There are four new charcoal pieces since my last post, but today I’m presenting #14 to keep it simple. The others can be seen on my website at www.maureenmccarron.com but I think you’ll agree that #14 is more compelling, if not riveting. It’s the mark making, and my growing familiarity with my materials. I’d introduced a creamy pale pastel called Mummy to the mix last week and have been working to keep it distinct by not blending it into the charcoal. I also like to go into a section of black with aggressive erasing, which leaves interesting textures. The Mummy pastel is more for highlights and finicky details. I apply those marks much the way I painted the little wooden panel pieces I did when my 15 year old Facebook friendship with my now fiancé turned into a relationship two and a half years ago. Early into our romance, he told me about a dream he’d had in which he helped me hang a show. The pieces were much too big for me manage by myself and had ornate gilded frames. I was sure I would not be doing large work any time soon, but within several months I’d given up working on the little wooden panels to begin painting works on paper. They were still birds only bigger, not enormous mind you, but definitely not small. As I now unframe those works on paper so I can reuse the frames for the charcoal pieces, I am struck by how lush and intricate they are. They have a sense of wonder and exploration that’s not in the wooden panel paintings which I returned to last fall. This is probably because of my being accustomed to that process, but I’d also had the cataract surgeries and could no longer see the way I used to. They are good paintings, they just didn’t move me like before. However, I am moved now by the charcoal series, especially this new owl. I can see, like in my fiancé’s dream, there may someday be enormous birds in elaborate gold frames. I am currently limited by the size of paper available to me, 18x18” or 22x22," I prefer to work on squares, but I know bigger paper is out there. So, yes, onward.

There are three new charcoal pieces since last week’s post.They are bigger than the previous drawings, and are still being numbered instead of having titles because they’re part of the original series. All three are harpy eagles. I thought about naming them after the harpy bird-sisters in Greek mythology but those names are almost unpronounceable. The image above is #10. I am no longer drawing in preparation for printmaking - I have found my perfect inky black. This a painting, full stop. I framed it immediately as I had older works on paper I could swap out of frames, and it now sit in a place of honor in my apartment. The three new pieces are very different from each other and it would be hard to say which I prefer, but they are some of my best work in a long time. So what will I do next? Another crow perhaps, or a vulture? There are always owls, one can never paint too many owls. Onward.

Monday, I called my cataract surgeon’s office about issues I’ve been coping with lately. Basically, being the good little soldier, I had surrendered to wearing the new glasses I was prescribed there after the second surgery for my double vision in hopes of getting used to them, but it’s not happening. I won’t bore you with my complaints other than to say that while they do more or less correct the double vision I have had for fifteen years, I now have a double vision type halo in my right eye whether I’m wearing the glasses or not. After several phone calls with various people there, I finally spoke to someone who thought they knew what the problem was. Now I have an appointment at the end of the month to see the surgeon again and will probably have to have some laser work done to correct it. In the meantime, I’m still doing the charcoal drawings I mentioned last week. They have taken a step up from being experimental sketches. Not relying on the use of color, the challenge of black on white negative space has been exciting. The trick has been to go bigger. I can’t get the sharp-edged clarity I got in the past with bushes, but the softer lines work well in a large format, and frankly are easier to see. Yes, I wear readers when I’m in the studio, as well as other pairs for books and the computer, all different strengths, but none of them are good for going outside where the double vision is more pronounced or watching TV. That’s what the new glasses are for, but you know, the pesky halo, et cetera. Georgia O’Keeffe took up working with clay when her sight deteriorated, I also keep reminding myself I don’t live in Gaza or Ukraine. And there aren’t bombs going off outside my house. Yet. So yeah, onward.