#16 Paul Ruscha

---

Paul Ruscha Essay

#15 Doro Hofmann (Visiting Painting)

#16 Paul Ruscha (Responce Painting)

I’ve always been a duck fan (like the representative suite in my bird cards) for they represent the hearts in the traditional deck of playing cards. Ducks seem sort of dumb to me, just like Sonya in Peter and the Wolf who became so endangered by that big, bad wolf; just like one in love – hence, the heart which abandons all caution to throw itself into what it thinks will be a rosy thereafter, but ends up being a very scary event in anyone’s life. I got the feeling from the painting which was brought to me, that its motion of falling through space was like careening in an uncontrolled path of unfinished fate. I feel that the word, falling made me recall that delicious taste of love, even though the statement words in German which were superimposed over the painting I was given for reference were about art – not about dumbstruck love.

Nevertheless, that dreamy sense of falling through space led me back to the ducks. Years ago, I made some pillowcases which I gave away for Xmas gifts. I’d found the bedding in Pic’n’Save. There were flying ducks printed on the fabric, but the ducks looked like they were dead, and when they were turned upside down, they looked like dead ducks falling. I found my DEAD DUCKS FALLING stamp by accident a few days ago in my garage, after I studied the Circle of Truth painting which was my reference and it seemed like what I wanted to revisit in a different way in art. So, like the reference painting which had an upper left to lower right diagonal, I chose not to use a lower left to upper right diagonal, although it became hard not to influence my desire to do that because I love diagonals. Most of my calligraphy is on the diagonal. But, I chose a V-formation which is like geese use and I let my ducks fall into that vortex. The ducks I drew on a plastic vacuform point-of-purchase cover and a CD disc protector. I love plastic in a multitude of shapes, and have grown a huge collection of them over the years. So, I got to use several mediums to create my final canvas, that of ink-stamped letters, acrylic and ink on verso plastic.

I used to caution one of my favorite artists not to talk about his work too much or reveal his process because it would sort of kill the mystery of how art’s done. I apologize for my own transgression of that very act, so now I guess I know what he means. But I hope I haven’t talked too much about it so I dispel your initial response to it, but just go ahead and fall for it whether you like it or not. Like my ducks who are circling the truth of love in a downward spiral...

#17 Randall Cabe

---

Randall Cabe Essay

#16 Paul Ruscha (Visiting Painting)

#17 Randall Cabe (Response Painting)

Dead ducks falling, written in a strong triangular shape with what looked like a blood pattern dripping across the format in a dancing diagonal; a piece of square plastic packaging-window and a CD; that, and a note saying make a painting in response. Making a painting for a sequential Exquisite Corpse that was not something I would paint in my daily studio practice would have been disingenuous.

So, the closest thing I had to a duck and to the blood-red in the artwork that was sitting in my studio, was a 1960s badminton birdie I had inherited from all the crap I had salvaged from my grandparent’s house, after my grandmother died. I had always wanted to paint the birdie but never had made it a priority, despite it having great sentimental value.

The strong shapes employed in the piece I had to respond to were a nice catalyst for the design of my own picture. I basically stole the pictorial tensions from Morandi and the dramas from Diebenkorn, so that made it easy…or difficult. Even so, I harbored resentment. Then, as I had to crate-up the piece to send to the next artist, I wished I had had more time, like I always do.

#18 Rhea Carmi

---

Rhea Carmi Essay

#17 Randall Cade (Visiting Painting)

#18 Rhea Carmi (Response Painting)

While viewing the previous artist’s painting, I was struck
by its emptiness, and the feeling of solitude, but also by its illumination.

The empty table, Tabula Rasa, could stand for the beginning of life or the end of it. The lack of people, food, and the empty saltshaker could depict the end of the world or it could be rebirth – a new beginning, when the table will come to life with people coming together, being at peace with each other.

I started to assemble my thoughts. One possibility was to start from Tabula Rasa and use the salt as a metaphor. In ancient times salt was used as a preservative and hence a common interpretation of the metaphor for salt is its duty to preserve the purity of the world. Salt also became a symbol of incorruptibility, permanence, purity, perfection, wisdom, hospitality, durability, fidelity and peace. Salt was essential for human life and may also be interpreted on that basis.

What also came to mind was the phrase, salt of the earth. Salt as a chemical compound is extremely stable and cannot lose its flavor, hence the English expression, salt of the earth, stands for humbleness and a lack of pretension.

