Category Archives: A Closer Look

Hope and Meaning {Anchors for the Soul}

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“…the hope set before us.
We have this as a sure and steadfast anchor of the soul.”

 

Certian Hope cropped2

We need something to hang onto, don’t we? What gives us stability when life is unsettling or causes us to be overcome with grief or fear? What do we need in times of sustained pressure or pain? We need hope and meaning.

Viktor Frankl survived Auschwitz concentration camp during WWII. In his memoir, Man’s Search for Meaning, he shares that the key to his survival was to identify and focus on a purpose for living.

“In some way, suffering ceases to be suffering
at the moment it finds meaning.”
-Viktor Frankl

 

Certian Hope cropped

We can take this principle out of a dire situation and apply it to everyday life. It could be that promotion you’re eyeing at work, a daunting project or the long journey of grief. If we can identify the goal or hope that waits for us at the end of this journey, we will be sustained while putting in the long hours, or working through another painful event. 

 

Certain Hope for Things Unseen is a portrait of the space in time that exists between you and your goal. The binoculars and sprinkled references to birds gives evidence that finding and watching birds is the goal. We hang onto trophies of past victories such as nests and feathers to keep us moving forward when success eludes us. We see books that represent the learning and growing that occurs through prolonged effort. 

 

Finally, as the backdrop we find those soothing shades of blue and amber. They transcend over everything that is occurring in the painting, and also in life. We are reminded by these shades of blue that the end of the story is always heaven for those who know and love the LORD. And amber or fire, visual evidence of God’s presence in Ezekiel’s vision, assures us that God’s presence is a steadfast and comforting reality.

If you are waiting or working for something, fix your eyes on the prize and His promises and this will help you through to the end.

• View the Painting

• Order the Puzzle

Certain Hope is now available as a puzzle! Order by October 25th to receive a puzzle by Christmas.
Certain Hope Puzzle small block

 

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Beauty in the Broken Places • A Painting Spotlight

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Whether uncomfortable or devastating, short-lived or seemingly endless, we’ve all had pain and difficulty. I find though, that long amounts of time spent in the darkest places is where this phenomenon of seeing beauty while being broken is most evident.

Coastal-11 “Beauty in the Broken Places” • 6×6 $295 ©Rebecca Finch

As I prepared the Coastal series, I heard sentiments from those following the process such as, “Oh, I love sea glass!” It’s lovely to look at and touch. But isn’t it interesting how the allure to sea glass itself is only there because it’s been broken and ground down by the elements? Similarly, we love to hold a smooth rock in our hands – a rock that has been sanded by time in a river’s constant friction.

These things are pleasing only because what they have been though was rough, lengthy and altering. 

Over the last few years, time and grit have ground me down to what I hope will one day become a lovely yet strong character. I’ve seen many of my close friends crushed then rebuilt into women with deep wisdom, empathy and a richness of friendship to offer. What a mystery it is to be in the darkest of moments yet be able to see so many good things such as friendships, strengthened faith, character and opportunities to care for others that would never have existed if we’d not been temporarily ruined.

This is the gift that goes along with a crushing. Meaning and purpose become a blanket for the long night.

I’ve recently read about Kintsugi or “golden repair,” a Japanese art form where broken pottery is repaired with gold. There is no attempt to hide the imperfections. In contrast, the gold accentuates the broken places and gives value to the events occurring to the object instead of brokenness causing it to be discarded.

The gold in my broken places is the Lord who is slowly repairing and holding me together. As I see the veins of His golden healing in my friend’s lives, I’m comforted that beauty and victory comes from what should have been finality.

For those who trust in Him, He will mold the grit into a pearl. He will turn mourning into joy. He will shape the gravestone into a monument of His faithfulness. He has the last word on brokenness, and it’s a beautiful final Word: “It is finished.” 

 “My scars are significant and precious. I shouldn’t keep hiding them. I am recognizable by them; they make me unique. They are an integral part of who I am. They show that through Christ, I am a conqueror – that I have suffered and, by the Holy Spirit, have overcome… The dictionary says ‘a scar is mark left by a healed wound.’ A healed wound. My scars signify healing.” – Vaneetha Rendall Risner, The Scars that Have Shaped Me

“He healeth the broken in heart, and bindeth up their wounds.” – Psalm 147:3

IMG_4285 (1) This year’s Christmas Products will feature the Coastal series from the 2018 Mosaic group show.

Coastal Products for Christmas Delivery are coming soon. 

Look for Coastal products from Redbubble, a 2019 Coastal Calendar and a brand new product that will all be revealed starting next week.

Unlocking Old Secrets III {Painting Progression}

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Transparency and Contrast I on easel


Unlocking Old Secrets III is the smallest in a series of three paintings which I will use similar objects to create a unified look among them. It’s also the first grouping of paintings to be released with a “fictionette”. Enjoy a bit of fiction that fills in some background for the objects {here}.

One thing I love to do is show the step by step progression of a painting. One day, I plan on filming some time lapse videos, while I paint, but until that day, this is what I can do for you. Enjoy a little slideshow and some explanations in the comments. Look for this painting to be available at West End Gallery’s Opening reception on May 1st.

Click on any image to enter the slideshow.

Setting up a still life takes longer than you would think it should. There are so many factors to consider once the choice of objects has been made. The endless variation of object placement, lighting, folds, highlights in just the right place. I have several guidelines to consider – one of which I may have violated with this painting – but I’m not entirely sure if the composition police should take me away just yet.
Since I’m trying out some boards instead of using rolled linen, the size is already fixed which means that I have to plan for some cropping, and I need to get it right before I get into the painting. Many decisions have to be made about what will happen at the edge of the painting before I begin. This is a makeshift “viewfinder” made from some stretcher bars. A real one is in the mail. This helps me to sketch out the objects to be sure I have drawn everything the right size and that it lines up with the outside edges of the board the way I want.
A preliminary block in of light verses dark shapes.
It’s important that I establish my lightest lights and darkest darks early on so that I can be sure my range of values is correct. And, as mentioned before, I may have violated on of the guidelines of composition – not having anything drawing your eye out of the painting – that key may be doing that, but I can’t be sure until it gets framed. It may end up being a nice crop which brings your eye right back into the painting.
Oh, that key – what trouble I had getting the top ellipse just right. Once, done with that, after a sigh of relief, I continued working on the yummy fabric.
Some more detail work on the pear. And I finally got rid of that pesky shadow, you’re welcome.
Now the most intimidating part – that clear glass. I have to forget that I’m painting glass. I can’t get all in a fluster – I just have to focus on light and dark shapes, the temperature of my shadows, edges, shapes, shapes, shapes. It’s pretty simple if you can keep the left side of your brain from taking over. It’s like fighting an epic battle in your head.
Finally got the top lip of that tiny vase – onto more folds.
And I’m finishing up with the background. I’ll be transparent here, the backgrounds of my paintings are probably my greatest struggle right now. How much to show, do I drift off into showing the texture of the board at this point? Do I go super detailed? Do I hint and leave it more subtle? More study and experimentation is needed before I come to something I’m completely happy with.

Silver and Oranges {A Closer Look}

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SilverandOrangesThe Painting:

It seems that I have a hard time setting up a still life without adding something reflective. I’m like a raccoon hoarding my little growing collection of shiny still life objects. Silver and Oranges, completed in January, is no different. Perhaps it will become one of my staples. Continue reading to learn about the pitcher, a painting technique reveal and a gallery of the painting’s progression from beginning to end.
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