Monday, December 24, 2012

The Fruits of Christmas need not only be of the kind that fills the tummy but those that fills the Spirit and Soul. This year I had the 9 names of these fruits made up and beaded . I then placed them onto a chosen fabric, photographed it and had Christmas cards made. I'll also use the theme for my stationary next year.

To those that follow my blog and those that have supported me throughout the year I would like to thank you and wish you and your family's all of the fruits of the Spirit , that you will be blessed with much love, joy peace, patience, kindness, goodness, faithfulness, gentleness and self control in leading a life rich with the things that make you all shine.

With much blessings


Friday, December 14, 2012

Travel with me...

 One of the strengths of an artist lies inside the rucksack that s/he takes with them when they about to embark on a journey. Albeit , since every day is such an adventure , one should carry a sketchbook everywhere.

As the festival season draws near and folk have renewed hopes in the upcoming holiday, I decided to pause a little and look at what goes inside my little rucksack.

Whenever I travel I find myself starting off with good drawing pens on smooth thick (300gram) paper .
Watercolours are a favourite and also charcoals sticks give a quick result to capture the essence of my experience.

Sometimes I carry everything whilst other times I select items to make my bag lighter on longer walks... now let us have a look...

I change my watercolour pans depending on where I am going to. Here, a safe range includes: Cadmium yellow, white, Cadmium red, Alizarin Red, Ultramarine Blue, Pthalo Blue, Sap and Viridian green, Yellow Ochre, Burn't Sienna, Burn't Umber and Raw Umber.

Sable brushes are great to use...
Small smooth paper is best for time constraints.
Ensure this is thick to prevent warping...

Black card found in most art supply shops is
good to use when one wants to capture just the light on objects or people being portrayed.
Usually these come in booklet form.

Sketchbooks are multiple in book and art stores.
Be aware of the thickness and weight of them.

I always keep a little leather bound clean page sketchbook come notebook come journal in my handbag for referencing, doodling and sketching.
My favourite to write and sketch with lately is a brown fine liner pen found in multiple colour pen kits.

 Pencils, Charcoal sticks, White chalk pencils, Graphite sticks in various densities of hard, medium and soft are all good tools in which to play and use to capture your experiences.

And a variety of pencils, pitt pastel pencils in oil and chalk get placed into my little black box.
A variety of ink pens from .2 , to .8 is a must!
Brush pens are also great to play with on tours and travel.

And finally, a good camera is very useful for referencing and working up images once back in the studio. Needn't be big of course, but be able to take clear images.

.......let's go.....

Thursday, December 6, 2012


Most recently I have frequented artistic events that have not made use of a paintbrush but a pen and typeface as mode of choice to execute one's creativity. My mother launched her new novel called UNDER A SWIRLING SON  by Victoria Pereira.

Based on mémoirs, this novel is a wry fictional account of Margarida’s life, which highlights the struggle for love and freedom, the mystery of synchronicity and the breaking of psychic boundaries. It also zooms into an extraordinary solar phenomenon, seen by thousands, which took place in 1917.
What are the consequences if we don’t pay attention to the extraordinary?
Most recently I have frequented artistic events that have not made use of a paintbrush but a pen and typeface as mode of choice to execute one's creativity.

My mother’s debut novel, UNDER A SWIRLING SON   was launched on the 28th by Adams Bookshop and Reach Publishers. Cedric Sessing, of Adams Bookshop  made use of the local Portuguese church, San Jose on Argyle Road, Durban, to promote this event as being now the Christmas season, it could not be done at their Musgrave Branch. Quite appropriate, as this church is part of the author’s community with whom she has been actively involved for perhaps two decades. Indeed, amongst the crowd was the Portuguese Honorarium Consul in Durban, Mr Elias Sousa and his wife Julia. He ended the speeches by thanking Victoria in name of the Portuguese, for her achievements.

This book can be purchased via and soon will be on e. kindle.

One of the invited guests expressed her admiration towards my mother and I acknowledged that. Indeed, I recall many a letter or assignment written during my school years that underwent intense scrutiny before being handed in. For someone who speaks with a strong portuguese accent and came from Mozambique only in her 40’s , my mother has a great command of the English language. Victoria has run creative writing workshops and two of her poems were selected by the Speech and Drama Association of South Africa for the National Syllabus 2011-2013. Recently, she was the invited Guest Poet at the Live Poets’ Society, headed by Danny Naicker and Brett Beilles. Another great evening, with poetry being read, savoured and appreciated by many, within the inspiring atmosphere of the Point Yacht Club where the group meet on a monthly basis. Some of the readers were Danny, Brett and Hannah Lurie .