I digested those thoughts and decided to use the salt and soil as materials for the work. Both stand for life. In the process, I brought in my optimistic view of life and concentrated on the positive. A new beginning, rebirth with peace on earth. The sign of the peace movement in the upper right corner of the work shines upon us and brings light into our lives as with the metaphors salt and light.

#19 Dan Lutzick

---

Dan Lutzick Essay

#18 Rhea Carmi (Visiting Painting)

#19 Dan Lutzick (Responce Piece)

The painting I received in August 2010 was minimalist in nature. It was composed of earth tones and three elements: two heavily textured areas that together look like a cliff face, and a peace symbol in one corner. My live/work space is near the Painted Desert in northeastern Arizona, and the painting’s color, texture, and imagery reminded me of a desert landscape or a sandstone formation.

The only element in the painting to which I could easily attach meaning was the peace symbol. I looked it up and found that it was created for the British anti-nuclear movement of the 1960s. I am interested in forms and symbols and keep a collection of books on the subject in my studio library. I am not overly concerned with specific meanings associated with symbols (I am suspicious of absolute meaning applied to anything), but I am attracted to the various ways the information is broken down and categorized. I am more interested in the method and process than particulars of the data.

The Circle of Truth project is built around a similar interpretive action. The artist reacts to the prior piece without knowing the intention or process of the prior artist and sorts that information into a new piece. The resulting sequence of images and objects are linked but do not necessarily share a sequence of meaning. I am a process artist and tend to create in an additive manner, and my instinct is to manipulate the process. Given one symbol, I am inclined to add others and lock those symbols into a framework of my own choosing.

With this in mind I looked around my basement studio, which was once the sporting goods section of the old department store where I live and work. It is filled with leftover items from construction projects

that I have stored as potential assemblage material. 

I immediately spotted an old frame, some used hardware cloth, and several sprinkler head covers. These items quickly resolved themselves into a grid framework into which I decided to introduce more symbols. I chose a heart, cross, circle, arrow, star, and triquetra to fill the outer spaces, which left the center of the piece unresolved. I have been working with a white queen figure in various sculptures and decided that a version of the queen as a power figure would best complete the piece.

The object I have created is in some ways the opposite of its predecessor: industrial rather than natural and intricate rather than minimal. I am interested to see how the next artist will break down the symbol sequence and what role the white queen, if any, will play in future permutations.

#20 Daniel Peacock

---

Daniel Peacock Essay

#20 Daniel Peacock (Response Painting)

#19 Dan Lutzick (Visiting Piece)

I wanted to derail the evolutionary flow of the continuum of this project, and let the beautiful, sensitive art cycle meander on its way suddenly disoriented and lost without a map. So I took something innocent, yet abstract, and tried to knock it off kilter. Give it a left turn, a hard right punch, a sophomoric sexing. I needed to create something that a child would understand and instantly recognize. Hence nudity. I saw something in the previous work and thought it was an accident, so I decided to go with that. So out came this womanly sensual monster. But this femalian-type she-beast had to strive for something that was doomed to guarantee struggle without any assurance of attracting what it really yearned for. That’s a tough haul. And I like chutzpa when it’s appropriate. Show your best assets, I say, give it all you’ve got woman. Let’s see how the market responds. I was portraying something with truth, and that is the unfolding process of becoming alive, with its fears and dreamed-for passionate triumphs. You go girl. There are not guarantees, but endless possibilities waiting, and thankfully a bevy of like-minded souls swimming about with similar desires, so life itself is assured. The lore of attraction.

Artistically, I wanted to be considered an uninvited guest at a private party. Maybe the next person would have to deal with my piece with a bit of giggles and remorse. I almost wanted a regret to be had for inviting me in this artistic journey. But the music is for dancing, it can be very fun. It’s oddly impossible to be indifferent to it once the process begins. The painting comes out personal in the end after all. And another wonderful attachment is made. It becomes my favorite painting for the moment, like a new lover that will become a fleeting memorable romance once she leaves the next day – departing the studio with a feeling of having loved still in the room. A veritable one-night stand, perfectly-timed. Painting is like that.

So respect was part of the journey – as I was straddled, saddled with having to perform and to become bridled by truth. I eventually calmed down. 

