out that I will have to wait on painting the twins' portraits due to some challenges with getting reference photographs. Their portraits will come eventually, but they won't be part of the six week time period. I anticipated this happening last week and added another portrait (Abigail) and officially decided to include Matthew's portrait in the group of six.
During week 5, I added more details to Savannah's and Penelope's portraits. I also finished or mostly finished Henry, Matthew, and Abigail.
Here are some detailed photos of the six portraits at Week 5.
During week 5, I added more details to Savannah's and Penelope's portraits. I also finished or mostly finished Henry, Matthew, and Abigail.
Here are some detailed photos of the six portraits at Week 5.
Jen
Abigail
Matthew
Henry
Savannah
Penelope
All of these portraits will get wrapped up during week six. Then I'll photograph them and I'll reveal the completed set in a week. I'm excited to show you!
Side note: I've added more finished paintings to my portfolio page. Take a look at them here.