At that Live Poets Society meeting, I met and  bought a book  by an interesting young author and public speaker called Daniel Alexander. His book is on parenting and education from a young man’s point of view. ‘Through the Crimson Mirror’ offers some very valuable insights in a humanly honest way. What I just love is his summary after every chapter which is fantastic for anyone like me, who reads with a pen and paper beside, in order to make notes and highlights.  He has done an apt review of Victoria’ s book and introduced her with confidence at the book launch of her debut novel ‘Under A Swirling Sun’. Daniel Alexander is passionate about writing and promoting local authors, which he says can be as good as any other well-know writers overseas, we must learn to break our inhibitions. He is the founder of the Durban Authors Association, co-ordinating meetings and doing presentations at libraries to promote not only his books but others’ as well. He is available to give talks at book clubs and libraries and chat about youth and related issues 

Sunday, October 28, 2012

Drawn to Dancing

 Charcoal Sketching is one of the quickest mediums to capture a mood. Below I have included just two of the many positions of Acrobats. "Getting into Chin" and "Elbow" (read left to right)
With the side of the charcoal, rub the page . Then simply squeeze the putty eraser until it is in a point and begin to extract the lights. Draw in the areas of dark so that your drawing captures good values from light to dark.
Sitting at my makeshift desk, I go about my work in sketching some of the Acrobats in action and in pose. I was so happy to have taken my watercolours on my trip to the Acrobat Championships as this medium really conveys the feeling of liquid movement in the dancing girls. Sadly , one is not allowed to photograph the girls on stage during the competition and I felt insecure to sketch in case my work was taken as capturing movements to later on "steal." I respected this. So when I could I'd photograph in our studio s change and practice room,  before dashing in to get a good seat.

And then back at our accommodation I'd go about capturing the images catapulting inside my mind.
Often I would attract the attention of the very young who are always curious and eager to learn.

A backbend leap


Saturday, October 20, 2012

Sketching from the Stage

An Acrobat goes through her moves inside her head.
Pencil Sketch using 2B and 6B.   

"I observe her intense focus on the stage as she quietly goes through her moves... no move is too sharp nor too rushed... she stands, she flows her arms as if through water... she stands poised and dignified before her time... to shine.

I am drawn to her liquid movements and more than that ... the love of dance that oozes from the depths of such energetic creativity.

Lost they are... into another zone... finding themselves in their incredible talent, gift, and passion."

Recently I accompanied my daughter to Middleberg to witness the Annual South African Acrobatic Championships.  Armed with all my sketching materials which include charcoal, putty eraser, pencils and pens of varying thicknesses, I approached the tour with enthusiasm.  "Free" time was very limited but I did manage to capture some fast gestures( less than a couple of minutes) which I now share with you. I will discuss my watercolour sketches on a separate post. Well done to Debi Frizelle and her studio of beautiful girls who shone on stage as much as the many gold medals that they won.

A simple line drawing done with a .2 ink pen.

Amazing stances, stretches and swings into the air.

This quartet's timing was perfect! Beautiful to watch. Gesture drawing in 15 seconds

Sunday, September 30, 2012

"Gogo - Proudly South African"

Little did this "Gogo" know that her wonderful portrait would find itself onto my blank canvas.
AND...then transported to Europe as a gift offering.

The photograph was taken by my mum in law, Gille de Vlieg, who is talented in capturing "just the right look". Then it was translated by myself.

"Gogo" arrived in England around the same time that my Gog"s (Gille de Vlieg) exhibition of photographs from the eighties was being launched by the city of  Ekurhuleni and South African History Archives (SAHA). This exhibition was to celebrate Heritage Month 2012.
It is titled " Entering Thembisa" and represents much of the township that Gille had dealings with in the 80's.

Although I always encourage people to work from their own reference, when it comes to portraiture another ingredient is considered. In fact it is sometimes better to begin portraiture by painting someone you do not know. Somehow the task of representing the person one is fond of is too daunting and a beginner often has that pressure together with grasping the techniques necessary in oil or acrylic painting.

One of Willie Jacob's ( specialist portrait painter in South Africa) tips is to get your proportions "right" from the outset as this will bring about a far more accurate likeness than colour will. 

Again this emphasises the importance of drawing.

Monday, August 20, 2012

A look at MOVEMENT and ENERGY in a painting.

A look at Movement and Energy in a painting.

Something that I am conscious of when I compose my painting is capturing some sense of movement and with it energy.

The landscape that my eyes look upon contains elements of dynamism. From the steady trot of horses hooves upon the water to the quiet stance of a women in reflection. Energy can be reflective and still or dynamic and moving.

The very action of the brush upon the quiet surface of the empty canvas causes one to move and to activate all of one's senses. The mind recalls memories and captures what the eye has observed, merging it with inner experience. The canvas is the plate that serves many tasty morsels and tantalising delights to the viewer. It becomes a means of communicating with the viewer through a language that is colour, texture, technique and composition. All combine to express the marriage of the artist and the subject that s/he has chosen to describe.

My pursuit is to freeze these islands of stillness and of movement. To document by means of a visual journal the people and places that my eyes’ lens focuses on. My soul is inspired , enriched and encouraged.
by Ana Pereira de Vlieg
(on exhibit until the 1 September at artSPACE gallery )

Whilst photographing, documenting , researching, observing, sketching and finally painting the magnificent cloud formations in and out of Africa, the other subject that caught my eye s lens was reflections.

Many artists over history, from Turner to contemporary artists, have tried to capture the fluffy, tangible yet intangible substance of clouds.
What I found whilst gazing up , was the inevitable effect the light of the skies had on the earth, particularly over water.

For just a moment this body of work investigated the reflections upon the sea shores of Durban, Kwazulu Natal.
A Race to the Rocks

A warm moment

As the day begins...

People on the beach

Reflecting on Reflections

Walking in Water
And whist observing,  I found a hypnotic beauty , reflecting upon those reflections...

Sunday, August 19, 2012

Natal by Ana Pereira de Vlieg

Art Statement for exhibition at Artspace.

My daughter of 10 once announced, after a particularly disgruntled day when things were just not going her way, “Mummy, if this is what you call life...! Then I want nothing to do with it!”
How true is that of many of our thought patterns when we face life’s consistent hurdles and curved balls.

I seek to be thankful for moments of peace and hope.

The content of this series of work is taken from my hometown Durban. “ Natal “ depicts a symphony of cloud formations resting over the horizon of Durban. As I dance with paint, the colours radiate, forms move, short and long brush marks fuse to bring about a monumental and dramatic effect. Life is not all painful, but filled with moments of escape, of beauty and of hope. 

My pursuit is to freeze these islands of stillness and of movement. To document by means of a visual journal the people and places that my eyes’ lens focuses on. My soul is inspired , enriched and encouraged, like the sun’s rays upon one’s back in the middle of a wintery season.

Dramatic configurations of clouds, water, land and the figure depicts the world we know, but suggests the possibility of something wonderfully greater.

By inviting the viewer to share this space, I hope to convey new ways of seeing and of being encouraged in a world which holds the promise and fulfilment of an inexhaustible life.

Tuesday, August 7, 2012

"Knobkerrie"oil on canvas.50 x 40
"Knobkerrie" , is the name of the man that my portrait was based on for the recent Durban D'arty exhibition. The photo was taken by my mum in law, Gille de Vlieg, who is a recognised documentary photographer from the 80 s. Her admiration for the man and my observation of his gentle eyes compelled me to exhibit him. I tried out some of Willie Jacobs colour recipe s for portraiture, and enjoyed them very much. Thanks Willie.

Durban D'arty took place at Artspace and the initial idea was suggested by durban artist Caroline Birch. Durban artists were to paint on a 50 x 40 canvas and then allowed to vote their favourite artwork. All signatures were covered by numbers. Prizes galore were handed out and congratulations went to Jane Digby(third) , Julia Forman (second) and Nicole Pletts (first). Artists drew a number out of a hat and then took the same numbered  painting home.

Ana holding Barbara Beck's painting 
The exhibition brought together a mix of experienced and amateur artists. Some amateurs were sensitive to exhibiting , fearing the disproval of those who would pick their work. Others questioned what they would do if they simply did not find the work they picked appealing. Could they really wipe out another s artwork?  But on the whole, those who exhibited were willing to respect each other and the levels that they were at.

After all...everyONEcounts.

My own story had a fascinating turn. I picked Barbara Becke s acrylic painting called" Seaweed". Since I tend to work with water myself , I had found it pleasing.  I have since made contact with Barbara, and co incidentally Barbara picked my painting of "Knobkerrie". What are the chances! Out of 120 participants.

God has a sense of humour indeed!Perhaps the paintings we picked carried a message for each of us, or perhaps we are mean't to cross paths with the artist... I am sure this exhibition has done much to bring the community together, at least, that was the heart of it.

Monday, July 30, 2012

A look at an exhibition of works from an ART THERAPY course.

Talvi Viikna(artist from the U.K.) holds the everyONEcounts card. 
Myself and other members of the everyOnecounts team was recently invited to attend an exhibition based primarily on social workers artwork. These people work with victims suffering from being abused. Initiated by Talvi Viikna , an artist from the U.K., who ran an art therapy course with the social workers from the "Open Door Crisis Centre".

I was  touched by the work produced and marvelled at the use of strong colour. I was so conscious of the colour being so vibrant in this exhibition perhaps due to the process of creating and the fact that someone was listening and seeing, it seemed hopeful. One of the artists spoke of red being a colour of hope and a colour of confusion. In that work, the question asked of him was, where was he going? The image aided towards a working out of this.
Teagon and Caron van Wyk, Angela McCall   
Some of the works described emotions whilst others described stories from the participants past.

Interesting was one works observation that the biggest obstacle was "me", themselves.
an emotive painting
Listening to Thora...

An intimate evening was spent sharing around the realities of managing trauma related to victims of human trafficking. Angela McCall, in the absence of Lara Mellon(founder of everyOnecounts), shared on the latest campaign being about bringing awareness about human trafficking through visual art.  Open door Crisis Centre will be one of this new campaigns beneficiaries.

Gallery owner, Karin Bradke, chats to Telvi and Norman Hudson. (left). The exhibition took place at Artspace galllery  in Umgeni Road.

To participate in everyONEcounts new campaign, speakART against human trafficking , go onto the following link...

Tuesday, June 26, 2012


Pencil Hatching the figure(ANA)
Earlier this year Dee called me up to ask if any of my students would be keen to begin a life drawing course with her. That is to draw the living figure which is posing in front of you versus working from a photograph. My response was to want to dive into that space myself. Rather surprised, Dee explained that the teaching would be none other than how we had been taught at Technikon Natal, under skilled artists such as Virginia Mckenny and Fransie Pretorious.

My gaze looked over at the colourful swimming gala I was attending and in a second, as the brain calculates the spaces present, past and future, I said yes. All too often , as teachers we pass on the information and watch the growth and satisfaction in our learners and forget to fill our own tanks.
One  chaotic line eventually appears orderly.(ANA)
Sure I sketch from life whenever I can and the little watercolour and pen sketches are testimont to that BUT, to have someone telling you when one minute is up and to produce 30 gestures in 30 minutes , to remind you of the many facets to be used in drawing is so appreciated.          
We must have done on average 50 gesture drawings per week, 250 to 300 per 5 weeks which is the time frame per course.

Gesture drawing of any sort is paramount to getting the brain fired up. I need to pause here and mention Dee s music compilations. It must have taken Dee hours of sifting through songs to come up with such inspiring combinations of tunes. I literally got lost in " the zone "( a term used to describe the place you are in when you are so focused on what you are doing that nothing around you nor  any other thought can distract you.)

 Essence of movement.(gesture)(ANA)
The leap!(gesture)(ANA)

Slow your brain down(contour)(ANA)
Gesture drawing is the cardiovascular exercises for the brain before the weight and definition part of your routine begins. Contour drawing for me is pure meditation. This practice involves careful looking at your model. Like an ant , your eye travels along the contours of the figure as slowly as your brain reads the information and passes this onto your hand. One barely looks at one s paper. Duncan Stewart once said that 90 percent of the time of drawing should be spent with your eyes on the model. Yet so many people use that 90 percent, with their eyes on the paper then wonder why their drawing looks nothing like what they are seeing. The brain almost has to trust that the hand will receive the information from the hand. You will see that the lines in my contour drawings at times go astray but this actually adds to the mark making and uniqueness of the exercise.

Oil pastel" weight" drawing.(ANA)
Having completed both courses yesterday I look back in admiration at how Dee has put together a very coherent course. And there is no doubt of the hours of research and practising of the exercise needed  on Dee s behalf in order to come up with such great lesson plans. From gesture which looks at essence of movement in space through to eventually capturing the mood of the model specific. We used pencils, on short and long sticks, oil pastels, charcoal, cloths, rubbers (putty and traditional), our elbows and fingers. All the models were well chosen and evoked different characteristics from which we could respond to.
We covered all fundamental aspects needed to execute a drawing.
Here on the right is a "weight" drawing. My thoughts had to be on modelling the body on a two dimensional surface, starting from the centre and moving towards blurry edges. Darkening the areas where I felt the solidity of the figure was.
The studio above gallery ARTSPACE, (ANA)

Indeed, one only needs to look at art history to see that from the Renaissance through to  Picasso, Matisse and Kandinsky and into modern times, evidence that good draughtsmanship was in place before any attempt was made towards abstraction.

Pencil drawing on a long and short stick(ANA)
Dee went through many phases of drawing and some of the phrases that I identified with, and often quote in my own teaching, was this:
-The more one tries to capture the drawing, to own it and to keep it precious...the more it evades you.
-The more you let go and have fun, the more it is likely to settle itself.
-The more one trusts in one's inner voice, gut feeling, inner energy and marries this to what it is one sees, the more peace one gets on the inside, the more the viewer responds to your drawing.

The result is not to see and recognise a perfect drawing but rather the result is the abstract occurring on the inside.

Contact Dee on
Charcoal subtraction drawing(ANA)
And in the letting go that comes from processing , we find a language that can communicate cohesion and order. We are able to translate to the viewer our own experience of what it is we are seeing...

Thursday, June 7, 2012

A Look at Estelle Hudson s talk from the perspective of DREAMS in the work of Maggie Strachan, Joan Martin and Lara Mellon.

Estelle Hudson standing in front of work by Lara Mellon
Why would these Artists be interested in exploring their paintings from a dream perspective? asks Estelle    (family counsellor with a deep interest in Jungian Psychology)

"Dreams that come to us in our sleep, are messages from the Unconscious, that part of ourselves over which we have no control and contains a wealth of knowledge and wisdom.  The language of our dreams is not the spoken language of everyday but is rich in images and symbols, which when given the time of day, surprise us with the deep meaning and unexpected ways of addressing life's journey." 

Applying this to the paintings of Strachan, Martin and Mellon, one sees these messages from the Unconscious;
not always in control of what emerges;
containing an intuitive and spontaneous knowledge and wisdom;
a language rich in symbols and images; 
an expression of a journey made into colour and tone and medium that deeply satisfies the soul.! 

Hudson drew parallels between an apt exhibition title (LOST, FOUND, STOLEN) and the paintings, suggesting a journey into the Past, of forgotten memories. The process has certainly been about accessing the Unconscious... " memories so deep that it has been like excavating, taking away layers of false perceptions; of childhood understandings, contextual falsehood and traditional indoctrination  -  and arriving at a place, a new place, a fresh view, a more mature understanding of events  and people, ….....that is the story of our lives."

Each painting becomes narrative, the story of the artist's life, the telling of which brings about the creative, restorative and transformational  journey towards Individuation (Carl Jung's word for Wholeness).  Now this doesnt happen in every painting by every artist, but the manner in which these three artists work makes it their reality. 

Hudson makes reference to Carl Jung's autobiography entitled “Memories, Dreams and Reflections”, which for her perfectly reflect these works of art. She then began to unpack some of these artists paintings recently exhibited at the FAT TUESDAY gallery in Kloof , Durban. And it is her thoughts which I shall share with you now.

You will notice that Estelle Hudson continuously asks questions during her narratively executed talk and it is questions like these which we are to ask from our dreams.

"LARA MELLON 'S  landscapes are such moments: riding her horse across the veldt, alone but not lonely, the freedom of those moments are played out on the canvas. For her the journey and not the destination is important. This body of work has been about her resting, restoration and recovery. 
How does solitude and being alone impact your life? 
Where else do you experience this freedom and how important is it for you? 
Is this the place where she claims her wildness, which in Clarissa Pinkola Estes' words 
“means to live a natural life, a place in which the creature has innate integrity and healthy boundaries, is a force which funds all personifies a force that women cannot live without” ( Women who run with the Wolves  Pg 8.) 
Her paintings use the colours of Africa (earth) ; the colour of the spiritual(air, sky). "  
Rides in the mist 1

Mellon in conversation with Hudson at Fat Tuesday

Like all of this body of work, her paintings are small – they demand engagement, a close encounter, encouraging intimacy.  In our dreams too, we are required to engage, have a close encounter, to be intimate with the information that the dream is giving us. 

This would be a time to remind us of how these three artists work together...close cooperation, sharing of symbols, stealing symbols and images from one another with permission. Trusting one another, a friendship of mutuality, reciprocity and generosity.

JOAN MARTIN'S   ghostly trees against a sky of both light and storm remind us of the reality of the opposites.  Carl Jung's statement is relevant: 
                    “It is only when we experience the Opposites of life that Wholeness happens.”
This is repeated again in Lara's sequential progressive paintings from “dark to light”. 

“How we long to achieve the growth the tree fosters in itself, the reach and rootage, the sturdiness and balance between high and low, the way it meets the season, holding its ground.” -  Book of Symbols .   In myths sometimes people are transformed into trees and if we are to ask in the language of dreams, “ What part of Joan is a tree?” because I 
know Joan's paintings and how often the tree emerges, I identify: 
the resin she uses in her paintings has its origin in a tree; 
the tree has an animating spirit and she often will house in her trees articles of sentimental and precious worth.  “The tree as self can come into existence, centred and contained, around which occur incessant processes of metabolism, multiplying, perishing and self-renewal...(repeating the theme of Lost, Found and Stolen) “the tree is also a cosmos encompassing psychic spheres of refreshment, creativity and initiation transcending space and time.. … Alchemists did not forget that the tree may represent not only a place of awakening to new life, but also of suffering. “    Joan as an art teacher is constantly initiating, creating, challenging to new frontiers her students and her artist friends.
What part of Joan is a tree?    Well!  I would say what an image, symbol, the tree is of Joan.!
Carolyn Myss says in her book, “ Your biology becomes your biography” and I would say looking at Joan's paintings of trees and the clarity of the trees physiology,  has indeed becomes Joan's biography.

Joan Martin in front of her trees.
"Observe" by Joan Martin

Beatrice Street by Maggie Strachan
MAGGIE STRACHAN   paintings of the Beatrice Street Congregational  Church and the children's hospital express a grief of what is being lost, history not being honoured, neglected, precious pieces of sculpture decaying and being vandalised.
Her paintings bring them back to life, restore the forgotten, and honour the rich purpose they once served. 
The Beatrice Street church has the memory of freedom fighters fighting for a place in the South Africa of that day, a journey in which she was personally involved as an activist. 
A question to be asked in this dream: Is there a 'place' in your life where freedom is found,and even sometimes involves, a fight for the freedom to be......?

Hudson looks at Strachan s painting
One of  MAGGIE STRACHAN 'S most touching paintings is the one of her grandparents and her mother as a child.  Grandfather in the Prussian uniform of a soldier who spent time in Turkey (and for those of you who have read the book  'Birds without Wings' will understand something of that complex war with Greece, Turkey , Germany ,France and England all of whom were  involved in the struggle for survival and power).  Grandmother, and their daughter, Maggie's mother, separated for long periods with its usual fall out of that kind of life.  Maggie's painting of this brings a new understanding of her mother's identity, a finding of a brave woman, a determined woman, the wild woman that Estes talks about causes her, Maggie, to remember who her mother was and what she was about.  A mother re-discovered  and a sense of healing follows.
Look carefully and see the woman with the blue umbrella in the background (an image brought to the table by one of the artists to which to associate ) takes a life of its own, suggesting walking away or going exploring, 
but not just accepting the status quo. (dream analysis also requires us to associate with all the symbols). 
Today we have become Outsider Witnesses to the journey these Artists have made with their paintings, and like the Outsider Witness our role here has been to affirm them and acknowledge this journey.  What we need to realise with dreams is that they are not only individual but often have an element which speaks to the whole community.  The artists inclusion of us, Jeanette Jilks who opened the exhibition, Ana and myself who have had the privilege to do the walkabouts and you the viewer makes the dreaming of their paintings a communal experience. 

We are left with their gift to us and as Rumi says:

“We are the mirror, and the face in the mirror.  We are the sweet, cold water, AND 
the jar that pours.”
Rumi reminds us that we are continually creating reality and are doing so while we experience what we have created.  In other words we are the artists as well as the art, the dreamer and the dream,  suggesting that we have the power to modify and change our lives today, while also choosing how we fashion them anew tomorrow.