It does activate a kind of play that is only arrived at in painting – a process that usually summons duress and confusion. Making art, ah. It’s best described as a mild exorcism. You’d never know of the internal winds of doubt and discovery, the whispering maelstrom within. But it leaves a mark. 

#21 Susan McDonnell

---

Susan McDonnell Essay

#21 Susan McDonnell (Response Painting)

#20 Daniel Peacock (Visiting Painting)

When I saw the painting I was to respond to I burst out laughing and immediately recognized it as Daniel Peacock’s. My first response was, “this will be fun,” and I thought to simply paint an exuberant abundance of flowers, rainbows, butterflies etc., “You go Girl” in a childlike and playful manner.

It was a challenge not to see Daniel’s other work in my mind when looking at this piece and I had to stop myself from wondering what painting he responded to.

Then I got caught up in the story in the painting. She’s been hurt (stars and ouch mark on her thigh) in love. But she’s put on her boots, she’s looking good, all eyes are wide open, she’s feeling confidant and she’s ready for more! Love that is, and this time she won’t get hurt, this time it will be right.

Two days later with the canvas still blank I determined that I was over-thinking it and started painting an abstract background. I like to give paintings some history with the under-painting and I knew that once the ball was rolling an idea would happen. With Daniel’s character in mind I imagined the trials she had been through and at one point the painting was looking pretty mucky. I cleaned it up a bit by painting a light green pattern of amorphous shapes over the canvas. Then came three layers of transparent blue. Blue skies ahead.

At this point I painted from my personal experience. Being reconnected with a love whose time is right. The past cuts have got me here and even the muck has produced beauty. Mainly I see the truth as the optimism and possibilities of love. O

#22 Lynn Hanson

---

Lynn Hanson Essay

#21 Susan McDonnell (Visiting Painting)

#22 Lynn Hanson (Response Painting)

When I first saw the "visiting painting" of the monkey sitting in the tree in the Rousseau-like jungle, I was charmed. There were signs of humans in the wild setting but they appeared to be benign, even loving.

My first impulse was to paint a darker more realistic vision, a burned clearcut rainforest. But the message I was getting from the painting was of a peaceful coexistence, perhaps even connection. How to pass that hopeful message along using my preferred bleak colors and often cursed subjects?

After some rare angst over this throw down to make a different kind of painting, I concluded that you can’t return flesh to the bone. Plundering the sources close to me, the Pacific, the Santa Monica Mountains, my wild cottage garden in Venice, and then distilling and translating those experiences with charcoal or my dismal palette of oils, has become my language.

So I received the message and passed it on, employing the crows, my omnipresent companions. Just today, rolling along on my bicycle in the early morning sun, I whispered to one of the great black birds prying carnage from the asphalt, “You are a great beauty.”

#23 Michael Andrew Rosenfeld

---

#22 Lynn Hanson (Visiting Painting)

#23 Michael Rosenfeld (Response Painting)

I was approached to participate in the Circle of Truth about eight months ago [circa February 2010]. Initially I declined. I understood it to be a project where one reacts to a work of another artist, and that is contradictory to my process. More recently and in an unguarded moment I accepted the invitation and quickly realized my first impulse was correct. I was presented with the most beautiful crate I had seen, containing a blank canvas and the work of another artist whom I understood to be someone the curators thought appropriate to pair with me.

At first I understood what they were thinking, but I also immediately recognized the artist as someone I had previously been in two group shows with. The artist paints, as do I, in monochrome and using strong and recognizable iconography. The work presented depicts two birds, one on a wire and the other seeming to struggle on it. I thought, “Birds on a wire, there’s the theme,” and went about thinking how to relate this in my own terms.

Then I stopped, as I realized that this is not how I make art. While my work can be described as illustrative, what makes it art is the conceptual nature of the decision process wherein I choose what to paint. Once that is accomplished there is of course the journey of execution during which and hopefully unplanned nuances may take place. The joy, freedom, potential and challenge that a blank canvas represents to me was killed. Sadly and with a sick and vaguely claustrophobic feeling, I placed the two canvases back in the crate, and informed the curators I could not complete their exercise.

The curators informed me that any response, even a blank canvas was a truthful one, and that I was not off the hook. I took a breath, pulled the blank canvas out of the crate, leaving the finished work in and set about creating the work, which now comprises my contribution. To be fair to the project I will state that my piece would most assuredly not been created under any other circumstance, and it really did consume my attention until its completion. 

