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Tag: Hurricane Lee

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Batten down the hatches!

The Ocean has its Eye on You, 14X18, oil on canvasboard, $1087 includes shipping and handling within continental US.

I opened McKinsey & Company’s daily email digest to read, “Resilient organizations prepare for the storms…” They were referring to metaphorical storms, but I laughed, because I’ve done nothing for the past 24 hours except prepare for what will possibly be the first hurricane to make landfall in Maine since 1969.

While I’m a dab hand at blizzards, I have no experience with hurricanes. I usually consult the Bible when faced with the unknown, but building an ark is impractical. Instead, I read the advice in our local papers and consulted my buddy Sarah, who hails from Louisiana.

My outdoor gallery doesn’t usually close this early. However, it is in a tent, and by nature not wind-proof. My husband and I wrapped and packed and toted, removed the interior display walls, and finally dropped the canvas at 8 PM on Wednesday.

Blown off my feet, 16×20, $2029 includes shipping and handling in continental US.

My arms and legs were aching. Our neighbor Paul ambled over and helped Doug move the dinghy and canoe to a spot between the garage and shed. That timely assistance was precious; I couldn’t lift another thing.

“How heavy does something have to be to stop it from being a projectile in 70 MPH winds?” my friend Linda asked. She lives in Stonington, which is more exposed than Rockport. “The big fear here is a breach of the causeway,” she added. That would effectively cut Deer Isle off from the mainland.

I’m just a few hundred feet from the ocean, but there’s heavily-wooded land between us and the sea. I’ve spent years saying we need a targeted hurricane to improve our view. The fancy houses are the ones below us, with the woods acting as a barrier between them and the hoi polloi, by which I mean me.

Deadwood, 30X40, oil on linen, $6231 framed includes shipping and handling in continental US.

Last Christmas, my buddy Dave answered an emergency call in Owls Head. It wasn’t even a tropical storm, just a garden-variety gale. It breached the seawall, causing extensive damage to his clients’ house. Watching that unfold, I was cured of any desire to own waterfront property. We’re sitting pretty in an old farmhouse on a bluff high above the sea. Our ancestors weren’t as naive as we are. They built their fishing shacks and boat houses at the water’s edge and their homes higher up.

That doesn’t mean I can ignore the storm warnings. High winds, especially coming off the water, can cause lots of damage. We’ve had an extraordinarily wet summer which has resulted in tree stress. Squishy ground, a lot of pines and spruces with shallow roots, stressed trees and high winds-what could go wrong?

I protested at putting away the patio furniture, as September is the loveliest month of the year here. Instead, we lashed it together and put weights on it. The grill gazebo is dismantled, and all our planters are sheltering under the edge of the house. That, I think, makes us ‘shipshape and Bristol fashion.’

American Eagle rounding Owls Head, 6×8, oil on archival canvasboard, $348 includes shipping and handling in continental US.

Meanwhile, our harbormasters are asking anyone who can, to haul their boats out now. Dinghies are coming out of the water; so are floating docks. Acadia National Park will close their ring roads and campgrounds tomorrow morning.

“Pray for the best and prepare for the worst,” as they say. We’ve done our best.

My 2024 workshops:

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Why we buy art supplies

Nova Scotia Sunrise, 12X16, oil on canvasboard, $1159 unframed. The Bay of Fundy has high bluffs, but I can’t imagine a storm surge coupled with forty-foot tides.

My Zoom class was discussing ways to manage anxiety. “Is buying more and more art supplies a sign of painting anxiety?” Pam asked.

“Don’t judge me!” someone else laughed.

I’m cleaning my studio involuntarily. As of last night, Hurricane Lee was on track to nick Cape Cod and graze Maine on its way to the Bay of Fundy. Unless that hurricane does a 180, we’re due for, at a minimum, high seas. Normally I’d sit back with a glass of wine and watch the fun, but I’m supposed to be teaching watercolor aboard schooner American Eagle starting on Saturday.

The students in my watercolor workshop aboard schooner American Eagle get QoR paints, Princeton brushes, and Strathmore paper. You can’t begin to learn with bad materials, but nor do you need a surfeit of stuff.

“The time for taking all measures for a ship’s safety is while still able to do so,” wrote Admiral Chester W. Nimitz (in response to three ships of the Pacific Fleet being lost in a typhoon). “Nothing is more dangerous than for a seaman to be grudging in taking precautions lest they turn out to have been unnecessary.”

Captain Tyler King and reservationist Shary Cobb Fellows have roughed out a plan. We’ll stay in port another day, and the first day of the workshop will take place in my studio. Nobody needs to be bobbing around Penobscot Bay in high seas, including the boat herself, which is on the National Register of Historic Places.

Every September, my studio is, frankly, a mess. I’ve been using it as a staging ground all season. It’s not just cluttered, it’s filthy, and there’s no way I’m hosting a workshop in it the way it looks right now.

That led me to sorting art supplies. I’m a reformed shopper; I haven’t bought a tube of paint or a canvas that I haven’t needed for twenty years. But before that, oh, boy, did I have a problem.

The deck of the schooner American Eagle. We’ll get out there, but probably not on Saturday.

Added to that, people tend to leave things at my studio and they give me art supplies as gifts. Some are extremely useful, like the Rosemary brushes my students bought me a few years ago, or the charcoal Karen brought me from France. Others, not so much, but I’m very sentimental.

In my experience, people tend to buy unnecessary materials for three reasons:

  1. In lieu of actually buckling down to do the work. I’m not pointing fingers here, but a man I know always makes the first step of any job going to Home Depot. He may or may not get any farther.
  2. Because they’re frightened of actually painting. Shopping for art supplies is a lot easier than facing their fears.
  3. To experiment. That’s why I have a tube of liquid graphite, oversized chalks and various colored pens in my studio-none of which I use very often. On the other hand, that’s also why I have watercolor pencils, which I find indispensable.
Breaking storm, 48X30, oil on canvas, $5,579 framed. I know I just used this painting in my blog, but it seems somehow too appropriate, as that’s American Eagle rounding Owl’s Head.

I  freely distribute my supply lists for watercolors, oils, pastels and acrylics. If you stick with them, you can paint for the lowest cost possible. Still, I get many letters from experienced painters, like L, who wrote, “I’m always trying to decide if I am missing some beautiful mixes by limiting my colors too much.” That’s FOMO, or fear of missing out.

You can spend hundreds of dollars buying paint and supplies that are useless or redundant. My online class, The Perfect Palette, is meant to steer oil painters away from this. But perhaps even more important is to analyze why you’re going shopping in the first place.

My 2024 workshops: