Every once in a while I’m gifted with a painting idea “from the gods”. These gifts are rare and unexpected. They keep me on my toes, my energy high in anticipation, and my love for painting deep.

That’s the way I feel about my current painting, “Weaving a Journey”.

This painting began about ten years ago with my idea to show two hands weaving Hala leaves.

Hala Trees are common in the Islands. The leaves are thin, long, and flowing. When the leaves are woven together, it’s called Lau Hala. Baskets, hats, mats, purses, and many other things are woven of Lau Hala.

One of my painting mantras is to only paint what I know to paint. When I don’t know what to paint, the painting is put away.

When the initial phase of this painting was finished I wasn’t sure how to complete the rest. I put it into my flat files waiting for inspiration to claim me again.

Many artists start with a plan and do sketches before they start to paint. I’ve tried that method only to find all my inspiration and energy goes into the sketch, leaving my painting feeling flat.

There are more ways to paint than there are people.

It’s important to find your own way to paint and follow the path that works best for you!

To keep my paintings fresh and alive, I jump into them as quickly as an idea hits me. By the time I felt ready to finish this painting, years had passed.

I’m honored to paint a version of the story of the journey of the first Polynesians to come to the Hawaiian Islands.

One theory is that the sails of the double-hulled canoes that brought the people here were woven of Lau Hala. These leaves are long with rough edges that will “eat your hands” until callouses form.

To weave a large sail, a line of women sat close together. It’s important that the weave remains tight and even. When one woman would tire, another would take her place so the weaving could continue.

I painted the double-hulled canoe. The people paddling it were next. I was very nervous about adding them, and until I did, the painting wouldn't be finished.

Until a painting is finished, it’s just a piece of paper!

Yesterday while painting at the kiosk at the Hilton Hawaiian Village, I asked one of the bellmen to help me understand the ergonomics of paddling a canoe.

He explained the last person in the canoe steers it, so his paddle is upright. Every paddler keeps his face forward so he can see where he's going.

Then, brush in hand, heart in my throat, I painted the paddlers, one at a time, taking breathing space between the first few until I felt comfortable to continue.

I'll let the painting rest for the weekend before deciding whether or not it's finished. See for yourself and let me know what you think.

All that angst for a few simple brushstrokes!

‘Luke, come to the Dark Side.’ ~ (my memory of Darth Vader enticing Luke)

Those words echo in my head each time I face a painting that needs dark colors.

In the beginning, the painting is meant to be mostly light and medium tones

Dark colors provide contrast, interest, intrigue, and excitement to our work.

Adding the darks to our paintings can be SCARY!

It’s scary and it’s exciting and it makes a HUGE difference in our paintings.

If the dark color is “perfect” when we paint it, it’s probably too light. If it looks “too dark”, it might just be perfect!

Scare yourself just a little bit. Add dark colors & the difference is immediate. It’s hard to appreciate the edge of darkness when we’re scared.

Noticing that we’re scared is the first step to shifting into action. Fear lives right next door to Excitement.

Move from fear to excitement by breathing into your fear. Inhale and feel the feeling rise from your belly to your chest (your heart center).

Remember that if the painting isn’t finished, or if you’re not happy with it — if you don’t like it — it isn’t finished. You’ve got nothing to lose by adding darks. 

If you don't like your painting, what's in front of you is just a piece of paper!

Still mostly light and medium tones, with definition added

Remind yourself that no one will die if you add darks to your painting. You'll likely energize your painting by adding dark colors.

Those of us in the Northern Hemisphere are “plunging into darkness” (on so many levels I’ve lost count — mostly I refer to winter).

Darkness is scary because we don’t know what it holds. 

Winter is a time of rest and of letting the ground lie fallow.

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It’s a time for us to ease up, maybe just a little bit, maybe take a nap, and certainly to reflect on all that we’ve done this past year. 

It’s also a time to plan ahead and to set our intentions for next year.

What is it you most want to see, do, or BE next year? What would light up your life and energize you?

If you want to relax, feel great, enjoy life, see the world through fresh eyes, and spark your creativity, join me on Art of Aloha's 8-day cruise through the Hawaiian Islands August 4–11, 2018. Come Discover Paradise, Inside and Out. Click here to receive first dibs on the great Balcony Cabins!

I attended two SARK retreats in June, one in Portland and another in Carmel. I felt joy and excitement before and during both of these retreats.

During the past nine months, I attended all of the online classes and in-person retreats. I filled two journals with notes and began shifting the ways in which I create my world.

I felt great, focused and excited about the process everyday … until I didn’t.

Anxiety rose up to meet me a week before the final retreat in Portland. I was shocked this was totally unexpected!

I turned to my watercolor paper and painted my anxiety while teaching my Hide-N-Seek painting method at a “Playshop” for the Hawai`i Watercolor Society on September 30th.

The painting began horizontally.

As my left arm circled the brush round and round, my right arm made the infinity symbol with the brush moving from left to right and back again. All the while I verbally and visually explained my inner feelings.

My left hand described my frustration with going over the same learning cycle, again and again, feeling stuck, seeing the same issues rising up over and over in my mind. (Remember the Onion from the last post?)

At the same time, my right hand explained my desire to break free of this cycle.

Step two of this painting process is the removal of texture, revealing the underpainting. It was then that a heart appeared, and I knew this painting would be vertical.

On the second day of the final SARK retreat, I watched in awe as Dr. Scott Mills drew out the exact structure of my fresh underpainting on the flip chart for the class.

Scott explained that it’s easy to get stuck in the seductive loop of learning and that it’s essential to break free from that loop so we do the work we’ve come here to do.

We need to use all of our learning
or we’re wasting everyone’s time.

Learning and Doing are parts of the infinity loop. One side feeds the other. If we get stuck on either side, we’re out of balance.

I’m committed to learn and evolve throughout the whole of my life. Now I have more tools with which to do my internal excavation.

The deeper I dig, the more I learn. The more I learn, the more questions I have and the more potential and possibility I find. And the more I have to give and share with others.

The world appears to be “out there”. Yet the VAST majority of it lies “in here” — within and for all of us.

That’s why I’m inviting you to join me for my first ever 7-Day Creative Cruise through the Hawaiian Islands, August 4–11, 2018.

Together we will Discover Paradise Inside and Out.

The official pre-launch is in December. Find out first by sending an email to me: Patrice@artofaloha.com. Please put cruise in the subject line so I’m sure to respond quickly.

I’ll share with you the processes I know to dig down deeper within and outside our selves, to hunt for and find the clues being left for us by our Inner Wise Selves.

Together we’ll discover new vistas,
both within ourselves and throughout the world.

Stuart is always ready to play — ball or just about anything else. His little body is filled with love and he was a joy to paint!

When entrusted to paint a member of anyone's fur family, I start with a good pencil drawing. I want to get him or her situated on the page just right.

First I paint the eyes. Next I paint the nose and add a little more love to the eyes.

The eyes, those windows to the soul, really need to shine forth.

You'll see me smile while I paint these loving pets. I feel their love and I express my love for them back into the painting.

When I'm pleased with the realistic features of the pet, I begin to play with color for the rest of the body. This is done in stages.

Sometimes I'm asked to paint a pet in realistic colors. These are just as much fun and as much of a challenge as the colorful portraits; I love painting them just as much as the colorful pets.

When painting in "Hawaiian-style" colors, I work to capture the nature of the pet with a joyful rainbow of colors.

Any white lines between the colors show where the pencil lines were. They help me to remember the different planes of the face and the shifting of the color value I want to paint. I carefully paint around the lines so they can be erased when the painting is dry.

The background comes last and is meant to highlight the portrait of the pet.

If you can feel the love of the pet, and the love I felt for and from the pet while I was painting it, the portrait is a success.

Stuart is one tiny, compact bundle of BIG loving energy!