#24 Bari Kumar

---

Bari Kumar Essay

#23 Michael Rosenfeld (Visiting Painting)

#24 Bari Kumar (Response Painting)

When I was first approached with this project, I was apprehensive about participating in it – not because of the curatorial stance, but of my own art making process. I work in a solitary space reflecting and inquiring into my sense of being; my truth! I am free to be as literal or ambiguous as I desire to express. With this project, I have to interpret and represent the work of someone else. I also realize that as a painter I have to constantly push the boundaries of my comfort zone. To react and interact with others’ work is a dialog I seek often. So, I had to commit and just do it.

My initial response upon receiving the painting was to be just observant. To listen with my eyes to the imagery portrayed without trying to analyze it. I spent the first couple of days doing just that. The painting given to me looked like the interior of intestines with soft pink fleshy folds. Then I see that it is a close up of cupped palms of two hands, cradling a tiny egg, which has cracked open to the birth of an exotic blue toned lizard like creature. There was a reference to safety, danger, comforting, fragility, and by the composition of the image, a sense of scale. On the sides of the canvas were the words, “Square of Deceit.”

Are the hands the bed of comfort for the tiny creature or can it be crushed by merely closing them ? Is the creature as safe and innocent as it is portrayed by its tiny size or is it a monster in making? The words on the sides of the painting allude to the contradictions of one’s perceptions of the imagery that nothing is what it seems. 

I wanted to have a sense of the color that reflected the previous work. Like the pinkish folds of the palms, As I began to paint, I opted to change the concept over and over. A sense of inside/outside to create a feeling of safety and danger. Light and dark was another idea to implement the contrasts. The fingers from the previous painting manifested themselves in my work as a swastika form, a symbol of good luck and that of inhumane repression. The blue color of the hands and its surrounding space is reflective of the exotic creature from the egg. I wanted to play off the lizard like creature by painting the salamanders on the interior wall. They seem to be locked in some sort of a mating ritual or in the midst of a fight or the act of climbing over the other to get to a safer place. The wrinkles on their skin was like the folds of the fingers of the swastika. The soft, delicate fragility of the flesh belies the dangers that they may possess. The small white square note reiterates the squares within the square elements of the painting. 

#25 Juan Carlos Munoz Hernandez

---

Juan Carlos Munoz Hernandez Essay

#25 Juan Carlos Munoz Hernandez (Response Painting)

#24 Bari Kumar (Visiting Painting)

River of life passing through overpass of clearness. Transformation being formed as it transcends to unlimited universal thoughts through the vortex of lexiconic language.

Truth is a myth of which language is invisible, although very real in matter. The joy of a smile through universal language, uncertain yet certain of the haps. Finding the beginning of the form matter. Jumping into heart, brain, DNA – trusting your gesture only multiplying the unknown. Exiting unhappiness through ollin (movement).

While uncertain evolves under the overpass of certain answers. Center of earth holding, sharing the core, the key to form matter that is not visible but could be seen through our thoughts that view the heavens exiting the empty room with lots of room for visible language, admiring your soul for external light, desert reptile adapting to the orbital of universal family with reminding notes of self awareness true sensory system.

#26 Andy Moses

---

Andy Moses Essay

#25 Juan Carlos Munoz Hernandez (Visiting Painting)

#26 Andy Moses (Response Painting)

The Circle of Truth project was interesting for me because it made me think about some ideas on perception and uniqueness. Something that I have maintained for awhile in my own thought processes is the uniqueness of everybody’s perception and experiences. Art and Philosophy have spent quite a bit of time since their inceptions looking for that which is universal, that which unites us. There has been a strong belief that as humans there is a commonality in the way we perceive and process information.

Obviously there are many things that do connect us but I also believe that there are so many things both philosophical as well as purely perceptual that are different for everyone. I will be very interested to see how much each painting will shift between one and the next as each person responds to what they see.

With this project we were given the assignment to look at a painting and then respond to it in some way shape or form but trying in some way to carry on its essence. I was very happy with the painting that was given to me as it had a very dynamic quality to it as well as a very complete feeling of composition. The dominant color was white but it also contained every color in the spectrum so for me it was both a fun and engaging palette to work with.

I felt like I had to at least start out with a similar palette. I think both the palette and the sense of dynamic motion were the two qualities that I tried to focus on the most with this painting. I still wanted to work in my own inimitable style but I wanted to stay as true as I could to at least in feeling of the painting I was given. I felt like my painting was successful on both counts. I am very much looking forward to see the next painting in the chain as well as the complete set. 

#27 Tim Isham

---

Tim Isham Essay

#26 Andy Moses (Visiting Painting)

#27 Tim Isham (Response Painting)

I was struck by the organic quality of the painting that I was presented with: all wiggly and flowing together. 

There was an effect like a film of oil on water; it was phenomenological, everything warped and distorted, like a fun house mirror image.

This kind of image comes out of a process, like a Hirst spin-art painting does. I’m saying that it’s an image which an artist doesn’t preconceive and then painstakingly paint. The artist instead conceives a process, and then lets the process produce the painting. There is a high degree of chance in the outcome. The palette may be carefully chosen, but the rest is more random. This is not an opportunity for narrative, or for making complex observations about art world machinations. Except possibly to simply say, here’s a methodology used to apply paint to a surface one which on one hand is totally predictable, and on the other hand is totally unpredictable.

I’ve no desire to attach a value judgment to this concept. One may like it or not as an image or as an idea. I’ve been asked to view this image and respond with an image of my own. Options might be to do a painting in a similar way, react to the content of the narrative, use a similar palette, interpret what I believe may have been the artist’s intent, etc. The high-degree-of-chance-in-the-outcome factor in the work was the particular aspect which I was responding to in my own painting: I wanted to make an answer painting. He/she was saying, “Here’s a painting based on a process utilizing a high degree of chance.” My answer would be, “Here’s a painting in which nothing is left to chance.” My painting would also lack any narrative, but would be eked out, leaving nothing to chance, and leaving no doubt about it.

#28 Cheryl Ekstrom

---

Cheryl Ekstrom Essay

#27 Tim Isham (Visiting Painting)

#28 Cheryl Ekstrom (Response painting)

When I first saw the painting, it whispered perfection, precision, anal, properness, uneasiness. But it felt like everything was out of whack, ready to fall, crooked, off-putting, I was on guard. How can something that is presenting itself with such perfection, laundered and impeccable make me so annoyed, affronted, anxious? I didn’t like it. I was pissed off.

Then, as with some art, it haunted me. I liked it. I retaliated and sent forth crooked, cracked, broken, ready to tumble, off-center, parts missing and pristine white. I felt better. 

#29 Greg Colson

---

Greg Colson Essay

Cheryl Ekstrom (Visiting Painting)

#29 Greg Colson (Response Painting)

My first response to the previous painting was somewhat neutral...that I was looking at a white abstraction, or process painting, made with plaster in the spirit of Piero Manzoni. As I continued to look, the upturned profile of a head emerged that seemed too defined to be purely accidental. A textured diagonal swath obscures the features of the head, and appears to divide into two sections – the top section perhaps a bandana and the bottom section a blindfold. Or maybe the whole thing is a bandage. Is this an image of a hostage?...an oppressed American Indian?...a blindfolded Willie Nelson with his trademark bandana?

“Bandana, Blindfold, Bandage”...all strips of fabric tied about the head, that suggest many contrasting and overlapping notions: underdog, rebel, outlaw, hard labor, captive, torture, injury, bondage, fetish, concealment, mask, cover-up, signifier, identity, uniform, non-conformist, fashion accessory. Plaster is also symbolic as a material used to conceal (as a patch), or to bandage or heal (as a cast).

My struggle with this project is acknowledging that my interpretation of the previous painting might well be totally off base from the artist’s intent. Ironically this confirms my belief that perception is mutable, and ascribing truth and meaning to things is a slippery business. 

#30 Alex Gross

---

Alex Gross Essay

#29 Greg Colson (Visiting Painting)

#30 Alex Gross

My participation in this project began with a visiting painting that portrays a profile of a head with something wrapped around the eyes. It also included the type “bandage, blindfold, bandana.” I spent awhile looking at this piece trying to decipher a theme. Ultimately, I concluded that these three terms were all different ways of looking at the same thing. A bandage over the eyes is there to protect or heal us. Whereas a blindfold over the eyes is there to restrict us. And a bandana above the eyes is something of a fashion statement, an accessory.

This is where my brainstorming process began. I started to think of things that may be both protective and restrictive at the same time. And I also wanted to incorporate something to do with accessories and fashion.

Typically, my process involves found imagery that inspires themes for me. This project was something of a reversal of that formula, since I was beginning with a theme. But, as I often do, I searched for imagery that brought up ideas of restriction, protection, limitation. Illness and health began to rear their heads as I played around with this. Ultimately, I came up with the idea of an innoculation, which is really universal, and involves protection as well as pain. Neck braces also involve both protection and restriction. I melded these ideas into one image. The remaining task was to incorporate something connected to these which referenced fashion or accessories.

I’ve been doing work that references text messaging and digital communication for awhile. For me, one of the interesting aspects of this area is the double edged sword that this technology represents. It has given us a lot more freedom to stay in touch wherever we go, and whenever. At the same time, it isolates us as we lose touch with the environment around us as we stare at our phones and ipads. This seemed to be the right third element for my painting. I feel like its inclusion in the image creates a dialogue with the viewer about where the phone stands in relation to the other themes in the piece. Is it helpful, or harmful, or perhaps both?

As with the piece that begat mine, I felt that the inclusion of type was important in conveying the ideas more clearly to the next artist in line. And it also makes for a more complex and interesting experience for viewers. 

#31 Gary Panter

---

Gary Panter Essay

#30 Alex Gross (Visiting Painting)

#31 Gary Panter (Response Painting)

The painting I received was of two girls, realistically rendered, one appearing to be a nurse from the 1940s administering something to a woman in a neck-brace attired of a more contemporary moment. The color scheme was in earth tones and grays and peppered with dots of pastel colors almost like early Larry Poons confetti. 

In looking for the truth in the piece, I ignored the girls, because though the nurse on the left was much more appealing to me, that seemed very arbitrary. 

The truth in people would lie in their personality and not their superficial appearance. Maybe the appealing nurse was a psychopath – I couldn’t know, from the painting, of her character. I ignored the slogans and words, which did not speak to me as containing a truth I could latch onto.

I chose to pursue a more formal course, echoing the basic formatting devices, the color palette and the placement of the dots. I made a stencil of the dot locations and size and applied the same color scheme, but flipped the stencil to start with, producing a mirror image of the original dots, which is only so truthful – more a reflection, and then repeated that process, by turning the canvas (or stencil, as you like) four times to see what configuration of dots would emerge relative to their initial placement on the plane of the canvas. There is often cold truth in formal pursuits, but in this case pretty. I didn’t try to make the work slick. Questions and observation are more true than facility to me in this case.

#32 Justin Bower

---

Justin Bower Essay

#31 Gary Panter (Visiting Painting)

#32 Justin Bower (Response Painting)

I was interested in the Heisenbergian concept I saw in the previous painting, it reminded me of an illustration of what quantum mechanics would look like. I saw particles moving, existing in two states at once, uncertain of any real stability.

With that in mind, I wanted to give the previous painting a depth, pulling back from the flatness and giving these particles a space to exist. As if the viewer was being pulled back to see the cracks in the flesh through which we then saw the workings of the previous painting. I wanted a depth of field that could be seen through the devices of layering different elements such as a grey web over a fading background, shadows cast by the particles and finally a topographical final layer of fleshy swathes. O

#33 Lita Albuquerque

---

Lita Albuquerque Essay

#32 Justin Bower (Visiting Painting)

#33 Lita Albuquerque (Response Painting)

I love collaboration and I have worked with numerous artists over the years with great results, but never had I collaborated with a thing, a painting. Not only was it a painting, but I didn’t even know the person (or persons) who had painted on it before.

So, here I was, the painting and me. It wasn’t a person I could react to or riff off each other as a synergistic combine; it was this static thing I had to contend with. And I had not done this kind of painting in years. I stared at it and stared at it, and got angry. I started putting in a background, I studied what was important in the painting and it was obviously the force of the gesture, I loved the dots, but felt the space was too illusionistic, a little too facile, I wanted to create something that would pop, but also keep the initial strength and power of the gesture. I could not get anywhere and was very frustrated and covered it over many times as it just was not happening.

Then one day I just got angry at it with my brushes full of white paint on the wet Payne’s Gray background and walked away. A few days later I came back and I thought, hmm, not so bad… I added a few red dots… so here it is. I am very happy with it and cannot wait to see the completed project.

The idea of the Circle of Truth is fascinating and seems very appropriate for this particular time. Who are we as individuals? The power of the many has always fascinated me. I cannot wait.